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1	“Haply I may remember, And haply may forget”: The Doubled Nature of Intertextual Genre Relationships in Samuel Coleridge-Taylor’s Six Sorrow Songs, Op. 57 Rajabzadeh, Saeideh 18 January 2022 (has links) In 1904, Black British composer Samuel Coleridge-Taylor published six songs from the oeuvre of white British poet Christina Georgina Rossetti, only a few months after reading W.E.B. Du Bois’ groundbreaking work The Souls of Black Folk (1903). This seminal book included a chapter called “Sorrow Songs” devoted to discussing slave songs. It also introduced the concept of double-consciousness to describe how Black people, see themselves through the lens of the white society. This point of view creates a sense of doubleness in their identity and recognition of self. The songs that Coleridge-Taylor composed, which he titled Six Sorrow Songs, Op. 57, address themes of love, death, and spirituality. Coleridge-Taylor grouped these art songs under the title “Sorrow Songs”—showing a connection to Du Bois’ work and its influence. This fusion of art song and slave song opens up room for examinations of cross-genre relations, which highlights complexity of meaning and textual changes when interpreted and performed—revealing a “doubledness” to the composition in this time in the composer’s life. Serge Lacasse’s (2018) model for intertextuality offers a framework for considering the cross-genre relations that emerge in this song cycle. The concepts of architextuality, transfictionality, and polytextuality from his model are particularly relevant in this cycle, as they account for inter-genre relationships, fictional elements of the story (including speakers and the setting), as well as the overall compilation of the songs, respectively. Drawing this model together with scholarship on Sorrow Songs, this thesis focuses on the emergence of “Sorrow Songs” at this pivotal moment in the composer’s life, which will enable the consideration of the intertext of Western classical and African slave songs in this composition as well as the creation of a story in this musico-literary hybrid. Context is critical to this discussion so his trips to the USA, personal experiences, the socio-political events of the time, and the encounter with the influential Black figures will be discussed to understand how this song cycle reshaped Coleridge-Taylor’s musical path. Intertextual analysis of this song cycle reveals a sense of double meaning in Six Sorrow Songs, Op. 57, where one clearly sees Du Bois’ concept at work in the life of the composer living as a Black man in a white society, in his music combining Western classical and Sorrow Song genres, in the medium he chose to write for, a singer and a pianist, and in setting spiritual/religious poetry written by a white poet to these romantic songs. Samuel Coleridge-Taylor Sorrow Songs Spirituals Slave songs artsong art song text-music analysis Christina Rossetti Cross-genre borrowings Intertextuality
2	AFRICAN AMERICAN SPIRITUALS AND THE BIBLE: SELECTING TEXTS FOR SECONDARY EDUCATION INSTRUCTION Michael James Greenan (9719168) 15 December 2020 (has links) <p>The research in this thesis attempts to select texts from the African American Spirituals and the Bible that are appropriate for secondary language arts instruction, specifically for grades 9-12. The paper first gives an overview of legal justifications and educational reasons for teaching religious literature in public schools. Then, relevant educational standards are discussed, and, using the standards as an initial guide, I identify common themes within the Spirituals and Bible, which, from my analysis of various literatures, are slavery, chosenness, and coded language. Next, I describe my systematic effort to choose texts from the Spirituals and the Bible. To help accomplish this, I draw primarily from two tomes: <i>Go Down Moses: Celebrating the African-American Spiritual</i> and <i>Biblical Literacy: The Essential Bible Stories Everyone Needs to Know</i>. After I describe the research process of selecting texts, I form judgments about which biblical passages and African American Spirituals are particularly worthy of study, along with their applicable and mutual themes. </p> Education African American Spirituals Bible Spirituals English Education African Americans Slavery Chosenness Coded Language Themes Secondary Education High School Curriculum Texts Interpretation Religion Christianity Judaism Scripture Critical Thinking Hebrew Bible New Testament Literature Blacks Selecting Texts Exodus Revelation Go Down Moses Biblical Literacy Standards Religious Texts Bound for Canaan Land Daniel Obama Religious texts in public schools language arts secondary instruction negro spirituals Moses Frederick Douglass John Brown's Body A Promised Land biblical interpretation biblical allusions allusions sorrow songs W.E.B. Du Bois Book of Revelation apocalypse in literature apocalypse biblical apocalypse Book of Daniel Genesis religion in public schools Black Spirituals African American religion Bible as literature African American history American slavery slavery in Bible Book of Exodus chosen high school curriculum religion in curriculum religious texts religious literature

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“Haply I may remember, And haply may forget”: The Doubled Nature of Intertextual Genre Relationships in Samuel Coleridge-Taylor’s Six Sorrow Songs, Op. 57

AFRICAN AMERICAN SPIRITUALS AND THE BIBLE: SELECTING TEXTS FOR SECONDARY EDUCATION INSTRUCTION