LAUDEMUS – GALA CORAL
Coro Nacional de Niños Dominicanos
MY LORD WHAT A MORNING - Negro Spiritual
Adaptación y arreglo Angel Herdz
Orquesta del Teatro Nacional Eduardo Brito
Dirige Mtro. Ángel Herdz
Teatro Nacional Eduardo Brito
15 de mayo 2021
República Dominicana

www.coronacional.com
www.programacoral.com

Jules Bledsoe, baritone

GOOD NEWS - SPIRITUAL, arr. WOLFGANG KELBER

dirige: Mo Giusj A. Santacaterina (dir. Coro Città di Villa S. Giovanni)

4 Maggio 2018
Atelier facoltà di Architettura - Università Mediterranea di Reggio Calabria.
Concerto finale a cori uniti (Università di Messina, Università di Macerata, Pastorale Universitaria, coro CAI – sez. Aspromonte, coro “Città di Villa S. Giovanni”, San Paolo, Cantate Domino, Free Togheter e Mater Decor Carmeli a conclusione Masterclass in canto e direzione corale “UNIVERSOUND” tenuta dal M ° Aldo Cicconofri ed Organizzato dal Coro Polifonico dell’Università Mediterraneacoro Unirc.

ニグロ風の旋律 - 「新世界交響曲」より "From the New World Symphony"
Piano acc. by Marcel Gazelle
recorded 21 December1935
transferred from Jpn Victor 78rpm / JD-1060(2LA-791)

Florence Price, composer
Marian Anderson, contralto
Recorded 1937
(end of video incorrectly notes Burleigh as composer)

This Black History month we look back not at what we have lost but what we have contributed to culture. It speaks beyond words.


Negro Spirituals was a way for slaves to express their feelings whether it was sorrow, joy, inspiration or hope. Songs were passed down from generation to generation throughout slavery.

Me and my friends at First Congregational Church of Detroit
Sharon Irving, Herb Harris Jr. , Foxx Called Moon Films, Kristian DeLayne, and Erik Washington, have created a collection for you in honor of the amazing things our ancestors have done!

These songs were influenced by African and religious traditions and would later form the basis for what is known as “Negro Spirituals”. Col. Thomas W. Higginson of the 54th Massachusetts Regiment recognized the term Negro Spiritual.

Singing at contraband camps helped former slaves navigate the gray area between slavery and freedom.

Negro Spirituals performed by FBC Psalms in Motion at Watch Night Service 2012.

Hymn : Soon Ah Will Be Done.
Author: Williams L. Dawson .
By : Jessye Norman Soprano .

- Arreglo para CORO (SATB) + SOLOS a capella
Maqueta intrumental en versión VINTAGE KEYBORDS , ya que la obra no posee aún una versión coral y los samples disponibles de coro no sirven para obras a capella.
Esperando una buena versión coral...

Descarga gratuita de PARTITURAS y MIDIs: https://estebantozzimusico.com/

Provided to YouTube by CDBaby

City Called Heaven - Negro Spiritual · Wolford/Rosenblum Duo

More Than Sax

℗ 1995 Gliddon Productions

Released on: 1995-01-01

Auto-generated by YouTube.

Rexdale Outreach Choir Performs a medley of spirituals for a black history month festival of choirs, on Saturday February 28th, 2015

Musique Evangelique Haitienne. Haitian Gospel Music.

Provided to YouTube by Routenote

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

To purchase the sheet for this song click the link below.
https://ariasavings.com/produc....ts/go-tell-it-on-the
Please consider supporting us on Patreon: http://www.Patreon.com/FreeMusicTeacher

"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