Sinful Tunes and Spirituals: Black Folk Music to the Civil War

Contents

• Preface to the 2003 Paperback   xiii
• Preface to the 1977 Edition   xvii
• Prologue: The African Heritage and the Middle Passage   3
• Part One: Development of Black Folk Music to 1800    19
• 1. Early Reports of African Music in British and French America   21 La Calinda and the Banza   30
• Other African Dancing   38 2. More Black Instruments and Early White Reaction   47 Drums and Other African Instruments   47
• The Balafo   55
• Legal Restrictions on Instruments   58 3. The Role of Music in Daily Life   63 Funerals   63
• Pinkster and Other African Celebrations in the North   66
• Worksongs and Other Kinds of African Singing   68 4. The Acculturation of African Music in the New World   77 The Arrival of Africans and Their Music   78
• Acculaturation in New Orleans   90 5. Conversion to Christianity   100
• 6. Acculturated Black Musicians in the Thirteen Colonies   112 The African Jig, a Black-to-White Exchange   120 Part Two: Secular and Sacred Black Folk Music, 1800-1867    125
• 7. African Survivals   127 Persisting Musical and Cultural Patterns   128
• Black Music in New Orleans, 1820-67   132 8. Acculturated Dancing and Associated Instruments   139 Patting Juba   141
• Drums, Quills, Banjo, Bones, Triangle, Tambourine   144
• Fiddlers   147
• Instrumental Combinations   155 9. Worksongs   161 Field Work and Domestic Chores   161
• Industrial and Steamboat Workers   164
• Boat Songs   166
• Corn, Cane, and Other Harvest Songs   172
• Singing on the March   176
• Street Cries and Field Hollers   181 10. Distinctive Characteristics of Secular Black Folk Music   184 Whistling   184
• Improvisation   184
• Satire   187
• Style of Singing   188
• Other Secular Music   189 11. The Religious Background of Sacred Black Folk Music, 1801-67   191 Opposition to Religious Instruction of Slaves   192
• Camp Meetings   197
• Missions to the Slaves   199
• Black Religious Groups   202
• Opposition to Secular Music and Dancing   207 12. Distinctive Black Religious Music   217 Spirituals   217
• Attempts to Suppress Black Religious Singing   229
• The Shout   232
• Funerals   234 Part Three: The Emergence of Black Folk Music during the Civil War    239
• 13. Early Wartime Reports and the First Publication of a Spiritual with Its Music   241 14. The Port Royal Experiment   252 Historical Background   252
• Earliest Published Reports   256
• Wartime Publication of Song Texts and Music   260 15. Reports of Black Folk Music, 1863-67   274 Criticism of "This Barbaric Music"   274
• Recognition of a Distinctive Folk Music   275
• The Shout   278
• Worksongs   287
• Performance Style   290
• Introduction of "New" Songs by the Teachers   296 16. Slave Songs of the United States: Its Editors   303 William Francis Allen   304
• Charles Pickard Ware   310
• Lucy McKim Garrison   314 17. Slave Songs of the United States: Its Publication   321 The Contributors   321
• Problems of Notation   326
• Assembling the Collection   329
• Publication and Reception   331
• Conclusion   343
• Appendices 349 I. Musical Excerpts from the Manuscript Diaries of William Francis Allen   349
• II. Table of Sources for the Banjo, Chronologically Arranged   359
• III. Earliest Published Versions of "Go Down, Moses"   363
• Bibliography   374
• Index   416