This early work by Miles Mark Fisher is both expensive and hard to find in its first edition. It details the importance and meaning of slave songs in America. This fascinating work is thoroughly recommended for inclusion on the bookshelf of all with an interest in slave music and the political history of the United States. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.

136 songs of African-American slaves, collected and compiled a few years after the Emancipation Proclamation, are presented here complete with their musical notation in this superb edition. In the introduction, the chief compiler of this music, William Francis Allen, expresses his admiration for the musical talents of black Americans. He mentions that even prior to the end of slavery, public appreciation existed. Yet Allen realized that much of this music, emblematic of the hardships and life of black slaves, was in danger of being forgotten in time. He and his assistants found and interviewed former slaves who would sing their tunes. In this way, a total of 136 songs, their notes, verse and chorus lyrics, were successfully put to paper. The author observes how much of the music is religious, with allusions to the Bible, Jesus and Lord frequent. Yet narratives of slave life, and the emotions of the singers, also feature strongly. Many of the songs were sung repeatedly as the slaves worked the fields, their choruses and melodies being intended to enliven a day of hard labor in the heat of the sun. The music in this collection is divided by region; differences in vocalizing and phrases can be observed, reflecting the various localities in which slaves were raised and labored in.

Authoritative study traces the African influences and lyric significance of such songs as Swing Low, Sweet Chariot and John Henry, and gives words and music for 230 songs. Bibliography. Index of Song Titles.

This thorough, well-researched exploration of the origins and development of a rich and varied African American musical tradition features authentic versions of over 40 folk songs. These include such time-honored selections as "Wake Up Jonah," "Rock Chariot," "Wonder Where Is My Brother Gone," "Traveling Shoes," "It's Getting Late in the Evening," "Dark Was the Night," "I'm Crossing Jordan River," "Russia, Let That Moon Alone," "Long John," "Rosie," "Motherless Children," three versions of "John Henry," and many others. One of the first and best surveys in its field, Negro Folk Music, U.S.A. has long been admired for its perceptive history and analysis of the origins and musical qualities of typical forms, ranging from simple cries and calls to anthems and spirituals, ballads, and the blues. Traditional dances and musical instruments are examined as well. The author — a well-known novelist, folklorist, journalist, and specialist in African and African American cultures — offers a discerning study of the influence of this genre on popular music, with particular focus on how jazz developed out of folk traditions.

Publisher description

136 songs of African-American slaves, collected and compiled a few years after the Emancipation Proclamation, are presented here complete with their musical notation in this superb edition. In the introduction, the chief compiler of this music, William Francis Allen, expresses his admiration for the musical talents of black Americans. He mentions that even prior to the end of slavery, public appreciation existed. Yet Allen realized that much of this music, emblematic of the hardships and life of black slaves, was in danger of being forgotten in time. He and his assistants found and interviewed former slaves who would sing their tunes. In this way, a total of 136 songs, their notes, verse and chorus lyrics, were successfully put to paper. The author observes how much of the music is religious, with allusions to the Bible, Jesus and Lord frequent. Yet narratives of slave life, and the emotions of the singers, also feature strongly. Many of the songs were sung repeatedly as the slaves worked the fields, their choruses and melodies being intended to enliven a day of hard labor in the heat of the sun. The music in this collection is divided by region; differences in vocalizing and phrases can be observed, reflecting the various localities in which slaves were raised and labored in.