A Tradition of Spirituals
By: Dave Watermulder, J. Amber Hudlin, and Ellie Kaufman
Origin of Spirituals
African American spirituals are one mode through which the melodies
and rhythms of Africa found their way to America. Spirituals arose out
of the songs the slaves would sing working in the fields on the
plantations.
In the fields the slaves developed a musical combination of "call and
response"
which becomes characteristic of gospel singing. Early spirituals acted
for a number of practical functions for the slaves. Some were a mode of
communication or a map to the North. Aside from these reasons, their song
was a cry for freedom and salvation.
A Look at Prominent Composers and Performers
Henry Thacker Burleigh (1866-1949)
Henry
Thacker
Burleigh. was born on December 2, 1866,in Erie, Pennsylvania. His
mother
was a domestic worker, and it was advantageous to young Henry that his
mother was so employed. His mother's employer, Mrs. Elizabeth Russell,
would hold concerts by well-known performers in her home and Burleigh was
permitted to attend. His interest in music was accute even at this young
age and it would continue throughout his life and illustrious
career.
Burleigh sang in the choirs at St. Paul's and the Park Presbyterian
Church as well as at the Reform Jewish Temple. It seemed that he was
always
singing. He sang while he worked at jobs such as stenographer (which he
took on to support his family). He sang so much that in 1892, at the age
of 26, he went to New York and won a scholarship to the National
Conservatory
of Music. While studying at the Conservatory, Burleigh was introduced to
many noted musicians. Most important to his own development was his
introduction
to Czech composer Antonin Dvorak. Dvorak was very taken by Burleigh's
voice
and singing style. Since Burleigh's grandfather sang negro spirituals to
him as a young boy, he was often found singing these sorts of songs to
himself. Dvorak, coming from the other side of "the pond," hadn't heard
the spiritual style before. When Dvorak composed his major work, Symphony
no.9, "From the New World," he used portions of "Swing Low, Swing
Chariot,"
which he had learned from Burleigh.
In 1894 Burleigh became the baritone soloist at St. George's Episcopal
Church in New York and by 1896 he had completed his studies at the
Conservatory.
In 1898 he married Louise Alston and they had a son, Alston, the following
year. He continued singing and his income allowed him time to study and
compose. In 1916 his spiritual "Deep River" became very popular with
concert
performers and recording artists. His spirituals caught on with white and
black musicians and he arranged songs for the likes of Roland Hays, Paul
Robeson and Marian Anderson, one of the most celebrated contraltos of the
age.
 Marian
Anderson was born in South Philadelphia to a poor family on
February
27,1897. Her father sold ice and coal and her mother helped earn the
family
income by taking laundry. She sang in church choirs, and through the
support
of her community, she raised enough money to take voice lessons with
Giuseppe
Boghetti. In 1923, she won first prize at a singing contest in
Philadelphia,
and six years later, in 1929, she gave a recital at Carnegie Hall. She
later toured the European continent, everywhere in Europe her singing of
Negro Spirituals produced a sensation. In 1939, she became the center of
national attention when the Daughters of the AmericanRevolution refused
to let her sing at the Constitution Hall in Washington D.C. because of
segregation. This publicity contributed to her success. Throughout her
life she was awarded 24 honorary degrees frominstitutes of higher
learning.
She received the American Freedom medal from President Johnson, and the
prestigious Spingarn award for the "highest and noblest achievement by
an American Negro." Anderson has contributed greatly to the acceptance
of African-American musicians throughout the world.
Like Anderson, Burleigh continued to sing and compose throughout
his life. His music was featured whenever a piece about negro spirituals
was put together. The sale of his work allowed him to travel extensively
and break through many racial barriers that held others back. He was a
memberof the American Society of Composers, Authors, and Publishers (ASCAP),
and in 1941, he joined the Board of Directors.
In 1946, Burleigh retired due to illness, but his son Alston took care
to place him in quality nursing homes. H.T. Burleigh died on September
12, 1949. He left behind a treasure trove of musical arrangements and a
lifetime of achievement. His work as a composer and promoter of Spirituals
did much to bring the traditional slave songs of the South to the ears
of Northern listeners and noted musicians alike.
Literary Analysis of Spirituals
Wade In De Water
Arranged by H.T. Burleigh
Wade in de water, Wade in de water, children,
Wade in de water, God's a goin' to trouble de water.
See dat band all dress'd in white,
God's a goin' to trouble de water.
De Leader looks like de Israelite,
God's a goin' to trouble de water
Wade in de water, Wade in de water, children,
Wade in de water, God's a goin' to trouble de water.
See dat band all dress'd in red,
God's a goin' to trouble de water.
It looks like de band dat Moses led.
God's a goin' a trouble de water.
Wade in de water, Water in de water, children,
Wade in de water, in de water,
God's a goin' to trouble de water.
 Click
here to hear a sample
The religious themes of this piece, "Wade in de Water" are evident and
important to understand. This piece uses a peculiar phrase to describe
the central action in the song. It says, "God's a goin' to trouble de
water".
What could this possibly mean when considering that the song also exhorts
its listeners to "wade in de water"? Could the message be that one should
enter the water which God is then going to "trouble" or stir up? This
almost
sounds like God will bring trouble to whoever goes into the water, so why
would the song tell people to do that? Fortunately, the true message of
this piece is rooted in the spiritual history of God's chosen people. The
Hebrew people of the Old Testament lived in troubled times. They were
oppressed
and enslaved in Egypt by Pharaoh and had only their faith in God or Yahweh
to sustain them. This spiritual's words hearken back to that time when
by sheer faith in God, the people were led to freedom. Similarly, this
song suggests that the people now need that kind of faith. They need to
"wade in de water" and not worry about their fears. God's plan for them
is that they wade in the water, and He will then trouble it. So this
brings
us back to the original question: what does "trouble de water" mean? Most
likely the wade in the water idea comes from the Biblical story of Moses
and how he parted the Red (or Reed) Sea. Under this interpretation, faith
in God would lead the people to wade in the water and then in His
faithfulness,
God would trouble the water which would harm the enemies of the people.
God's salvation from harm is therefore dependent on the people's acts of
faith. The image of the water is also one of purity and redemption. The
people need to get into this water as a very physical way of cleansing
themselves, but also cleansing themselves spiritually. The water washes
over them and they are brought closer to God. Again, the overtly religious
tone of the song is very typical of spiritual music and is in fact a
necessary
component.
Summertime (Lullaby)
Lyrics by Du Bose Heyward
Music by George Gershwin
Summertime an' the livin' is easy,
Fish are jumpin', an' the cotton is high.
Oh yo' daddy's rich, an' yo' ma is goodlookin',
So hush, little baby, don' yo' cry.
One of these mornin's You goin' to rise up singin',
Then you'll spread yo' wings an' you'll take the sky.
But till that mornin' there's a nothin' can harm you
With Daddy an' Mammy standin' by.
The well known spiritual "Summertime" with music by George Gershwin and
lyrics by DuBose Heyward is an excellent example of the tradition of black
spirituals in America. The song begins with the phrase "summertime an'
the livin' is easy", this lyric, is the same as the one used by the
ska-hardcore
band Sublime in their song
"Doin' Time". The fact that a pop music group in the 1990's would use the
same line first written and sung in the 1930's is telling. The powerful
influence of spiritual or sacred music took over a century to develop,
but is quite evident today.
The tone of this song is rather light and happy. The title alone
elicits
thoughts of the good times that most people connect with "summertime".
The song notes that 'fish are jumpin', and the cotton is high', definite
signs of the good times that are apparently pervading the scene. So, the
song is on the surface very physical. It talks about the farm condition,
the protection by parents from danger, and the economic condition of the
parents. The analysis is not complete without looking a bit beneath the
surface. When the song says, "one of these mornin's, You goin' to rise
up singin', Then you'll spread yo' wings an' you'll take the sky", it
reveals
its truest sentiments. Though it seems to be such a light and easygoing
song, "Summertime" has a hidden message of hope for apparently oppressed
people. The image of someone spreading their wings and flying away brings
up thoughts of freedom and escape. Both of these ideas have traditionally
been key in the black spiritual tradition. Though this song dates from
the depression, rather than the slavery or post-reconstruction era, it
still works to bring a message of hope to those who hear it.
Nobody Knows De Trouble I've Seen
Arranged by H.T. Burleigh
Nobody knows de trouble I've seen,
Nobody knows but Jesus
Nobody knows de trouble I've seen, Glory hallelujah!
Some times I'm up sometimes I'm down.
Oh yes, Lord! Sometimes I'm almos' to de groun';
Oh yes, Lord! Oh nobody knows de trouble I've seen,
Nobody knows but Jesus.
Nobody knows de trouble I've seen, Glory hallelujah!
If you get there before I do,
Oh yes, Lord! Tell all my friends I'm coming too,
Oh yes, Lord! Oh nobody knows de trouble I've seen,
Nobody knows but Jesus.
Nobody knows de trouble I've seen, Glory hallelujah.
"Nobody Knows de Trouble I've Seen" is a timeless work that has touched
people since the time Burleigh wrote it and continues to do so today. It
addresses the themes and feelings of loneliness in this life, of
oppression
and the blindness of the oppressor.
Feelings of utter powerlessness could consume a person, "Nobody Knows.
. . " provides support to make it through the days. It is a way of
empowering
yourself through faith. In this analysis we see the lyrics as a vital
means
of spiritual sustenance. According to the song, Jesus knows what we go
through when it seems that nobody does. "Sometimes I'm up sometimes I'm
down. Oh yes, Lord! Sometimes I'm almos' to de groun'." This line states
that life is constantly in flux and full of sorrow but the Lord is always
there watching. One has to be reminded that the Lord is with them in this
life and waiting for them in the next, "If you get there before I do, Oh
yes, Lord! Tell all my friends I'm coming too."
This particular spiritual contains the same themes found in many
spirituals.
The lyrics describe intense feelings of sorrow in conjunction with a
certain
hope and faith that Jesus is with us, "Nobody knows but Jesus." Burleigh's
work emphasizes this connection to Jesus to alleviate some of the pain
of this world. As a literary work the division can be made as to feelings
of loneliness of this world and a heightened feeling of connection and
support from Jesus.
Deep River
Arranged by H.T. Burleigh
Deep river, my home is over Jordan,
Deep river, Lord, I want to cross over into camp-ground.
Deep river, my home is over Jordan
Deep river, Lord, I want to cross over into camp-ground.
Oh, don't you want to go to that gospel feast,
That promised land where all is peace?
Oh deep river, Lord, I want to cross over into camp-ground.
The biblical allusion here is to the classic theme in the Bible of
deliverance.
Many of the old Negro spirituals are based on the theme of deliverance
and salvation. Life is symbolized in the spiritual as the deep river and
heaven is the camp-ground. Burleigh makes a parallel between the
Israelites
and African-Americans. Burleigh, as a songwriter, continues the tradition
of biblical allusion that began in the African-American tradition with
the slave narrative. This spiritual follows in the literary tradition of
using biblical allusion to describe the struggles we all face on Earth.
Frederick Douglass relates his struggle to Jesus Christ in his narrative.
He describes his defeat over his master with the metaphor of a "glorious
resurrection." He has been in a sense delivered out of his former state
of total helplessness. The river implies a long hard journey followed by
a place of supreme respite. Heaven is the counterbalance to the injustice
of this world.
"I want to cross over," implies that one is presently in babylon
yearning
to cross in to the promised land. Burleigh writes of the trials of life
using the metaphor of the deep river Jordan. "I want to cross over into
camp-ground. . . That promised land where all is peace," refers to the
solace one can find in prayer and Jesus in one reading and to heaven in
another. The spiritual describes each person's rightful place in the
promised
land, "my home is over Jordan." The soul craves to be with God, "oh don't
you want to go to that gospel feast."
Freedom is probably the most prominent theme in early African-American
writing such as the slave narrative and in spirituals. In the spiritual
above, freedom lies over the Jordan, or in the next life, in the hands
of God. "Deep River" is a plea for deliverance out of oppression and
sorrow.
Sometimes I Feel Like A Motherless Child
Arranged for solo Voices by H. T.
Burleigh
Sometimes I feel like a motherless chile,
Sometimes I feel like a motherless chile,
Sometimes I feel like a motherless chile,
A long ways from home
A long ways from home.
A long ways from home
A long ways from home
Sometimes I feel like I'm almos' gone
Sometimes I feel like I'm almos' gone
Sometimes I feel like I'm almos' gone
A long ways from home
A long ways from home.
A long ways from home
A long ways from home.
"Sometimes I feel like a motherless chile, a long ways from home,
sometimes
I feel like I'm almos' gone, a long ways from home". During slavery, there
were a lot of people who could relate to this spiritual, and still to this
day, a lot of connections can be made. Many African-Americans who were
slaves were torn away from their family at an early age, some never knew
their mother's face nor when or where they were born. This gives a person
a sense of displacement. A feeling of loneliness, "like a motherless
child".
Their masters took care of them and in most cases kept them ignorant of
their own lineage. Some didn't know if they had a white parent or if both
were black, all they knew was that they were slaves. Many of the slaves
were taken from their native lands, "a long ways from home", and traded
into various states far, far away from any relatives. Since slaves were
kept ignorant of how to read or write, during and after slavery was
abolished,
they were unable to find their loved ones or their way back home. If you
could just image being taken from the only home you know, and placed into
a foreign environment. How painful that would be, some of us would not
be able to survive. Their hearts would be so heavy and their burdens too
much to bear, they just couldn't go on. I think this is how many of the
slaves felt at that time, but they knew that they had to move on, they
had to survive. These spirituals were sung during hard times to ease the
pain of working on the plantation and to ease the burden of being someone
else's property. This spiritual seems to be one individuals would sing
to express their agony and to ease the pain of their broken hearts. The
majority, if not all, of the slaves were going through the same thing,
singing allowed many to ease their mind and be used kind of like a
pick-me-up.
Burleigh's grandfather, a former slave introduced him to spirituals and
the meanings behind them. He inspired Burleigh to continue singing and
composing other Negro Spirituals to educate others who were ignorant of
the hardships of African-Americans during that time. Even after the
abolishment
of slavery, spirituals told the story of the hardships evident to racial
segregation, which was just as hard. "A long ways from home", trying to
make a living in a world that believes that you don't belong; "A long ways
from home", away from the people who could love you unconditionally
despite
your differences, now that's something to sing about.
I Want Jesus to Walk With Me
- Arranged by Edward Boatner
I want Jesus to walk with me,
I want Jesus to walk with me,
All along my pilgrim's journey,
Lord, I want Jesus to walk with me.
In my trials, Lord, walk with me,
In my trials, Lord walk with me,
When my heart is almost breaking,
Lord, I want Jesus to walk with me.
When I'm in trouble, Lord, walk with me,
When I'm in trouble, Lord walk with me,
When my head is bowed in sorrow,
Lord, I want Jesus to walk with me.
This Negro spiritual is full of pain and sorrow. By just reading the
words,
you can feel the pain and sorrow expressed. The dependence of guidance
and comfort from the Lord is the only strength of the speaker. Throughout
every aspect in life, that which one can not bear alone, they want Jesus
to walk with them. The choice of words indicates that this person is going
through hard times in life, and since this spiritual was written in the
time of slavery, it is safe to say that the speaker is striving through
the hardships of slavery. This is a great example of a "sorrow song". Even
though this "sorrow song" was written during the time of slavery, these
words are very versatile and are able to express the agonies of any one
going through hardships, not necessarily slavery.
The Lord is thought to be omnipresent, which means always present;
everywhere.
The speaker is asking the Lord to be there for them on their "pilgrims
journey", "through their trials", "when they are in trouble", "when their
heart is breaking", and "when their head is bowed in sorrow". I feel that
this song exemplifies the overwhelming faith in God that many slaves had
during the time of slavery. Their faith in Jesus was sometimes their only
comfort when they had no family to turn to because they were sent away
or when they were completely alone. This faith kept them looking forward
to another day, it allowed them to keep moving when others would feel that
all hope was gone. The Lord was their best friend at times, the only one
they could confide in and count on to be there for them in their time of
need. This spiritual is a great example of a desire seen many times in
the Bible, the hope of deliverance. This particular piece, arranged by
Boatner, was written especially to/for Marian Anderson, a late 19th
century
contralto, to give depth and emotion to the spiritual.
Spirituals: Age to Age
 The
African-American
tradition of spirituals and sacred music has continued and changed from
Reconstruction to the present. The religious themes that were at the heart
of the early spirituals continued with gospel, blues, and even pop
singers.
Marian
Anderson was one of the most famous singers in her era. She didn't
sing spirituals, per se, but was classically trained for operas! When she
gave her signature performance in front of the Lincoln Memorial as a
protest
to the Daughters of the American Revolution, her place was set in the
hearts
of Americans. Now in the present era, the spiritual tradition is still
kept alive in a variety of ways. Christian Gospel artist have a large
following
both in the Christian communities, but are also crossover stars. Kirk
Franklin, one of these new line of singers, doesn't sing in the
rhythmic
stylings of spirituals of yesteryear. However, his message is still
strongly
Christian and his imagery is certainly of his people "rising up" from
present
circumstances. Another, better known Christian artist is the venerable
Al Green. His soulful music has been a favorite of fans young and old for
decades. Green's musical prayers bring the listener back to early days
of black spirituals.
 The highly
celebrated, ex-Fugee Lauryn Hill
is another modern day example of a performer following in the spiritual
tradition. Though she is much more outspoken than many of her counterparts
in the industry, Hill's rich vocals and engaging lyrics allow her to sing
spiritual songs in the pop culture of secular music today. Her Biblical
allusions with lyrics like, "Forgive them father for they know not what
they do" are once again bringing the important religious aspect to the
music. In her song "Lost Ones", she sings "You can't hold God's people
back that long...". This line is similar to the way that the song "Wade
in de Water" drew parallels between the Black people and the Hebrew
people.
The differences between early black spirituals and much of the music
today is substantial. Though Gospel music continues as a genre, it seems
that "spirituals" as a form have spread out from that narrow confine.
Including
young artists of today who definitely don't stay within the lines of
traditional
spirituals in the definition of performers of spirituals is a step
forward.
Broadening the listening base can only increase awareness about spirituals
and their roots, gradual evolution, and continuing tradition, in varying
forms, today.
Bibliography
Baker's Biographical Dictionary of Music. Seventh
Edition
Boatner, Edward. I Want Jesus To Walk With
Me,
Galaxy Music Corp.,1939. New York
Burleigh, H.T. Album of Negro Spirituals, Belwin,
Inc.,
Florida. 1969
Knowledge Adventure. Inc. (1998) Gospel Music: Where
Blues
and Spirituals Meet
n.pag. Online. Internet. 18 Nov. 1998.
Available:http://www.orat.ilst.edu/students/kgtarra
Sionimsky, Nicholas, Schiemer Books. Advisor of
Macmillan,
Inc. New York. 1900.
Terrance, Kelvin. "African American Music: The
Spiritual.(1996):
n.pag. Online.Internet. 18 Nov. 1998. Available:
htttp://www.orat.ilst.edu/students/kgtarra.
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