As a result, missionaries taught church congregations the practice of lining out hymns. They sing numerous hymns from their hymnbook, The Primitive Hymns, which contains only texts and no musical notations, during all parts of their church services. “Styles ranged from the exciting tempo and rhythmic stamp of the shout to the slow, drawn-out ‘sorrow songs’ which usually come to mind when the spirituals are mentioned,” observes historian Albert J. Raboteau. “Go preach my gospel,” saith the Lord, “Bid the whole earth my grace receive, Explain to them my sacred word, Bid them believe, obey, and live.” “I’ll make my great commission known, And ye shall prove my gospel true.Jesus, my God I know his name His name is on my soul He will not put my soul to shamebr Oh let my holy Lord)African Americans also created their own body of secular songs during the trials of slavery. These songs showed the individual and collective creativity of black people and their desire to create and maintain a sense of community and resist the dehumanizing and destructive forces of slavery.
Lining out quickly took hold among white and black Baptists in particular during the eighteenth century and nineteenth century.One slave master, and Presbyterian missionary, from Liberty County, Georgia, Charles Colcock Jones, emphasized the importance of teaching hymns and psalms to slaves as way to dissuade them from singing the “extravagant and nonsensical chants” and shouts “of their own composing.” Ironically, however, black slaves used these European hymn and psalm texts to learn literacy. These days, blues players like Keb Mo' and Taj Mahal blur the lines between blues, rock, and folk with their raw, gorgeous, infectious tunes that even occasionally flirt with the roots of country-western.But the influences don't stop with blues, by any stretch of the imagination.During the 1950s and 60s, as African-Americans around the country struggled for equal rights under the law, folk singers like Odetta, Sweet Honey in the Rock, and others joined with Martin Luther King, Jr., to spread the word of direct action through non-violence. No instrument is ever used.” (Jackson, 248)The lined-out hymn singing tradition still thrives in some black churches, particularly in Missionary and Primitive Baptist congregations. (Dargan, 2006)William Francis Allen, who described the ring shout tradition among African American slaves during the Civil War, also provided one of the most detailed and evocative descriptions of lined-out hymn singing among slaves during the same time period:“I went to the Praise House in the Quarters…. From the blues to zydeco, and jazz to hip-hop, slave-era spirituals about struggle and personal empowerment to the forefathers of rock and roll, America’s roots music is absolutely replete with the influence of the African-American community. Africans in the Low Country; V. Module 4: African Americans and the American Revolution. Not only did African Americans often blend traditional West African spirituality with Christian beliefs, they also wove together West African rhythms, shouts, and melodies with European American tunes to create spiritual songs drawn from images and stories found in Bible. These call-and-response "songs" were as often aimed at spreading news or information, as they were about passing the time while they worked.
Many of the blues-folk singers of this time got jobs touring with traveling entertainment groups, vaudeville troupes, and medicine shows. He took jobs in the kitchens of new boomtowns and peddling wares along city streets. Work songs helped to ease the drudgery of plantation labor while hollers resembled laments that provided emotional release or allowed slaves to communicate covert messages that might spread from plantation to plantation.
To this day, artists in blues, folk, rock, and hip-hop look to Leadbelly as an influence on all of those genres of music.The most obvious, and often the most discussed, influence from the African-American community is in the area of blues and, ultimately, rock & roll.
It might be compared to the notes of an organ or orchestra, where all harmony is poured out in accompaniment of the air.” (Allen quoted in Dargan, 112–13)Lined-out hymns in the black church also became known as long meter hymns, metered hymns, or “Dr. Great songs that have become synonymous with the plight of every community since then that has stood up for its own rights include spiritual songs like “We Shall Overcome,” “I Shall Not Be Moved” and “Amazing Grace.”After the Civil War ended with the Emancipation Proclamation and the newly freed former slaves set off to northern cities like Chicago and Detroit, others remained in their home states. Watts” because of the large number of hymns penned by Issac Watts. One example of how black people used music to create a sense of community is from Charleston, South Carolina where African Americans would travel to rural areas to participate in countryside dances where they danced all night.
Music The earliest forms of African-American music were imported with the slaves themselves. Techno music was founded in Detroit Michigan in the early 1980's by three African American musicians and friends interested in both Funk as well as more electronic bands such as Tangerine Dream, Kraftwerk and Giorgio Moroder.
Module 5: Creating an African-American Culture.
“While the lyrics and themes of the spirituals were drawn from Biblical verses and Christian hymns, and although the music and melodies were strongly influenced by the sacred and secular songs of white Americans, the style in which the slaves sang the spirituals was African.” (Raboteau, 74). Some African American slaves believed the ring shout was a central part of worship, often a prerequisite to receiving the spirit or having a conversion experience.
The Primitive Baptists also draw from the deepest well of hymn tunes, which have been passed down orally over many generations. Later, as country-western music became integrated into the larger towns along the traveling routes, blues players began adapting their sound to a more country-oriented blues style.Probably the most influential figure from this time was folk-blues musician Huddie Ledbetter (a.k.a. Leadbelly). After emancipation, unique African-American traditions continued to flourish, as distinctive traditions or radical innovations in music, art, literature, religion, cuisine, and other fields. Introduction; 23.
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