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history - singers - home - composers - songs - search - shop -- this site is devoted to traditional african american spirituals, and some information is given about the early gospel songs. the parts of this site are: history , how the spirituals change is linked to the history of african american singers at various periods composers during and after the slavery period search gives the lyrics of over 200 traditional spirituals shop to acquire books and records of spirituals before 1865 the tunes and the beats, before 1865 the tunes and the beats of negro spirituals and gospel songs are highly influenced by the music of their actual cultural environment. it means that their styles are continuously changing. the very first negro spirituals were inspired by african music even if the tunes were not far from those of hymns. some of them, which were called "shouts" were accompanied with typical dancing including hand clapping and foot tapping. shouts after regular a worship service, congregations used to stay for a "ring shout". it was a survival of primitive african dance. so, educated ministers and members placed a ban on it. the men and women arranged themselves in a ring. the music started, perhaps with a spiritual, and the ring began to move, at first slowly, then with quickening pace. the same musical phrase was repeated over and over for hours. this produced an ecstatic state. women screamed and fell. men, exhausted, dropped out of the ring some african american religious singing at this time was referred as a "moan" (or a "groan"). moaning (or groaning) does not imply pain. it is a kind of blissful rendition of a song, often mixed with humming and spontaneous melodic variation. the lyrics before 1865 in the early nineteenth century, african americans were involved in the "second awakening". they met in camp meetings and sang without any hymnbook. spontaneous songs were composed on the spot. they were called "spiritual songs and the term "sperichil" (spiritual) appeared for the first time in the book "slave songs of the united states" (by allen, ware, garrison, 1867). as negro spirituals are christian songs, most of them concern what the bible says and how to live with the spirit of god. for example, the "dark days of bondage" were enlightened by the hope and faith that god will not leave slaves alone. by the way, african americans used to sing outside of churches. during slavery and afterwards, slaves and workers who were working at fields or elsewhere outdoors, were allowed to sing "work songs". this was the case, when they had to coordinate their efforts for hauling a fallen tree or any heavy load. even prisoners used to sing "chain gang" songs when they worked on the road or on some construction project. but some "drivers" also allowed slaves to sing "quiet" songs, if they were not apparently against slaveholders. such songs could be sung either by only one soloist or by several slaves. they were used for expressing personal feeling and for cheering one another. so, even at work, slaves could sing "secret messages". this was the case of negro spirituals, which were sung at church, in meetings, at work and at home. the meaning of these songs was most often covert. therefore, only christian slaves understood them, and even when ordinary words were used, they reflected personal relationship between the slave singer and god. the codes of the first negro spirituals are often related with an escape to a free country. for example, a "home" is a safe place where everyone can live free. so, a "home" can mean heaven, but it covertly means a sweet and free country, a haven for slaves. the ways used by fugitives running to a free country were riding a "chariot or a "train". the negro spirituals "the gospel train" and "swing low, sweet chariot" which directly refer to the underground railroad, an informal organization who helped many slaves to flee. the lyrics of "the gospel train" are "she is coming... get onboard... there's room for many more..." this is a direct call to go way, by riding a "train" which stops at "stations". then, "swing low, sweet chariot" refers to ripley, a "station" of the underground railroad, where fugitive slaves were welcome. this town is atop a hill, by ohio river, which is not easy to cross. so, to reach this place, fugitives had to wait for help coming from the hill. the words of this spirituals say, "i looked over jordan and what did i see/ coming for to carry me home/ a band of angels coming after me" here is an example of a negro spiritual and its covert meaning: there is a balm in gilead this is a well-known negro spiritual, which has an interesting meaning. the "balm in gilead" is quoted in the old testament, but the lyrics of this spiritual refer to the new testament (jesus, holy spirit, peter, and paul). this difference is interesting to comment. in the old testament, the balm of gilead cannot heal sinners. in the new testament, jesus heals everyone who comes to him. so, in the book of jeremiah, several verses speak about gilead. in chapter 22, v. 6 and 13: the lord says (about the palace of the king of judea) "though you are like gilead to me, like the summit of lebanon, i will surely make you like a desert, like towns inhabited... woe to him who builds his palace by unrighteousness, making his countrymen work for nothing, not paying them for their labour". in the same book of jeremiah, chapter 46, v. 2 and 11, "this is the message (of the lord) against the army of pharaoh neco ... go up to gilead and get balm, o virgin daughter of egypt, but you multiply remedies in vain; here is no healing for you". in the new testament, the four gospels say that jesus healed many people whatever their conditions: he can heal the poor. a christian who feels the spirit must share its faith and "preach", like peter and paul. between 1865 and 1925 the lyrics between 1865 and 1925 spirituals were sung at churches with an active participation of the congregation (as it is usual in a pentecostal church). their lyrics mainly remain similar to those of the first negro spirituals. they were often embellished and they were also called either "church songs" or "jubilees" or "holy roller songs". but some hymns were changed by african american and became "dr watts" dr watts dr isaac watts was an english minister who published several books: "hymns and spiritual songs", in 1707, "the psalms of david" in 1717. the various protestant denominations adopted his hymns, which were included in several hymnals, at that time. missionaries reported on the "ecstatic delight" slaves took in singing the psalms and hymns of dr watts. in his book "the religious instruction of the negroes in the united states" (1842), the white minister charles colock jones recommended highly some hymns of dr watts ("when i can read my title clear", etc.). he wrote: "one great advantage in teaching them (slaves) good psalms and hymns, is that they are thereby induced to lay aside the extravagant and nonsensical chants, and catches and hallelujah songs of their own composing". however, in the early 1800s, black ministers took seriously the admonition of dr isaac watts: "ministers are to cultivate gifts of preaching and prayer through study and diligence; they ought also to cultivate the capacity of composing spiritual songs and exercise it along with the other parts of the worship, preaching and prayer". so, homiletic spirituals were created by preachers and taught to the congregation by them or by deacons. during the post-civil war period and later, some congregation conducted services without hymnbooks. a deacon (or precentor) set the pitch and reminded the words in half-singing half-chanting stentorian tones. the people called their songs "long-meter hymns (because the tempo was very low) or "dr watts", even if they have not been written by this gentleman. the particular feature of this kind of singing was its surging, melismatic melody, punctuated after each praise by the lea
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