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Journal Article
Black Sacred Music (1989) 3 (1): 22–52.
Published: 01 March 1989
..., and change the flow of those sweet melodies into more appropriate and useful channels; and I charitably hope that my good intentions may easily be seen, and duly appreciated; and that my little book may find its way and lodging place in every house and family in the land of the free and the home of the brave...
Journal Article
Black Sacred Music (1992) 6 (1): 274–281.
Published: 01 March 1992
... is at the center of a vortex of powerful social and cultural issues such as First Amendment rights to free expression, the force and extent of misogynist and cultural impulses, and the func- Michael Eric Dyson is a professor at the Chicago Theological Seminary. Black Sacred Music 6:11 Spring 1992. Copyright© 1992...
Journal Article
Black Sacred Music (1990) 4 (1): 124–125.
Published: 01 March 1990
... and holy; To it we'll ever stand. 4 Our cause is just and holyWe feel it in our veins; For Jesus came all men to save From misery, sin, and chains: His blood ran free on Calvary For every human soul From Palestine to AfricaIt saves from poll to poll. Our cause is just and holy To it we'll ever stand. 5 Our...
Journal Article
Black Sacred Music (1989) 3 (1): 14–21.
Published: 01 March 1989
... in Zanesville, Ohio, a pamphlet titled Original Anti-Slavery Songs by one J. McC. Simpson. The author was free black Ohioan Joshua McCarter Simpson, and as the title suggests the thirteen songs were original to him. At the same . time the pamphlet is of significance due to a certain lack of originality, par...
Journal Article
Black Sacred Music (1994) 8 (2): 81–88.
Published: 01 September 1994
... treated and say, "My Lord gonna move this wicked race, gonna raise up a nation that shall obey." You see, they knew that <;od had the last word. Somebody said, "I sing because I'm happy. I sing because I'm free!' Oh, it doesn't look like I'm free, but he whom the Son has set free is free indeed, and God...
Journal Article
Black Sacred Music (1987) 1 (2): 40–41.
Published: 01 September 1987
... by the Archives at Hampton University. 40 Memorial Hymn 41 MEMORIAL HYMN TO GENERAL ARMSTRONG. Wori!a 'b7 ALICE K. BACON. Kuslc 'b7 EiNEST now CilTEB, 1893. ~Li - - mf -~ God and free-dom's sake read- y to die. For - ward I his on - ly thought- f~5 ~=fe~=I f:~ If~~C19 1r==m0:d+dff 1 ~ g=;E~i E_ p j t l For - ward...
Journal Article
Black Sacred Music (1989) 3 (1): 72–74.
Published: 01 March 1989
... of abolitionists and antislavery poets were white Protestant evangelicals, Joshua McCarter Simpson-a free black citizen of Zanesville , Ohio, and graduate of Oberlin College-wrote at least 55 pieces, making him probably the most prolific of antislavery songsters . Explains Eaklor, "Simpson is unique in that he...
Journal Article
Black Sacred Music (1991) 5 (1): 51–59.
Published: 01 March 1991
... black musical forms to (re)create new forms. As the decades progressed, this borrowing resulted in such new genres as rhythm and blues, soul, and contemporary gospel; and jazz progressed through its style periods of swing, bebop, cool, hard bop, third stream, and free form . The values that unify...
Journal Article
Black Sacred Music (1990) 4 (1): ix–x.
Published: 01 March 1990
... of freedom with taints of American pietism, evangelical songs with "orthodox" biblical interpretations and words, are songs to compensate for what was promised in the New World version of revivalism moving across the frontier and finding "free grace." Most if not all these songs take to heart the Methodist...
Journal Article
Black Sacred Music (1987) 1 (2): 1–16.
Published: 01 September 1987
... Overcome" include, "The truth shall make us free/ someday "We are not afraid/We shall overcome someday," "We'll walk hand in hand/ someday, and "The Lord will see us through someday."3 Such new verses were sometimes composed by an individual. Other times they evolved spontaneously out of a group experience...
Journal Article
Black Sacred Music (1992) 6 (1): 68–97.
Published: 01 March 1992
... was on free, continuous, creative energy as pro- 1. See LeRoi Jones, Blues People (New York: William Morrow, 1963); Alain Locke, The New Negro and His Music and Negro Art: Past and Present (New York: Amo Press, 1969); Charles Keil, Urban Blues (Chicago: University of Chicago Press, 1966); Phyl Garland...
Journal Article
Black Sacred Music (1988) 2 (1): 45–50.
Published: 01 March 1988
..., and the opportunity for each person to be free." 6 As a servant of God, he indeed provided the inspiration for the creation of the most moving of spirituals-" Go Down Moses": When Israel was in Egypt's land, Let my people go; Oppressed so hard they could not stand, Let my people go. Refrain: Go down, Moses, 'Way down...
Journal Article
Black Sacred Music (1991) 5 (2): 104–107.
Published: 01 September 1991
... of place (certainly north of the Mason and Dixon line) where all would be free and equal, the slave was able to give voice to his inmost soul's desire, without fear of arousing 106 1"e I. llofltoniel Den leader suspicion even when in the presence of his master. Moreover, they provided his feelings...
Journal Article
Black Sacred Music (1992) 6 (2): 261–264.
Published: 01 September 1992
..., it refuses to be intimidated, fust as the spark of freedom bums in the hearts of people all over the world, whether they be free men or oppressed, so does the inner love of beauty, and so does the public appreciation of all that is worthy in the arts. Because the public is beginning to express its wishes now...
Journal Article
Black Sacred Music (1995) 9 (1-2): 147–161.
Published: 01 September 1995
... for song-making. The effect of this welding together of group interest made it easier for the folk poet and composer to gain insight into the life problems, joys, sorrows, and ambitions of the people around him. Whereas a man previously had been bound to one plantation, he now was free to visit many...
Journal Article
Black Sacred Music (1994) 8 (2): 1–29.
Published: 01 September 1994
... believing in the doctor Jesus). Reflecting her rural roots, the song identifies the power of Jesus over local witchcraft. Another lyric prophet, Hamilton Baya, sings, "Panda gari ni ra bule. Kata tikiti, Jeso anadza" (Get on the free car. Cut your ticket, Jesus is coming). In the context of reflecting his...
Journal Article
Black Sacred Music (1993) 7 (1): 62–70.
Published: 01 March 1993
... for freedom, until righteousness flows like a mighty stream, we shall study war no more. Though we shall not cease struggling until all of God's children can sit at the welcome table, we shall study war no more. Though we shall never, no never, acquiesce until the truth has succeeded in setting us free, we...
Journal Article
Black Sacred Music (1990) 4 (2): 112–116.
Published: 01 September 1990
...Kenny J. Williams Williams , Kenny J. A Storyteller and a City: Sherwood Anderson’s Chicago . DeKalb : Northern Illinois University Press , 1988 . Copyright © 1990 by Duke University Press 1990 cool, bebop, hard bop, fusion, free-form. It seems closer to articulating ever...
Journal Article
Black Sacred Music (1991) 5 (2): 114–119.
Published: 01 September 1991
... at learning were frequently rewarded with the lash, a large number of the same race in the free states, enjoyed the friendship and encouragement of the best people, and these as gifted musicians and public performers became exponents of a very high culture, acclaimed by pulpit and press, hospitably received...
Journal Article
Black Sacred Music (1992) 6 (2): 144–149.
Published: 01 September 1992
... classes. "Capitalists," he wrote, "confront artists with the ultimatum that if they want to work and live they must defend the prevalent social system through their various forms of artistic ex­ pression. . . . Free art and free artists under capitalism are a fiction." How do the capitalists manage...