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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]
The use of songs as a narrative and a tool to convey an important message continued into the 20th century with Black Americans using their voices to help their fight for freedom and equality.
The African-American work song tradition has several examples. The study of these provides a unique look into particular resistance tactics used by enslaved people. The work song traditions of enslaved or incarcerated African-American men have been widely studied, and African-American enslaved women similarly incorporated song into their work and resistance narratives.
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 ...
Sorrow songs expressed the suffering and unjust treatment of enslaved African Americans during the period of slavery in the United States (1619–1865). The melodies and the lyrics conveyed sadness, and the words were "stunningly direct" about what it is to be enslaved. W. E. B. Du Bois coined the name. [1]
There are three distinct types of slave song: African music, Afro-American music, and the blending of Negro music with the songs of Caucasians. The New World slave came to constitute its own people with a separate and unique culture and experience – one of long-suffering and struggle, but also one of hope and solidarity.
I Shall Not Be Moved" (Roud 9134), also known as "We Shall Not Be Moved", is an African-American slave spiritual, hymn, and protest song dating to the early 19th century American south. [1] It was likely originally sung at revivalist camp-meetings as a slave jubilee .
Field hollers, cries and hollers of the slaves and later sharecroppers working in cotton fields, prison chain gangs, railway gangs (Gandy dancers) or turpentine camps are seen as the precursor to the call and response of African American spirituals and gospel music, to jug bands, minstrel shows, stride piano, and ultimately to the blues, to ...