Advent and Development ...It refers to observations by W.J. Grayson (born 1788) of South Carolina,... Epstein, Slave Music in the United States before 1860, Journal of the Music Librarians Association, 20: 1 and 2 (1963): 127-45; 377-90.
All that and more in: Sinful Tunes and Spirituals: black folk music to the Civil War, 1977 Dena Epstein (1916 – 2013)
1803 Charleston, SC. “The canoes of six, eight, ten or twelve oars, in which planters were accustomed to visit the city from great distances were no longer used. The spacious steamer took their place. It is more expeditious and comfortable than the small boat. Yet the steamer was not free from discomforts. Great facilities multiplied travelers…. In the still night, when the weather was fine, the full moon shining and the rivers and broad sounds calm and unbroken except by the dip of the oar or the wake of the boat where the agitated water gleamed with phosphoric light, the passage was full of enjoyment. Nothing in the gondolas of Venice, whether on her dirty canals or more open and airy Lido, could surpass it. Nor was the accompaniment of music wanting. The songs were not so refined as passages from Tasso which are said to be common with the Venetian gondoliers but they were interesting in their way and sung as joyously. The singers were the negro oarsmen. One served as chief performer, the rest as chorus. The songs were partly traditionary, partly improvised. They were simple and inartificial consisting of one line only and the chorus. The singer worked into his rude strain any incident that came in his way relating to the place of destination, the passengers on board, the wife or sweetheart at home, his work or amusements by field or flood. There was sometimes a playful humour about them; sometimes compliments were introduced to the master or mistress more hearty than polished. The voices were generally good, the tunes pleasing and various, sometimes gay, sometimes plaintive. They were sung con amore and imparted fresh vigour to the sturdy crew. “Cantantes minus via laedit.” Light is the rower’s toil that song relieves.* Other stimulants were not wanting. The planter in those days carried with him his case of square bottles well filled and the rowers shared the contents from time to time with the master. Sometimes a race varied the scene. Then, mile after mile, the toiling crews stript of jacket and vest urged each other to desperate exertions, while the sweat rolled from their faces and the speed of the boats was quadrupled. At the end of the race the victorious oarsmen boasted of their exploits and taunted their defeated antagonists. In the race, the song, the scenery, the night bivouac with its broad contrasts of fire light and darkness, its busy faces and social enjoyment, there was material for both the planter’s and poet’s art.” [Chap III, Autobiography of William John Grayson, Stoney ed., South Carolina Historical and Genealogical Magazine, Vol.XLIV, No.1, 1948] William J. Grayson (1788 – 1863) *Pedant alert: The original (Virgil) is a walking cadence.