Sinful Tunes and Spirituals

Dena J. Epstein (1916-2013) was a retired assistant music librarian at the Joseph Regenstein Library at the University of Chicago, and a past president of the Music Library Association.

• Preface to the 2003 Paperback   xiiiPreface to the 1977 Edition   xviiPrologue: The African Heritage and the Middle Passage   3Part One: Development of Black Folk Music to 1800   191. Early Reports of African Music in British and French America   21 La Calinda and the Banza   30Other African Dancing   38 2. More Black Instruments and Early White Reaction   47 Drums and Other African Instruments   47The Balafo   55Legal Restrictions on Instruments   58 3. The Role of Music in Daily Life   63 Funerals   63Pinkster and Other African Celebrations in the North   66Worksongs and Other Kinds of African Singing   68 4. The Acculturation of African Music in the New World   77 The Arrival of Africans and Their Music   78Acculaturation in New Orleans   90 5. Conversion to Christianity   1006. Acculturated Black Musicians in the Thirteen Colonies   112 The African Jig, a Black-to-White Exchange   120 Part Two: Secular and Sacred Black Folk Music, 1800-1867   1257. African Survivals   127 Persisting Musical and Cultural Patterns   128Black Music in New Orleans, 1820-67   132 8. Acculturated Dancing and Associated Instruments   139 Patting Juba   141Drums, Quills, Banjo, Bones, Triangle, Tambourine   144Fiddlers   147Instrumental Combinations   155 9. Worksongs   161 Field Work and Domestic Chores   161Industrial and Steamboat Workers   164Boat Songs   166Corn, Cane, and Other Harvest Songs   172Singing on the March   176Street Cries and Field Hollers   181 10. Distinctive Characteristics of Secular Black Folk Music   184 Whistling   184Improvisation   184Satire   187Style of Singing   188Other Secular Music   189 11. The Religious Background of Sacred Black Folk Music, 1801-67   191 Opposition to Religious Instruction of Slaves   192Camp Meetings   197Missions to the Slaves   199Black Religious Groups   202Opposition to Secular Music and Dancing   207 12. Distinctive Black Religious Music   217 Spirituals   217Attempts to Suppress Black Religious Singing   229The Shout   232Funerals   234 Part Three: The Emergence of Black Folk Music during the Civil War   23913. Early Wartime Reports and the First Publication of a Spiritual with Its Music   241 14. The Port Royal Experiment   252 Historical Background   252Earliest Published Reports   256Wartime Publication of Song Texts and Music   260 15. Reports of Black Folk Music, 1863-67   274 Criticism of "This Barbaric Music"   274Recognition of a Distinctive Folk Music   275The Shout   278Worksongs   287Performance Style   290Introduction of "New" Songs by the Teachers   296 16. Slave Songs of the United States: Its Editors   303 William Francis Allen   304Charles Pickard Ware   310Lucy McKim Garrison   314 17. Slave Songs of the United States: Its Publication   321 The Contributors   321Problems of Notation   326Assembling the Collection   329Publication and Reception   331 Conclusion   343Appendices 349 I. Musical Excerpts from the Manuscript Diaries of William Francis Allen   349II. Table of Sources for the Banjo, Chronologically Arranged   359III. Earliest Published Versions of "Go Down, Moses"   363Bibliography   374Index   416

Winner of the Simkins Prize of the Southern Historical Association, 1979."No previous scholar has told more about the manner of diffusion of African music and dance in the New World . . . . No one else has related with more telling effect the impact that Afro-American musical patterns had upon the sensibilities of the white public."--Lawrence W. Levine, Journal of American History "Epstein has uncovered far more about early black music than anyone thought possible. Her luxuriant quotations and definitive treatments of a wide variety of musical subtopics make the book an essential reference volume and a marvelous storehouse of information."--John B. Boles, Journal of Southern History "Sinful Tunes ensures that we will never again be able to sing or listen to a spiritual in quite the same way. We can now see more clearly than ever before what has shaped it; we have been taken nearer the soul of the music."--Hugh Brogan, Times Literary Supplement "[A] definitive, indeed monumental study of black slave music in America."--Guthrie P. Ramsey Jr., Musical Quarterly