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Tippett: Five Negro Spirituals (from A Child of Our Time) - Nobody Knows · Pembroke College Chapel Choir, Cambridge
In splendoribus sanctorum
℗ N/A
Released on: 2014-07-30
Auto-generated by YouTube.
From Five Creek-Freedmen Spirituals Margaret Bonds, composer
Randye Jones, soprano
William Tinker, piano
Floods of Praise and Giving Concert
Herrick Chapel
Grinnell College
Hale Smith, composer
Randye Jones, soprano
Michelle Crouch, piano
Art of the Negro Spiritual Concert
Herrick Chapel
Grinnell College
http://www.videmus.org/catalog/index.php?fwa=viewScore&sid=29
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https://ariasavings.com/produc....ts/go-tell-it-on-the
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"Go Tell It on the Mountain" is an African-American spiritual song, compiled by John Wesley Work, Jr., dating back to at least 1865, that has been sung and recorded by many gospel and secular performers. It is considered a Christmas carol because its original lyrics celebrate the Nativity of Jesus:
“ Go tell it on the mountain, over the hills and everywhere;
go tell it on the mountain, that Jesus Christ is born.
In 1963, the musical team Peter, Paul and Mary, along with their musical director, Milt Okun, adapted and rewrote "Go Tell It on the Mountain" as "Tell It on the Mountain", their lyrics referring specifically to Exodus and using the phrase "Let my people go," but referring implicitly to the Civil Rights struggle of the early 1960s. According to Religious Studies professor and Civil Rights historian Charles Marsh, it was African American Civil Rights leader Fannie Lou Hamer who combined this song with the spiritual "Go Down Moses," taking the last line of the chorus, "Let my people go" and substituting it in the chorus of "Go Tell it on the Mountain" (Marsh, Charles, God's Long Summer, Princeton, 1997, page 47). Marsh does not document this claim, but given that Hamer was highly active in Civil Rights work beginning in the 1950s, and that the use of the Exodus story and the singing of spirituals played a central role in her activities, this claim is compelling. The song was recorded by Yarrow, Stookey and Travers on their Peter, Paul and Mary album In the Wind and was also a moderately successful single for them. (US #33 pop, 1964). A version by Little Big Town reached the Top 40 on the Hot Country Songs charts, reaching #35.
Spirituals (or Negro spirituals) are religious (generally Christian) songs that were created by enslaved African people in the United States. Spirituals were originally an oral tradition that imparted Christian values while also describing the hardships of slavery. Although spirituals were originally unaccompanied monophonic (unison) songs, they are best known today in harmonized choral arrangements. This historic group of uniquely American songs is now recognized as a distinct genre of music.
The term spiritual is derived from spiritual song, and derives from the King James Bible's translation of Ephesians 5:19 says: "Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord." Slave Songs of the United States, the first major collection of Negro spirituals, was published in 1867.
Musicologist George Pullen Jackson extended the term spiritual to a wider range of folk hymnody, as in his 1938 book White Spirituals in the Southern Uplands, but this does not appear to have been widespread usage previously. The term, however, has often been broadened to include subsequent arrangements into more standard European-American hymnodic styles, and to include post-emancipation songs with stylistic similarities to the original Negro spirituals.
Although numerous rhythmical and sonic elements of Negro spirituals can be traced to African sources, Negro spirituals are a musical form that is indigenous and specific to the religious experience in the United States of Africans and their descendants. They are a result of the interaction of music and religion from Africa with music and religion of European origin. Further, this interaction occurred only in the United States. Africans who converted to Christianity in other parts of the world, even in the Caribbean and Latin America, did not evolve this form.
Fisk Jubilee Quartet
Standing: Alfred Garfield King (1st bass);
Seated, L-R: John Wesley Work II (1st tenor),
Noah Walker Ryder (2nd bass), and
James Andrew Meyers (2nd tenor)
Recorded Dec. 21, 1909, Camden, NJ
Witness arranged by Hall Johnson
No copyright infringement intended.
I pray that you find this a blessing. Please comment, subscribe, and share. Thank you so much. Peace!
The American author, philosopher, theologian, and social, human, and civil rights leader Howard Washington Thurman is well known for speaking and writing on a variety of subjects, including his reflections on Negro spirituals. In this presentation combining narration, musical solos, and audience participation, Dr. James Abbington will bring Howard Thurman’s work to life using Thurman’s book Deep River and the Negro Spiritual Speaks of Life and Death to explore the role of protest and resistance in spirituals and show how these songs were a source of spiritual vitality in Thurman's life. Join us for this unique night of spoken word and song!
This event is free and open to the public and will be livestreamed.
Tenor Stanley Jackson sings Robert MacGimsey - Sweet little Jesus boy (Trad. Negro Spiritual)
Officina Vocalis, coro de câmara (chamber choir)
Jetro Meira de Oliveira, regente (conductor)
Alexandre Gustavo Chaves, piano
Tradução:
Quero que Jesus ande comigo. X 2
Durante toda a minha peregrinação, Senhor,
Quero que Jesus ande comigo.
Nas minhas provações, Senhor, ande comigo. X 2
Quando meu coração está prestes a quebrar,
Senhor, quero que Jesus ande comigo.
Quando estou em apuros, Senhor, ande comigo. X 2
Quando minha cabeça está curvada em tristeza,
Senhor, quero que Jesus ande comigo.
Quero que Jesus ande comigo, ó sim!
Quero que Jesus ande comigo, comigo!
Durante toda minha peregrinação Senhor,
Quero que Jesus ande comigo.
Quero que Jesus ande comigo, ó sim!
Quero que Jesus ande comigo, comigo!
Durante toda minha peregrinação Senhor,
Quero que Jesus ande comigo.
Ande comigo! X 3
Hommage à Claude Nougaro
Pascal Vidaillac, chant
Pascal Dessein, piano
La Société Philharmonique d’Avallon
L’Harmonie de Corbigny
Sous la direction de Christian Nuytten
Enregistré à Clamecy le 8 février 2020
Provided to YouTube by DistroKid
Negro Spiritual · J.Real Rashad
Negro Spiritual
℗ Chasing Millions Music Company
Released on: 2020-10-25
Auto-generated by YouTube.
Hello everyone! This has become a tradition for us: A Black History [Month] Tribute...last year it was "Hold On"....this year it's ---- well, take a listen :-D
#spiritual #capsule
Qu'est-ce que le (negro)-spiritual?
Erratum: aujourd'hui on parlera plutôt de spiritual.
Capsule destinée à la pédagogie.
https://www.youtube.com/@maggam
African American Spiritual by Harry T. Burleigh
#AfricanAmericanSpiritual
#ChoralMusic
#SouthernGospel
#AfricanChoral
Soprano : Barbara Hendricks
Piano: Dmitri Aleexev
"There is a Balm in Gilead" is a beautiful classic Negro spiritual written around the year 1800 based on Jeremiah 8:22.
"The first Africans on American shores arrived in chains. Their hellish voyage aboard slave ships was only the beginning of their sorrows. The breakup of their families, the oppression of bondage, the whips and shackles, their loss of dignity . . . it all combined to kill both body and spirit.
"But the souls of the slaves found release through singing, and a unique form of music evolved called the 'Negro Spiritual.' African-American slaves composed their songs in the fields and barns, the words dealing with daily pain and future hope.
"Often the slaves were allowed to sing while working. Other times, risking the lash or branding iron, they'd slip into torch-lit groves to worship the Lord. Few Negro spirituals can be precisely dated, nor are many specific authors known, but they have mightily influenced American Christian music."
"Then Sings My Soul" by Robert J. Morgan, page 85.
Hold On sung by The Boys Choir of Dupont Park Adventist School
Damien Sneed, composer
Lawrence Brownlee, tenor
