Music in African-American Life

Section II (18-31)

Regional Differences

Blacks brought African melodies, rhythms, and instrumental techniques to America as slaves

When slaves lived around Whites, they fused multiple styles of music

Economic differences of Northern and Southern life led them to develop different musical styles and traditions

Characteristics of African Music

Enslaved Africans usually came from West/Central Africa, like Niger, Angola, and Nigeria

Great variety of ethnic variety and musical styles from these regions

In African culture, music was a part of everyday life, not performed for a passive audience

Music was a big part of ceremonial rituals, festivals, war preparations, religion, work, and social activities

There is without doubt, no people on the earth more naturally affected to the sound of musicke than these people; which the principall persons do hol das an ornament of their state, so as when wee come to see them their musicke will seldome be wanting… Also, if at any time the Kings or principall persons come unto us trading in the River, they will have their musicke playing before them, and will follow in order after their manner, presenting a shew of state.

*Richard Jobson onNative Africans

Dance in African Culture

Dance/Movement was closely related with African music

Formation of a circle for singing and dancing continued to slave congregations

Dancing is the Diversio nof their Evenings: Men and Women make a Ring in an open part of the Town, and one at a time shews his Skill in antick motions and gesticulations, yet with a great deal of agility, the Company making the Musick by clapping their hands together during the time, helped by the louder noise of two or three Drums made of a hollowed piece of Tree, and covered with Kid-Skin. Sometimes they are all round in a Circle laughing, and with uncouth Notes, blame or praise somebody iun the Company.

African Cultural Music Composition

Most percussion instruments (bells, rattles, xylophones)

Drums of various kinds usually played in groups and led by a master drummer

Drum rhythm guided dancing and singing. Just as some tribal language where pitch guided

meaning in speech, drums were often pitched and used to communicate over long distances

Cultures used body as percussion instrument, something continued by slave music later on

Plucked string instruments were often used, and may provide insight into why banjos were popular during slave times.

African Musical Construction

Melodies contained multiple repetitions of a short musical unit, with the melody or the text varied each time

Call and Response structure: alternations between a solo singer and a small group singing the refrain Parts could overlap and create a polyphonic texture Song leader would embellish the melody or adapt

the text, while the chorus text and melody remained constant.

A simultaneous improvisation could create a heterophonic texture.

African music placed more emphasis on complex rhythmic patterns, using syncopation and polyrhythms, than that of Europe at the time. Layered vocal parts could create a form of

syncopation as well

Antebellum Free Black Musicians

Free blacks usually lived in urban centers Baltimore, DC, Richmond, Charleston,

Mobile, New Orleans, Boston, NY, Philly had large black populations

Urban free blacks did have access to formal musical instruction, and were, at times, familiar with European musical styles and genres

Free Blacks in Philadelphia

By 1790, Philadelphia had 1420 free blacks, the largest of any US city

Probably helped by the anti-slavery Quakers Richard Allen (preacher) was the first African-American

liscensed to preach in the USA Published “A Collection of Spiritual Songs and Hymns

Collected From Various Authors” Philly was a big player in the underground railroad By 1841, wealthy blacks could live at least similarly to

their white peers African-American women sang and performed on the

harpsichord, pianoforte, guitar, etc., just like whites By 1849, Philadelphia was home to 32 professional

black musicians, including:

Frank Johnson (1792-1844)

Black dance orchestras and concert bands existed in many large cities.

Frank Johnson’s band would become the first American band (regardless of race) to earn an international reputation.

He began his career as a violin player, but also learned to play the bugle, where he thrived.

Would “distort” songs: improvising; leaving standard form

Frank Johnson (1792-1844)

Johnson started the Coloured Black Band in 1821, consisting of a fife, bass and side drums, and his Bugle. Militaristic instrumentation

Band eventually grew to 20 members and was invited to play for many whites

The CBB was the first American band to travel to London

Johnson composed over 200 selections Johnson was popular in churches, and

performed in the first integrated concert in the US

Elizabeth Taylor Greenfield (1824-1876)

Born a Mississippi slave, but was taken to Philadelphia as an infant. Raised in a Quaker household

Nicknamed the “Black Swan,” After being compared to Jenny Lind (the “Swedish Nightingale”

Her audience was all white, which was odd for a black performer

Became the first African-American concert singer to ear recognition in both Europe and the US She sang for Queen Victoria in England

Religious Traditions

Most Africans believed in some form of ultimate creator, and that spirits helped control the universe They all valued the influence of their ancestors

Second Great Awakening led to motivation to convert slaves to Christianity Churches designating seating sections for

blacks Blacks in northern cities started their own

congregations

Camp Meetings

Religious service originating with the preaching of the circuit riders (itinerant ministers who traveled on horseback to preach across the frontier)

Gatherings held outdoors under a large tent or structure

Both blacks and whites attended Sang “spiritual songs,” usually not written

down, but with catchy tunes Similar phrases and choruses could be shared

between spirituals, called Wandering Refrains Syncopation and “blue notes” also used

Dance Houses

Black musicians played in the Five Points district of New York City, they played a more popular less European style.

Dickens's Place was a hall where black musicians played and whites attended.

George Foster commented on the unconventional playing loud trumpets bass drum player hitting numerous notes use of syncopation…

Religion and Black Experience

Second Great Awakening led to converting and access to religion for free blacks.

All black congregations grew in number and music was focused around the church.

Richard Allen est. the Bethel African Methodist Episcopal Church in 1801 for blacks He later published the first hymn book

specifically for black congregations: A Collection of Spiritual Songs and Hymns Collected From Various Authors

Music of Southern Slaves

Slave owners encouraged musical activity. Slaves would play both in service of

whites (at balls, parties, etc.) and for their own enjoyment

Few slaves could read or write musical notation

Frequent improvisation and variation made documentation of this music difficult

Southern Slave Composition

Mostly homemade instruments Most common instruments on plantations were

the fiddle and the banjo Fiddle: Folk version of the violin. Associated with

European tradition. Banjo: Guitar-ish. Adaptation of African instruments.

Most associated with southern blacks. Drums were outlawed by whites so slaves couldn’t

use them to send messages. Slaves used their bodies as percussion instrument

known as “patting juba” “done by placing one foot a little in advance of the

other, raising the ball of the foot from the ground, and striking it in regular time, while, in connection, the hands are struck slightly together, and then upon the thighs”

Music of the Coastal Sea Islands

Community stayed isolated because islands were separate from mainland

African elements and traditions were less diffused in these locations

Extant: original, referring to unadulterated music.

“Blind Tom” Bethune (1849-1908)

One of few slaves who became famous as musicians

Included for free with the purchase of his parents because he was blind

Likely was an autistic savant Was provided with musical training Performed for wounded Confederate

soldiers during Civil War Best-known composition: “The Battle of

Manassas” Was followed closely by Mark Twain

Work Songs

Paced the tasks and lessened the boredom and exhaustion of slave work Type of work being done determined tempo

Work songs also let owners know that work was being done and where the slaves were

Usually in call and response form (“Aint I Right”)

Could also be a field holler A short, improvised melody that served as a

form of long-distance communication. Carried farther than just a shout.

Spirituals

Religious folksongs sung by African Americans Spirituals were a communal project, representing

the efforts and beliefs of the larger slave community

Spirituals were more lively and extemporaneous than white hymn singing

First published collection of Negro spirituals: Slave Songs of the United States (1867)

One type was the Ring Shout An expression of personal feeling, an emotional

response to the worship experience. Only religious texts were sung. Religious fervor gradually intensified.

Songs of Freedom

Songs with double meanings Appeared innocuous, telling tales of Biblical

characters or speaking of Christian acts Really held coded messages or directions for

escaping to freedom Black identified with Israelites. The South became coded as Egypt, Babylon, or

hell. Masters known as Pharaoh or Satan. Ohio River, which marked the boundary between

slave and free states was referred to as the River Jordan.

North or Canada known as The Promised Land

#6: “Live Humble”

Heterophonic treatment of melody during the chorus Everyone sings a similar, but not

identical, melodic line Cadences and Melodic gestures of

the soloist are comparable to those used by black preachers

Lyrics allude to Biblical passages and common sermon topics

#7: “Follow the Drinking Gourd”

Used to tell escaping slaves to follow Polaris in the Big Dipper because slaves weren’t allowed to have maps or writings Uses code to create a verbal map from the Deep

South to the north Attributed to “Peg Leg Joe,” who was a white

carpenter who helped slaves escape the South Directions (see if you can decode):

Follow River North Once at the headwaters, travel north over the hills

until they reached another river Follow this river to the Ohio river and cross They would then be met by a guide, who would help

them further