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A year later, a version was published in Slave Songs of the United States (compiled by abolitionists William Francis Allen, Lucy McKim Garrison, and Charles Pickard Ware). [7] The editors, who positioned the song "in a place of honor" as the first entry in the book, [2] noted that the song could be found from South Carolina down to Florida, and ...
Slave Songs of the United States, title page Michael Row the Boat Ashore Nobody Knows the Trouble I've Seen. 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 music of the Lesser Antilles encompasses the music of this chain of small islands making up the eastern and southern portion of the West Indies. Lesser Antillean music is part of the broader category of Caribbean music; much of the folk and popular music is also a part of the Afro-American musical complex, being a mixture of African, European and indigenous American elements.
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 .
Afro-Caribbean music is a broad term for music styles originating in the Caribbean from the African diaspora. [1] These types of music usually have West African/Central African influence because of the presence and history of African people and their descendants living in the Caribbean, as a result of the trans-Atlantic slave trade. [2]
Today, “Strange Fruit” by Billie Holiday, “A Change is Gonna Come,” Sam Cooke and “What’s Going On,” Marvin Gaye remain relevant to Black America.
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.
Harry Belafonte, a Jamaican-American pop-calypso singer in 1954. Caribbean music genres are very diverse. They are each synthesis of African, European, Arab, Asian and Indigenous influences, largely created by descendants of African slaves (see Afro-Caribbean music), along with contributions from other communities (such as Indo-Caribbean music).