Keisha Gibson    

Negro Spirituals as a Genre

Definition: A kind of religious narrative song, originally peculiar to Negroes of the Southern United States.

It is believed that the signing of Negro Spirituals began during slavery.  “The lyrics of Negro spirituals were tightly linked with the lives of the authors; slaves.  They are different from hymns and psalms because they were a way of sharing the hard conditions of slave life.” (www.negrospirituals.com).  “The uniqueness of this music lies in the harmonious blend of Africanisms with Protestant hymns and revival songs for the expression of a wide range of emotions that encompassed the experience of human bondage.” (Ebony Pictorial History of Black America). In the “Peculiar Institute” Kenneth Stampp wrote... "The Negro had a repertory of songs for almost every occasion. They sang spirituals, which revealed their conception of Christianity and professed their religious faith. They sang work songs to break the monotony of toil in the tobacco factory, sugarhouses, on the riverboats, and in the field. They sang whimsical songs which told stories or ridiculed human frailties.”

Example:  Camp song from the movie “Glory” starring Matthew Broderick and Denzel Washington

Representational genre:  Single-voice, Chorus

Narrative genre: Romance (see handout)

Subject genre/audience appeal: Religious music

Identifiable highlights: hope and prayer expressed through song

Alternative names/related genres:  Southern Baptist music, Traditional gospel

Additional example: Negro Spirituals sung by Mahalia Jackson, Tramaine Hawkins, The Mighty Clouds of Joy; Traditional spirituals such as Ezekiel saw the Wheel, Steal Away, Sometimes I Feel Like a Motherless Child, I Don’t Feel No Ways Tired

Research sources: www.negrospirituals.com, http://xroadsvirginia.edu, Ebony Pictorial History of Black America: Volume 1, pages 142-143

Negro Spirituals as Romantic Genre

In a romance the action begins with a problem.  The action frequently takes the form of a physical journey.  The concluding action of a romance often takes place through transcendence.  These traditional spirituals are examples of the narrative romance genre.

Soon I will be done

Soon I will be done with the troubles of the world

The troubles of the world

The troubles of the world

Soon I will be done with the troubles of the world

The troubles of the world

Going home to leave with God

No more weeping and a wailing

No more weeping and wailing

Going home to live with God

Swing Low Sweet Chariot

Swing low, sweet chariot

Coming for to carry me home

I looked over Jordan and what did I see

Coming for to carry me home

A band of Angels coming after me

Coming for to carry me home

 If you get there before I do

Coming for to carry me home

Tell all my friends I’m coming to

Coming for to carry me home

Nobody knows the trouble I’ve seen

Nobody knows the trouble I’ve seen

Nobody knows but Jesus

Nobody knows the trouble I’ve seen

Glory Hallelujah

Sometimes I’m up

Sometimes I’m down

Glory hallelujah

But I know I’m heaven bound

Glory hallelujah

Class Discussion

      Question 1

Why do you think Negro Spirituals have transcended both time and culture?

Student 1:  The spirituals have so much feeling. When listening, one can almost feel the emotion the singers are going through

Aimee:  Everyone has problems no matter what time the spirituals are, so therefore, one can identify with them.

Kelly:  There is nothing else like it.  They are unique. Wherever you go everyone seems to know the songs.  Some of the songs will be included in the 4^th of July celebrations.

Student 2: Negro spirituals provide bridges between different countries and different times.

Professor White: Can be bonding like comedy.  They have things that human nature have in common- music and burdens.

Kelly: Everyone can join in. the lyrics have repetitious phrase. We can all sing the chorus.

Aimee:  In many of my musical performances we always have a section dedicated to spirituals.

Student 3:  Each African-American generation can identify with them.

Student 1:  When slaves held services the owners were there. Performers from these services were often invited to the big house on holidays or special occasions. The music was not private. Everyone grew up hearing it. The music helped the slaves get through. These spirituals can make everyone see that they can get over problems. There is alight at the end of the tunnel.

Question 2

What other forms of music have descended from Negro spirituals?  (Students listen to a portion of B.B. King’s Nobody Loves Me But My Mother)

Student 4: Most all black musicians started off in church. Patty LaBelle was expelled from her church because of the lyrics of one of her songs (Lady Marmalade). Tina Turner also started out in church.  Jazz is closely related.

Summary

            In any church of any religion you can find choirs singing traditional Negro spirituals. These heartfelt songs are testimonies of both pain and hope. The feelings, which are evoked through these songs, cross all ethnic and religious lines. These spirituals are not only heard in the church choir but their voice can be heard in the blues, jazz and even today’s R&B. Negro spirituals have truly transcended not only through time and culture, but also other musical genres.