Ryan André Brasseaux
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195343069
- eISBN:
- 9780199866977
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195343069.003.0001
- Subject:
- Music, History, American
This Introduction situates historically the Cajun community’s position within the broader cultural currents of the United States. The evolution of Cajun instrumentation, the earliest influences ...
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This Introduction situates historically the Cajun community’s position within the broader cultural currents of the United States. The evolution of Cajun instrumentation, the earliest influences acting on the genre—including minstrelsy, showboats, and travelling entertainment—frame this Introduction to Cajun music’s pre-commercial history. This chapter argues that interaction, not isolation, attributed to the vibrancy of Cajun musicLess
This Introduction situates historically the Cajun community’s position within the broader cultural currents of the United States. The evolution of Cajun instrumentation, the earliest influences acting on the genre—including minstrelsy, showboats, and travelling entertainment—frame this Introduction to Cajun music’s pre-commercial history. This chapter argues that interaction, not isolation, attributed to the vibrancy of Cajun music
Ryan André Brasseaux
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195343069
- eISBN:
- 9780199866977
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195343069.003.0002
- Subject:
- Music, History, American
Dance culture and the social contexts that shaped Cajun musical traditions through 1950 constitute the primary focus of this study. Cajun musical expression is considered here, in relation to the ...
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Dance culture and the social contexts that shaped Cajun musical traditions through 1950 constitute the primary focus of this study. Cajun musical expression is considered here, in relation to the varied social dynamics acting on the genre, through an analytical lens categorizing musical expression into one of three distinct, but complementary roles within its host community: home music, sung a cappella for pleasure in a domestic setting for friends, family, or personal enjoyment; ritualistic ballad recitations at significant events straddling secular and religious social spheres; and dance music performed at bals de maison (house dances) and later dance halls—a distinctive style that would be exploited commercially in the early 20th century. The contexts surrounding this vernacular American music satisfied the group’s basic needs for self-expression, social interaction, courtship, and entertainment. This chapter concludes that social context is a crucial factor in the Cajun musical equation that ultimately shapes and defines this brand of ethnic cultural expression.Less
Dance culture and the social contexts that shaped Cajun musical traditions through 1950 constitute the primary focus of this study. Cajun musical expression is considered here, in relation to the varied social dynamics acting on the genre, through an analytical lens categorizing musical expression into one of three distinct, but complementary roles within its host community: home music, sung a cappella for pleasure in a domestic setting for friends, family, or personal enjoyment; ritualistic ballad recitations at significant events straddling secular and religious social spheres; and dance music performed at bals de maison (house dances) and later dance halls—a distinctive style that would be exploited commercially in the early 20th century. The contexts surrounding this vernacular American music satisfied the group’s basic needs for self-expression, social interaction, courtship, and entertainment. This chapter concludes that social context is a crucial factor in the Cajun musical equation that ultimately shapes and defines this brand of ethnic cultural expression.
Ryan André Brasseaux
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195343069
- eISBN:
- 9780199866977
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195343069.001.0001
- Subject:
- Music, History, American
This book examines Cajun music’s social and cultural evolution through 1950. Since the ethnic group’s inception, the Cajun community constantly adapted and incorporated select elements ...
More
This book examines Cajun music’s social and cultural evolution through 1950. Since the ethnic group’s inception, the Cajun community constantly adapted and incorporated select elements of the American musical landscape. French North American songs, minstrel tunes, blues, New Orleans jazz, hillbilly, Tin Pan Alley melodies, and western swing all became part of the Cajun musical equation. The idiom’s synthetic nature suggests an extensive and intensive dialogue with popular culture that extinguishes the myth that Cajuns were an insular folk group astray in the American South. Musical exchange and the pervasive pressures of marginalization, denigration, and poverty are used to demonstrate the extent of Cajun interaction with members of English-speaking United States. Cajun Breakdown is the most thoroughly researched and broadly conceived history of Cajun music ever put into print. It raises broad questions about the ethnic experience in North America and the nature of vernacular American music.Less
This book examines Cajun music’s social and cultural evolution through 1950. Since the ethnic group’s inception, the Cajun community constantly adapted and incorporated select elements of the American musical landscape. French North American songs, minstrel tunes, blues, New Orleans jazz, hillbilly, Tin Pan Alley melodies, and western swing all became part of the Cajun musical equation. The idiom’s synthetic nature suggests an extensive and intensive dialogue with popular culture that extinguishes the myth that Cajuns were an insular folk group astray in the American South. Musical exchange and the pervasive pressures of marginalization, denigration, and poverty are used to demonstrate the extent of Cajun interaction with members of English-speaking United States. Cajun Breakdown is the most thoroughly researched and broadly conceived history of Cajun music ever put into print. It raises broad questions about the ethnic experience in North America and the nature of vernacular American music.
Maurice Peress
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195098228
- eISBN:
- 9780199869817
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195098228.001.0001
- Subject:
- Music, History, Western
Drawing upon a mix of research and the personal experience of a career devoted to the music about which Dvorák so presciently spoke, this book's narrative goes behind the scenes of the burgeoning ...
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Drawing upon a mix of research and the personal experience of a career devoted to the music about which Dvorák so presciently spoke, this book's narrative goes behind the scenes of the burgeoning American school of music and beyond. The book begins with Dvorák's three year residency as Director of the National Conservatory of Music in New York (1892-5), and his students, in particular Will Marion Cook and Rubin Goldmark, who would in turn become the teachers of Ellington, Gershwin, and Copland. The book follows Dvorák to the famed Chicago World's Fair of 1893, where the book brings to light the little known African American presence at the Fair: the piano professors, about-to-be ragtimers; and the gifted young artists Paul Dunbar, Harry T. Burleigh, and Cook, who gathered at the Haitian Pavilion with its director, Frederick Douglass, to organize their own gala concert for Colored Persons Day. The author of this book, a distinguished conductor, is himself a part of this story; working with Duke Ellington on the “Suite from Black, Brown and Beige” and his “opera comique”, Queenie Pie; conducting the world premiere of Leonard Bernstein's Mass; and reconstructing landmark American concerts at which George Antheil's Ballet Mècanique, George Gershwin's Rhapsody in Blue, James Reese Europe's Clef Club (the first all-black concert at Carnegie Hall), and Ellington's Black, Brown and Beige, were first presented. The book concludes with a look at Ellington and his music.Less
Drawing upon a mix of research and the personal experience of a career devoted to the music about which Dvorák so presciently spoke, this book's narrative goes behind the scenes of the burgeoning American school of music and beyond. The book begins with Dvorák's three year residency as Director of the National Conservatory of Music in New York (1892-5), and his students, in particular Will Marion Cook and Rubin Goldmark, who would in turn become the teachers of Ellington, Gershwin, and Copland. The book follows Dvorák to the famed Chicago World's Fair of 1893, where the book brings to light the little known African American presence at the Fair: the piano professors, about-to-be ragtimers; and the gifted young artists Paul Dunbar, Harry T. Burleigh, and Cook, who gathered at the Haitian Pavilion with its director, Frederick Douglass, to organize their own gala concert for Colored Persons Day. The author of this book, a distinguished conductor, is himself a part of this story; working with Duke Ellington on the “Suite from Black, Brown and Beige” and his “opera comique”, Queenie Pie; conducting the world premiere of Leonard Bernstein's Mass; and reconstructing landmark American concerts at which George Antheil's Ballet Mècanique, George Gershwin's Rhapsody in Blue, James Reese Europe's Clef Club (the first all-black concert at Carnegie Hall), and Ellington's Black, Brown and Beige, were first presented. The book concludes with a look at Ellington and his music.
Stefan Fiol
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780252041204
- eISBN:
- 9780252099786
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041204.003.0004
- Subject:
- Music, Ethnomusicology, World Music
Chapter three examines the various factors that precipitated the commercialization of Indian folk music in the late twentieth century, including the growing economic clout of regional migrants in ...
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Chapter three examines the various factors that precipitated the commercialization of Indian folk music in the late twentieth century, including the growing economic clout of regional migrants in Indian metropolises and in the diaspora, the technological developments of studio recording and music dissemination, the expanding economic and political influence of regional polities within the federalist democracy, and the broad neoliberal reforms of the 1990s and early twenty-first century. These developments are best observed through the life of Uttarakhand’s most famous and most commercially successful musician, Narendra Singh Negi, whose forty-year career reveals a commitment to developing the “folk element” in his recordings. Like the modernist reformers of Indian classical music, Negi, by his musical activism, reveals a concern for revitalizing Uttarakhandi folk music by borrowing from, reforming, and, when he deems it necessary, replacing low-caste hereditary musicians.
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Chapter three examines the various factors that precipitated the commercialization of Indian folk music in the late twentieth century, including the growing economic clout of regional migrants in Indian metropolises and in the diaspora, the technological developments of studio recording and music dissemination, the expanding economic and political influence of regional polities within the federalist democracy, and the broad neoliberal reforms of the 1990s and early twenty-first century. These developments are best observed through the life of Uttarakhand’s most famous and most commercially successful musician, Narendra Singh Negi, whose forty-year career reveals a commitment to developing the “folk element” in his recordings. Like the modernist reformers of Indian classical music, Negi, by his musical activism, reveals a concern for revitalizing Uttarakhandi folk music by borrowing from, reforming, and, when he deems it necessary, replacing low-caste hereditary musicians.
Andrew Dell'Antonio
- Published in print:
- 2004
- Published Online:
- May 2012
- ISBN:
- 9780520237575
- eISBN:
- 9780520937024
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520237575.003.0008
- Subject:
- Music, Theory, Analysis, Composition
This chapter looks at the idea of the intention of a musical text in the context of music videos and MTV. The ideal appraiser for such musical texts is the collective and not individual as the music ...
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This chapter looks at the idea of the intention of a musical text in the context of music videos and MTV. The ideal appraiser for such musical texts is the collective and not individual as the music videos on MTV appear to be meant to be consumed by a group and not an individual. Collective listening strategies may be as postmodern as non-modernist but their presence and premises certainly emphasize the idealization of structural listening as normative practice. The chapter explores some of the assumptions of the structural listening process and their effects on the study of vernacular music. It also demonstrates that music videos do not match Jameson's modernist model of autonomy, which necessitates a different conceptual framework for the interaction between texts and their appraisal. A brief discussion on the various commonalities in the collective listening process portrayed by MTV in its various programmes such as B&B, Yack Live, 12AV, and TRL is also presented.Less
This chapter looks at the idea of the intention of a musical text in the context of music videos and MTV. The ideal appraiser for such musical texts is the collective and not individual as the music videos on MTV appear to be meant to be consumed by a group and not an individual. Collective listening strategies may be as postmodern as non-modernist but their presence and premises certainly emphasize the idealization of structural listening as normative practice. The chapter explores some of the assumptions of the structural listening process and their effects on the study of vernacular music. It also demonstrates that music videos do not match Jameson's modernist model of autonomy, which necessitates a different conceptual framework for the interaction between texts and their appraisal. A brief discussion on the various commonalities in the collective listening process portrayed by MTV in its various programmes such as B&B, Yack Live, 12AV, and TRL is also presented.
Stefan Fiol
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780252041204
- eISBN:
- 9780252099786
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041204.001.0001
- Subject:
- Music, Ethnomusicology, World Music
The concept of folk (or lok in North Indian languages) has become an essential part of public discourse in contemporary India that is used to mark social identity and an authentic relationship to ...
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The concept of folk (or lok in North Indian languages) has become an essential part of public discourse in contemporary India that is used to mark social identity and an authentic relationship to place. This musical ethnography explores the contours and consequences of the contemporary folk music boom in Uttarakhand while tracing the influences of colonial, nationalist, and post-colonial ideologies on current conceptualizations of folk music and on various approaches to “folklorizing” musical practice. Like the better-documented process of classicization, folklorization necessarily entails the silencing and purging of undesirable, polluting, low-status bodies and musical elements from particular performance traditions. Recasting Folk documents the ways in which reformers have sought to create value for folk traditions by turning to processes of codification, adaptation, and exclusion. The book also illuminates the lives of artists whose opportunities to succeed in the vernacular music industry have varied on the basis of their caste, class, and gender positions. By moving beyond the village to examine interconnected contexts of production in recording studios, state festivals, and literary texts, this text challenges long-entrenched understandings of the folk concept in South Asia.
Less
The concept of folk (or lok in North Indian languages) has become an essential part of public discourse in contemporary India that is used to mark social identity and an authentic relationship to place. This musical ethnography explores the contours and consequences of the contemporary folk music boom in Uttarakhand while tracing the influences of colonial, nationalist, and post-colonial ideologies on current conceptualizations of folk music and on various approaches to “folklorizing” musical practice. Like the better-documented process of classicization, folklorization necessarily entails the silencing and purging of undesirable, polluting, low-status bodies and musical elements from particular performance traditions. Recasting Folk documents the ways in which reformers have sought to create value for folk traditions by turning to processes of codification, adaptation, and exclusion. The book also illuminates the lives of artists whose opportunities to succeed in the vernacular music industry have varied on the basis of their caste, class, and gender positions. By moving beyond the village to examine interconnected contexts of production in recording studios, state festivals, and literary texts, this text challenges long-entrenched understandings of the folk concept in South Asia.
Christopher J. Smith
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037764
- eISBN:
- 9780252095047
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037764.003.0004
- Subject:
- Music, History, American
This chapter examines the material culture of blackface minstrelsy, and particularly of instrumental dance music in the “creole synthesis,” using evidence drawn from William Sidney Mount's four ...
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This chapter examines the material culture of blackface minstrelsy, and particularly of instrumental dance music in the “creole synthesis,” using evidence drawn from William Sidney Mount's four paintings: Just in Tune (1849), Right and Left (1850), Just in Tune () and The Banjo Player and The Bone Player (1856). Three of the four images in the portraits are most likely of dance musicians (both fiddlers and the bones player), while the fourth (the banjo player) could be imagined to accompany singing but equally likely completes the dance-band instrumentation—fiddle, banjo, and bones representing three-fourths of the iconic ensemble of minstrelsy. All of these works provide confirmation of Mount's expertise in and admiration for the details of African American vernacular music. This chapter analyzes the relationship between Mount's “private” pencil sketching and his “public” oil painting, as well as the complex layers of racial, economic, and political symbolism in his work. It also explores the musical detail of each of the four paintings and their significance to our understanding of the roots of minstrelsy.Less
This chapter examines the material culture of blackface minstrelsy, and particularly of instrumental dance music in the “creole synthesis,” using evidence drawn from William Sidney Mount's four paintings: Just in Tune (1849), Right and Left (1850), Just in Tune () and The Banjo Player and The Bone Player (1856). Three of the four images in the portraits are most likely of dance musicians (both fiddlers and the bones player), while the fourth (the banjo player) could be imagined to accompany singing but equally likely completes the dance-band instrumentation—fiddle, banjo, and bones representing three-fourths of the iconic ensemble of minstrelsy. All of these works provide confirmation of Mount's expertise in and admiration for the details of African American vernacular music. This chapter analyzes the relationship between Mount's “private” pencil sketching and his “public” oil painting, as well as the complex layers of racial, economic, and political symbolism in his work. It also explores the musical detail of each of the four paintings and their significance to our understanding of the roots of minstrelsy.
Rachel Lee Rubin
- Published in print:
- 2012
- Published Online:
- March 2016
- ISBN:
- 9780814771389
- eISBN:
- 9780814738108
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814771389.003.0004
- Subject:
- History, Cultural History
This chapter focuses on the Renaissance faire's “immersion theater” or “promenade theater,” performances in which audience members are watching the drama unfold around them, rather than in front of ...
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This chapter focuses on the Renaissance faire's “immersion theater” or “promenade theater,” performances in which audience members are watching the drama unfold around them, rather than in front of them. It discusses the faire's influence on the arts, especially in the arena of vernacular music; musical activity at the faire during its first decade, as well as the early faire's central musical figures, including Lev Liberman, Billy Scudder, and Robert Shields; the emergence at the faire of a new kind of music that came to be known as “psychedelic folk” or “acid folk”; the faire's contributions to the popularization of Middle Eastern music, dance, and instruments in the American context; how the faire gave rise to klezmer music; the early faire's musical experiments with ethnic music and dance; physical theater, vaudeville, and equestrian jousting as popular performances at the faire; and the so-called “street performers” as an important category of faire performers.Less
This chapter focuses on the Renaissance faire's “immersion theater” or “promenade theater,” performances in which audience members are watching the drama unfold around them, rather than in front of them. It discusses the faire's influence on the arts, especially in the arena of vernacular music; musical activity at the faire during its first decade, as well as the early faire's central musical figures, including Lev Liberman, Billy Scudder, and Robert Shields; the emergence at the faire of a new kind of music that came to be known as “psychedelic folk” or “acid folk”; the faire's contributions to the popularization of Middle Eastern music, dance, and instruments in the American context; how the faire gave rise to klezmer music; the early faire's musical experiments with ethnic music and dance; physical theater, vaudeville, and equestrian jousting as popular performances at the faire; and the so-called “street performers” as an important category of faire performers.
Nicholas Stoia
- Published in print:
- 2021
- Published Online:
- March 2021
- ISBN:
- 9780190881979
- eISBN:
- 9780190882006
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190881979.003.0001
- Subject:
- Music, Theory, Analysis, Composition
This chapter introduces the “Sweet Thing” scheme through postwar popular music, and defines a scheme as a shared musical structure with predetermined constraints and allowances. The “Sweet Thing” ...
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This chapter introduces the “Sweet Thing” scheme through postwar popular music, and defines a scheme as a shared musical structure with predetermined constraints and allowances. The “Sweet Thing” scheme is the result of the intertwining of various musical components of many different sources, some with very deep roots in the past, which penetrated many genres of American vernacular music. With the advent of radio and the phonograph in the early twentieth century—and especially with the widespread circulation of blues, country, and gospel records—the various components of these older forms grouped together and intertwined in different ways, resulting in a number of hybrids and variants. It is this cluster of twentieth-century variants that I call the “Sweet Thing” scheme. Defining its musical characteristics in a way flexible enough to accommodate its substantial variation and exploring the historical sources for its musical attributes are the subjects of this book.Less
This chapter introduces the “Sweet Thing” scheme through postwar popular music, and defines a scheme as a shared musical structure with predetermined constraints and allowances. The “Sweet Thing” scheme is the result of the intertwining of various musical components of many different sources, some with very deep roots in the past, which penetrated many genres of American vernacular music. With the advent of radio and the phonograph in the early twentieth century—and especially with the widespread circulation of blues, country, and gospel records—the various components of these older forms grouped together and intertwined in different ways, resulting in a number of hybrids and variants. It is this cluster of twentieth-century variants that I call the “Sweet Thing” scheme. Defining its musical characteristics in a way flexible enough to accommodate its substantial variation and exploring the historical sources for its musical attributes are the subjects of this book.
Joel Sachs
- Published in print:
- 2012
- Published Online:
- May 2015
- ISBN:
- 9780195108958
- eISBN:
- 9780190268015
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195108958.003.0024
- Subject:
- Music, History, American
This chapter considers the debate over the definition of “American” music, a complex issue entangling art with patriotism. While American painters and writers had achieved international recognition ...
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This chapter considers the debate over the definition of “American” music, a complex issue entangling art with patriotism. While American painters and writers had achieved international recognition and consequent acceptance at home, American composers remained largely unappreciated. A few musicians, including Henry Cowell, argued that compositional Americanism was completely unnecessary and virtually impossible at a high level of quality. They agreed that folk or vernacular music was useful only if composers could substantially elevate it as they absorbed it into “art” music. The sudden growth of jazz in the early 1920s suggested another route to “American music.” Henry was troubled by narrow definitions of “American,” so he challenged European and American ignorance of American musical diversity. He often attacked jazz as a criterion for American authenticity. In his introduction to the book American Composers on American Music, Henry tackled the controversy.Less
This chapter considers the debate over the definition of “American” music, a complex issue entangling art with patriotism. While American painters and writers had achieved international recognition and consequent acceptance at home, American composers remained largely unappreciated. A few musicians, including Henry Cowell, argued that compositional Americanism was completely unnecessary and virtually impossible at a high level of quality. They agreed that folk or vernacular music was useful only if composers could substantially elevate it as they absorbed it into “art” music. The sudden growth of jazz in the early 1920s suggested another route to “American music.” Henry was troubled by narrow definitions of “American,” so he challenged European and American ignorance of American musical diversity. He often attacked jazz as a criterion for American authenticity. In his introduction to the book American Composers on American Music, Henry tackled the controversy.
Patrick McCreless
- Published in print:
- 2021
- Published Online:
- February 2021
- ISBN:
- 9780198846550
- eISBN:
- 9780191881633
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198846550.003.0010
- Subject:
- Religion, Religion and Literature, Theology
This chapter’s central claim is that the notion of freedom, in the context of theology, music, and modernity (1740–1850), is incomplete if it does not address the sacred music of the enslaved people ...
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This chapter’s central claim is that the notion of freedom, in the context of theology, music, and modernity (1740–1850), is incomplete if it does not address the sacred music of the enslaved people of North America during this period—a population for whom theology, music, and freedom were of enormous personal and social consequence. The central figure in this regard is Richard Allen (1760–1831), who in 1816 founded the African Methodist Episcopal (AME) Church, the first independent black religious denomination in the United States. Allen was born enslaved, in Philadelphia or Delaware, but was able to purchase his freedom in 1783. He had already had a conversion experience in 1777, and once he gained his freedom, he became an itinerant preacher, ultimately settling in Philadelphia, where he preached at St George’s Methodist Church and a variety of venues in the city. In 1794 he led a walkout of black members at St George’s, in protest of racism; and over the course of a number of years he founded Mother Bethel, which would become the original church of the AME. This chapter situates Allen in the development of black sacred music in the US: first, as the publisher of hymnals for his church (two in 1801, and another in 1818); and second, as an important arbitrator between the traditions and performance styles of Protestant hymnody as inherited in the British colonies, and an evolving oral tradition and performance style of black sacred music.Less
This chapter’s central claim is that the notion of freedom, in the context of theology, music, and modernity (1740–1850), is incomplete if it does not address the sacred music of the enslaved people of North America during this period—a population for whom theology, music, and freedom were of enormous personal and social consequence. The central figure in this regard is Richard Allen (1760–1831), who in 1816 founded the African Methodist Episcopal (AME) Church, the first independent black religious denomination in the United States. Allen was born enslaved, in Philadelphia or Delaware, but was able to purchase his freedom in 1783. He had already had a conversion experience in 1777, and once he gained his freedom, he became an itinerant preacher, ultimately settling in Philadelphia, where he preached at St George’s Methodist Church and a variety of venues in the city. In 1794 he led a walkout of black members at St George’s, in protest of racism; and over the course of a number of years he founded Mother Bethel, which would become the original church of the AME. This chapter situates Allen in the development of black sacred music in the US: first, as the publisher of hymnals for his church (two in 1801, and another in 1818); and second, as an important arbitrator between the traditions and performance styles of Protestant hymnody as inherited in the British colonies, and an evolving oral tradition and performance style of black sacred music.