The Jubilee Singers: And Their Campaign for Twenty Thousand Dollars

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Lee and Shepard, 1873 - African American choirs - 219 pages
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Page 186 - No more peck of corn for me, Many thousand gone. No more pint of salt for me, No more, no more, No more pint of salt for me, Many thousand gone.
Page 182 - Let my people go, Oppressed so hard they could not stand, Let my people go.
Page 109 - I could. It seemed to me that I scarcely touched the ground, for I felt so happy, that I scarcely knew whether I was in the body or out of it. When I got to her, she said, "good morning!
Page 164 - It is a coincidence worthy of note that more than half the melodies in this collection are in the same scale as that in which Scottish music is written; that is, with the fourth and seventh tones omitted. The fact that the music of the ancient Greeks is also said to have been written in this scale suggests an interesting inquiry as to whether it may not be a peculiar language of nature, or a simpler alphabet than the ordinary diatonic scale, in which the uncultivated mind finds its easiest expression.
Page 183 - When they had reached the other shore, Let my people go; They sang a song of triumph o'er, Let my people go.
Page 182 - Thus saith the Lord," bold Moses said, Let my people go; If not I'll smite your first-born dead, Let my people go.
Page 118 - Allow me to bespeak a universal welcome through the North for these living representatives of the only true native school of American music. We have long enough had its coarse caricatures in corked faces ; our people can now listen to the genuine soul-music of the slave cabins, before the Lord led his children ' out of the land of Egypt, out of the house of bondage...
Page 163 - A technical analysis of these melodies shows some interesting facts. The first peculiarity that strikes the attention is in the rhythm. This is often complicated, and sometimes strikingly original. But although so new and strange, it is most remarkable that these effects are so extremely satisfactory. We see few cases of what theorists call mis-form, although the student of musical composition is likely to fall into that error long after he has mastered the leading principles of the art. " Another...
Page 163 - Their origin is unique. They are never "composed" after the manner of ordinary music, but spring into life, ready-made, from the white heat of religious fervor during some protracted meeting in church or camp. They come from no musical cultivation whatever, but are the simple, ecstatic utterances of wholly untutored minds.
Page 164 - Another noticeable feature of the songs is the entire absence of triple time, or three-part measure among them. The reason for this is doubtless to be found in the beating of the foot and the swaying of the body which are such frequent accompaniments of the singing. These motions are in even measure, and in perfect time; and so it will be found that however broken and seemingly irregular the movement of the music, it is always capable of the most exact measurement. In other words, its irregularities...

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