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Spirituals (also known as Negro spirituals, African American spirituals, [1] Black spirituals, or spiritual music) is a genre of Christian music that is associated with African Americans, [2] [3] [4] which merged varied African cultural influences with the experiences of being held in bondage in slavery, at first during the transatlantic slave trade [5] and for centuries afterwards, through ...
The song was released on the extended play Negro Spirituals Vol. 1 (HMV 7EGN 27), and the song was arranged by Harry Douglas. American contralto Marian Anderson had her first successful recording with a version of the song on the Victor label in 1925. [7] Singer Lena Horne recorded a version of the song in 1946. [8]
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Slave Songs of the United States was a collection of African American music consisting of 136 songs. Published in 1867, it was the first, and most influential, [1] [2] collection of spirituals to be published. The collectors of the songs were Northern abolitionists William Francis Allen, Lucy McKim Garrison, and Charles Pickard Ware. [3]
"Down by the Riverside" (also known as "Ain't Gonna Study War No More" and "Gonna lay down my burden") is an African-American spiritual.Its roots date back to before the American Civil War, [1] though it was first published in 1918 in Plantation Melodies: A Collection of Modern, Popular and Old-time Negro-Songs of the Southland, Chicago, the Rodeheaver Company. [2]
"Somebody's Knocking at Your Door", sometimes given as "Somebody's Knocking" and "Somebody's Knockin ' at Yo' Door", is a spiritual.The song's music and text has no known author, [1] but originated among enslaved African-Americans on Plantation complexes in the Southern United States sometime in the early 19th century.
Black gospel music, often called gospel music or gospel, is the traditional music of the Black diaspora in the United States.It is rooted in the conversion of enslaved Africans to Christianity, both during and after the trans-atlantic slave trade, starting with work songs sung in the fields and, later, with religious songs sung in various church settings, later classified as Negro Spirituals ...
The melody was adopted in 1921 for the song Dear Old Southland by Henry Creamer and Turner Layton, which enjoyed popular success the next year in versions by Paul Whiteman and by Vernon Dalhart. [3] Samuel Coleridge-Taylor arranged the melody in the tenth of his 24 Negro Melodies Op. 24 (1905).