Songs of the Negroes

New Zealand Times, Volume LII, Issue 12211, 8 August 1925, Page 12

Songs of the Negroes

jj. , Spirituals, Jazz, Blues. jJ

How did the negro “spirituals,” which. New Zealanders have heard from the concert platform, the coon songs of yesterday, and the jazz noises of to-day, oome to be sung? The tale is .told in “The Negro and His Songs,” a book published in America as part of the story of the negro race. A large number of the true folk songs, as exemplified by the religious songs and a distinct oommon type of popular song of the present day classed as “social” and “work’’ songß, are incorporated in this collection by.inveetigfttors who have an intiipate understanding of the particular class of Negro or which they write. - It would, of. course, be impossible to depict the progra* qf a ■ race as a whole through the v medium of cheap’songs Of ephemeral character drawn from the lowest classes, but the authors remind the reader "that “while the negroes in the hook are (real negroes, they do not represent all the negro race.” The word* of the songs have been collected in Northern Mississippi, -Northern Georgia, and a few from Tennessee and North Carolina. ;It is principally from the Missiseippi delta that America (and the world) have acquired the. primitive “jazz” and ‘.‘blues.” . For the purpose of this work, the folk versa is regarded as of more importance than the music of the songs. A, description is given, however, 'of the role at the “mußic physicianer” and the “knife song” and “train Song” of the imitative “musiaianer” ..are explained hr full.' The innovations of the 'illiterate music-makes* who desired to make their • instruments “talk” And “sing” throw new light on the - origin of ‘some of the jazz .noises of to-day. : ’ ' While the collection in its/entiretylays no claim to the:’title of -“folk songs,” the first section is devoted to the old religious melodies, the “spirituals," and as significant and true folk mnsio -they are the most appealing songs to be found in this book of nine chapters. One marvels .at. the negro’s intimate knowledge of Adam, Moses, Noah, Ezekiel, Mary and Martha, and Other Biblical -Characters of whom be sings with a familiarity befitting a well-known personal acquaintanceship. “King Jesus” was his bosom friend who bestowed grace upon the linger: . - God mad? man an* man was sure, There was no sin an’- his heart was pure • The authors note as a racial characteristic that: “There is no parallel instance of an oppressed - race ’, thus sustained by the religious; sentiment alone. These songs are but the vocal expression of the simplicity of their. faith 1 ; and the sublimity of their long resignation.” It is also correctly noted that while many of the younger negroes do pot enter into the mood of the’ old songs, that “six decades of liberty- for the- dave people. hove signalised the better' civilisation, and' there still remains among the negroes the same emotional nature, the same sad, plaintive, beautiful, rhythmio Sorrow-feeling in their songs.”

As to "imagery, style, and poetiO effort,” we find that “the negro not only sees objects and persons clearly, but he makes others see what he himself sees. His pictures stand out in bold relief; they are painted on approrpiate backgrounds. The total impression, he it serious or ludicrous, is formed with unchangeable definiteness.” “The Judgment Day” is an outstanding example of startling, vivid phrases incorporated into mental images which would not be unworthy of the pictorial presentation of a Sargent. Among the “spirituals,” in contrast to such master sorrow songs as “Steal Away,” we find many songs bearing quaint and unusual expressions and original ideas. Net in the confidence of the mechanism 'of h ’plane of the air, hut**in the trust of the sustaining power of angel’s wings, the singer of yesterday shouted: . I gem’ try the air, I goin’ try the Sir, Pray come an’ go wid me. Well I got on my travellin’ shoe* (thrice) Pray oome an’ go wid me. And again he sings:' Soma o’ dese mornin’s bright an’ fair , . ’Way in de middle of de air; \ Goin’ hitch on my wings an’ tty de ’ air - ’ ’Way in de middle of de air. Apart from their religions fervour, mahv of the songs of many verses, such ’as “Do Ole Ark a* Moverin,” the story of Noah and the flood, are notable for the. employment of the hnigOttr of the Expressions alone. Tfust even among the reckless ’’social” ' songs 'a ' definite vein of sadness is found, jeads. the collectors to conclude that: “Bound down ae he is by the eternal force of circumstances, condemned to live a life which is destined to bring him a very small share of the enjoyments and decencies that characterise the civilisation of which he has become a part, it is no wonder that be either forgets himself in gaiety or purges his feelings with his sad and plaintive outbursts.” As an example of experiences attendant upon the collecting of folk songs the following amusing incident is given: Sitting on a rock wall, listening with interest to the songs of a road gang, and enjoying the singing, a university dean decided to take dtnra some of tbe songs as he beard them. With the thought of how oblivions the workers were to his presence, with difficulty he finally caught the words of their song: White men sett in’ on wall < White man sefctin’ on wall aR day _ long,. Wastin’ his time, wastin’ , hie time. “That the “white man’ immediately movefl on need sot he taken as evidence that, HE appreciated the song the less.” '