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An insightful look into the history of the people who were brought to the Western world in chains through the middle passage, and their descendants, can be found in the folk music they created. This music, commonly known as the Negro Spirituals, captures the spirit of the lived experience of a people who prayed, worked, laughed, cried, resisted and so much more. The study of this music can serve as a starting point to understanding the history of those who were enslaved. This paper acknowledges that the freedom of educators to teach this history in traditional educational spaces is currently under attack, and argues that the Black church should take the lead in teaching members of their own community about their history and culture. To assume this responsibility would be an act of institutional selflessness that is not rooted in evangelistic outreach, but is a labor that would help an oppressed people claim their divine liberation.

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The focus of the present research is to examine the socio-pedagogical aspects of Adolphus Hailstork's Five Short Choral Works. The socio-pedagogical benefits of these and similar compositions stem from their potential to encourage more critical cultural engagement of the choral contributions of Black composers in both the classroom and rehearsal hall. While the music on its own merit is worthy of deeper study and analysis, the added benefit to students, teachers and conductors is that the inclusion of diverse groups in music education has proven sociological benefits. Therefore, these five works have potential benefits in terms of representation, cultural engagement, and holistic consideration of American music. Furthermore, if students are given more diverse expressions of diversity, then there is greater likelihood that they will grow socially to appreciate and understand heterogeneous expressions of culture and be more engaged in culture criticism.

American composer David Guion (1892-1981) created and expressed in much of his music a unique and unmistakably American voice. Though he is remembered today mostly for piano pieces, especially Turkey in the Straw and Arkansas Traveler, he was famous for championing cowboy songs, African-American spirituals and folk songs as the truly authentic representations of the American experience. He also wrote many original works, including a substantial number of songs in Black dialect. In 1930 Guion starred in a cowboy show at the Roxy Theatre in New York, drawing upon his western-themed music. The next year he had a weekly radio show, broadcast around the country and featuring his music exclusively, with the title Hearing America with Guion. He played a substantial role in transforming Home on the Range into the best-known of all cowboy songs. His magnum opus, the ballet Shingandi, was highly regarded but has yet to be recorded. This dissertation examines those genres among Guion’s compositions that reveal his vision for a musical Americana. Much of his music is based on songs that circulated first in oral tradition before he adapted them for the concert stage. This dissertation surveys the breadth of the oral tradition of these songs, identifies his direct sources, and examines his treatment of melody, rhythm and harmony as he infused his music with such characteristic national flavor that his audiences were, in effect, “Hearing America.” A complete list of Guion compositions is attempted, and to the extent possible, probable dates of composition are established from recital programs and publication agreements. The scripts of his radio shows are reconstructed from papers in his archives and presented here. / text

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This thesis examines the crucial role of spirituals and freedom songs during the American Civil Rights movement from 1955-1968. Singing this music and speaking their lyrics affirmed African Americans' humanity, inspired hope for justice, and nurtured community development. When they sang, activists experienced "egalitarian resonance"-- spontaneous community among singers and listeners crossing race, age, gender, and class differences. These moments modeled the ideal American, multiracial community. In the absence of a 24/7 news cycle, freedom songs instantly provided a grassroots history of the movement. Both artistic expression and vocal protest, spirituals testified to the resilience of the human spirit. Created by African American slaves, spirituals expressed human psychological, emotional, and physical suffering. During twentieth-century segregation, W.E.B. Du Bois, James Weldon Johnson, and Howard Thurman wrote about spirituals and racial oppression. They understood spirituals expressed hope for justice despite despair. During the Civil Rights Movement, Rev. Martin Luther King, Jr. quoted spirituals and freedom songs, linking past suffering with present persecution. Forming part of nonviolent protest, spirituals offered hope for an all-inclusive, "beloved community." Between 1955 and 1968, freedom songs chronicled events and persons, orally recording the movement as it happened. Protesters sang long-established spirituals and newly-created freedom songs composed while working to open public facilities and to expand the franchise to all persons. Singing together in mass meetings solidified the resolve of participants and community members. When the movement spread from a regional to national phenomenon, freedom songs began showing other music influences including blues, rock and roll, and folk rock.

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Denna uppsats behandlar ämnet gospelackompanjemang på kyrkorgel.Oavsett erfarenhet av gospelmusik eller av orgelspel så är det här en kombination somväcker många frågor. Syftet med denna studie är att överbrygga glappet mellangospelmusiken och annan gudstjänstmusik i den svenskkyrkliga kontexten. Den handlarom hur man rent praktiskt kan göra för att lyckas med sitt spel i denna genre.Undersökningen behandlar såväl olika typer av orglar som sätt att registrera, arrangera,artikulera och rytmisera. Studiens resultat påvisar att en av de viktigaste aspekterna för ettrytmiskt spel handlar om att spela tonerna så friliggande, eller stackato, som möjligt.Registreringen behöver vara skarp med genomträngande rörverk. Pedalstämman behöverstabila rytmer med betoning på första taktslaget. Undersökningen gör det möjligt att mermedvetet ta sig an olika delar av gospelrepertoaren utan att vara beroende av enackompanjemangsgrupp. / <p>J S Bach (1685-1750)Trés vitement ur fantasia in G, BWV 572</p><p>Mary Mary m fl. Shackles (Praise You)</p><p>Richard Smallwood Total PraiseMedverkande:</p><p>Sabina Lilja - orgel och sång</p><p>Isac Bergendahl - trummor</p><p>Immanuel Gospel</p><p>Nina Tellander - körledare</p>

This public history thesis project experimented with the application of new technology in creating an educational resource aimed at twenty-first century public audiences. The project presents the history, musicology, and historiography of Afro-American slave music in the United States. In doing so, the project utilizes two digital media tools: VuVox, to create interactive collages; and VisualEyes, to create digital visualizations. The purpose of this thesis is to assess how the project balances the goals of digital history, public history, and academic history. During the production of the Afro-American Slave Music Project, a number of the promises of digital history were highlighted, along with several of the potential challenges of digital history. In designing the project, compensations had to be made in order to minimize the challenges while maximizing the benefits. In effect, this thesis argues for the utility of digital history in a public setting as an alternative to traditional, prose-based academic history.