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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 ...
People Get Ready: A New History of Black Gospel Music. New York: Continuum International Publishing Group. ISBN 0-8264-1752-3. Koskoff, Ellen, ed. (2000). Garland Encyclopedia of World Music, Volume 3: The United States and Canada. Garland Publishing. ISBN 0-8240-4944-6. National Conference on Music of the Civil War Era (2004).
Another song with a reportedly secret meaning is "Now Let Me Fly" [3] which references the biblical story of Ezekiel's Wheels. [4] The song talks mostly of a promised land. This song might have boosted the morale and spirit of the slaves, giving them hope that there was a place waiting that was better than where they were.
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 ...
It is listed in the Roud Folk Song Index, number 10075. The title is biblical, based on Luke 9:62. The earliest date in which this spiritual appears in written form is in 1917, in the Cecil Sharp Collection, while the earliest recording is from 1930 under the title of "Keep Yo' Hand on the Plow, Hold On" by the Hall Johnson Negro Choir. [1]
"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.
Lyrically, the song refers to the liberation of the ancient Jewish people from Egyptian slavery. That story held a second meaning for enslaved African Americans, because they related their experiences under slavery to those of Moses and the Israelites who were enslaved by the pharaoh, [5] and the idea that God would come to the aid of the persecuted resonated with them.