African-American Spirituals Permathread

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 25 Aug 17 - 05:54 PM

Add Q spirituals of St Helena to toc

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 27 Nov 16 - 02:03 PM

http://mudcat.org/thread.cfm?threadid=132449

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 21 Nov 15 - 01:59 PM

By'm Bye

http://mudcat.org/thread.cfm?threadid=131847

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 05 Apr 15 - 02:41 PM

Subject: RE: _... Trail Of Negro Folk-Songs_ online
From: maeve - PM
Date: 04 Apr 15 - 03:45 PM

Here's the clickable link: http://www.traditionalmusic.co.uk/negro/
"On The Trail Of Negro Folk-Songs-online book
A collection of negro folk songs with lyrics, sheet music & commentaries.
By Dorothy Scarborough Assisted By Ola Lee Quiledge Copyright, 1925 By Harvard University Press "

This looks like an amazing resource. Likely somebody here has already pointed it out, but I've not seen it before. Amazing to see it all online
There are also good links with instrumental, vocal, and educational resources.

Here's the table of contents.
I. ON THE TRAIL OF NEGRO FOLK-SONGS.....       3
II. THE NEGRO'S PART IN TRANSMITTING THE TRA­DITIONAL SONGS AND BALLADS.........      33
III.   NEGRO BALLADS..................      63
IV.   DANCE-SONGS, OR "REELS''............      96
V. CHILDREN'S GAME-SONGS.............    128
VI LULLABIES......................    144
VII. SONGS ABOUT ANIMALS..............    161
VIII. WORK-SONGS....................    206
IX. RAILROAD SONGS..................    238
X. BLUES........................    264

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 11 Mar 15 - 11:49 AM

What are these songs called? http://mudcat.org/thread.cfm?threadid=7383

~S~

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 23 Dec 14 - 07:22 PM

Several songs/titles:

http://mudcat.org/thread.cfm?threadid=79315

Subject: RE: African-American Spirituals Permathread
From: Q (Frank Staplin)
Date: 10 Apr 14 - 03:46 PM

Sounds wrong to me.
De vs. the depends upon placement of the tongue (farther back for 'de'), not head inclination.

Moreover, the 'th', pronounced thuh or thee, is uncommon in most languages; even if it is in the written word. The coin thaler is pronounced taler (origin of our dollar).

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 10 Apr 14 - 12:17 PM

I heard an interesting theory last night from a choir director re: THE vs. DE, etc.

Joe B's understanding is that since slaves were not permitted to look a white person in the eye, the dropped head (and resulting constricted airway) would make THE come out as DE, and/or that a white person would hear it (and thus transcribe it) that way.

Then.... one can extrapolate from there that DE is what babies would hear as they acquired language.... and since English was not the first language of newly-arrivibg enslaved persons.... well, there you'd have the birth of Ebonics.

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 24 Nov 13 - 02:19 PM

http://mudcat.org/thread.cfm?threadid=152938 http://mudcat.org/detail.cfm?messages__Message_ID=3576820

Also filter search Spiritual for items missed while sick.

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 24 Nov 13 - 04:29 AM

Several: http://mudcat.org/thread.cfm?threadid=152922&

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 24 Nov 13 - 04:25 AM

OLE EGYP'
http://mudcat.org/thread.cfm?threadid=152933

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 08 Feb 13 - 06:44 PM

I Guess You'd Better Hush! Hush! Hush!
http://mudcat.org/thread.cfm?threadid=71761

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 18 Jan 13 - 08:53 PM

I Know King Jesus Is My Friend:
http://mudcat.org/thread.cfm?threadid=41644

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 04 Mar 12 - 05:50 PM

If Jesus Had to Pray
http://www.mudcat.org/Detail.CFM?messages__Message_ID=2021690

Subject: RE: African-American Spirituals Permathread
From: Q (Frank Staplin)
Date: 04 Feb 12 - 01:31 PM

The spiritual "Come By Yuh" has been transferred to the thread "Origins: Kumbaya," thread 65010.
There is no certainty that "Kumbaya," composed by Marvin Frey, is derived from the low country spiritual.

Subject: RE: African-American Spirituals Permathread
From: Q (Frank Staplin)
Date: 03 Feb 12 - 03:04 PM

"Come By Yuh" posted thread 143118, "Come By Yuh."

Text previously posted as part of message from Nerd, thread 65010, 16 Dec 08.

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 24 Nov 11 - 11:16 PM

From Q in another thread:

William Wells Brown was an abolitionist whose compilation, 1848, reprint 1849, The Anti-Slavery Harp: A Collection of Songs for Anti-Slavery Meetings, contained poems by a number of anti-slavery writers. Published by Bela Marsh, Boston.

The book is online:
http://utc.iath.virginia.edu/abolitn/absowwbahp.html

A quick look at the book shows some stirring texts; it appears to be a wordbook (word-only) for a body of sing material, where the singers all knew common "airs" (tunes) to which they would be sung. Alas, the tunes themselves are not included, and only one I saw was named and, unfortunately, I dunnoi that tune either.

They are clearly composed texts, not spontaneous "spirituals"-type material, and IMO a thread discussing the texts might be interesting as a separate thread.... to which we could link, from here in this permathread, as related material. I am not sure there would be enough interest to post the songs themselves, as they already appear in good form at the virginia.edu site. Virginia was apparently a hotbed of "slave breeding," [ouch], so I am glad to see them housing all this material and I would be very surprised if it ever disappeared from there. (They appear to have added quite a bit since the Slave Songs they'd hosted at docsouth.) As I continue to explore the newer materials (maybe they're just new to me), I'll give some thought to how to relate to them here at Mudcat, and I hope others will as well.

~S~

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 23 Nov 11 - 01:22 PM

From the above Wells book, an example (not the best one by far but the one I can get at now), of an eyewitness account of the singsong use of spirituals/work music for a sales pitch-- sacred and secular crossing of what we have sorted here at Mudcat as distinct genres that clearly were not so sharply defined back in the day.

DIALECT ALERT
Research is needed to sort out the dialect issues of the following, which is posted verbatim from the electronic version of the text. Quoting the author on page iii:

PREFACE.

No attempt has been made to create heroes or heroines, or to appeal to the imagination or the heart.

The earlier incidents were written out from the author's recollections. The later sketches here given, are the results of recent visits to the South, where the incidents were jotted down at the time of their occurrence, or as they fell from the lips of the narrators, and in their own unadorned dialect.

BOSTON, May, 1880.

~S~

Page 174

         By the time the man had finished his explanation, and weighed out her lot, he was completely surrounded with women and men, nearly all of whom had their dishes to get the choice morsel in.

         "Now," said a rather solid-looking man. "Now, I want some of de Meth-diss chitlins dat you's bin talking 'bout."

         "Here dey is, ser."

         "What," asked the purchaser, "you take 'em all out of de same tub?"

         "Yes," quickly replied the vender.

         "Can you tell 'em by lookin' at 'em?" inquired the chubby man.

         "Yes, ser."

         "How duz you tell 'em?"

         "Well, ser, de Baptist chitlins has bin more in de water, you see, an' dey's a little whiter."

         "But, how duz I know dat dey is Meth-diss?"

         "Well, ser, dat hog was raised by Uncle Jake Bemis, one of de most shoutin' Methodist in de Zion connection. Well, you see, ser, de hog pen was right close to de house, an' dat hog was so knowin' dat when Uncle Jake went to prayers, ef dat hog was squeelin' he'd stop. Why, ser, you could hardly get a grunt out of dat hog till Uncle Jake was dun his prayer. Now, ser, ef dat don't make him a Methodist hog, what will?"

         "Weigh me out four pounds, ser."

         "Here's your fresh chitlins, Baptist chitlins, Methodist chitlins, all good an' sweet."

         And in an hour's time the peddler, with his empty

Page 175

tub upon his head, was making his way out of the street, singing,--


                         "Methodist chitlins, Baptist chitlins,
                         Who'll jine de Union?"

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 22 Nov 11 - 09:09 AM

Notes to self:

Lyr Add: You Must Shun Old Satan (Spiritual)         
Lyr Add: Run to Jesus (Spiritual)

===

My Southern Home: or, The South and Its People by Brown, William Wells, 1814?-1884 http://docsouth.unc.edu/neh/brown80/brown80.html http://en.wikipedia.org/wiki/William_Wells_Brown

Research help needed to check/augment:

From Wikipedia, the free encyclopedia William Wells Brown Born 1814 Lexington, Kentucky Died November 6, 1884(1884-11-06) Chelsea, Massachusetts Occupation Abolitionist, Writer, Historian. Spouse (1) Elizabeth "Betsey" Schooner, 1835; (2) Annie Elizabeth Gray, 1860 Children Clarissa Brown, Josephine Brown, Henrietta Brown, William Wells Brown, Jr., Clotelle Brown

William Wells Brown (November 6, 1814 – November 6, 1884) was a prominent African-American abolitionist lecturer, novelist, playwright, and historian. Born into slavery in the Southern United States, Brown escaped to the North in 1834, where he worked for abolitionist causes and was a prolific writer. Brown was a pioneer in several different literary genres, including travel writing, fiction, and drama. His novel Clotel is considered the first novel by an African American and was published in London in 1853.

Lecturing in England when the 1850 Fugitive Slave Law was passed in the US, Brown stayed for several years to avoid risk of capture and re-enslavement. After his freedom was purchased by a British couple in 1854, he returned to the US and the abolitionist lecture circuit. A contemporary of Frederick Douglass, Wells Brown was overshadowed by the charismatic orator and the two feuded publicly.

William was born into slavery in Lexington, Kentucky. His mother Elizabeth was owned by Dr. Thomas Young and had seven children, each by different fathers. (In addition to William, her children were Solomon, Leander, Benjamin, Joseph, Milford, and Elizabeth.) His father was George W. Higgins, a white planter who was a cousin of William's master, Dr. Young. Although Young promised his cousin he would never sell the boy (whom Higgins recognized as his son)[2], William was sold multiple times before he was twenty years old.

William spent the majority of his youth in St. Louis. His masters hired him out to work on the Missouri River, then a major thoroughfare for steamships and the slave trade. He made several attempts to escape, and on New Year's Day of 1834, he successfully slipped away from a steamboat when docked in Cincinnati, Ohio, a free state. He adopted the name of Wells Brown, a Quaker friend, who helped him after his escape by providing food, clothes and some money. [edit] Marriage and family

Shortly after gaining his freedom, Brown met and married Elizabeth Schooner, a free African-American woman. Later he separated from her and they eventually divorced, causing a minor scandal.[3] Together they had three daughters.

Move to New York

From 1836 to about 1845, Brown made his home in Buffalo, New York, where he worked as a steamboat man on Lake Erie. He used his position to aid escaped slaves to freedom in Canada as a conductor for the Underground Railroad.[4] Brown became active in the abolitionist movement in Buffalo by joining several anti-slavery societies and the Negro Convention Movement. [edit] Years in Europe

In 1849, Brown left the United States to travel in the British Isles to lecture against slavery. He stayed in England until 1854. He lectured widely to local antislavery circuits to build support for the US movement. Brown also wanted to learn more about the cultures, religions, and different concepts of European nations. He felt that he needed always to be learning, in order to catch up and live in a society where others had been given an education when young. In his memoir he wrote,

“He who escapes from slavery at the age of twenty years, without any education, as did the writer of this letter, must read when others are asleep, if he would catch up with the rest of the world.”[5]

In 1849 Brown was selected to attend the International Peace Conference in Paris. By then separated from his wife, he brought his two young daughters with him, to give them the education which he had been denied.[6] Based on this journey, Brown wrote Three Years in Europe: or Places I Have Seen And People I Have Met. His travel account was popular with middle-class readers as he recounted sightseeing trips to the foundational monuments considered the spine of European culture. When lecturing about slavery, he showed a slave collar as demonstration of its evils. At the Paris Peace Conference, he faced opposition while representing the country that had enslaved him, and confronted American slaveholders on the grounds of the Crystal Palace.[7]

Abolition orator and writer

Brown gave lectures for the abolitionist movement in New York and Massachusetts. He soon focused on anti-slavery efforts. His speeches expressed his belief in the power of moral suasion and the importance of nonviolence. He often attacked the supposed American ideal of democracy and the use of religion to promote submissiveness among slaves. Brown constantly refuted the idea of black inferiority. Reaching beyond America’s borders, he traveled to Britain in the early 1850s and recruited supporters for the American abolitionist cause. An article in the Scotch Independent reported the following:

"By dint of resolution, self-culture, and force of character, he has rendered himself a popular lecturer to a British audience, and vigorous expositor of the evils and atrocities of that system whose chains he has shaken off so triumphantly and forever. We may safely pronounce William Wells Brown a remarkable man, and a full refutation of the doctrine of the inferiority of the negro."[8]

Due to Brown's reputation as a powerful orator, he was invited to the National Convention of Colored Citizens, where he met other prominent abolitionists. When the Liberty Party formed, he chose to remain independent, believing that the abolitionist movement should avoid becoming entrenched in politics. He continued to support the Garrisonian approach to abolitionism, and shared his own experiences and insight into slavery in order to convince others to support the cause.

Literary works

In 1847, he published his memoir, the Narrative of William W. Brown, a Fugitive Slave, Written by Himself, which became a bestseller second only to Frederick Douglass' slave narrative. He critiques his master’s lack of Christian values and the brutal use of violence in master-slave relations. When Brown lived in Britain, he wrote more works, including travel accounts and plays. Clotel, or, The President's Daughter: A Narrative of Slave Life in the United States

His first novel, entitled Clotel, or, The President’s Daughter: a Narrative of Slave Life in the United States, is believed to be the first novel written by an African American.[9] But, because the novel was published in England, the book was not the first African-American novel published in the United States. This credit goes to either Harriet Wilson's Our Nig (1859) or Julia C. Collins' The Curse of Caste; or The Slave Bride (1865).

Most scholars agree that Brown is the first published African-American playwright. Brown wrote two plays, Experience; or, How to Give a Northern Man a Backbone (1856, unpublished and no longer extant) and The Escape; or, A Leap for Freedom (1858), which he read aloud at abolitionist meetings in lieu of the typical lecture.

Brown continually struggled with how to represent slavery "as it was" to his audiences. For instance, in an 1847 lecture to the Female Anti-Slavery Society of Salem, Massachusetts, he said, "Were I about to tell you the evils of Slavery, to represent to you the Slave in his lowest degradation, I should wish to take you, one at a time, and whisper it to you. Slavery has never been represented; Slavery never can be represented.[10]

Brown also wrote several historical works, including The Black Man: His Antecedents, His Genius, and His Achievements (1863), The Negro in the American Rebellion (1867) [considered the first historical work about black soldiers in the Civil War], The Rising Son (1873), and another volume of autobiography, My Southern Home (1880). [edit] Later life

Brown stayed abroad until 1854. Passage of the 1850 Fugitive Slave Law had increased his risk of capture even in the free states. Only after the Richardson family purchased his freedom in 1854 (they had done the same for Frederick Douglass), did Brown return to the United States. He quickly rejoined the anti-slavery lecture circuit again.[11]

Perhaps because of the rising social tensions in the 1850s, he became a proponent of African-American emigration to Haiti, an independent black republic. He decided that more militant actions were needed to help the abolitionist cause.

During the American Civil War and in the decades that followed, Brown continued to publish fiction and non-fiction books, securing his reputation as one of the most prolific African-American writers of his time. He also played a more active role in recruiting blacks to fight in the Civil War. He introduced Robert John Simmons from Bermuda to abolitionist Francis George Shaw, father of Colonel Robert Gould Shaw, the commanding officer of the 54th Massachusetts Volunteer Infantry Regiment.

On April 12, 1860, Brown married twenty-five year old Anna Elizabeth Gray in Boston[12] While continuing to write, Brown was active in the Temperance movement as a lecturer; he also studied homeopathic medicine and opened a medical practice in Boston's South End while keeping a residence in Cambridge, Massachusetts's Second Ward until moving to the nearby city of Chelsea in 1882.[13]

William Wells Brown died in Chelsea, Massachusetts in 1884 at the age of 68.

Writings

* Narrative of William W. Brown, a Fugitive Slave. Written by Himself. Boston: The Anti-slavery office, 1847. * Narrative of William W. Brown, an American Slave. Written by Himself. London: C. Gilpin, 1849. * Three Years in Europe: Or, Places I Have Seen and People I Have Met. London: Charles Gilpin, 1852. * The American Fugitive in Europe. Sketches of Places and People Abroad. Boston: John P. Jewett, 1855. * The Black Man: His Antecedents, His Genius, and His Achievements. New York: Thomas Hamilton; Boston: R.F. Wallcut, 1863. * The Rising Son, or The Antecedents and Advancements of the Colored Race. Boston: A. G. Brown & Co., 1873. * My Southern Home: or, The South and Its People. Boston: A. G. Brown & Co., Publishers, 1880. * The Negro in the American rebellion; his heroism and his fidelity ... * Brown, William Wells (1815-1884). Three years in Europe, or places I have seen and people I have met. with a Memoir of the author. 1852.

=== post the songs from it
(get bio/OK from reader)

~S~

Subject: RE: African-American Spirituals Permathread
From: Q (Frank Staplin)
Date: 15 Nov 11 - 08:04 PM

"Run To Jesus"
Posted, thread 141532.

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 25 Apr 11 - 11:46 AM

Thanks!

~S~

Subject: RE: African-American Spirituals Permathread
From: Desert Dancer
Date: 25 Apr 11 - 01:20 AM

An update of an external link:

This post: http://www.mudcat.org/thread.cfm?threadid=38686#545251, above at 08 Sep 01 - 02:53 PM, links to a sub-page of an interview with Joe Carter on the public radio program "Speaking of Faith" -- Joe Carter and the Legacy of the African American Spiritual. That program is now called "On Being", and they've revamped their website.

The current start page for that interview (and lots of related materials, including full recordings of quite a few songs) is http://being.publicradio.org/programs/2010/joe-carter/.

~ Becky in Tucson

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 15 Feb 11 - 09:54 AM

Thanks, Guest.

Language about any issues related to the time when this music was most-intensely in creation-mode are complicated, aren't they?

In this thread (for instance its title), I try to keep my own communications clear and intentional. For instance I call these "African-American" spirituals-- because that is how I think people I communicate with now can best agree on what they are and how to talk about them,.

But as I posted elsewhere in this thread-- in international, scholarly circles (and Google search terms), the term still used very often is "Negro" spirituals.

I am never quite sure how best to span that gap, without inappropriately censoring; I am always mindful of the need to think about it and to be aware that others are also thinking about it, from their own perspective.

~Susan

Subject: RE: African-American Spirituals Permathread
From: GUEST
Date: 14 Feb 11 - 03:56 PM

To W y s i w y G !

The word negro wasnt thought to be respectful to African Americans. For example during the production of "Showboat" the producer told Paul Robinson to reframe from the use of the word Nigger in describing the black workers on the steam boat and use the word negro because it was less harsh. Remember, none of these words were used by African Americans to describe who they are as a people but a preferred use by white Americans for the purpose of degrading and belittling a people. There was never any respect meant to be given with the use of either words at a time when African American were believed to be less than and not deserving of any repsect. Its not like African Americans who did use the word had a choice but to accept what whites designate to them for fear of reprisals and due to conditioning, and brainwashing. Lets reframe from speaking for a group of people and let them speak for themselves please. They would know and also provide a perspectiuve of history we would not be aware of.

Thank you Susan for the respect you show and information provided.

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 30 Jun 10 - 03:23 PM

St. Helena group to edit in:
&messages=1

~S~

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 28 May 10 - 11:37 AM

Work piling up:

===

Inter-index Fisk set from Q et al:

http://mudcat.org/thread.cfm?threadid=129086

===

http://mudcat.org/thread.cfm?threadid=128971 (Needs commentary here)

Sort w/other reference threads listed

===

http://mudcat.org/thread.cfm?threadid=128776 That's All Right (note to self-- see our version doc)

http://mudcat.org/thread.cfm?threadid=61042&messages=20#978669

~S~

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 27 May 10 - 07:53 AM

OK-- it will wait till my next maintenance-marathon. I have a lot of edits to do, piling up. :~)

~S~

Subject: RE: African-American Spirituals Permathread
From: Haruo
Date: 27 May 10 - 12:16 AM

Go right ahead, Susan, it's your permathread. Put it in however you want, and when I get to it I'll post the stuff I mentioned.

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 26 May 10 - 09:18 PM

Haruo, with your permission I will edit that in somewhere above.... I may add a line or two... that book has been mentioned as source material for a number of the songs in the threads where the songs occur, but I agree it should have a fuller mention here.

~Susan

Subject: RE: African-American Spirituals Permathread
From: Haruo
Date: 26 May 10 - 04:54 PM

I don't see any reference here to the United Methodists' hymnal supplement Songs of Zion: Supplemental Worship Resources, edited by a group led by J. Jefferson Cleveland (1937-1986), which contains a section of about 100 spirituals with a prefaced essay (by Cleveland, I think) that probably ought to be noted here. When I get back from this weekend's Esperanto convention in DC, I'll try to remember to transcribe the essay and make a list of the spirituals. Verolga Nix is one of the other contributors. For a church publication, the texts are remarkably unbowdlerized and apparently deliberately eclectic as to grammatical and spelling normalization. Although published by the United Methodists' Abingdon Press, I think the book was intended at least as much for the predominantly African-American Methodist bodies like the AME, AME Zion, and CME. As a Baptist, of course I particularly enjoy the lines that refer to us Baptists, including one that goes "I'm gonna hold up the Baptist finger!" (Guess which one that is? ;-) )

Haruo

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 13 Apr 10 - 09:10 PM

Kewl!

I want to make sure they get into the index we have here upthread, as they are posted here in their own threads. If there already IS a thread, on a song you are adding text for, please use an existing thread where possible using the above index to find them. Then if you can add any new titling (i.e. same song, but title variants not already in index), that would be a huge help.

I'm so short on sleep I am not sure that all made sense.

~Susan

Subject: RE: African-American Spirituals Permathread
From: Richie
Date: 13 Apr 10 - 07:57 PM

Hey Susan,

I've started doing gospel tunes Traditional and PD on my web-site, I've just got A roughed in and am working on B now:

http://bluegrassmessengers.com.temp.realssl.com/traditional-and-public-domain-gospel-a-b.aspx

Your welcome to use or reference by a link what I've got. I think there are about 60 spirituals in A, some are different versions. Total there are probably 80 diferent A listings.

Richie

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 13 Apr 10 - 05:22 PM

BAND OF GIDEON
Gideon's Band; or, De milk-white Horses
http://mudcat.org/thread.cfm?threadid=128781

several: http://mudcat.org/thread.cfm?threadid=128668#2882149

scads: http://mudcat.org/usersearch.cfm?who=Richie

~S~

Subject: RE: African-American Spirituals Permathread
From: Bobert
Date: 08 Apr 10 - 07:41 PM

"You Gotta Move"...

"Keep Your Lamp Trimed and Burning" mentioned above...

"Wade in the Water"...

"Get Right Church"...

These are my favorites and one's that I occasionally will sneak into a set...

B~

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 08 Apr 10 - 02:49 PM

Are You Ready? Spiritual

Lyr Add: I Want to Be Ready (spiritual)

Amen- spiritual

Lyr Req: Every Time I Feel the Spirit

Keep Your Lamp Trimmed and Burning (Spiritual)

I Can Tell the World -Docu on Spirituals

Jordan River Songs and Spirituals

Lyr Add: Yonder Come Day (spiritual)

Lyr Add: 'Chariot' Spirituals

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 25 Feb 10 - 10:03 PM

Thanks, Q!

~S~

Subject: RE: African-American Spirituals Permathread
From: Q (Frank Staplin)
Date: 25 Feb 10 - 09:18 PM

Roll, Jerdon, Roll
http://mudcat.org/thread.cfm?threadid=39230&messages=14

Subject: RE: African-American Spirituals Permathread
From: Q (Frank Staplin)
Date: 25 Feb 10 - 09:12 PM

On the Other Side of Jordan
http://mudcat.org/thread.cfm?threadid=107525&messages=15

I'm Just A-goin' Over Home
http://mudcat.org/thread.cfm?threadid=107525&messages=15

Jordan's Shore (White usage)
http://mudcat.org/thread.cfm?threadid=107525&messages=15

http://mudcat.org/thread.cfm?threadid=127650

'Tis Jordan River
http://mudcat.org/thread.cfm?threadid=127652

Way Over Jordan
http://mudcat.org/thread.cfm?threadid=127653

I'm Goin' Down to the River of Jerden
http://mudcat.org/thread.cfm?threadid=127654

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 12 Feb 10 - 11:27 AM

http://mudcat.org/thread.cfm?threadid=127267&messages=3

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 31 Jan 10 - 02:12 AM

http://mudcat.org/thread.cfm?threadid=126950&messages=12#2826150

THE WINTER

Subject: RE: African-American Spirituals Permathread
From: GUEST,wys-out
Date: 19 Jan 10 - 02:30 PM

As of today I am doing something differently with this thread-- I printed the index of "spirituals" from up above to replace the smaller set of songs I usually carry. I annotate that list that I carry, as I add/improvise verses of songs that "I" know; it's been my record/dirary of where I used them (so which groups heard them).

But carrying the whole list will now give me the ability to portably ask others present what songs they might recall to lead in groups.

Since our Diocesan groups are increasingly diverse in so many ways, the likelihood of being the "only" one present who knows any has diminished considerably. Bonus-- I'll be able to report back, here, on how well-known the songs are in these circles, and perhaps how and when they learned the ones they know-- grandmothers, civil rights, etc.

~Susan

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 05 Jan 10 - 10:01 AM

Go see: http://mudcat.org/thread.cfm?threadid=6742

~S~

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 02 Nov 09 - 10:03 PM

What Kind of Shoes You Gwine to Wear?
http://mudcat.org/@displaysong.cfm?SongID=7727

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 19 Oct 09 - 09:16 AM

http://mudcat.org/thread.cfm?threadid=124373
Good News Chariot Comin'

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 31 Aug 09 - 09:33 AM

http://mudcat.org/thread.cfm?threadid=123262
Rock On, Daniel

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 09 Mar 09 - 05:08 PM

http://www.mudcat.org/thread.cfm?threadid=8972

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 27 Nov 08 - 06:11 PM

http://www.mudcat.org/thread.cfm?threadid=116541
Subject: Lyr Add: How yo' do believer how yo' do today
From: Q - PM
Date: 27 Nov 08 - 06:08 PM
Also:

For information on Penn Center and Penn School Historic District, the center of Gullah culture: Penn Center http://www.penncenter.com/

See thread 64333 for secular and other versions. How do you do http://www.mudcat.org/thread.cfm?threadid=64333

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 22 May 08 - 07:03 PM

Rough draft for a workshop. My humble opinions only.

~S~

===

In keeping with our Diocesan commitment to a "Green" convention this year, this is a paperless workshop. Except for the items you can see on display, there are no bibliographies, no songbooks, no hymnals, and no choral arrangements. Just leave me your email address to get a copy of the links to all of the resources, or a recorded CD copy of today's workshop.

I'll be starting with a few comments, and then we'll get to the songs themselves.

I consider myself not an expert on spirituals, but a fascinated student. Our workshop today features several of my own heroes in passing on the spirituals tradition that flowed out of slavery, and that still flows on in our time today.

The opportunity to lead music for an informal Saturday evening service came my away about 10 years ago. The parish decreed that my husband would add a service, but they forgot to line up music for it. I was mortified (and a bit irritated) when our Lord told me that the music I'd been playing at home all that year was to SHARE, and that I was the musician He'd picked out.

I was just voracious for all types of music for what became an unusually informal Saturday Night Service. I'm an acoustic musician, not a pianist..... The congregation that gathered for that service had not had good experiences with Sunday morning formality. My quest for songs led me through so many genres! One of them was spirituals. It's a deep well, and once you start drawing from it you can stay in that depth for a long, long time.

As I planned this workshop, what's come to mind over and over again has been the way spirituals are a wonderful form of "praying without ceasing."

Spirituals, like few other forms of praise music as we know it today, tend to stick in the head, take root, and grow from our own thoughts and feelings. This was intrinsic to their original creation, and they were further molded by the "folk process" into the essential and unforgettable tunes and verses that have come down to us in our time. Whatever the cause for their creation, it's our Lord's grace that has preserved them as they have popped out of individuals' memories and into the stream of culture that we can dip into now.

Some of these-- a precious few of the thousands of powerful songs that circulated among plantations and shipping lanes-- popped into the print culture thanks to musicologists' attempt to collect them during and after slave times. The classic Allen Slave Songs collection is one of these efforts to transcribe a form of music unlike any other its listeners had ever heard.

Some songs were seen as potential sources for financial support for early African American universities. Set into European harmonies for wealthy white audiences, these are some of the songs the Fisk Jubilee Singers still perform today.

Other songs stayed in the hearts and throats of the grandmothers rocking their babies in the years that followed emancipation; a precious few more of these songs were collected along with other southern folk music in the 1920's and 30's when musicologists of that time traveled in the rural south with their wax cylinder recording machines and, later, reel to reel tape recorders.

Some of the songs popped out of memory in the cauldron of colliding cultures that produced the blues. Many of the early bluesmen first sang publicly in churches, lining out songs they might have learned as children from their grandmothers, or through a hymnbook. Many "gospel" songs written out in these hymnbooks actually started as spirituals before they were regularized into the tempos and texts we have in our books today.

Some of the spirituals these bluesmen knew became the bases for their blues songs; the pentatonic tonality certainly sprang from the spirituals and some texts are clearly adaptations of spirituals for worldly entertainment. The "floating" verse (or "zipper" verse) text form of spirituals is found in the blues, too, as is the call/response pattern from the early work songs that make up a large part of the spirituals slaves used to do their work, communicate important news, build community, and preserve African culture right under slaveholders' noses.

Throughout all these time periods, the grace of God was there, too, as the unimaginable horror of slavery and racism were expressed on a daily basis in words of the abiding love of God for His whole creation.

It is the strength of the love and grace our Lord, instilled in His suffering people, as they gave voice to their struggles and their hopes, that give the spirituals the power to carry our thoughts and prayers Heavenward in such a beautiful, raw way.... and that strength is at our disposal today. The spirituals tell the whole range of human experience, in text and in tune-- not just the pretty part, the convenient part, the expected part..... No: the hard parts, the unlovely parts, the painful parts-- all these are held up as they are, brought before the cross, and redeemed when we lift them in song.

These songs have popped out of memory into operatic arrangments and choral arrangements, too, although It's my opinion that the slaves who created them would find our regularizing of them into rigid, "authoratative" versions quite odd, and, I suspect, sad. Because one thing these songs ARE is ALIVE, dynamic, ever-changing, ever-adaptable. That was what lent them strength a whole people could depend upon!

ANY struggle can be expressed in the spirituals, using either the texts we have inherited or texts created on the spot. That's how they were originally created-- they are a living opporutnity for expression, not a dead form to study or imitate.

In a little bit, I'll be playing a few of my heroes' versions from CDs and tapes, and then we'll sing a few, and make up a few verses ourselves.

The melodies will come back on the day each of us needs them, and any words or groanings we need will be there too-- allowing the Spirit to give voice to our deepest prayers is a lovely, interactive way to pray. Or we can just let a loved and remembered tune run on in our heads all day (while we do our work, care for one another, and bear our burdens) is truly to pray without ceasing.

THE SONGS AND THE SINGERS:

(to come)

CLOSING: JOE CARTER'S REMARKS (It's our shared heritage)

Subject: RE: African-American Spirituals Permathread
From: wysiwyg
Date: 25 Nov 07 - 03:34 PM

Another Jena (not the one in current US news):
Jena Jubilee Singers
http://www.jena-jubilee-singers.de/cms/frontend/portal.php
A German group (spirituals are very popular in "serious" Eurpoean circles)
Includes sound samples


Rough Babel Fish Translation from part of their webpage:

We place ourselves forwards we, the Jena Jubilee Singers, are one the most well-known Jenaer of choirs. We have ourselves the religious music of the black-American population - which Gospel, mirror-image ritual and Jubilees - used up. Since 1988 we are supraregional and even internationally represented in the Jenaer culture scene, in addition, and represent city and university by our numerous, successful concerts. Repertoire Since our establishment we present fastidious choir-corrode traditional and modern Gospel and mirror-image ritual. The level of our music was up to now sixteen to years of our existence into that always. We compile each year for instance a 1½ to 2stuendiges program from Gospel & mirror-image ritual, with which we arrange numerous concerts and services within and outside of of Thuringia. We specified already larger works of well-known contemporary composers several times. For this the "Magnificat" and the "Gospel measure" count from Robert Ray. The heart of these work forms co-operation for many years with that for the 2002 deceased German-American composer Jean Berger. During its stays in Jena we specified to be "Magnificat" as well as particularly from him manufactured works after texts of the Jenaer song handwriting with large success. Still today pieces of Jean Berger belong to the Jena Jubilee Singers to the constant repertoire and are in each concert to be heard. Our work is strongly coined/shaped also by working the choir members themselves. Our choir member of many years Carsten Morgenroth composed our theme song "The Jubilee Singers Song" as well as further Gospel and modern pieces, which have a firm place in our program particularly for the Jena Jubilee Singers. In recent time we turned in addition other style directions. Although we want to dedicate ourselves also in the future in particular Gospel & mirror-image ritual, our program contains now of elements from jazz, skirt & Pop or folklore. Development of the choir we began 1988. At that time 6 singers and singer agreed to go into the Jenaer culture scene with the Gospelmusik a completely new way. Rapidly the choir increased to approximately twenty five members. Some initial members are still today active singers and singers. In the meantime the choir counts 57 members. On 22 June 2003 we celebrated our 15jaehriges anniversary with a large fixed concert in the inner court of the University of Jena. Concert cycle The concert year begins regularly already in January. Here the summer program of the previous year is activated and completed first appearances. Occasionally there are also choir travels - in such a way in the year 2003, where we already arranged one weekend with three concerts in the area Braunschweig/Goslar in March. Besides by regular weekly and additional week final samples at the program, much new in addition is filed is learned. In May a closely pushed Reigen from numerous concerts in Thuringia begins. To the standard program here in the meantime a common concert with the old belongs time MEMORY jazz volume. Into July or August the Gospeltrain is added, which led us predominantly in the last years to Northern Germany, in addition, to Austria. 2004 were the goal Northern Germany, 2005 it Austria will be again again. After the Gospeltrain into October inside again in Thuringia and possibly the lying close Lands of the Federal Republic one getourt. In October the samples for the Weihnachtszeit then already begin. Here we arrange completely different program with Christmas Gospel & mirror-image ritual and modern American Weihnachtsmusik. Each year the Weihnachtskonzert in the catholic church Jena forms the traditional conclusion of our concert yearly on 26 December. Altogether the Jena Jubilee Singers comes in such a way in the year on 25-30 concerts, in 2003 about 27. With consideration of different choir weekends for the development of further program and - e.g. in 2003 - a CD production this is a high temporal demand, which the choir members carry however gladly. Household/financing the financing the Jena Jubilee Singers rests to a majority on the self-commitment of the members. From the Friedrich Schiller university Jena we receive a support contribution annually. Of it first for sample work, program organization etc. a representational allowance is paid to the choir leader. Likewise this money serves necessary technology for the acquisition. Choir members, that bring in own instruments, for instance the schlagzeug, receive a small representational allowance. The production of CDs takes the principal part of the expenditures. Here regularly one before-finances, so that we must strive to save over two to three years an appropriate amount. Choir travels are accomplished in driving communities with own cars. Here the owners receive to flat mileage rate, which are financed partly from the choir cash, partly by the passengers. We strive for expenditure minimization also to that extent, when our overnight accomodation can take place during the choir travels completely predominantly in community centers free of charge. Likewise a partial amount of our assets for the acquisition is used annually by note material. Our incomes we win from the concerts and the sales of our CDs. our membership dues are graduated predominantly after the financial situation of the choir members, in order to make possible e.g. also for pupils and students the Mitsingen. In the concerts we require regularly no entrance, in order not to block the entrance to the concerts to those, which are financially not so well posed. We work here, as far as the organizing Kirchgemeinde carries this, on Kollektenbasis, so that each visitor gives, what he can do and wants. From the Kollektenerloes receive mostly the municipality and the choir a portion. Also first with the organizing Kirchgemeinde a firm Obulus is partly agreed upon, which is however clearly under the usual fee corroding, since in particular smaller Kirchgemeinden does not have sufficient means, to pay a choir from more than 50 members to. Proceeds cover here - in particular in the context of the Gospeltrains - maximally the costs, so that real "incomes" do not arise for us from this. "Rise UP Singin forms our productions the starting point '" from the year 2000. It contains Gospel and mirror-image ritual from the current program of the yearly 2000, among other things also two of pieces of instrument valley with saxophone and piano, which codesigned this program substantially. Well-known Gospel like "Couldn't hear nobody pray" or "I got shoes" alternates with less well-known pieces. The second, measure "the" Gospel measure "and the" Magnificat "contains likewise still 2000 final CD" Gospel of mirror-image ritual from Robert Ray beside Gospel & as closed works. 2001 arranged the Jena Jubilee Singers for the first time CD from their Weihnachtsrepertoire. "Go Tell It on The Mountain" is more fully more tendencyful, more traditional, Christmas Gospel. In addition Christmas Calypso and examples newer American Weihnachtsmelodien come. Beside the woman choir to hear for the first time is the Maennerquintett. Recent product of our work is the CD "We're The Jubilee Singers", which contains Gospel & mirror-image ritual from the summer program 2003. Besides the Jubilee Singers presents for the first time its theme song "The Jubilee Singers ' Song", composed from choir member Carsten Morgenroth. Beside the man choir to hear for the first time is the Frauensextett. "We're The Jubilee Singers" shows that the choir dares itself also in completely new, related style directions: Jazz, in addition, modern from skirt and Pop contains the CD. Personnel and social Stuktur of 1st members after groups of being correct An optimal relationship of group of being correct distinguishes the Jena Jubilee Singers. By successful concerts in the first ten years of our existence we could increase our popularity clearly, so that in the course of the time of more and more singers and singers in addition came. Now we have a stable number of members of approx.. 55-60 reaches. Despite existing fluctuation - in particular by outlets of student members after conclusion of its training - the structure of group of being correct kept. Only with the now existing number of members numerous parts of our programs can be realized after requirement, sound volume and variability at all, and can the Jena Jubilee Singers with a closely pushed concert plan over the year many friends of the Gospelmusik please. As optimal in particular the population of the groups of being correct proves among themselves - hardly a mixed layman choir can decorate itself with ten tenor. The relationship of the sexes (1/3 men) proves as for the Intonation ideally. 2. Members after age A brand name the Jena Jubilee Singers is the multicolored mixed age structure. Our youngest choir member is straight fourteen, our oldest choir members is sixty-three years old. From it a nearly family atmosphere results; despite the comparatively high number of members the members maintain among themselves constantly a friendly relationship. The age mixing pulls itself by all groups of being correct. 3. Members after social status The Jubilee Singers is also here multicolored mixed. In the overall view outweighs the portion of those, which stand firmly in the working life. Particularly in the groups of being correct Sopran and tenor are however superproportional many student members, for whom the financing of this hobby is naturally connected with special hurdles. This applies naturally also to the "other ones", with which here again except pupils and students otherwise the training as well as the job seekers are meant.

In German:

Wir, die Jena Jubilee Singers, sind einer der bekanntesten Jenaer Chöre. Wir haben uns der geistlichen Musik der schwarzamerikanischen Bevölkerung - den Gospel, Spirituals und Jubilees - verschrieben. Seit 1988 sind wir in der Jenaer Kulturszene, aber auch überregional und sogar international vertreten und repräsentieren Stadt und Universität durch unsere zahlreichen, erfolgreichen Konzerte.

Repertoire
Seit unserer Gründung präsentieren wir anspruchsvolle Chorsätze traditioneller und moderner Gospel und Spirituals. Das Niveau unserer Musik ist in den nunmehr sechzehn Jahren unseres Bestehens stets gewachsen. Jedes Jahr erarbeiten wir ein etwa 1½ bis 2stündiges Programm aus Gospel & Spirituals, mit dem wir innerhalb und außerhalb Thüringens zahlreiche Konzerte und Gottesdienste gestalten.

Mehrfach haben wir bereits größere Werke bekannter zeitgenössischer Komponisten aufgeführt. Hierzu zählen das "Magnificat" und die "Gospel Mass" von Robert Ray. Das Herzstück dieser Arbeiten bildet die jahrelange Zusammenarbeit mit dem 2002 verstorbenen deutsch-amerikanischen Komponisten Jean Berger. Während seiner Aufenthalte in Jena haben wir sein "Magnificat" sowie eigens von ihm gefertigte Werke nach Texten der Jenaer Liederhandschrift mit großem Erfolg aufgeführt. Noch heute gehören Stücke von Jean Berger zum ständigen Repertoire der Jena Jubilee Singers und sind in jedem Konzert zu hören.

Stark geprägt ist unsere Arbeit auch vom Wirken der Chormitglieder selbst. Unser langjähriges Chormitglied Carsten Morgenroth hat eigens für die Jena Jubilee Singers unsere Erkennungsmelodie "The Jubilee Singers Song" sowie weitere Gospel und moderne Stücke komponiert, die in unserem Programm einen festen Platz haben.

In jüngerer Zeit haben wir uns außerdem anderen Stilrichtungen zugewandt. Wenngleich wir uns auch künftig schwerpunktmäßig Gospel & Spirituals widmen wollen, enthält unser Programm nunmehr Elemente aus Jazz, Rock & Pop oder Folklore.

Entwicklung des Chores
Begonnen haben wir 1988. Damals fanden sich 6 Sängerinnen und Sänger bereit, in der Jenaer Kulturszene mit der Gospelmusik einen ganz neuen Weg zu gehen. Rasch wuchs der Chor auf etwa fünfundzwanzig Mitglieder an. Etliche Gründungsmitglieder sind noch heute aktive Sängerinnen und Sänger. Inzwischen zählt der Chor 57 Mitglieder. Am 22. Juni 2003 feierten wir unser 15jähriges Jubiläum mit einem großen Festkonzert im Innenhof der Universität Jena.

Konzertzyklus
Das Konzertjahr beginnt regelmäßig schon im Januar. Hier wird das Sommerprogramm des Vorjahres aktiviert und werden erste Auftritte absolviert. Gelegentlich gibt es auch Chorfahrten - so im Jahr 2003, wo wir bereits im März ein Wochenende mit drei Konzerten im Raum Braunschweig/Goslar gestaltet haben. Nebenbei wird durch regelmäßige wöchentliche und zusätzliche Wochenendproben am Programm gefeilt, viel Neues dazu gelernt.

Im Mai beginnt ein dicht gedrängter Reigen aus zahlreichen Konzerten in Thüringen. Zum Standardprogramm gehört hier inzwischen ein gemeinsames Konzert mit der Old Time Memory Jazzband. Im Juli oder August kommt der Gospeltrain hinzu, der uns in den letzten Jahren überwiegend nach Norddeutschland, aber auch nach Österreich geführt hat. 2004 war das Ziel erneut Norddeutschland, 2005 wird es erneut Österreich sein. Nach dem Gospeltrain wird bis in den Oktober hinein wieder in Thüringen und eventuell den anliegenden Bundesländern getourt.

Im Oktober beginnen dann bereits die Proben für die Weihnachtszeit. Hier gestalten wir ein völlig anderes Programm mit weihnachtlichen Gospel & Spirituals und moderner amerikanischer Weihnachtsmusik. Den traditionellen Abschluss unseres Konzertjahres bildet jedes Jahr das Weihnachtskonzert in der Katholischen Kirche Jena am 26. Dezember. Insgesamt kommen die Jena Jubilee Singers so im Jahr auf 25-30 Konzerte, in 2003 etwa 27. Unter Berücksichtigung verschiedener Chorwochenenden zur Erarbeitung weiteren Programms und - z. B. in 2003 - einer CD-Produktion ist dies eine hohe zeitliche Inanspruchnahme, die die Chormitglieder jedoch gerne mittragen.

Haushalt / Finanzierung
Die Finanzierung der Jena Jubilee Singers ruht zu einem Großteil auf dem Eigenengagement der Mitglieder. Von der Friedrich-Schiller-Universität Jena erhalten wir jährlich einen Unterstützungsbeitrag. Hiervon wird zunächst dem Chorleiter für Probenarbeit, Programmgestaltung etc. eine Aufwandsentschädigung gezahlt. Ebenso dient dieses Geld zur Anschaffung erforderlicher Technik. Chormitglieder, die eigene Instrumente, etwa das Schlagzeug, einbringen, erhalten eine geringe Aufwandsentschädigung. Den Hauptanteil der Ausgaben nimmt die Produktion von CDs ein. Hier wird regelmäßig vorfinanziert, so dass wir uns bemühen müssen, über zwei bis drei Jahre einen angemessenen Betrag anzusparen. Chorfahrten werden in Fahrgemeinschaften mit eigenen PKWs durchgeführt. Hierbei erhalten die Halter eine Kilometerpauschale, die z.T. aus der Chorkasse, z.T. durch die Mitfahrer finanziert wird. Wir bemühen uns um Ausgabenminimierung auch insoweit, als unsere Übernachtung während der Chorfahrten ganz überwiegend in Gemeindehäusern kostenlos erfolgen kann. Ebenso wird jährlich ein Teilbetrag unseres Guthabens für den Erwerb von Notenmaterial verwendet.

Unsere Einnahmen gewinnen wir vorwiegend aus den Konzerten und dem Verkauf unserer CDs. Unsere Mitgliedsbeiträge sind nach der finanziellen Situation der Chormitglieder gestaffelt, um z.B. auch Schülern und Studenten das Mitsingen zu ermöglichen.

In den Konzerten verlangen wir regelmäßig keinen Eintritt, um den Zugang zu den Konzerten nicht jenen zu versperren, die finanziell nicht so gut gestellt sind. Wir arbeiten hier, soweit die veranstaltende Kirchgemeinde dies mitträgt, auf Kollektenbasis, so dass jeder Besucher gibt, was er kann und will. Vom Kollektenerlös erhalten zumeist die Gemeinde und der Chor einen Anteil. Teilweise wird auch vorab mit der veranstaltenden Kirchgemeinde ein fester Obulus vereinbart, der allerdings deutlich unter den üblichen Honorarsätzen liegt, da insbesondere kleinere Kirchgemeinden nicht über ausreichende Mittel verfügen, einen Chor von mehr als 50 Mitgliedern zu bezahlen. Die Erlöse decken hier - insbesondere im Rahmen der Gospeltrains - maximal die Kosten ab, so dass uns wirkliche "Einnahmen" hieraus nicht erwachsen.

Unsere Produktionen
Den Ausgangspunkt bildet "Rise Up Singin'" aus dem Jahr 2000. Sie enthält Gospel und Spirituals aus dem aktuellen Programm des Jahres 2000, unter anderem auch zwei Instrumentalstücke mit Saxophon und Piano, die dieses Programm wesentlich mitgestaltet haben. Bekannte Gospel wie "Couldn't hear nobody pray" oder "I got shoes" wechseln sich mit weniger bekannten Stücken ab.

Die zweite, ebenfalls noch 2000 abgeschlossene CD "Gospel Mass" enthält neben Gospel & Spirituals als geschlossene Werke die "Gospel Mass" und das "Magnificat" von Robert Ray.

2001 haben die Jena Jubilee Singers erstmals eine CD aus ihrem Weihnachtsrepertoire zusammengestellt. "Go Tell It On The Mountain" ist voller stimmungsvoller, traditioneller, weihnachtlicher Gospel. Hinzu kommen weihnachtlicher Calypso und Beispiele neuerer amerikanischer Weihnachtsmelodien. Neben dem Frauenchor erstmals zu hören ist das Männerquintett.

Jüngstes Produkt unseres Schaffens ist die CD "We're The Jubilee Singers", die Gospel & Spirituals aus dem Sommerprogramm 2003 enthält. Daneben präsentieren die Jubilee Singers erstmals ihre Erkennungsmelodie "The Jubilee Singers' Song", komponiert von Chormitglied Carsten Morgenroth. Neben dem Männerchor erstmals zu hören ist das Frauensextett. "We're The Jubilee Singers" zeigt, dass sich der Chor auch in völlig neue, verwandte Stilrichtungen wagt: Die CD enthält Jazz, aber auch Modernes aus Rock und Pop.

Personelle und soziale Stuktur

1. Mitglieder nach Stimmgruppen
Ein optimales Stimmgruppenverhältnis zeichnet die Jena Jubilee Singers aus. Durch gelungene Konzerte in den ersten zehn Jahren unseres Bestehens konnten wir unsere Popularität deutlich steigern, so dass im Lauf der Zeit mehr und mehr Sänger und Sängerinnen hinzu gekommen sind. Nunmehr haben wir eine stabile Mitgliederzahl von ca. 55-60 erreicht. Trotz vorhandener Fluktuation - insbesondere durch Abgänge studentischer Mitglieder nach Abschluss ihrer Ausbildung - hat sich die Stimmgruppenstruktur erhalten. Erst mit der nunmehr vorhandenen Mitgliederzahl lassen sich zahlreiche Teile unserer Programme nach Anspruch, Klangfülle und Variabilität überhaupt realisieren, und können die Jena Jubilee Singers mit einem dicht gedrängten Konzertplan übers Jahr viele Freunde der Gospelmusik erfreuen. Als optimal erweist sich insbesondere die Besetzungsdichte der Stimmgruppen untereinander - kaum ein gemischter Laienchor kann sich mit zehn Tenören schmücken. Das Verhältnis der Geschlechter (1/3 Männer) erweist sich als für die Intonation ideal.

2. Mitglieder nach Alter
Ein Markenzeichen der Jena Jubilee Singers ist die bunt gemischte Altersstruktur. Unser jüngstes Chormitglied ist gerade vierzehn, unsere ältesten Chormitglieder sind dreiundsechzig Jahre alt. Daraus ergibt sich eine fast familiäre Atmosphäre; trotz der vergleichsweise hohen Mitgliederzahl pflegen die Mitglieder untereinander durchgängig ein freundschaftliches Verhältnis. Die Altersdurchmischung zieht sich durch alle Stimmgruppen.

3. Mitglieder nach sozialem Status
Die Jubilee Singers sind auch hier bunt durchmischt. Im Gesamtbild überwiegt der Anteil derjenigen, die fest im Berufsleben stehen. Besonders in den Stimmgruppen Sopran und Tenor finden sich jedoch überproportional viele studentische Mitglieder, für die die Finanzierung dieses Hobbys naturgemäß mit besonderen Hürden verbunden ist. Dies gilt selbstverständlich auch für die "Sonstigen", mit denen hier wiederum außer Schülern und Studenten die sonst Auszubildenden sowie die Arbeitssuchenden gemeint sind.

© 2006 Overture Services, Inc.>

Subject: RE: African-American Spirituals Permathread
From: Tweed
Date: 14 Nov 07 - 05:44 PM

Ship of Zion
according to Daniel Slick Ballinger at the Blues Music Awards in Memphis this past May.
Enjoy your chicken skin. ;~)
Tweed

Thanks, Tweed, that WAS fun! I re-posted your link in the Ship of Zion thread linked up above in the index. ~SH~