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Negro Folk Music U.S.A.
This thorough, well-researched exploration of the origins and development of a rich and varied African American musical tradition features authentic versions of over 40 folk songs. These include such time-honored selections as "Wake Up Jonah," "Rock Chariot," "Wonder Where Is My Brother Gone," "Traveling Shoes," "It's Getting Late in the Evening," "Dark Was the Night," "I'm Crossing Jordan River," "Russia, Let That Moon Alone," "Long John," "Rosie," "Motherless Children," three versions of "John Henry," and many others.
One of the first and best surveys in its field, Negro Folk Music, U.S.A. has long been admired for its perceptive history and analysis of the origins and musical qualities of typical forms, ranging from simple cries and calls to anthems and spirituals, ballads, and the blues. Traditional dances and musical instruments are examined as well. The author — a well-known novelist, folklorist, journalist, and specialist in African and African American cultures — offers a discerning study of the influence of this genre on popular music, with particular focus on how jazz developed out of folk traditions.
One of the first and best surveys in its field, Negro Folk Music, U.S.A. has long been admired for its perceptive history and analysis of the origins and musical qualities of typical forms, ranging from simple cries and calls to anthems and spirituals, ballads, and the blues. Traditional dances and musical instruments are examined as well. The author — a well-known novelist, folklorist, journalist, and specialist in African and African American cultures — offers a discerning study of the influence of this genre on popular music, with particular focus on how jazz developed out of folk traditions.
- GenresMusic
336 pages, Paperback
First published January 28, 1963
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September 5, 2019
First published in 1963, Negro Folk Music, U.S.A. remains an interesting read on the history of African-American songs. Courlander studies the characteristics of the lyrics as well as the rhythms and instrumentations of the songs. He compares the instruments of the American South to those in Africa in regards to comparable sounds. He covers genres from ballads to Gospel songs to the blues. He often includes snippets of songs with lead lines or simply texts of songs in the text. The book concludes with lead notes and lyrics to several African-American songs of multiple genres. The weakness is the lack of chord notations along with those lead lines. Dover should be commended for republishing the work. Many persons will find it an interesting work to add to their private collections, and many libraries may replace worn copies. I received an electronic copy through NetGalley with the expectation of an honest review.
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