From the plaintive tunes of woe sung by exiled kings and queens of Africa to the spirited worksongs and "shouts" of freedmen, in Sinful Tunes and Spirituals Dena J. Epstein traces the course of early black folk music in all its guises. This classic work is being reissued with a new author's preface on the silver anniversary of its original publication.
From the plaintive tunes of woe sung by exiled kings and queens of Africa to the spirited worksongs and "shouts" of freedmen, in Sinful Tunes and Spirituals Dena J. Epstein traces the course of early black folk music in all its guises. This classic work is being reissued with a new author's preface on the silver anniversary of its original publication.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Dena J. Epstein (1916-2013) was a retired assistant music librarian at the Joseph Regenstein Library at the University of Chicago, and a past president of the Music Library Association.
Inhaltsangabe
Preface to the 2003 Paperback xiii Preface to the 1977 Edition xvii Prologue: The African Heritage and the Middle Passage 3 Part One: Development of Black Folk Music to 1800 19 1. Early Reports of African Music in British and French America 21 La Calinda and the Banza 30 Other African Dancing 38 2. More Black Instruments and Early White Reaction 47 Drums and Other African Instruments 47 The Balafo 55 Legal Restrictions on Instruments 58 3. The Role of Music in Daily Life 63 Funerals 63 Pinkster and Other African Celebrations in the North 66 Worksongs and Other Kinds of African Singing 68 4. The Acculturation of African Music in the New World 77 The Arrival of Africans and Their Music 78 Acculaturation in New Orleans 90 5. Conversion to Christianity 100 6. Acculturated Black Musicians in the Thirteen Colonies 112 The African Jig, a Black-to-White Exchange 120 Part Two: Secular and Sacred Black Folk Music, 1800-1867 125 7. African Survivals 127 Persisting Musical and Cultural Patterns 128 Black Music in New Orleans, 1820-67 132 8. Acculturated Dancing and Associated Instruments 139 Patting Juba 141 Drums, Quills, Banjo, Bones, Triangle, Tambourine 144 Fiddlers 147 Instrumental Combinations 155 9. Worksongs 161 Field Work and Domestic Chores 161 Industrial and Steamboat Workers 164 Boat Songs 166 Corn, Cane, and Other Harvest Songs 172 Singing on the March 176 Street Cries and Field Hollers 181 10. Distinctive Characteristics of Secular Black Folk Music 184 Whistling 184 Improvisation 184 Satire 187 Style of Singing 188 Other Secular Music 189 11. The Religious Background of Sacred Black Folk Music, 1801-67 191 Opposition to Religious Instruction of Slaves 192 Camp Meetings 197 Missions to the Slaves 199 Black Religious Groups 202 Opposition to Secular Music and Dancing 207 12. Distinctive Black Religious Music 217 Spirituals 217 Attempts to Suppress Black Religious Singing 229 The Shout 232 Funerals 234 Part Three: The Emergence of Black Folk Music during the Civil War 239 13. Early Wartime Reports and the First Publication of a Spiritual with Its Music 241 14. The Port Royal Experiment 252 Historical Background 252 Earliest Published Reports 256 Wartime Publication of Song Texts and Music 260 15. Reports of Black Folk Music, 1863-67 274 Criticism of "This Barbaric Music" 274 Recognition of a Distinctive Folk Music 275 The Shout 278 Worksongs 287 Performance Style 290 Introduction of "New" Songs by the Teachers 296 16. Slave Songs of the United States: Its Editors 303 William Francis Allen 304 Charles Pickard Ware 310 Lucy McKim Garrison 314 17. Slave Songs of the United States: Its Publication 321 The Contributors 321 Problems of Notation 326 Assembling the Collection 329 Publication and Reception 331 Conclusion 343 Appendices 349 I. Musical Excerpts from the Manuscript Diaries of William Francis Allen 349 II. Table of Sources for the Banjo, Chronologically Arranged 359 III. Earliest Published Versions of "Go Down, Moses" 363 Bibliography 374 Index 416
Preface to the 2003 Paperback xiii Preface to the 1977 Edition xvii Prologue: The African Heritage and the Middle Passage 3 Part One: Development of Black Folk Music to 1800 19 1. Early Reports of African Music in British and French America 21 La Calinda and the Banza 30 Other African Dancing 38 2. More Black Instruments and Early White Reaction 47 Drums and Other African Instruments 47 The Balafo 55 Legal Restrictions on Instruments 58 3. The Role of Music in Daily Life 63 Funerals 63 Pinkster and Other African Celebrations in the North 66 Worksongs and Other Kinds of African Singing 68 4. The Acculturation of African Music in the New World 77 The Arrival of Africans and Their Music 78 Acculaturation in New Orleans 90 5. Conversion to Christianity 100 6. Acculturated Black Musicians in the Thirteen Colonies 112 The African Jig, a Black-to-White Exchange 120 Part Two: Secular and Sacred Black Folk Music, 1800-1867 125 7. African Survivals 127 Persisting Musical and Cultural Patterns 128 Black Music in New Orleans, 1820-67 132 8. Acculturated Dancing and Associated Instruments 139 Patting Juba 141 Drums, Quills, Banjo, Bones, Triangle, Tambourine 144 Fiddlers 147 Instrumental Combinations 155 9. Worksongs 161 Field Work and Domestic Chores 161 Industrial and Steamboat Workers 164 Boat Songs 166 Corn, Cane, and Other Harvest Songs 172 Singing on the March 176 Street Cries and Field Hollers 181 10. Distinctive Characteristics of Secular Black Folk Music 184 Whistling 184 Improvisation 184 Satire 187 Style of Singing 188 Other Secular Music 189 11. The Religious Background of Sacred Black Folk Music, 1801-67 191 Opposition to Religious Instruction of Slaves 192 Camp Meetings 197 Missions to the Slaves 199 Black Religious Groups 202 Opposition to Secular Music and Dancing 207 12. Distinctive Black Religious Music 217 Spirituals 217 Attempts to Suppress Black Religious Singing 229 The Shout 232 Funerals 234 Part Three: The Emergence of Black Folk Music during the Civil War 239 13. Early Wartime Reports and the First Publication of a Spiritual with Its Music 241 14. The Port Royal Experiment 252 Historical Background 252 Earliest Published Reports 256 Wartime Publication of Song Texts and Music 260 15. Reports of Black Folk Music, 1863-67 274 Criticism of "This Barbaric Music" 274 Recognition of a Distinctive Folk Music 275 The Shout 278 Worksongs 287 Performance Style 290 Introduction of "New" Songs by the Teachers 296 16. Slave Songs of the United States: Its Editors 303 William Francis Allen 304 Charles Pickard Ware 310 Lucy McKim Garrison 314 17. Slave Songs of the United States: Its Publication 321 The Contributors 321 Problems of Notation 326 Assembling the Collection 329 Publication and Reception 331 Conclusion 343 Appendices 349 I. Musical Excerpts from the Manuscript Diaries of William Francis Allen 349 II. Table of Sources for the Banjo, Chronologically Arranged 359 III. Earliest Published Versions of "Go Down, Moses" 363 Bibliography 374 Index 416
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