Sinful Tunes and Spirituals  21001

• Prologue: The African Heritage and the Middle Passage

Part One: Development of Black Folk Music to 1800

1. Early Reports of Black African Music in British and French America[rtoc]
   • La Calinda and the Banza
   • Other African Dancing[/rtoc]
2. More Black Instruments and Early White Reaction[rtoc]
   • Drums and Other African Instruments
   • The Balafo
   • Legal Restrictions on Instruments[/rtoc]
3. The Role of Music in Daily Life[rtoc]
   • Funerals
   • Pinkster and Other African Celebrations in the North
   • Worksongs and Other Kinds of African Singing[/rtoc]
4. The Acculturation of African Music in the New World[rtoc]
   • The Arrival of Africans and Their Music
   • Acculturation in New Orleans[/rtoc]
5. Conversion to Christianity
6. Acculturated Black Musicians in the Thirteen Colonies[rtoc]
   • The African Jig, a Black-to-White Exchange[/rtoc]

Part Two: Secular and Sacred Black Folk Music, 1800-1867

7. African Survivals[rtoc]
   • Persisting Musical and Cultural Patterns
   • Black Music in New Orleans, 1820-67[/rtoc]
8. Acculturated Dancing and Associated Instruments[rtoc]
   • Patting Juba
   • Drums, Quills, Banjo, Bones, Triangle, Tambourine
   • Fiddlers
   • Instrumental Combinations[/rtoc]
9. Worksongs[rtoc]
   • Field Work and Domestic Chores
   • Industrial and Steamboat Workers
   • Boat Songs
   • Corn, Cane, and Other Harvest Songs
   • Singing on the March
   • Street Cries and Field Hollers[/rtoc]
10. Distinctive Characteristics of Secular Black Folk Music[rtoc]
    • Whistling
    • Improvisation
    • Satire
    • Style of Singing
    • Other Secular Music[/rtoc]
11. The Religious Background of Sacred Black Folk Music, 1801-67[rtoc]
    • Opposition to Religious Instruction of Slaves
    • Camp Meetings
    • Missions to the Slaves
    • Black Religious Groups
    • Opposition to Secular Music and Dancing[/rtoc]
12. Distinctive Black Religious Music[rtoc]
    • Spirituals
    • Attempts to Suppress Black Religious Singing
    • The Shout
    • Funerals[/rtoc]

Part Three: The Emergence of Black Folk Music during the Civil War

13. Early Wartime Reports and the First Publication of a Spiritual with Its Music
14. The Port Royal Experiment[rtoc]
    • Historical Background
    • Earliest Published Reports
    • Wartime Publication of Song Texts and Music[/rtoc]
15. Reports of Black Folk Music, 1863-67[rtoc]
    • Criticism of “This Barbaric Music”
    • Recognition of a Distinctive Folk Music
    • The Shout
    • Worksongs
    • Performance Style
    • Introduction of “New” Songs by the Teachers[/rtoc]
16. Slave Songs of the United States: Its Editors[rtoc]
    • William Francis Allen
    • Charles Pickard Ware
    • Lucy McKim Garrison[/rtoc]
17. Slave Songs of the United States: Its Publication[rtoc]
    • The Contributors
    • Problems of Notation
    • Assembling the Collection
    • Publication and Reception[/rtoc]

• Conclusion

Array
(
    [_edit_lock] => Array
        (
            [0] => 1603493528:1
        )

    [_edit_last] => Array
        (
            [0] => 1
        )

    [subtitle] => Array
        (
            [0] => Black Folk Music to the Civil War
        )

    [ASIN] => Array
        (
            [0] => 0252005201
        )

    [ISBN] => Array
        (
            [0] => 9780252005206
        )

    [inlocation] => Array
        (
            [0] => "20967"*784.756 E 64
        )

)