... Copyright © 1995 by Duke University Press 1995 Chapter 9 The Influence ol "Shape-Note" Singing One of the greatest hindrances to the growth of Negro music both in a creative sense and as an expressional medium has been the advent of the "shape-note" hymn book in the rural church and the life...

...Donna McNeil Cox © Copyright 1987 JBSM /Jon Michael Spencer 1987 Analytical Notes on Lena McLin's Eucharist of the Soul* Donna McNeil Cox Introduction One of the principal sources of thematic material for black composers continues to be black sacred music. Even prior to engaging in formal...

... Copyright © 1991 by Duke University Press 1991 Notes to the Hampton Choir at Carnegie Hall Sacred Songs of the Early Church In these Sacred Songs of the Early Church, the first by a Netherland composer who later became famous as the head of the "Venetian School" of madrigal writing...

... Copyright © 1991 by Duke University Press 1991 Notes to the Hampton Choir at Queen's Hall I. Negro Melodies The three Negro spirituals, "Keep Me from Sinking Down," "No More Auction Block for Me," and "I'm Going to Travel," form a group unusually expressive of the slave's attitude toward his...

... Copyright © 1991 by Duke University Press 1991 Notes to the Hampton Choir at Symphony Hall Negro Melody as Cantus and Chorale In this day of jazz and exaggeration, it is not surprising that what might be called the "cathedral element" in Negro folk song has been largely overlooked...

... quality to his style. African Church Music 43 A Select Discography of Early Church Music African Concert: Sung by the Troubadours of King Baudouin. Phillips PCC214 (stereo PCC-614). Zaire; English notes. Chants Sacre du Dahomey: Hanye. Lumen AMS-12017. Dahomey; French notes. Christmas in the Congo: Les...

... and Musicians. Ed. Oscar Thompson. New York: Dodd, Mead, 1938. pp. 1243-46. Negro Spirituals. London : Blandford, 1919. Program Notes. Concert by the Hampton Institute Choir. Carnegie Hall, New York. April 16, 1928. Program Notes. Concert by the Hampton Institute Choir. Symphony Hall, Boston. March 10, 1929...

... notes: "Ironically, the fact that the Negro was partly accepted and partly rejected forced the fusing and resulted in a new music."3 Although Steams was referring to jazz, his description of the AfricanAmerican status is also appropriate to the development of the blues. Philosopher Comel West suggests...

... to leave. Thinking she had gone, I was enjoying myself as usual, when, suddenly, I saw her there. Catching me up in her arms, she lifted me off the stool and kissed me, so delighted was she by what she had heard. She sent a note to my mother, asking permission to give me lessons free...

... and secular music, but constitutes a distinct influence in American life, an influence that is felt especially on the stage and, to some degree, even in literature. It has furnished a great many of the catch words and phrases that have been seized upon and made current. Curious it is to note the varying...

... from following his thought in its own keys and rhythms. In what follows, I will note sources only where I believe the facts I report cannot readily be found in Cowell or in Kirkpatrick's Memos, or where my interpretation demands backing. 112 Black Sacred Music discovering that a piano keyboard could...

... be gained by exploring some of the ways in which aspects of rhythm and ritual manifest themselves in con- r. William Butler Yeats, "The Second Coming," in The Norton Anthology of Poetry, 3d ed. (New York: Norton, 1983), 883. 2. Ibid., note 7. 3. Ibid., note 9. For further interpretation of Yeats's sense...

... a form of hymn-singing whose impact upon the total black musical tradition remains to be fully accounted for. The arranged spiritual remains a distinct genre within the African-American cultural experience, as does shape-note singing and black hymnody. Africanized shape-note singing, adapted by rural...

... manipulated the twelve tones, a number of similarities can be found. Both composers worked from the principle that all twelve pitch classes (the twelve notes that comprise the chromatic scale) must be used before any pitch class is repeated.6 The music therefore progresses according to twelve-note groups...

... of night, is too much drawn toward the morbid and the weird, and thinks unduly of dying. Its achievement is too often sensational, and fitful or incomplete. Occasionally, at very rare intervals, one hears in the spirituals such a triumphant note as that in "Roll, Jordan, roll" or "I'm goin' to join de...

... been artistically influenced by the African temperament. Also, one may hear variants of this same rhythm in any jazz piece of note, especially orchestrated jazz pieces. Many of these are too subtle to be picked out by the uninitiated: i ~ ., r· ~ Ii ., ~ i IU i i i Ir· fr Dances, Blues, and Ballads 41...

...." For him to do so is to say that Jesus was once unclean. In the story "Theater," John will not defile the body of Dorris; through sleep he will wake to accept her in spirit. With elements of escape and retribution respectively placed in the strophe and antistrophe, a more personal and violent note...

...," and "Don't You Weep No More, Mary." To enhance the effect of these concert appearances, Dett generally wrote program notes. In these and his other writings, the spirituals are interpreted as music that voices a universal feeling among African Americans. Contrasting the spirituals to the blues, Dett said...

... currents that constituted this movement. He identifies two currents-the need for black pride and the need to deal with racism and segregation. Johnson notes that Thurman's Christology stands in continuity with the Christologies of the black intellectual tradition in that he engages in a process...

.... Byzantine JJJJdrr 5. Scale with flatted seventh (Mixolydian or Mode VII) &w Jr r r r r r 1 4. Hungarian Gypsy &1 J d oJ J d r r 6. Dorian (Mode I) &a J J J Jr r r 7. Aeolian (Mode IX) &JJJ J J J J J The first of these, consisting of only five notes (represented by the black keys of the piano) is the scale...