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• W345471684 abstract "If the tide of this column seems contradictory or oxymoron, as in cruel kindness, it is, but it seems to best describe what I hope to present in this article. John Lovell, Jr. defines the Afro-American spiritual as . . . an independent song, born of the union of African tradition and American socio-religious elements. It was affected to a limited extent by the American Christian evangelical tradition and Anglo-American hymn, but not . . . the so-called white spiritual.1 A broad, yet somewhat precise definition of a spiritual for this writer's purpose, is a type of sacred song created by anonymous individual or individuals of a particular group and adopted by that group for Spirituals evolved out of their experiences, which express a range of emotions, feelings, hope, joy, faith, fear, sorrows, laments, or biblical themes and have no identifiable point of origin. her classic book, The Sanctified Church, Zora Neale Hurston clearly differentiates and distinguishes the misconception between genuine spirituals and what she refers to as neo-spirituals. Referring to the genuine spiritual, she asserts: . . . The jagged harmony is what makes it, and it ceases to be what it was when this is absent. Neither can any group be trained to produce it. Its truth dies under training like flowers under hot water. The harmony of the true spiritual is not regular. The dissonances are important and not to be ironed out by the trained musician. The various parts break in at any old time. Falsetto often takes the place of regular voices for short periods. Keys change. Moreover, each singing of the piece is a new creation. The congregation is bound by no rules. No two times singing is alike, so that we must consider the rendition of a song not a final thing, but as a mood. It will not be the same thing next Sunday. Negro songs to be heard truly must be sung by a group, and a group bent on expression of feelings and not on sound effects.2 Hurston's description of the performance practices of genuine spirituals, or what I call or sacred folk spirituals, must not to be confused with what she calls neo-spirituals, or the arranged or concert spirituals by such composer/arrangers: Harry T. Burleigh, Hall Johnson, William Dawson, Margaret Bonds, James Weldon and J. Rosamond Johnson, R. Nathaniel Dett, Undine Smith Moore, Jester Hairston, Roland Carter, Moses Hogan, Andre Thomas, Uzee Brown, Jr., and many others. There are many arrangements of spirituals with piano accompaniment wherein, like German texts and melodies that were elevated to become art song presentations, as in the Volkslieder of Johannes Brahms, the accompaniment functions very much as a dual partner in illumining texts. Dr. Uzee Brown, Jr., Professor of Music at Morehouse College says In addition to undergirding the solo voice, the accompaniment in the solo performance of spirituals quite often fills the role of the responsorial body in what would have been indigenously presented as group or congregational singing. This is clearly illustrated in his extraordinary spiritual collections O Redeemed and Trying to Make Heaven My Home published by Roger Dean Publishing Company.3 John W. Work, III, addressing the 1961 International Hymnological Conference in New York City, offers this critical insight for our understanding of Negro spirituals: The classical spirituals, these songs whose forms evolved among the unlettered Negro of the nineteenth century, were conceived as linear music, without the aid of the keyboard. Other musical instruments-fiddles, guitars, etc.-were forbidden by Church policy. The song creators conceived the spirituals without the use of keyboard, and the congregation sang them without keyboard support or the experience of listening to a keyboard. These songs had no preconceived harmony, and in the rural churches they were sung without harmony. Such harmony as one might have heard was incidental alto or a tenor supplied by individuals who might have had keyboard experience. …" @default.
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• W345471684 date "2007-01-01" @default.
• W345471684 modified "2023-09-24" @default.
• W345471684 title "Accompanying Unaccompanied Negro Spirituals" @default.
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