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Journal Article
Black Sacred Music (1990) 4 (1): 164–165.
Published: 01 March 1990
...F. M. Hamilton Copyright © 1990 by Duke University Press 1990 100 The Parting Hour Has Come a B f I ~ f r f I t I r ?~ ?I l. The part- ing hour has come, And we must say good- il'rt J;~ lT"i'1 ;W~n I w{1 j' sl&b ~ I ~ pb ~ ~~ -bye , Be- -hold our work is ' there, We'll ~ shake no I part- ing...
Journal Article
Black Sacred Music (1993) 7 (1): 1–16.
Published: 01 March 1993
... in Cane come under the same categories. The first part of Cane constitutes the female cycle of the organic life pattern, and the six lyric solos presented through expressions of the women become the collective chorus that parallels the Bacchae's chorus. The women in part two are removed from the South...
Journal Article
Black Sacred Music (1994) 8 (2): 118–120.
Published: 01 September 1994
... into four parts, beginning with the enslavement of Africans in America and concluding with the present age. It is a reminder that Pan-African musical history is extensive and continuous. In "Part One: The Beginning Book Reviews 119 j1619-187os Roach establishes the context of the rich African musical...
Journal Article
Black Sacred Music (1988) 2 (2): 23–28.
Published: 01 September 1988
... with the same existential plights. Liturgical diversification in the black Pentecostal church is also the consequence of blacks and whites worshiping together in some parts of the country. In the Los Angeles area alone a number of Pentecostal churches other than West Angeles are substantially integrated...
Journal Article
Black Sacred Music (1992) 6 (2): 136–143.
Published: 01 September 1992
.... When he asked if there were any special songs that he could sing for us, a shrewd look came over Mr. Handy's face. "I am going to find out about something," declared the Father of the Blues. "Langston Hughes once told me that in his travels to many parts of the world, he found that the 'St. Louis Blues...
Journal Article
Black Sacred Music (1988) 2 (1): 65–71.
Published: 01 March 1988
... "development" ofthe spiritual was one piece in a four-part essay which won him Harvard's Bowdoin literary Prize in 1920. Writing under the pseudonym of Toussaint Louverture, professor Dett concludes his essay with a prophecy which time has veritably brought to pass. 1 The recognition of development...
Journal Article
Black Sacred Music (1991) 5 (2): 108–113.
Published: 01 September 1991
... music of the Early Church, there is an interweaving of melodies sung by the various part-voices, soprano, alto, tenor, and bass; a phrase in one part ofttimes beginning before that sung by another had come to a cadence or conclusion, while all of the parts seem of equal importance. This rather prevents...
Journal Article
Black Sacred Music (1992) 6 (2): 133–135.
Published: 01 September 1992
... one. American music is important to American audiences because it is a part of them, some thing they know and believe in. My friends who perform tell me that all over the country, audiences eagerly await the American group, demand encores and later come backstage to discuss it. They are willing...
Journal Article
Black Sacred Music (1995) 9 (1-2): 175–181.
Published: 01 September 1995
... of rural Negroes. This is a case of great misfortune in a twofold sense, insofar as it affects the spirituals that are already a part of the Negro's musical repertoire.1First, it causes the Negro to confuse his traditional songs with the shape-note songs. Second, it places in his hands an inferior...
Journal Article
Black Sacred Music (1992) 6 (2): 207–214.
Published: 01 September 1992
... occasions in the United States and Europe to the applause and critical acclaim of thousands. It was in 1871 when the Fisk Jubilee Singers embarked on a project 210 Black Sacred Music that has since become part of history. Badly in need of funds to finance the education of former slaves in Fisk University...
Journal Article
Black Sacred Music (1991) 5 (2): 34–41.
Published: 01 September 1991
... in five parts-"Pilgrim's Song," "Deep River," "Little David, Play on Your Harp," and "Every Time I Feel the Spirit" -and twenty-five dollars to R. Nathaniel Dett, Director of Music, Hampton Institute, Virginia, for "Listen to the Lambs," an anthem in eight parts developed from a folk song of the same name...
Journal Article
Black Sacred Music (1988) 2 (1): 35–44.
Published: 01 March 1988
.... In the initial sending of Christian missionaries to Africa during the colonial era, the use of traditional African musical idioms in worship services was strongly debated. The early missionaries denied the legitimacy of indigenous customs, believing them to be so pervasively a part of traditional religious...
Journal Article
Black Sacred Music (1987) 1 (2): 17–20.
Published: 01 September 1987
... Assemblies of the World, will either begin or conclude their sermons with a hymn. In many instances when a minister does not sing, it is common in the black homiletical tradition for him or her to use as a significant part of the sermon quotations from familiar hymns. For instance, by his brief reference...
Journal Article
Black Sacred Music (1995) 9 (1-2): 1–15.
Published: 01 September 1995
..., growth, and so forth. The second phase is that kind which is produced by voluntary action on the part of man and lower animals. However, here we must have further division, for rhythm in lower animals seems to follow more of a set pattern of actions common to the species or class. On the other hand, man...
Journal Article
Black Sacred Music (1990) 4 (2): 47–50.
Published: 01 September 1990
... only a part of reality. "It is about taking the globe and turning it over so that we see all the possibilities of a world where Africa, for example, is subject and not object" (3). A particularly notorious way in which Africa is made object rather than subject, says Asante, is in the use of the term...
Journal Article
Black Sacred Music (1990) 4 (1): 146–148.
Published: 01 March 1990
... . be a j oy- ous greet- in g, 0- ve r on the o- ther shore . 0- ver f :· f rit· i ft ~ f·i :· I II r r21 ,r· t I g r,. 1 on the o- ther shore, W he r e we' ll ) . ) ) . ) Jon the o- ther sho re, 0- ver ). ) on the o- th er sh ore, Wh ere we' ll -- 2= &bb D· ~ D· ~ F p· ~ I meet to part no more , 0...
Journal Article
Black Sacred Music (1993) 7 (2): 5–48.
Published: 01 September 1993
... Copyright © 1993 by Duke University Press 1993 The Worshipping Church in Africa 1 Present for our deliberations on the worshipping church in Africa were an ecumenical group of Africans from various parts of the continent-Uganda, Kenya, Malawi, Mozambique, Madagascar, Zimbabwe, Zambia...
Journal Article
Black Sacred Music (1988) 2 (2): 1–18.
Published: 01 September 1988
... and Todd, 1978), p. 73. Reed's original diagram of the oscillatory process is horizontal and contains six parts; here it is circular and is distilled to four parts, between which escape is conveniently centered. I have placed the testimony and preaching services in brackets to illustrate their location...
Journal Article
Black Sacred Music (1990) 4 (1): ix–x.
Published: 01 March 1990
... printed and disseminated, and the hymns included in this publication were largely neglected and left as "unsung hymns." But this may be due, in part, to the fact that these are the songs of those who broke away from the stream of so-called mainline Protestantism. It should be noted also that many...
Journal Article
Black Sacred Music (1991) 5 (2): 81–83.
Published: 01 September 1991
... of the song is strophic, being repeated without interruption and having no solo part. II. Folk Songs The popularity of the Negro's own spirituals has naturally led to a desire for excursions into the field of folk songs of other peoples. One finds in such work that the spirit of one people is easily...
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