The document summarizes a presentation about composer H.T. Burleigh and his arrangements of Negro spirituals. It provides biographical details of Burleigh and discusses how he arranged spirituals into art songs. The presentation then features performances and discussions of Burleigh's arrangements by various famous singers throughout history, showing how his work influenced and was performed by both black and white vocalists.
A Century of Negro Spirituals for Solo VoiceRandye Jones
Survey of some of the historical and contemporary composers and singers who have forged art songs from this powerful American folk music. Features videos of over 30 vocally and interpretatively distinctive concert Spiritual performances–accompanied by short biographies about the composers, musician images, and a discography and music scores bibliography
Composers (performers) represented:
Pt. 1: Harry T. Burleigh (Robert McFerrin), William Arms Fisher (Frances Alda), John C. Payne (John C. Payne), J. Rosamond Johnson (Todd Duncan), Hugo Frey (Odekhiren Amaize), Clarence Cameron White (Jules Bledsoe), R. Nathaniel Dett (Dorothy Maynor), Florence Price (Richard Heard), Roland Hayes (Charles Holland), Hall Johnson (Inez Matthews)
Pt. 2: Lawrence Brown (Paul Robeson), William Grant Still (Florence Quivar), William Lawrence (Marian Anderson), Robert MacGimsey (Carol Brice), Edward Boatner (Mattiwilda Dobbs), Hamilton Forrest (Martina Arroyo), John Wesley Work III (Kevin Maynor), Undine Smith Moore (Pamela Dillard), Margaret Bonds (Leontyne Price), Thomas Kerr, Jr. (Jessye Norman), Julia Perry (Shirley Verrett), Hale Smith (Donnie Ray Albert), Robert Owens (Oral Moses), Betty Jackson King (Robert Honeysucker), Lena McLin (Mark Rucker), John Carter (Ray Wade),
Pt. 3: Wendell Whalum (Kenneth Overton), Coleridge-Taylor Perkinson (George Shirley), Jacqueline Hairston (Louise Toppin), Robert L. Morris (Calesta “Callie” Day), Roland Carter (Benjamin Matthews), Uzee Brown, Jr. (Uzee Brown, Jr.), Charles Lloyd, Jr. (Laura English-Robinson), Evelyn Simpson-Curenton (Kathleen Battle), Mark Hayes (Indra Thomas), Moses Hogan (Derek Lee Ragin), Victor Labenske (John Craig Johnson), Damien Sneed (Lawrence Brownlee), Shawn Okpebholo (Will Liverman)
Songs performed: Ain’t A That Good News, All God’s Chillin, Calvary, City Called Heaven, Deep River, Dere’s a Man Goin’ Roun’ Takin’ Names, Ev’ry Time I Feel the Spirit, Give Me Jesus, Glory, Glory, Hallelujah, Go Down Moses, God Is a God, Goin’ to Shout All over God’s Heaven, Gospel Blues (Lyric Suite), Great Day, Guide My Feet,
Hear de Lambs a-Cryin', He’s Got the Whole World in His Hand, Here’s One, I Want to Die Easy, I’m a poor little orphan in this world!, I’m Goin’ to Tell God All My Troubles, Is There Anybody Here Who Loves My Jesus, Joshua Fit the Battle of Jericho,
Let Us Break Bread Together on Our Knees, O Freedom, Oh, Glory!, Po’ Mourner’s Got a Home at Las', Sometimes I Feel Like a Motherless Child, Standin’ in de Need o’ Prayer, Sweet Little Jesus Boy, This Little Light o’ Mine, Toccata (Cantata), Walk Together, Children, Were You There, Witness,
Presentation created by soprano and music researcher Randye Jones.
A Century of Concert Spirituals Recordings: The PioneersRandye Jones
The year 2016 marked the 100th anniversary of Harry T. Burleigh‘s publication of “Deep River,” which is considered to be one of the earliest Negro spirituals written for performance by a classically trained vocalist. “Deep River” inspired singers of “classical” music to integrate spirituals into their concert repertoire and composers to explore how their own vocal musical expressions might be enriched by inclusion of these American folk songs in their works. Composers, including William Arms Fisher, John C. Payne, J. Rosamond Johnson, Clarence Cameron White, R. Nathaniel Dett, Florence Price, Hall Johnson, and Roland Hayes delved into the rich fount of the Negro spiritual and created a vast range of musical expressions that have been preserved on recorded medium. These composers were born in the generation immediately following the end of the American Civil War in 1865. They were often the children of ex-slaves or they otherwise were exposed to the Negro Spiritual directly from the living sources of these songs. They continued the process, begun by Fisk Jubilee Singers, of sharing this soul-stirring, original American music across the United States and around the world. This presentation will briefly profile a few of these pioneers of the concert spiritual and offer excerpts from rare historical recordings, from Oscar Seagle's performance of Burleigh’s “Deep River” and C. Carroll Clark's performance of Dett's “I'm So Glad Trouble Don't Last Alway,” to early recordings by great interpreters such as contralto Marian Anderson, tenor Roland Hayes, and bass-baritone Paul Robeson.
Interpreting Negro Spiritual Art SongsRandye Jones
Introductory presentation on interpretive and musical elements to consider in performance of Negro Spirituals composed for concert performance. Includes video performance of Spirituals composed by Burleigh ("Deep River"), MacGimsey ("Sweet Little Jesus Boy"), Carter ("Toccata" from Cantata), and Johnson ("Witness").
The document provides an overview of influential black artists across different genres of music such as gospel, jazz, blues, soul, rock 'n' roll, and hip hop. It discusses pioneering artists like Mahalia Jackson, Ella Fitzgerald, Billie Holiday, and Little Richard, and their significant contributions. The document also acknowledges more recent influential black artists in music including Mary J. Blige, Kanye West, and Common. It aims to educate about the origins and evolution of black music over time.
Jazz originated in New Orleans in the late 19th century as a fusion of African and European music traditions that emphasized improvisation. It has evolved over time into many different styles through the combination of improvisation, syncopated rhythms, blues scales, and brass instruments. Some of the most influential jazz artists include Louis Armstrong, Nat King Cole, Peggy Lee, and Billie Holiday.
The document discusses several songs written during the American Civil War and their origins. It notes that Julia Ward Howe wrote "The Battle Hymn of the Republic" after visiting an army camp and being inspired by "John Brown's Body." George F. Root wrote "The Battle Cry of Freedom" to support the Union cause. Daniel Decatur Emmett wrote "Dixie," which was popular in both the North and South before the war. Henry McCarthy wrote "The Bonnie Blue Flag" as an anthem for the Confederacy. The document also provides background on military bands during the war and popular performers like the Hutchinson Family Singers.
This document provides an overview of the history of African American music from slavery through the civil rights era. It describes how slaves used work songs and spirituals to communicate and maintain hope in the face of hardship. Instruments like the banjo emerged from African American musical traditions. The document also profiles influential artists like Billie Holiday, who performed "Strange Fruit" to protest racism, and Marvin Gaye, whose song "What's Going On" addressed issues of the civil rights movement. Overall, the document traces the origins and evolution of African American music.
A Century of Negro Spirituals for Solo VoiceRandye Jones
Survey of some of the historical and contemporary composers and singers who have forged art songs from this powerful American folk music. Features videos of over 30 vocally and interpretatively distinctive concert Spiritual performances–accompanied by short biographies about the composers, musician images, and a discography and music scores bibliography
Composers (performers) represented:
Pt. 1: Harry T. Burleigh (Robert McFerrin), William Arms Fisher (Frances Alda), John C. Payne (John C. Payne), J. Rosamond Johnson (Todd Duncan), Hugo Frey (Odekhiren Amaize), Clarence Cameron White (Jules Bledsoe), R. Nathaniel Dett (Dorothy Maynor), Florence Price (Richard Heard), Roland Hayes (Charles Holland), Hall Johnson (Inez Matthews)
Pt. 2: Lawrence Brown (Paul Robeson), William Grant Still (Florence Quivar), William Lawrence (Marian Anderson), Robert MacGimsey (Carol Brice), Edward Boatner (Mattiwilda Dobbs), Hamilton Forrest (Martina Arroyo), John Wesley Work III (Kevin Maynor), Undine Smith Moore (Pamela Dillard), Margaret Bonds (Leontyne Price), Thomas Kerr, Jr. (Jessye Norman), Julia Perry (Shirley Verrett), Hale Smith (Donnie Ray Albert), Robert Owens (Oral Moses), Betty Jackson King (Robert Honeysucker), Lena McLin (Mark Rucker), John Carter (Ray Wade),
Pt. 3: Wendell Whalum (Kenneth Overton), Coleridge-Taylor Perkinson (George Shirley), Jacqueline Hairston (Louise Toppin), Robert L. Morris (Calesta “Callie” Day), Roland Carter (Benjamin Matthews), Uzee Brown, Jr. (Uzee Brown, Jr.), Charles Lloyd, Jr. (Laura English-Robinson), Evelyn Simpson-Curenton (Kathleen Battle), Mark Hayes (Indra Thomas), Moses Hogan (Derek Lee Ragin), Victor Labenske (John Craig Johnson), Damien Sneed (Lawrence Brownlee), Shawn Okpebholo (Will Liverman)
Songs performed: Ain’t A That Good News, All God’s Chillin, Calvary, City Called Heaven, Deep River, Dere’s a Man Goin’ Roun’ Takin’ Names, Ev’ry Time I Feel the Spirit, Give Me Jesus, Glory, Glory, Hallelujah, Go Down Moses, God Is a God, Goin’ to Shout All over God’s Heaven, Gospel Blues (Lyric Suite), Great Day, Guide My Feet,
Hear de Lambs a-Cryin', He’s Got the Whole World in His Hand, Here’s One, I Want to Die Easy, I’m a poor little orphan in this world!, I’m Goin’ to Tell God All My Troubles, Is There Anybody Here Who Loves My Jesus, Joshua Fit the Battle of Jericho,
Let Us Break Bread Together on Our Knees, O Freedom, Oh, Glory!, Po’ Mourner’s Got a Home at Las', Sometimes I Feel Like a Motherless Child, Standin’ in de Need o’ Prayer, Sweet Little Jesus Boy, This Little Light o’ Mine, Toccata (Cantata), Walk Together, Children, Were You There, Witness,
Presentation created by soprano and music researcher Randye Jones.
A Century of Concert Spirituals Recordings: The PioneersRandye Jones
The year 2016 marked the 100th anniversary of Harry T. Burleigh‘s publication of “Deep River,” which is considered to be one of the earliest Negro spirituals written for performance by a classically trained vocalist. “Deep River” inspired singers of “classical” music to integrate spirituals into their concert repertoire and composers to explore how their own vocal musical expressions might be enriched by inclusion of these American folk songs in their works. Composers, including William Arms Fisher, John C. Payne, J. Rosamond Johnson, Clarence Cameron White, R. Nathaniel Dett, Florence Price, Hall Johnson, and Roland Hayes delved into the rich fount of the Negro spiritual and created a vast range of musical expressions that have been preserved on recorded medium. These composers were born in the generation immediately following the end of the American Civil War in 1865. They were often the children of ex-slaves or they otherwise were exposed to the Negro Spiritual directly from the living sources of these songs. They continued the process, begun by Fisk Jubilee Singers, of sharing this soul-stirring, original American music across the United States and around the world. This presentation will briefly profile a few of these pioneers of the concert spiritual and offer excerpts from rare historical recordings, from Oscar Seagle's performance of Burleigh’s “Deep River” and C. Carroll Clark's performance of Dett's “I'm So Glad Trouble Don't Last Alway,” to early recordings by great interpreters such as contralto Marian Anderson, tenor Roland Hayes, and bass-baritone Paul Robeson.
Interpreting Negro Spiritual Art SongsRandye Jones
Introductory presentation on interpretive and musical elements to consider in performance of Negro Spirituals composed for concert performance. Includes video performance of Spirituals composed by Burleigh ("Deep River"), MacGimsey ("Sweet Little Jesus Boy"), Carter ("Toccata" from Cantata), and Johnson ("Witness").
The document provides an overview of influential black artists across different genres of music such as gospel, jazz, blues, soul, rock 'n' roll, and hip hop. It discusses pioneering artists like Mahalia Jackson, Ella Fitzgerald, Billie Holiday, and Little Richard, and their significant contributions. The document also acknowledges more recent influential black artists in music including Mary J. Blige, Kanye West, and Common. It aims to educate about the origins and evolution of black music over time.
Jazz originated in New Orleans in the late 19th century as a fusion of African and European music traditions that emphasized improvisation. It has evolved over time into many different styles through the combination of improvisation, syncopated rhythms, blues scales, and brass instruments. Some of the most influential jazz artists include Louis Armstrong, Nat King Cole, Peggy Lee, and Billie Holiday.
The document discusses several songs written during the American Civil War and their origins. It notes that Julia Ward Howe wrote "The Battle Hymn of the Republic" after visiting an army camp and being inspired by "John Brown's Body." George F. Root wrote "The Battle Cry of Freedom" to support the Union cause. Daniel Decatur Emmett wrote "Dixie," which was popular in both the North and South before the war. Henry McCarthy wrote "The Bonnie Blue Flag" as an anthem for the Confederacy. The document also provides background on military bands during the war and popular performers like the Hutchinson Family Singers.
This document provides an overview of the history of African American music from slavery through the civil rights era. It describes how slaves used work songs and spirituals to communicate and maintain hope in the face of hardship. Instruments like the banjo emerged from African American musical traditions. The document also profiles influential artists like Billie Holiday, who performed "Strange Fruit" to protest racism, and Marvin Gaye, whose song "What's Going On" addressed issues of the civil rights movement. Overall, the document traces the origins and evolution of African American music.
There are few things more precious and interesting than a Golden Age. There was a Golden Age of a particular kind of music that ran from the twenties through the fifties: the golden age of popular standards; the songs that constitute The Great American Song Book. These tunes were written by dapper, creative giants like Cole Porter, Rodgers and Hart, the Gershwins, Johnny Mercer, Hoagy Charmichael, Jerome Kern, and Dorothy Fields. Urbane sophisticated talents who created a body of work that effortlessly captures that urbanity and sophistication.
They created tunes focused on the subject of romantic love and exploring all the stages and aspects of the arc of a great love affair: from the initial “walking on air” to the jaded ennui of “never again”. They were obsessed with this theme and subject. Describing, exploring, and driving deep into all its mysteries. These composers and lyricists were in love with Love.
These tunes wed lyrics and music into songs that were crafted by songwriting teams originally centered around Tin Pan Alley; The Brill Building on Broadway in Mid town Manhattan. These songwriting teams in many cases split the composing tasks along functional lines: one writing the music and on writing the lyrics. The composers were writing vehicles for others to perform and usually pitched the tunes in the context of a Broadway or Hollywood musical. They were cranking out tunes for the Hollywood and Broadway dream factories at a prodigious pace. They really worked! Cranking out so many songs, they have a tossed off, effortless quality and a guileless directness. They feel unpretentious and casual: genuine and authentic. But their craft and genius raise these songs to high art.
Many of these tunes became popular hits in their own right, lifted out of the shows and movies, and have been recorded by all the great performers. Fred Astaire debuted many of these tunes and was a favorite of the writing teams. He was known as much for his singing as his dancing! Diana Krall, Harry Connick Jr. and Michael Buble are some of the latest to pay homage to the songbook.
Jazz originated in African American communities in the late 19th century and is characterized by improvisation, polyrhythms, syncopation, and aspects of European harmony. It incorporates instruments like piano, drums, saxophone and trumpet and styles like ragtime, blues, Dixieland and bebop. Famous jazz composers include Louis Armstrong and Scott Joplin. Jazz has played an important role in society, serving as a reflection of cultural development and influencing people of all backgrounds through various eras.
H.T. Burleigh was an influential African American composer and arranger born in 1866 in Erie, Pennsylvania. He studied at the National Conservatory of Music in New York, where he worked closely with Antonín Dvorák. Dvorák encouraged Burleigh to arrange and preserve American spirituals. Burleigh went on to arrange over 100 spirituals and compose over 200 original art songs. He had a successful career as a singer, music editor, and composer, becoming the first African American on the board of directors of ASCAP. Burleigh helped establish the spiritual as an American musical genre and promote appreciation of African American music.
The document discusses the origins and evolution of African American spirituals and gospel music from the 1700s to the 1940s. It mentions the development of spirituals among enslaved Africans and their integration of Protestant hymns. It then outlines the rise of jubilee quartets and groups like the Fisk Jubilee Singers in the late 1800s. The document also covers the emergence of Pentecostal worship and early gospel music through figures like Thomas Dorsey in the early 1900s.
The document provides a history of blues music from its origins in the 17th century among enslaved Africans in the US to its major developments and popularization. It discusses how blues incorporated elements of African music traditions as well as European instruments and structures. Key developments included the banjo and guitar becoming prominent blues instruments and the standardization of the 12-bar blues chord progression. The document also profiles some of the most influential blues artists like BB King and lists some classic early blues songs.
This document provides an overview of the origins and development of jazz music. It discusses how jazz evolved from earlier musical genres developed by enslaved Africans in the US such as work songs, spirituals, and blues. Key influences and innovators in New Orleans like Jelly Roll Morton and Charles Buddy Bolden helped develop early styles like ragtime that blended African and European influences. Jazz then spread nationwide in the 1920s led by influential African American artists. The document identifies seven distinguishing characteristics of jazz including improvisation, syncopation, blue notes, and swing.
Jazz originated in the southern United States in the late 19th century and has since evolved into many styles. It began as ragtime, developed into New Orleans jazz which emphasized improvisation, and the big band swing era followed. Bebop emerged in the 1940s as a more complex style focused on instrumental virtuosity. Major innovators included Louis Armstrong, Duke Ellington, Dizzy Gillespie, and Miles Davis, whose modal and fusion styles influenced the development of jazz.
- The document discusses two styles of popular music that emerged in the 1930s: swing and sweet. Swing had a focus on rhythm and syncopation while sweet had a focus on melody.
- Big band leaders like Fletcher Henderson, Glenn Miller, and Duke Ellington helped define and popularize these styles. Miller in particular was able to skillfully blend swing and sweet styles.
- Jazz music of the era also incorporated elements of swing but was considered more artistic compared to the commercially focused popular music of the time. Artists like Louis Armstrong and Billie Holiday helped bring jazz and blues influences into the mainstream.
Jazz originated in New Orleans in the late 19th century as a fusion of African, European, and Caribbean musical influences. New Orleans was a diverse port city with a distinct culture that allowed slaves to retain elements of their culture, contributing to the development of jazz. Early jazz combined elements of marching band music and dance music into an improvised polyphonic style. Important early jazz musicians like Buddy Bolden and Jelly Roll Morton helped establish jazz in New Orleans before it spread to other cities during the Great Migration. The first jazz recordings in 1917 by the Original Dixieland Jazz Band helped popularize the genre on a national level.
This document discusses the musical roots and influences that came together to create jazz music in New Orleans in the early 20th century. It explores the five main influences: blues/folk music, classical music, ragtime/popular music, gospel music, and march music. Each of these musical traditions originated in New Orleans and blended together, incorporating elements like syncopation, improvisation, and call-and-response vocals to form the foundation of early jazz. Key figures that helped spread these styles and blend them together include Bessie Smith, Scott Joplin, James Reese Europe, and others.
Ragtime and Tin Pan Alley were influential genres that emerged in the late 19th century. Ragtime originated in African American communities and was characterized by syncopated rhythms. It was mostly associated with piano music. Tin Pan Alley referred to the music publishing industry centered on West 28th Street in New York City. Songwriters would compose popular songs in a formulaic style, focusing on short, memorable choruses. Major composers like Scott Joplin, Ernest Hogan, Irving Berlin, and George Gershwin emerged from Ragtime and Tin Pan Alley, helping to shape early 20th century popular music in America.
The swing era saw the rise of big band jazz from the 1930s-1940s, led by influential bandleaders like Duke Ellington and Count Basie. Ellington was a prolific composer and arranger who wrote pieces highlighting individual musicians. Basie originated from Kansas City jazz and pioneered a lighter piano style. After WWII, swing became less popular but big bands continued led by Stan Kenton and others.
The document discusses popular music in 19th century America, including minstrel shows, parlor songs, plantation songs, and composers like Stephen Foster and John Philip Sousa. Minstrel shows featured white performers in blackface and helped establish popular song as a commercial genre. They synthesized folk and middle-class styles and used dance music widely. After the Civil War, varied forms of stage entertainment emerged like vaudeville and operetta. Composers like Foster and Sousa wrote songs and marches that celebrated American culture and remained widely popular.
Popular music is literally means " music of the populace," similar to traditional folk music of the past. As it developed in the 20th century, pop music (as it has come to be called) generally consisted of the music for entertainment of large numbers of people, whether on radio or live performances.
This document provides an overview of jazz history and defines key terms related to jazz. It states that jazz originated in the American South as an amalgamation of various musical styles, and was created under conditions of segregation but later became a worldwide phenomenon that changed all of Western music. Jazz is described as an American art form known for improvisation, virtuosity, and personal expression. Several jazz subgenres are mentioned and it is noted that jazz has influenced and incorporated elements of many other musical genres over time. Key terms such as timbre, texture, ensemble, and improvisation are defined.
World Wars had an impact on the development of jazz styles. During WWII, many jazz musicians entertained troops, which increased the popularity of jazz among soldiers and their families. The war made it difficult to maintain big bands as members joined the fight overseas. Different jazz styles emerged from ragtime in the 1890s to free jazz in the 1960s, influenced by genres like blues and bebop. Major jazz musicians and composers included ragtime performer Felix Arndt, blues artist Lead Belly, and bebop innovator Charlie Parker.
Jazz music originated from the blues music of African slaves brought to America. Blues songs expressed the sadness and struggles of slavery through improvised vocals and instruments like guitar or banjo. In New Orleans, blues, ragtime, and snippets of European classical music blended together to form early jazz. Instruments like saxophone, clarinet, and trombone became popular in jazz. Louis Armstrong was an influential early jazz trumpeter and bandleader in the 1920s who helped develop jazz styles in Chicago and New York. Later, jazz flourished in cities like Kansas City in the 1930s-40s before evolving into cool jazz and West Coast jazz styles in the 1950s that were popularized in recording studios in Los Angeles.
Stephen Foster and His Modern Day DepictionJessieWyche
Stephen Foster was an American composer in the 1800s known as the "father of American music." He wrote over 200 songs that brought life to the American Antebellum South, including popular songs like "Oh! Susanna" and "Swanee River." Today, his legacy is commemorated at the Stephen Foster Folk Cultural Center and Stephen Foster Museum in White Springs, Florida. The museum contains exhibits like interactive dioramas that depict scenes from Foster's songs and the governor's table where he wrote "Swanee River." The cultural center aims to honor Foster and his contributions through presentations of his music and accurate representations of his life and work.
Early 20th century American music included upper class concerts, working music, and religious music. The blues developed as a new genre expressing the experiences of African Americans. Jazz originated from ragtime and blues and evolved into different regional styles like Dixieland, Chicago jazz, and Harlem jazz, creating a new kind of American music.
This document provides information about ballads and standards. It defines a ballad as a poem or song that narrates a story in short stanzas, and often traditional and passed down orally. It lists several famous artists known for writing ballads like Celine Dion, Madonna, Christina Aguilera, and Bryan Adams. It then defines a standard as an established popular musical composition considered part of a genre's repertoire. It provides examples of famous artists who performed standards, such as Frank Sinatra, Nat King Cole, and Barbra Streisand.
Plainchant was the early church music before polyphony. Gregorian chant developed in the 6th century and was named after Pope Gregory. The mass consisted of moments like the Kyrie and Gloria. Guido of Arezzo developed solfege in the 11th century. During the Renaissance, polyphony developed with techniques like adding voices in parallel and oblique motion. Martin Luther incorporated congregational singing and biblical texts. Opera originated in the early Baroque era through the Florentine Camerata. Major composers like Bach, Handel, Haydn, Mozart, and Beethoven contributed to the development of classical music forms and genres. Romanticism emphasized nationalism and emotion. Gospel songs became an evangelistic
The document discusses the origins and evolution of African American spirituals and gospel music from the 1700s to the 1940s. It mentions the development of spirituals among enslaved Africans and African Americans, the spread of spirituals through jubilee quartets and singers, and the rise of early gospel musicians like Thomas Dorsey who blended spirituals with blues and jazz influences. The document also outlines the origins of Pentecostal worship through early 20th century movements and leaders like those based at the Azusa Street Revival in Los Angeles.
There are few things more precious and interesting than a Golden Age. There was a Golden Age of a particular kind of music that ran from the twenties through the fifties: the golden age of popular standards; the songs that constitute The Great American Song Book. These tunes were written by dapper, creative giants like Cole Porter, Rodgers and Hart, the Gershwins, Johnny Mercer, Hoagy Charmichael, Jerome Kern, and Dorothy Fields. Urbane sophisticated talents who created a body of work that effortlessly captures that urbanity and sophistication.
They created tunes focused on the subject of romantic love and exploring all the stages and aspects of the arc of a great love affair: from the initial “walking on air” to the jaded ennui of “never again”. They were obsessed with this theme and subject. Describing, exploring, and driving deep into all its mysteries. These composers and lyricists were in love with Love.
These tunes wed lyrics and music into songs that were crafted by songwriting teams originally centered around Tin Pan Alley; The Brill Building on Broadway in Mid town Manhattan. These songwriting teams in many cases split the composing tasks along functional lines: one writing the music and on writing the lyrics. The composers were writing vehicles for others to perform and usually pitched the tunes in the context of a Broadway or Hollywood musical. They were cranking out tunes for the Hollywood and Broadway dream factories at a prodigious pace. They really worked! Cranking out so many songs, they have a tossed off, effortless quality and a guileless directness. They feel unpretentious and casual: genuine and authentic. But their craft and genius raise these songs to high art.
Many of these tunes became popular hits in their own right, lifted out of the shows and movies, and have been recorded by all the great performers. Fred Astaire debuted many of these tunes and was a favorite of the writing teams. He was known as much for his singing as his dancing! Diana Krall, Harry Connick Jr. and Michael Buble are some of the latest to pay homage to the songbook.
Jazz originated in African American communities in the late 19th century and is characterized by improvisation, polyrhythms, syncopation, and aspects of European harmony. It incorporates instruments like piano, drums, saxophone and trumpet and styles like ragtime, blues, Dixieland and bebop. Famous jazz composers include Louis Armstrong and Scott Joplin. Jazz has played an important role in society, serving as a reflection of cultural development and influencing people of all backgrounds through various eras.
H.T. Burleigh was an influential African American composer and arranger born in 1866 in Erie, Pennsylvania. He studied at the National Conservatory of Music in New York, where he worked closely with Antonín Dvorák. Dvorák encouraged Burleigh to arrange and preserve American spirituals. Burleigh went on to arrange over 100 spirituals and compose over 200 original art songs. He had a successful career as a singer, music editor, and composer, becoming the first African American on the board of directors of ASCAP. Burleigh helped establish the spiritual as an American musical genre and promote appreciation of African American music.
The document discusses the origins and evolution of African American spirituals and gospel music from the 1700s to the 1940s. It mentions the development of spirituals among enslaved Africans and their integration of Protestant hymns. It then outlines the rise of jubilee quartets and groups like the Fisk Jubilee Singers in the late 1800s. The document also covers the emergence of Pentecostal worship and early gospel music through figures like Thomas Dorsey in the early 1900s.
The document provides a history of blues music from its origins in the 17th century among enslaved Africans in the US to its major developments and popularization. It discusses how blues incorporated elements of African music traditions as well as European instruments and structures. Key developments included the banjo and guitar becoming prominent blues instruments and the standardization of the 12-bar blues chord progression. The document also profiles some of the most influential blues artists like BB King and lists some classic early blues songs.
This document provides an overview of the origins and development of jazz music. It discusses how jazz evolved from earlier musical genres developed by enslaved Africans in the US such as work songs, spirituals, and blues. Key influences and innovators in New Orleans like Jelly Roll Morton and Charles Buddy Bolden helped develop early styles like ragtime that blended African and European influences. Jazz then spread nationwide in the 1920s led by influential African American artists. The document identifies seven distinguishing characteristics of jazz including improvisation, syncopation, blue notes, and swing.
Jazz originated in the southern United States in the late 19th century and has since evolved into many styles. It began as ragtime, developed into New Orleans jazz which emphasized improvisation, and the big band swing era followed. Bebop emerged in the 1940s as a more complex style focused on instrumental virtuosity. Major innovators included Louis Armstrong, Duke Ellington, Dizzy Gillespie, and Miles Davis, whose modal and fusion styles influenced the development of jazz.
- The document discusses two styles of popular music that emerged in the 1930s: swing and sweet. Swing had a focus on rhythm and syncopation while sweet had a focus on melody.
- Big band leaders like Fletcher Henderson, Glenn Miller, and Duke Ellington helped define and popularize these styles. Miller in particular was able to skillfully blend swing and sweet styles.
- Jazz music of the era also incorporated elements of swing but was considered more artistic compared to the commercially focused popular music of the time. Artists like Louis Armstrong and Billie Holiday helped bring jazz and blues influences into the mainstream.
Jazz originated in New Orleans in the late 19th century as a fusion of African, European, and Caribbean musical influences. New Orleans was a diverse port city with a distinct culture that allowed slaves to retain elements of their culture, contributing to the development of jazz. Early jazz combined elements of marching band music and dance music into an improvised polyphonic style. Important early jazz musicians like Buddy Bolden and Jelly Roll Morton helped establish jazz in New Orleans before it spread to other cities during the Great Migration. The first jazz recordings in 1917 by the Original Dixieland Jazz Band helped popularize the genre on a national level.
This document discusses the musical roots and influences that came together to create jazz music in New Orleans in the early 20th century. It explores the five main influences: blues/folk music, classical music, ragtime/popular music, gospel music, and march music. Each of these musical traditions originated in New Orleans and blended together, incorporating elements like syncopation, improvisation, and call-and-response vocals to form the foundation of early jazz. Key figures that helped spread these styles and blend them together include Bessie Smith, Scott Joplin, James Reese Europe, and others.
Ragtime and Tin Pan Alley were influential genres that emerged in the late 19th century. Ragtime originated in African American communities and was characterized by syncopated rhythms. It was mostly associated with piano music. Tin Pan Alley referred to the music publishing industry centered on West 28th Street in New York City. Songwriters would compose popular songs in a formulaic style, focusing on short, memorable choruses. Major composers like Scott Joplin, Ernest Hogan, Irving Berlin, and George Gershwin emerged from Ragtime and Tin Pan Alley, helping to shape early 20th century popular music in America.
The swing era saw the rise of big band jazz from the 1930s-1940s, led by influential bandleaders like Duke Ellington and Count Basie. Ellington was a prolific composer and arranger who wrote pieces highlighting individual musicians. Basie originated from Kansas City jazz and pioneered a lighter piano style. After WWII, swing became less popular but big bands continued led by Stan Kenton and others.
The document discusses popular music in 19th century America, including minstrel shows, parlor songs, plantation songs, and composers like Stephen Foster and John Philip Sousa. Minstrel shows featured white performers in blackface and helped establish popular song as a commercial genre. They synthesized folk and middle-class styles and used dance music widely. After the Civil War, varied forms of stage entertainment emerged like vaudeville and operetta. Composers like Foster and Sousa wrote songs and marches that celebrated American culture and remained widely popular.
Popular music is literally means " music of the populace," similar to traditional folk music of the past. As it developed in the 20th century, pop music (as it has come to be called) generally consisted of the music for entertainment of large numbers of people, whether on radio or live performances.
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World Wars had an impact on the development of jazz styles. During WWII, many jazz musicians entertained troops, which increased the popularity of jazz among soldiers and their families. The war made it difficult to maintain big bands as members joined the fight overseas. Different jazz styles emerged from ragtime in the 1890s to free jazz in the 1960s, influenced by genres like blues and bebop. Major jazz musicians and composers included ragtime performer Felix Arndt, blues artist Lead Belly, and bebop innovator Charlie Parker.
Jazz music originated from the blues music of African slaves brought to America. Blues songs expressed the sadness and struggles of slavery through improvised vocals and instruments like guitar or banjo. In New Orleans, blues, ragtime, and snippets of European classical music blended together to form early jazz. Instruments like saxophone, clarinet, and trombone became popular in jazz. Louis Armstrong was an influential early jazz trumpeter and bandleader in the 1920s who helped develop jazz styles in Chicago and New York. Later, jazz flourished in cities like Kansas City in the 1930s-40s before evolving into cool jazz and West Coast jazz styles in the 1950s that were popularized in recording studios in Los Angeles.
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Stephen Foster was an American composer in the 1800s known as the "father of American music." He wrote over 200 songs that brought life to the American Antebellum South, including popular songs like "Oh! Susanna" and "Swanee River." Today, his legacy is commemorated at the Stephen Foster Folk Cultural Center and Stephen Foster Museum in White Springs, Florida. The museum contains exhibits like interactive dioramas that depict scenes from Foster's songs and the governor's table where he wrote "Swanee River." The cultural center aims to honor Foster and his contributions through presentations of his music and accurate representations of his life and work.
Early 20th century American music included upper class concerts, working music, and religious music. The blues developed as a new genre expressing the experiences of African Americans. Jazz originated from ragtime and blues and evolved into different regional styles like Dixieland, Chicago jazz, and Harlem jazz, creating a new kind of American music.
This document provides information about ballads and standards. It defines a ballad as a poem or song that narrates a story in short stanzas, and often traditional and passed down orally. It lists several famous artists known for writing ballads like Celine Dion, Madonna, Christina Aguilera, and Bryan Adams. It then defines a standard as an established popular musical composition considered part of a genre's repertoire. It provides examples of famous artists who performed standards, such as Frank Sinatra, Nat King Cole, and Barbra Streisand.
Plainchant was the early church music before polyphony. Gregorian chant developed in the 6th century and was named after Pope Gregory. The mass consisted of moments like the Kyrie and Gloria. Guido of Arezzo developed solfege in the 11th century. During the Renaissance, polyphony developed with techniques like adding voices in parallel and oblique motion. Martin Luther incorporated congregational singing and biblical texts. Opera originated in the early Baroque era through the Florentine Camerata. Major composers like Bach, Handel, Haydn, Mozart, and Beethoven contributed to the development of classical music forms and genres. Romanticism emphasized nationalism and emotion. Gospel songs became an evangelistic
The document discusses the origins and evolution of African American spirituals and gospel music from the 1700s to the 1940s. It mentions the development of spirituals among enslaved Africans and African Americans, the spread of spirituals through jubilee quartets and singers, and the rise of early gospel musicians like Thomas Dorsey who blended spirituals with blues and jazz influences. The document also outlines the origins of Pentecostal worship through early 20th century movements and leaders like those based at the Azusa Street Revival in Los Angeles.
Negro spirituals were songs created by enslaved Africans in the 16th-19th centuries to express their deep spirituality and hope for freedom despite hardship. The songs had characteristics like simple melodies that repeated, slow tempos, and emotional lyrics. They became popular in the 1860s when the Fisk Jubilee Singers performed them. Important figures who helped spread the genre included composer Harry T. Burleigh and singer Roland Hayes in the late 19th/early 20th century. The spirituals provided hope and strength to endure difficult conditions of slavery.
The document discusses three popular Civil War-era songs: "That's What's the Matter" written by Stephen Foster in 1862 to appeal to Union soldiers, "Battle Cry of Freedom" which inspired the Union after being published in Chicago in 1862, and "Marching Through Georgia" composed by Henry Clay Work in 1865 about General Sherman's march through Georgia that devastated the region. It provides lyrics for each song that reference the Union cause and defeating the Confederacy.
The document provides an overview of music history from the Middle Ages through the Classical period. It discusses the main characteristics of sacred and secular music in the Middle Ages, including the development of polyphony. Important genres that emerged during the Renaissance include madrigals, masses, and motets. The Baroque period saw the growth of orchestras and opera and the development of fugues. Classical music was simpler than Baroque music, featured controlled emotions, and was written for common people as well as royalty. Symphonies had multiple movements and rondo form was commonly used.
Frank sinatra: the most popular vocalist of the swing eraSwing Street Radio
The popularity of Frank Sinatra as a musician is unparalleled. His rich baritone made him arguably the most popular American singer of the 20th century.
The document provides information about a Christmas album recorded by the Chancel Choir of Shadyside Presbyterian Church in Pittsburgh, Pennsylvania in 1997. It lists the choir members and instrumentalists who participated in the recording sessions. It also provides the track listing and details of the 11 previously unreleased songs from those sessions that were recently remastered and released as a holiday album in 2016 through the generosity of the Stamy Family Fund.
George M. Cohan was known as "Mr. Broadway" for revolutionizing American musical theatre in the early 20th century. He began performing as a child in his family's vaudeville act. As an adult, he wrote over 150 shows and published over 300 songs. His 1904 hit "Little Johnny Jones" included popular songs like "Give My Regards to Broadway" and "The Yankee Doodle Boy." Cohan produced over 50 plays and musicals from 1904-1920 that helped establish the book musical format still used today. His songs became American standards and he is considered a pioneer of integrating dance into musicals to advance the plot.
Billie Holiday was one of the greatest jazz singers of all time. She faced discrimination as an African American woman but found success in the 1930s singing with bands led by Count Basie and Artie Shaw. Her iconic song "Strange Fruit" brought attention to the horrors of lynching. Although she struggled with drug addiction and legal issues, Holiday continued to perform and record until her death from cirrhosis in 1959 at age 44. She left a significant mark on the music industry by breaking barriers for women and helping establish jazz as a popular art form.
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The Enigmatic Portrait, In the heart of a sleepy town
Great Voices Singing H. T. Burleigh
1. Great Voices Singing
H. T. Burleigh
Celebrating the 150th Birthday of Composer
Harry Thacker Burleigh (1866-1949)
Randye Jones, Presenter
December 1, 2016
2. Biography
Harry T. Burleigh (1866-1949) had well established himself as a professional musician by the
mid-1910’s. He served as baritone soloist at St. George’s Episcopal Church of New York. He had
published several individual songs, most notably “Jean” (1903) and “Ethiopia Saluting the Colors”
(1915), and song cycles, including Saracen Songs (1914) and Five Songs by Laurence Hope
(1915). He had also become a music editor for G. Ricordi in 1900.
Burleigh continued and expanded his contacts with the Black musical and academic community.
He had two brief brushes with vaudeville. He was a guest lecturer and performer at Black colleges
and universities. He became acquainted with celebrated personalities such as composers Will
Marion Cook, Samuel Coleridge-Taylor, and Robert Nathaniel Dett, and academicians Booker T.
Washington and W.E.B. DuBois.
He also wrote a few vocal and instrumental works based on the plantation melodies he had
learned as a child. However, his 1916 setting of the spiritual, “Deep River,” is considered the first
work of that genre to be written in art song form specifically for performance by a trained singer.
“Deep River,” and other spiritual settings became very popular to concert performers and
recording artists, both black and white. It was soon normal for recitals to end with a group of
spirituals. Musicians such as Roland Hayes, Marian Anderson and Paul Robeson made these songs
a part of their repertoires.
There are various estimates of the number of songs Burleigh wrote, ranging from 200 to 300.
A more extensive biography on Burleigh is available at http://afrovoices.com/harry-thacker-
burleigh-biography/
Great Voices Singing H. T. Burleigh
3. H. T. Burleigh’s Spiritual Art Songs
• Published “Deep River” for solo voice and piano in
1916, becoming the first art song using Negro
Spirituals as source
• Texts of Spirituals settings regularly use dialect
• Burleigh’s experience as a singer evident in both the
tessitura and range of the vocal lines
• Simplicity of piano accompaniment lends itself to
improvisation by singer
Great Voices Singing H. T. Burleigh
4. Robert McFerrin, baritone (1921-2006)
Deep River (1916)
Deep river, My home is over Jordan;
Deep river, Lord,
I want cross over into campground.
Oh, don’t you want to go
To that gospel feast;
That promised land
Where all is peace.
Deep river, Lord,
I want cross over into campground.
Great Voices Singing H. T. Burleigh
5. H. T. Burleigh, baritone
Go Down Moses (1919)
When Israel was in Egypt land
Let my people go!
Oppressed so hard they could not stand
Let my people go!
Go down Moses
Way down in Egypt land
Tell all pharaohs to
Let my people go!
Thus saith the Lord, bold Moses said:
-let my people go!
if not I'll smite your firstborn's dead
-let my people go!
Go down Moses…
Great Voices Singing H. T. Burleigh
6. Dame Nellie Melba, soprano (1861-1931)
Swing Low, Sweet Chariot
(1917)
Swing low, sweet chariot,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home.
I looked over Jordan, what do I see,
Coming for to carry me home.
A band of angels coming after me,
Coming for to carry me home.
Great Voices Singing H. T. Burleigh
Swing low, sweet chariot,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home.
7. Roland Hayes, tenor (1887-1977)
By an’ By (1917)
Oh, by an’ by, by an’ by
I’m goin’ to lay down dis heavy load.
I know my robe’s goin’ to fit me well,
I’m goin’ to lay down my heavy load;
I tried it on at de gates ob Hell,
I’m goin’ to lay down my heavy load.
Great Voices Singing H. T. Burleigh
Oh, some-a dese morning’s bright an’ fair,
I’m goin’ to lay down my heavy load.
Gwine to take-a my wings an’ cleave de
air,
I’m goin’ to lay down my heavy load.
8. Marian Anderson, contralto (1897-1993)
Heaven, Heaven (1921)
I got a robe, you got a robe,
All God’s children got a robe;
When I get to Heaven going to put on
my robe
I’m going to shout all over God’s
Heaven,
Heaven, Heaven.
Everybody talking ‘bout Heaven ain’t
going there.
Heaven, Heaven;
Going to shout all over God’s Heaven.
Great Voices Singing H. T. Burleigh
I got shoes, you got shoes,
All God’s children got shoes;
When I get to Heaven going to put on
my shoes
I’m going to walk all over God’s
Heaven,…
I got a harp, you got a harp,
All God’s children got a harp;
When I get to Heaven going to play on
my harp,
I’m going to play all over God’s
Heaven,…
9. Paul Robeson, bass-baritone (1898-1976)
Balm in Gilead (1919)
There is a balm in Gilead
To make the wounded whole
There is a balm in Gilead
To heal the sin-sick soul.
Sometimes I feel discouraged
And think my work’s in vain;
And then the Holy Spirit
Revives my soul again.
Great Voices Singing H. T. Burleigh
If you can preach like Peter,
If you can pray like Paul,
Go home and tell your neighbor
He died to save us all.
10. William Warfield, baritone (1920-2002)
Nobody Knows de Trouble I’ve
Seen (1917)
Nobody knows de trouble I’ve seen,
Nobody knows but Jesus,
Nobody knows de trouble I’ve seen,
Glory hallelujah!
Sometimes I’m up sometimes I’m down,
Oh yes, Lord!
Sometimes I’m almos’ to de groun’;
Oh yes, Lord!
Great Voices Singing H. T. Burleigh
If you get there before I do,
Oh yes, Lord!
Tell all-a-my friends I’m coming too,
Oh yes, Lord!
11. Leontyne Price, soprano (b. 1927)
Ev’ry Time I Feel the Spirit
(1925)
Ev’ry time I feel de Spirit
Movin’ in ma heart, I will pray.
Ev’ry time I feel de Spirit
Movin’ in ma heart, I will pray.
Up on de mount-un ma Lord spoke,
Out ‘o His mouth came fier an’ smoke.
Jerdan Ribber chilly an’ col,’
Chill de body but not de soul.
Great Voices Singing H. T. Burleigh
All aroun’ me look so shine
Ask ma Lord if all was mine.
Ain’t but one train runs dis track,
It runs to Heaven an’ runs right back.
12. Sherrill Milnes, baritone (b. 1935)
Were You There (1918)
Were you there when they crucified
my Lord?
Were you there when they crucified
my Lord?
Oh! Sometimes it causes me to
tremble, tremble, tremble;
Were you there when they crucified
my Lord?
Great Voices Singing H. T. Burleigh
Were you there when they laid Him in
the tomb?
Were you there when they laid Him in
the tomb?
Oh! Sometimes it causes me to tremble,
tremble, tremble;
Were you there when they laid Him in
the tomb?
13. Martina Arroyo, soprano (b. 1937)
Couldn’t Hear Nobody Pray
(1922)
An’ I couldn’t hear nobody pray,
An’ I couldn’t hear nobody pray,
O ‘way down yonder by myself
An’ I couldn’t hear nobody pray.
In de valley! I couldn’t hear nobody pray.
On my knees! I couldn’t hear nobody pray.
With my burden! I couldn’t hear nobody
pray.
An’ my Savior! I couldn’t hear nobody
pray!
Great Voices Singing H. T. Burleigh
Chilly water… In de Jerdon! Crossin’
over!
Into Canaan!
Hallelujah!... Troubles over!... In the
Kingdom!... With my Jesus!
14. Barbara Hendricks, soprano (b. 1948)
I've Been in de Storm So Long
(1927)
I’ve been in de storm so long;
I’ve been in de storm so long children;
I’ve been in de storm so long;
Oh, give me little time to pray.
Oh, let me tell my mother how I come
along
Oh, give me little time to pray;
With a hung down head an’ a aching heart,
Oh, give me little time to pray.
Great Voices Singing H. T. Burleigh
Oh when I get to heavn, I’ll walk all about,
Oh give me little time to pray,
Dere’ll be nobody dere to turn me out,
Oh give me little time to pray.
15. Lawrence Brownlee, tenor (b. 1972)
Sometimes I Feel Like a
Motherless Child (1918)
Sometimes I feel like a motherless child,
Sometimes I feel like a motherless child,
Sometimes I feel like a motherless child,
A long way from home.
A long way from home.
A long way from home.
Great Voices Singing H. T. Burleigh
Sometimes I feel like I’m almost gone,
Sometimes I feel like I’m almost gone,
Sometimes I feel like I’m almost gone,
A long way from home.
A long way from home.
A long way from home.
16. Conclusions
Burleigh has:
• Influenced singers to study and perform his
works
• Inspired composers to emulate his
compositional style and explore an even
wider range of musical elements in their own
settings
• Encouraged historians and theorists to
identify how his works drew from the roots of
the Negro Spiritual and fostered development
of other American vocal music
Great Voices Singing H. T. Burleigh
17. Questions?
“. . . In Negro spirituals my race has pure gold, and they should be taken as the
Negro’s contribution to artistic possessions. In them we show a spiritual security as
old as the ages. . . . These songs always denote a personal relationship. It is ‘my
Saviour,’ ‘my sorrow,’ ‘my kingdom.’ The personal note is ever present. America’s
only original and distinctive style of music is destined to be appreciated more and
more.”
-- Harry Thacker Burleigh
Great Voices Singing H. T. Burleigh
18. Discography
Great Voices Singing H. T. Burleigh
• Anderson, Marian. Marian Anderson. Nimbus Records NI 7882, 1996, compact disc.
• Arroyo, Martina. Spirituals. Centaur CRC 2060, 1991, compact disc.
• Brownlee, Lawrence. This Heart That Flutters. London OA CD9015 D, 2013, compact disc.
• Burleigh, Harry T. Lost Sounds: Blacks and the Birth of the Recording Industry, 1891-1922. Archeophone Records ARCH 1005, 2005, compact
disc.
• Hayes, Roland. Black Europe: the Sounds and Images of Black People in Europe pre-1927. Bear Family Productions BCD 16095, 2013, compact
disc.
• Hendricks, Barbara. Give Me Jesus: Spirituals. EMI Classics 5 56788 2, 1998, compact disc.
• McFerrin, Robert. Classic Negro Spirituals. Washington Records WLP 466, 1959, long-playing disc.
• Melba, Nellie (Dame) Dame Nellie Melba: The First Recordings. Australian Broadcasting Corporation Classics DB 989, 2009, compact disc.
• Milnes, Sherrill. Abide with Me. RCA Red Seal ARL1-1403, 1976, long-playing disc.
• Price, Leontyne. The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs. BMG Classics 09026-68157-2, 1996, compact disc.
• Robeson, Paul. Songs of Free Men. Sony Classical MHK 63223, 1997, compact disc.
• Warfield, William. Spirituals: 200 Years of African-American Spirituals. ProArte CDD 3443, 1993, compact disc.
19. Presenter Contact Information
Randye Jones
rljones@afrovoices.com
Afrocentric Voices in “Classical” Music
http://afrovoices.com
Great Voices Singing H. T. Burleigh
Editor's Notes
Deep river
1,232 recordings of song (Worldcat) ; 323 recordings of song, 85 of which are credited to Burleigh (SD)
Born in Melbourne, AUS ; Met debut 1893 ; Recording listed as her very last in 1926
Went to Europe in 1920 with his accompanist Lawrence Brown ; Recorded in 1922 and orig. released as 78 on Vocalion ; Text performed different than Burleigh score
No recording date on CD, but source indicates that taken from 78 recorded in January 1936 on Victor label ; Recorded Spirituals extensively ; Met premiere in1955
Singer, actor, activist ; First one credited with singing all-Spirituals recital in 1925 ; Originally recorded in 1940s
Set especially for Price and the Rust College choir by Leonard de Paur ; Taken from 1962 recording
“I know of no poetry or music which expresses the humility, the devout sincerity to our Omnipotent as the American Negro spiritual does. These are beautiful songs which poured originally from the souls of people seeking for a better place, exclaiming their childlike belief in His wisdom and understanding as well as portraying the patience of a people of great faith. The simplicity of the words makes these songs all the more universal. The exquisite melodies coupled with them are so deeply affecting that people of foreign lands feel their emotional impact as well as Americans.” – Price
Organ accompaniment following a capella ; Additional text from Burleigh score
Learned about Spirituals from her mother
Recorded in 1998 ; Sang a capella
“The Negro Spiritual is the music of all past and present victims of human rights abuse and refugees everywhere; the universality of the emotion they express places them among the songs of humanity.”
-- Hendricks