It is only music that matters. But to talk of music is risky, and entails responsibility. Therefore some find it preferable to seize on side issues. It is easy, and enables you to pass as a deep thinker. (Igor Stravinsky)
The question of whether one’s innate identity is determined by DNA has come up recently in the feud between Senator Elizabeth Warren and President Trump about whether or not Warren has Native American ancestry. Trump, as you may know, has mockingly referred to Warren as “Pocahontas.” Warren had her DNA tested and published the results, which show that she had a Native American ancestor between six and ten generations ago.
Does this make Warren an Indian?
According to Chuck Hoskin (above), the Secretary of State of the Cherokee Nation (like other Native tribes, a sovereign nation within U.S. territory), no.
What does this argument have to do with our understanding of music?
When Antonín Dvořák came to America in 1892, he did so on the invitation of the wealthy arts patroness Jeannette Thurber (above) — who, by the way, was born not far from here, in Delhi, NY — to lead the new National Conservatory of Music in New York City. It was hoped that he would train American composers to develop a national style of music. Soon after he arrived, Dvořák told the New YorkHerald in an interview:
In the Negro melodies of America I discover all that is needed for a great and noble school of music. They are pathétic, tender, passionate, melancholy, solemn, religious, bold, merry, gay or what you will. It is music that suits itself to any mood or purpose. There is nothing in the whole range of composition that cannot be supplied with themes from this source. The American musician understands these tunes and they move sentiment in him.
In an unprecedented move, Dvořák welcomed black and female composition students into his classes. Among his students were violinist and composer Will Marion Cook, who had studied with Brahms’s great friend Joseph Joachim in Berlin, and singer and composer Harry T. Burleigh.
“A Negro Sermon,” an art song by Cook.
“Lovely Dark and Lonely One,” an art song by Burleigh.
Harry T. Burleigh’s song “The Young Warrior,” a setting of a poem by James Weldon Johnson, was translated into Italian and sung by the Italian army as they marched into battle During World War I.
Mother, shed no mournful tears, But gird me on my sword; And give no utterance to thy fears, But bless me with thy word.
The lines are drawn! The fight is on! A cause is to be won! Mother, look not so white and wan; Give Godspeed to thy son.
Now let thine eyes my way pursue Where’er my footsteps fare; And when they lead beyond thy view, Send after me a prayer.
But pray not to defend from harm, Nor danger to dispel; Pray, rather, that with steadfast arm I fight the battle well.
Pray, mother of mine, that I always keep My heart and purpose strong, My sword unsullied and ready to leap Unsheathed against the wrong.
While Dvořák’s Symphony no. 9 in in E minor, “From the New World,” was not actually based on spirituals, the famous second movement largo sounded like a spiritual, and later “became” a sort of spiritual in the popular imagination.
Dvořák’s great success in America inspired other composers to take advantage of “Negro melodies.” In the early years of the twentieth century, white American and European composers came out with pieces with such titles as “Negro Folk Symphony” (William Dawson), “Rapsodie nègre” (French composer Francis Poulenc), and “Negro Suite” (Danish composer Thorvald Otterstrom).
The question one might ask about these composers and their work is: were they writing these pieces in a spirit of fellowship? or one of exploitation?
One of the strangest and most egregious examples of a white composer writing in the black style is John Powell’s “Rhapsodie Nègre.”
John Powell was a Virginia-born, Vienna-trained pianist and composer who promoted American folk music. He was also a white supremacist who helped to draft Viriginia’s “Racial Integrity Act,” also known as the “one-drop rule” — which legally classified anyone with any amount of African ancestry as black, and hence subject to Jim Crow.
As a music historian with a particular interest in these things, it’s hard not to view Senator Warren’s insistence on an Indian identity, based on her DNA test results, as (unintentionally) evocative of the efforts and beliefs of figures like John Powell.
What is identity? How is it expressed in music? How should it be expressed?
Listen to the song “Row, Row,” from his album Devil is Fine:
Listen to Furry Lewis’s “Furry’s Blues”:
The lyrics:
I believe I’ll buy me a graveyard of my own Believe I’ll buy me a graveyard of my own I’m gonna kill everybody that have done me wrong
If you wanna go to Nashville, mens, ain’t got no fare Wanna go to Nashville, mens, ain’t got no fare Cut your good girl’s throat and the judge will send you there
I’m gonna get my pistol, forty rounds of ball Get my pistol, forty rounds of ball I’m gonna shoot my woman just to see her fall
I’d rather hear the screws on my coffin sound I’d rather hear the screws on my coffin sound Then to hear my good girl says, “I’m jumpin’ down”
Get my pencil and paper, I’m gonna sit right down Get my pencil and paper, I’m gonna sit right down I’m gonna write me a letter back to Youngstown
This ain’t my home, I ain’t got no right to stay This ain’t my home, I ain’t got no right to stay This ain’t my home, must be my stoppin’ place
When I left my home, you would not let me be When I left my home, you would not let me be Wouldn’t rest content until I come to Tennessee
Listen to this:
What forms of African-American music does Zeal & Ardor draw upon? What forms of white music?
Is this appropriation? Is it borrowing? Is it a cross-cultural encounter?
The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. They would compose and sing as they went along, consulting neither time nor tune. The thought that came up, came out–if not in the word, in the sound;–and as frequently in the one as in the other. They would sometimes sing the most pathetic sentiment in the most rapturous tone, and the most rapturous sentiment in the most pathetic tone. Into all of their songs they would manage to weave something of the Great House Farm. Especially would they do this, when leaving home. They would then sing most exultingly the following words:–
“I am going away to the Great House Farm!
O, yea! O, yea! O!”
This they would sing, as a chorus, to words which to many would seem unmeaning jargon, but which, nevertheless, were full of meaning to themselves. I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do.
I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd’s plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,–and if he is not thus impressed, it will only be because “there is no flesh in his obdurate heart.”
I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.
— From Narrative of the Life of Frederick Douglass, An American Slave, Written by Himself (1845)
Du Bois believed that there were ten “master songs” of the African diaspora to America, and he prefaced each chapter of the book with a quotation of musical notation from a spiritual. In the last chapter, “The Sorrow Songs,” Du Bois discusses each of the musical excerpts, and makes the case that the music of black Americans contains a power that transcends the social and economic condition of the practitioners of that music.
Du Bois also suggests in this essay that black music can’t really be notated or transcribed, that its essence prevents its being noted down accurately — that, in other words, the soul of the music cannot be measured or contained by the signs and symbols of sounds. He also attempts to transcribe his impression of a west African language, though the language and the meaning of the words have not yet been identified.
Here are most of the songs Du Bois references in “The Sorrow Songs,” in order of mention.
Lay This Body Down (The Moving Star Hall Singers of John’s Island):
You May Bury Me in the East (The Fisk Jubilee Singers):
Nobody Knows the Trouble I’ve Seen (Mahalia Jackson):
Swing Low, Sweet Chariot (Fisk Jubilee Singers):
Roll, Jordan, Roll (Topsy Chapman, from the film Twelve Years A Slave):
Been A-Listening (Five Blind Boys of Alabama):
My Lord, What a Morning (Marian Anderson):
My Way’s Cloudy (Marian Anderson):
Wrestling Jacob (Sunset Jubilee Singers):
Steal Away (Barbara Conrad):
Bright Sparkles (an Indian choir):
Dust, Dust and Ashes (Eschatos Bride Choir):
I Hope My Mother Will Be There (A bunch of people sight-reading and killing it):
Two of the “songs of white America [that] have been distinctively influenced by the slave songs or have incorporated whole phrases of Negro melody”:
Swanee River (“Old Folks at Home,” by Stephen Foster). [TRIGGER/CONTENT WARNING: BLACKFACE MINSTRELSY]
Old Black Joe (also by Foster, sung by Paul Robeson):
No recording, but sheet music for the quotation:
Dere’s no rain to wet you, Here’s no sun to burn you, Oh, push along, believer, I want to go home.
Keep Me From Sinking Down (Robert Sims):
Poor Rosy (William Appling Singers)
The German folksong Du Bois quotes, “Jetzt geh’ i’ an’s brunele, trink’ aber net” (Now I go to the title well, but I don’t drink):
There’s a Little Wheel a-Turning in My Heart (Edna Thomas):
Michael Row the Boat Ashore (Marion Williams):
Incidentally, Du Bois’s second wife, Shirley Graham Du Bois, was a composer and musicologist. She wrote an opera called Tom Tom: An Epic of Music and the Negro, about the African diaspora, which premiered in Cleveland in 1932. Unfortunately, none of her music has been recorded.
On July 5, The Nation, a left-leaning magazine of politics and culture founded in 1865, published a poem on its website called “How-To.” The poem, a sly (and cynical) critique of white liberal compassion, uses what is called in the field of linguistics African-American Vernacular English (AAVE) to set out a list of rules, offered by one homeless person to another, on how to maximize contributions. The punch-line: it’s all about making donors feel good about themselves, further marginalizing the presumably black, possibly sick, and perhaps disabled beggar:
If you got hiv, say aids. If you a girl, say you’re pregnant––nobody gonna lower themselves to listen for the kick. People passing fast. Splay your legs, cock a knee funny. It’s the littlest shames they’re likely to comprehend. Don’t say homeless, they know you is. What they don’t know is what opens a wallet, what stops em from counting what they drop. If you’re young say younger. Old say older. If you’re crippled don’t flaunt it. Let em think they’re good enough Christians to notice. Don’t say you pray, say you sin. It’s about who they believe they is. You hardly even there.
The poem caused an uproar on Twitter, because the poet, Anders Carlson-Wee, looks like this:
The backlash inspired The Nation’s poetry editors to publish an apology, claiming that they had
The Nation’s apology in turn caused a backlash-against-the-backlash. It was noted that the magazine had never before issued an apology for publishing a poem, even after the great American novelist
In your opinion, is the poem “How-To” problematic? Do you think that Carlson-Wee’s use of AAVE is cultural appropriation? Is it a form of poetic blackface/blackvoice? Is it racist? Should white poets/musicians/artists/random guys on the street be “allowed” to use it? What do you think of the statement by a letter-writer to the New York Times, who maintains:
Regardless of the relative merits of Anders Carlson-Wee’s poem, can we — should we — regard art as being separate from the artist, as having its own life and mission? (Incidentally, this is a topic we discuss in Music 101 and Music 111: see here,here and here.)
In addition to her work as an opera soloist and teacher, Barbara was involved in the creation of the Endowment for the Study of American Spirituals at the University of Texas, her alma mater. She believed that spirituals were a legitimate genre of art song, like German Lieder or French mélodies. And, just as one sings Lieder in German or mélodies in French, she believed that one must sing spirituals in the accent of AAVE. I remember her coaching me in Harry T. Burleigh’s great song “Deep River,” and correcting my English: “Say ‘Jerdan,’ not ‘Jordan.'” Barbara told me that I had to sing the repertoire of spirituals. “You have that pathos in your voice,” she said. Indeed, she believed that this repertoire belonged to the world, and that all singers, not just singers of color, should perform it.
Here is Barbara Smith Conrad singing it:
Here is Binghamton favorite, the beautiful soprano Meroë Khalia Adeeb, singing “Deep River”:
Here is the great mezzo-soprano Lorraine Hunt Lieberson singing it (notably, not in AAVE dialect):
It is worth noting that some prominent black poets of the twentieth century wrote both in Standard American English and in AAVE. In doing so, they were not trivializing Black English, but, rather, promoting it as a legitimate language full of nuance and meaning, as Barbara Smith Conrad strove to do with her teaching of spirituals. James Weldon Johnson, for instance, best known for writing the text of “Lift Ev’ry Voice,” also wrote poems in dialect, like this one, “Sence You Went Away”:
Seems lak to me de stars don’t shine so bright, Seems lak to me de sun done loss his light, Seems lak to me der’s nothin’ goin’ right, Sence you went away.
Seems lak to me de sky ain’t half so blue, Seems lak to me dat ev’ything wants you, Seems lak to me I don’t know what to do, Sence you went away.
Seems lake to me dat ev’ything is wrong, Seems lak to me de day’s jes twice es long, Seems lak to me de bird’s forgot his song, Sence you went away.
Seems lak to me I jes can’t he’p but sigh, Seems lak to me ma th’oat keeps gettin’ dry, Seems lak to me a tear stays in ma eye, Sence you went away.
Johnson meant this poem to be a kind of folk expression of sorrow elevated to the level of poetry, just as serious as, say, a lament of the Greek poet Sappho (630-570 BCE):
He is dying, Aphrodite; luxuriant Adonis is dying. What should we do?
Beat your breasts, young maidens. And tear your garments in grief.
What do you think?
The Fisk Jubilee Singers performing “Steal Away” from an early recording (“Steal Away” was the first number on the program of their first concert tour of the United States, in 1871):
Barbara Smith Conrad singing it in a 1997 recording:
The US Naval Academy Men’s Glee Club singing it:
The National Taiwan University Chorus singing it:
Which version do you like the best? Why? Do you think your reactions might be different if you gave the various performances a “blind listening”?
The first published version of the spiritual “Go Down, Moses,” in 1862, attributed its authorship to “The Contrabands” — escaped slaves who joined the Union Army — who probably sang it as a rallying cry, rather than as a hymn.
Harriet Tubman (nicknamed “Moses” for having led hundreds of slaves to freedom) is supposed to have used “Go Down, Moses” as coded instructions for planned plantation breakouts, but music historian Dena J. Epstein calls this into question, noting:
The song was made popular by the great African-American bass Paul Robeson, in an art song arrangement probably by Harry T. Burleigh.
” Go Down, Moses” was used in the 1941 movie “Sullivan’s Travels,” in a scene where the protagonist has found himself on a prisoners’ chain gang during the Great Depression. The scene has many layers of meaning, resonance, and irony, as the story of the Hebrew slaves in Egyptian bondage is sung by a black congregation — the near descendants of enslaved people themselves — for a group of prisoners in chains.
In the 1955 movie “Blackboard Jungle,” the young Sidney Poitier leads a group of high school students in a rendition.
(Does this remind you of your high school?)
In the 1950s, “Go Down, Moses,” became popular as a jazz standard. In this 1958 recording, Louis Armstrong uses elements of both gospel and jazz.
It has also long been sung at American seders during the Jewish holiday of Passover. A black convert to Judaism writes:
