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Additionally, Jackson argued that Negro spirituals took their origin from poor whites who sang old folk songs from England. [3] During the 1940s, he studied the roots of anabaptist music (Amish and Mennonite). He proposed the now generally accepted view that the original tunes used in Der Ausbund hymnal were popular medieval melodies. [4]
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Early blues songs, such as "Bad-luck Blues" (1927) and "Cool Drink of Water" (1928), used a similar structure to that of "Roll, Jordan, Roll". [10] "Roll, Jordan, Roll", meanwhile, became a standard of the Fisk Jubilee Singers and has remained a staple of gospel music. [2] Bing Crosby included the song in a medley on his album 101 Gang Songs ...
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 ...
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.
"Down in the River to Pray" (Roud 4928, also known as "Down to the River to Pray," "Down in the Valley to Pray," "The Good Old Way," and "Come, Let Us All Go Down") is a traditional American song variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a Southern gospel song. The exact origin of the ...
A union organizing song based on a black spiritual, it had been a favorite of Zilphia Horton (d. 1956) wife of the founder of the Highlander Folk School. Carawan reintroduced it at the school when he became its new music director in 1959. The song is copyrighted in the name of Horton, Frank Hamilton, Carawan and Pete Seeger. [1]
What most African Americans would identify today as "gospel" began in the early 20th century. The gospel music that Thomas A. Dorsey, Sallie Martin, Willie Mae Ford Smith and other pioneers popularized had its roots in the blues as well as in the more freewheeling forms of religious devotion of "Sanctified" or "Holiness" churches—sometimes called "holy rollers" by other denominations — who ...