Conclusion Lessons and Legacies

The earliest literary recognitions of black music, outlined in the introduction, set up an artificial dichotomy between “white” and “black” traditions, suggesting for each of these two categories an essence and a stability that didn’t exist. Concert spirituals, commercial spirituals, and indeed the...

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Bibliographic Details
Published inSpirituals and the Birth of a Black Entertainment Industry p. 249
Main Author Graham, Sandra Jean
Format Book Chapter
LanguageEnglish
Published United States University of Illinois Press 26.02.2018
Subjects
African American culture
African American studies
American studies
Anthropology
Applied anthropology
Artists
Arts
Behavioral sciences
Choirs
Cultural anthropology
Economic disciplines
Economics
Employment
Ethnography
Ethnology
Folk culture
Folk music
Folkloristics
Folksongs
Labor economics
Minstrels
Music
Music ensembles
Music genres
Musical performance
Musicians
Occupations
Performing artists
Performing arts
Popular music
Popular songs
Religious songs
Singers
Spirituals
Vocal ensembles
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Summary:The earliest literary recognitions of black music, outlined in the introduction, set up an artificial dichotomy between “white” and “black” traditions, suggesting for each of these two categories an essence and a stability that didn’t exist. Concert spirituals, commercial spirituals, and indeed the entire black entertainment industry of the nineteenth century were shaped by a common dynamic. Music, dance, comedy, performance practice, and other expressive strategies that had emerged among black Americans—and that were closely bound up with their social and religious lives—were made to conform to the preferences and expectations of white audiences. The earliest jubilee singers
ISBN:9780252041631
0252041631