FOOTNOTES:[60]'Nationalism in Music,' in 'The International,' Dec., 1913.[61]H. E. Krehbiel, 'Afro-American Folksongs,' 1914.[62]H. E. Krehbiel,op. cit.[63]Richard Wallaschek: 'Primitive Music,' London, 1893.[64]'Slave Songs of the United States,' New York, 1867.[65]'Ten Years in South Africa.'[66]H. E. Krehbiel,op. cit.[67]In the collection entitled 'Jubilee and Plantation Songs' (Oliver Ditson, 1887) the melody only is given. Mr. Krehbiel gives two harmonizations, but it is a question whether they are satisfactory reproductions of the 'native' spirit of the song. Mr. Henry F. Gilbert has used it in his 'Negro Rhapsody' with most telling effect.[68]For an example of a pentatonic melody we refer the reader to 'Nobody Knows de Trouble I've Seen'; for the major seventh in a minor key (the use of the augmented second) to the 'Baptizing Hymn' ('Freely Go') and 'Father Abraham' ('Tell It'). This peculiar oriental effect may be, as Mr. Krehbiel thinks, due to a feeling that was natural to the Moors, the Mohammedan negroes who made up a small part of the American colored stock. A specimen of a song in the whole-tone scale is 'O Rock Me, Julie,' in which the refrain is each time a fifth lower than the verse.[69]'Slave Songs in the United States.'[70]James Augustus Grant in 'A Walk Across Africa' says that his people when cleaning rice were always followed by singers who accompanied the workers with clapping of hands and stamping of feet. 'Whenever companies of negroes were working together in the cotton fields and tobacco factories, on the levees and steamboats or sugar plantations and chiefly in the fervor of religious gatherings, these melodies sprang into life.' (Booker T. Washington, in preface to Coleridge-Taylor's 'Twenty-four Negro Melodies.')[71]Remnants of voodooism have survived in Louisiana to our day. The language of the creole negro is a Frenchpatois. In his songs thispatoisis sometimes intermingled with strange words of African origin. Some still have an African refrain, though the negroes no longer understand its meaning. Lafcadio Hearn, upon asking the meaning of the words of one of these songs of a negro woman in Louisiana, received the answer:Mais c'est Voudoo, ça; je n'en sais rien!With the help of philological references Hearn actually traced the words to Africa and made sense out of them in connection with their context.[72]'Century Magazine,' Aug., 1899.[73]Mr. Allen says that the shout is not found in North Carolina and Virginia, though Mr. Krehbiel knows of an example from Kentucky. Mr. Allen says, however, that the term 'shouting' is used in Virginia in reference to a peculiar motion of the body wholly unlike the Carolina shouting.[74]La Musique ches les peuples indigènes de l'Amérique du Nord.[75]Musik, Tanz und Dichtung bei den Kreolen Amerikas.[76]George W. Cable in 'Century Magazine.'[77]White had a long and successful career as a minstrel and manager. Extracts from his diary were printed in the New YorkSun, April 20, 1902, shortly after his death.[78]'Zip Coon,' or 'Turkey in the Straw,' one of the liveliest of American popular tunes, has also been attributed to George Washington Dixon, who appeared on the stage as early as 1830 and sang to the accompaniment of a banjo.[79]'Dixie' was a minstrel 'walk-around,' but it has become a patriotic song and we shall speak of it as such later on.[80]César Saerchinger: 'Stephen Foster and the American Folksong' (The International, Feb., 1914).[81]'American History and Encyclopedia of Music.'[82]Dr. Schuchburgh was a surgeon in the British army. He probably wrote the satirical words of the song and adapted them to a familiar tune.[83]Oscar G. Sonneck: 'Reports on "Hail Columbia," "Yankee Doodle," etc.,' Library of Congress.[84]Cf.Sonneck,op. cit., pp. 68-69.[85]Cf.Chapter X, pp. 240 ff.
FOOTNOTES:[60]'Nationalism in Music,' in 'The International,' Dec., 1913.[61]H. E. Krehbiel, 'Afro-American Folksongs,' 1914.[62]H. E. Krehbiel,op. cit.[63]Richard Wallaschek: 'Primitive Music,' London, 1893.[64]'Slave Songs of the United States,' New York, 1867.[65]'Ten Years in South Africa.'[66]H. E. Krehbiel,op. cit.[67]In the collection entitled 'Jubilee and Plantation Songs' (Oliver Ditson, 1887) the melody only is given. Mr. Krehbiel gives two harmonizations, but it is a question whether they are satisfactory reproductions of the 'native' spirit of the song. Mr. Henry F. Gilbert has used it in his 'Negro Rhapsody' with most telling effect.[68]For an example of a pentatonic melody we refer the reader to 'Nobody Knows de Trouble I've Seen'; for the major seventh in a minor key (the use of the augmented second) to the 'Baptizing Hymn' ('Freely Go') and 'Father Abraham' ('Tell It'). This peculiar oriental effect may be, as Mr. Krehbiel thinks, due to a feeling that was natural to the Moors, the Mohammedan negroes who made up a small part of the American colored stock. A specimen of a song in the whole-tone scale is 'O Rock Me, Julie,' in which the refrain is each time a fifth lower than the verse.[69]'Slave Songs in the United States.'[70]James Augustus Grant in 'A Walk Across Africa' says that his people when cleaning rice were always followed by singers who accompanied the workers with clapping of hands and stamping of feet. 'Whenever companies of negroes were working together in the cotton fields and tobacco factories, on the levees and steamboats or sugar plantations and chiefly in the fervor of religious gatherings, these melodies sprang into life.' (Booker T. Washington, in preface to Coleridge-Taylor's 'Twenty-four Negro Melodies.')[71]Remnants of voodooism have survived in Louisiana to our day. The language of the creole negro is a Frenchpatois. In his songs thispatoisis sometimes intermingled with strange words of African origin. Some still have an African refrain, though the negroes no longer understand its meaning. Lafcadio Hearn, upon asking the meaning of the words of one of these songs of a negro woman in Louisiana, received the answer:Mais c'est Voudoo, ça; je n'en sais rien!With the help of philological references Hearn actually traced the words to Africa and made sense out of them in connection with their context.[72]'Century Magazine,' Aug., 1899.[73]Mr. Allen says that the shout is not found in North Carolina and Virginia, though Mr. Krehbiel knows of an example from Kentucky. Mr. Allen says, however, that the term 'shouting' is used in Virginia in reference to a peculiar motion of the body wholly unlike the Carolina shouting.[74]La Musique ches les peuples indigènes de l'Amérique du Nord.[75]Musik, Tanz und Dichtung bei den Kreolen Amerikas.[76]George W. Cable in 'Century Magazine.'[77]White had a long and successful career as a minstrel and manager. Extracts from his diary were printed in the New YorkSun, April 20, 1902, shortly after his death.[78]'Zip Coon,' or 'Turkey in the Straw,' one of the liveliest of American popular tunes, has also been attributed to George Washington Dixon, who appeared on the stage as early as 1830 and sang to the accompaniment of a banjo.[79]'Dixie' was a minstrel 'walk-around,' but it has become a patriotic song and we shall speak of it as such later on.[80]César Saerchinger: 'Stephen Foster and the American Folksong' (The International, Feb., 1914).[81]'American History and Encyclopedia of Music.'[82]Dr. Schuchburgh was a surgeon in the British army. He probably wrote the satirical words of the song and adapted them to a familiar tune.[83]Oscar G. Sonneck: 'Reports on "Hail Columbia," "Yankee Doodle," etc.,' Library of Congress.[84]Cf.Sonneck,op. cit., pp. 68-69.[85]Cf.Chapter X, pp. 240 ff.
FOOTNOTES:
[60]'Nationalism in Music,' in 'The International,' Dec., 1913.
[60]'Nationalism in Music,' in 'The International,' Dec., 1913.
[61]H. E. Krehbiel, 'Afro-American Folksongs,' 1914.
[61]H. E. Krehbiel, 'Afro-American Folksongs,' 1914.
[62]H. E. Krehbiel,op. cit.
[62]H. E. Krehbiel,op. cit.
[63]Richard Wallaschek: 'Primitive Music,' London, 1893.
[63]Richard Wallaschek: 'Primitive Music,' London, 1893.
[64]'Slave Songs of the United States,' New York, 1867.
[64]'Slave Songs of the United States,' New York, 1867.
[65]'Ten Years in South Africa.'
[65]'Ten Years in South Africa.'
[66]H. E. Krehbiel,op. cit.
[66]H. E. Krehbiel,op. cit.
[67]In the collection entitled 'Jubilee and Plantation Songs' (Oliver Ditson, 1887) the melody only is given. Mr. Krehbiel gives two harmonizations, but it is a question whether they are satisfactory reproductions of the 'native' spirit of the song. Mr. Henry F. Gilbert has used it in his 'Negro Rhapsody' with most telling effect.
[67]In the collection entitled 'Jubilee and Plantation Songs' (Oliver Ditson, 1887) the melody only is given. Mr. Krehbiel gives two harmonizations, but it is a question whether they are satisfactory reproductions of the 'native' spirit of the song. Mr. Henry F. Gilbert has used it in his 'Negro Rhapsody' with most telling effect.
[68]For an example of a pentatonic melody we refer the reader to 'Nobody Knows de Trouble I've Seen'; for the major seventh in a minor key (the use of the augmented second) to the 'Baptizing Hymn' ('Freely Go') and 'Father Abraham' ('Tell It'). This peculiar oriental effect may be, as Mr. Krehbiel thinks, due to a feeling that was natural to the Moors, the Mohammedan negroes who made up a small part of the American colored stock. A specimen of a song in the whole-tone scale is 'O Rock Me, Julie,' in which the refrain is each time a fifth lower than the verse.
[68]For an example of a pentatonic melody we refer the reader to 'Nobody Knows de Trouble I've Seen'; for the major seventh in a minor key (the use of the augmented second) to the 'Baptizing Hymn' ('Freely Go') and 'Father Abraham' ('Tell It'). This peculiar oriental effect may be, as Mr. Krehbiel thinks, due to a feeling that was natural to the Moors, the Mohammedan negroes who made up a small part of the American colored stock. A specimen of a song in the whole-tone scale is 'O Rock Me, Julie,' in which the refrain is each time a fifth lower than the verse.
[69]'Slave Songs in the United States.'
[69]'Slave Songs in the United States.'
[70]James Augustus Grant in 'A Walk Across Africa' says that his people when cleaning rice were always followed by singers who accompanied the workers with clapping of hands and stamping of feet. 'Whenever companies of negroes were working together in the cotton fields and tobacco factories, on the levees and steamboats or sugar plantations and chiefly in the fervor of religious gatherings, these melodies sprang into life.' (Booker T. Washington, in preface to Coleridge-Taylor's 'Twenty-four Negro Melodies.')
[70]James Augustus Grant in 'A Walk Across Africa' says that his people when cleaning rice were always followed by singers who accompanied the workers with clapping of hands and stamping of feet. 'Whenever companies of negroes were working together in the cotton fields and tobacco factories, on the levees and steamboats or sugar plantations and chiefly in the fervor of religious gatherings, these melodies sprang into life.' (Booker T. Washington, in preface to Coleridge-Taylor's 'Twenty-four Negro Melodies.')
[71]Remnants of voodooism have survived in Louisiana to our day. The language of the creole negro is a Frenchpatois. In his songs thispatoisis sometimes intermingled with strange words of African origin. Some still have an African refrain, though the negroes no longer understand its meaning. Lafcadio Hearn, upon asking the meaning of the words of one of these songs of a negro woman in Louisiana, received the answer:Mais c'est Voudoo, ça; je n'en sais rien!With the help of philological references Hearn actually traced the words to Africa and made sense out of them in connection with their context.
[71]Remnants of voodooism have survived in Louisiana to our day. The language of the creole negro is a Frenchpatois. In his songs thispatoisis sometimes intermingled with strange words of African origin. Some still have an African refrain, though the negroes no longer understand its meaning. Lafcadio Hearn, upon asking the meaning of the words of one of these songs of a negro woman in Louisiana, received the answer:Mais c'est Voudoo, ça; je n'en sais rien!With the help of philological references Hearn actually traced the words to Africa and made sense out of them in connection with their context.
[72]'Century Magazine,' Aug., 1899.
[72]'Century Magazine,' Aug., 1899.
[73]Mr. Allen says that the shout is not found in North Carolina and Virginia, though Mr. Krehbiel knows of an example from Kentucky. Mr. Allen says, however, that the term 'shouting' is used in Virginia in reference to a peculiar motion of the body wholly unlike the Carolina shouting.
[73]Mr. Allen says that the shout is not found in North Carolina and Virginia, though Mr. Krehbiel knows of an example from Kentucky. Mr. Allen says, however, that the term 'shouting' is used in Virginia in reference to a peculiar motion of the body wholly unlike the Carolina shouting.
[74]La Musique ches les peuples indigènes de l'Amérique du Nord.
[74]La Musique ches les peuples indigènes de l'Amérique du Nord.
[75]Musik, Tanz und Dichtung bei den Kreolen Amerikas.
[75]Musik, Tanz und Dichtung bei den Kreolen Amerikas.
[76]George W. Cable in 'Century Magazine.'
[76]George W. Cable in 'Century Magazine.'
[77]White had a long and successful career as a minstrel and manager. Extracts from his diary were printed in the New YorkSun, April 20, 1902, shortly after his death.
[77]White had a long and successful career as a minstrel and manager. Extracts from his diary were printed in the New YorkSun, April 20, 1902, shortly after his death.
[78]'Zip Coon,' or 'Turkey in the Straw,' one of the liveliest of American popular tunes, has also been attributed to George Washington Dixon, who appeared on the stage as early as 1830 and sang to the accompaniment of a banjo.
[78]'Zip Coon,' or 'Turkey in the Straw,' one of the liveliest of American popular tunes, has also been attributed to George Washington Dixon, who appeared on the stage as early as 1830 and sang to the accompaniment of a banjo.
[79]'Dixie' was a minstrel 'walk-around,' but it has become a patriotic song and we shall speak of it as such later on.
[79]'Dixie' was a minstrel 'walk-around,' but it has become a patriotic song and we shall speak of it as such later on.
[80]César Saerchinger: 'Stephen Foster and the American Folksong' (The International, Feb., 1914).
[80]César Saerchinger: 'Stephen Foster and the American Folksong' (The International, Feb., 1914).
[81]'American History and Encyclopedia of Music.'
[81]'American History and Encyclopedia of Music.'
[82]Dr. Schuchburgh was a surgeon in the British army. He probably wrote the satirical words of the song and adapted them to a familiar tune.
[82]Dr. Schuchburgh was a surgeon in the British army. He probably wrote the satirical words of the song and adapted them to a familiar tune.
[83]Oscar G. Sonneck: 'Reports on "Hail Columbia," "Yankee Doodle," etc.,' Library of Congress.
[83]Oscar G. Sonneck: 'Reports on "Hail Columbia," "Yankee Doodle," etc.,' Library of Congress.
[84]Cf.Sonneck,op. cit., pp. 68-69.
[84]Cf.Sonneck,op. cit., pp. 68-69.
[85]Cf.Chapter X, pp. 240 ff.
[85]Cf.Chapter X, pp. 240 ff.