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Evolution of music in Africa
Evolution of music in Africa
Evolution of music in Africa
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The Impact of Negro Spirituals on Today's Music
I believe that it would be difficult for someone to make the argument that Negro spirituals have not been influential in the field of music, much less the realm of gospel music today. However, church members often do not make the time to reflect on the heritage of a hymn or song to realize the meaning that the particular piece has carried with it through the decades, even centuries. With this in mind, I am going to look at the history of the Negro spiritual and then at specific hymns in the 1991 Baptist Hymnal, published by Convention Press, to see just what impact the Negro spiritual has had on today's church music. I believe that we will find that these songs have had a significant affect on our music, and that without it, we would not have many of the hymns that are now considered standard church music.
An important observation regarding African music comes from Richard Jobson in The Golden Trade or a Discovery of the River Gambra [Gambia] and the Golden Trade of the Aethiopians. Although published in 1623, we learn a lot about the nature of African music when we read: "There is without a doubt, no people on the earth more naturally affected to the sound of musicke than these people; which the principal persons [that is, the kings and chiefs] do hold as an ornament of their state, so as when wee come to see them their musicke will seldome be wanting" (qtd. in Southern 4).
By understanding that music was of utmost importance to the original slaves, we understand how the reverence of music was handed down through the many generations of slaves on the plantations. It is apparent that music was the highest form of expression for Africans, as well as...
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...ital Schomburg African American Women Writers in the 19th Century
Works Consulted
Fisher, Miles Mark. Negro Songs in the United States. New York: Russell & Russell, 1968.
Forbis, Wesley L. The Baptist Hymnal. Nashville: Convention Press, 1991.
"God's gonna trouble the water: The essence of African American spirituality." U.S. Catholic. Nov. 1995. ProQuest. Online. 3 Aug. 1998.
Maultsby, Portia K. Afro-American Religious Music: A Study in Musical Diversity. The Papers of the Hymn Society of America. 35. Springfield: The Hymn Society of America, n.d.
Southern, Eileen. Readings In Black American Music. New York: WW Norton, 1971.
---. The Music of Black Americans: A History. New York: WW Norton, 1971.
Thurman, Howard. Deep River and the Negro Spiritual Speaks of Life and Death. Richmond: Friends United Press, 1975.
McBride, James. The Color of Water :A Black Man’s Tribute to His White Mother. New York: Riverhead Books, 1996. Print.
Montgomery, William. Under Their Own Vine and Fig Tree: The African-American Church in the South. Louisiana: Louisiana State University Press, 1993. Print.
The second edition of “African American Religious History: A Documentary Witness,” covers the religious experiences of African Americans—from the late eighteenth century until the early 1980s. My paper is written in a chronological order to reflect on the progress blacks have made during the years—by expounding on the earliest religion of Africans to black religion of today. Race Relation and Religion plays a major role in today’s society—history is present in all that we do and it is to history that African-Americans have its identity and aspiration.
African-American slaves may not have had the formal education that many of their white slave owners possessed, but they intuitively knew that the labor they toiled through each and every day was unjust. This dynamic of unfairness brought about a mindset in which slaves would critique the workings of slavery. To many people’s understanding, slavery was an invasively oppressive institution; Levine however, noted, “for all its horrors, slavery was never so complete a system of psychic assault that it prevented the slaves from carving out independent cultural forms” . Slave spirituals were a part of the independent cultural form that enslaved African-Americans produced; these songs had numerous functions and critiquing slavery served as one of
... Bohlman, Philip V. Music and the Racial Imagination. University Of Chicago Press, Chicago. 2001. Print.
Lawrence, L. (2007). Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom. London: Sage Publishers.
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences that give rise to the different racial identities. As music embodies the physical differences of human, racial differences are not only confined to the differences in physical appearances, but also the differences in many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which different racial identities are voiced and celebrated individually, it establishes the common ground and glues the differences
Today, these lyrics have crossed barriers and are sung in many churches across America as spirituals. However, such songs as Wade in the Water, Swing Low, Sweet Chariot, and Follow the Drinking Gourd, were once used as an important tool of survival by the slaves of the antebellum era. The content of many Negro spirituals consisted of a religious theme. However, Negro spirituals were not intended to be religious. The primary purpose of Negro spirituals was to mislead an overseer or the plantation owner.
Therefore, to endure the pains and sufferings the slaves had to use music. As illustrated above, the advent of music had far reaching results as it encouraged and gave them hope to continue working. The early music composers are the evidence of existence of early music which in turn has shaped today’s music like the blues and pop lyrics. In this case, the culture of the past has been rescued from getting lost.
Jeffers, N. (n.d.). Training youths for a sound future in athletics. Intensity Magazine. Retrieved March 17, 2004, from http://www.bodybuilding.com/fun/inmag51.htm
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
Michli, L.J. Strength Training in the Young Athlete. Competitive Sports for Children and Youth. 96-97. 1988.
Powell, A. (2007). The Music of African Americans and its Impact on the American Culture in the 1960’s and the 1970’s. Miller African Centered Academy, 1. Retrieved from http://www.chatham.edu/pti/curriculum/units/2007/Powell.pdf
Music played a very important role in the lives of people is diaspora communities. It served as a reminder for the immigrants of their homeland, which allowed them to proudly express their national and cultural identities. Diaspora refers to an international network of communities linked together by the identification of a common ancestral homeland and culture. People in these communities are no longer living in their homelands, with no guarantee of a return either. (Bakan, 19). Music played a large role in African diaspora communities. This was first started by the slave trades many years ago when slave traders traveled to the coast of West Africa to capture Africans and brought them back to the United States to be slaves on plantations. Slaves were more prone to loose a sense of their own culture because every new aspect of their lives was forced upon them, therefore they were undoubtedly forced to abandon their n...
Music has played a role in society since the dawn of man. Said to be the beginning of communication in early civilization, music and dance have influenced how we think, act and treat members of our own society. Song and dance is used in rites of passage ceremonies such as births, weddings and funerals throughout the world. Jamaican and Yoruba cultures have made many contributions to our society. The uses of this music as a vehicle for political issues, values, and beliefs have been used by many musicians from different cultures. I intend to discuss the Contribution of these two contemporary cultures music and their effect on society.