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spiritual
(redirected from Spirituals)

   Also found in: Dictionary/thesaurus, Legal, Wikipedia, Hutchinson 0.01 sec.
spiritual, a religious folk song folk song, music of anonymous composition, transmitted orally. The theory that folk songs were originally group compositions has been modified in recent studies.
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 of American origin, particularly associated with African-American Protestants of the southern United States. The African-American spiritual, characterized by syncopation, polyrhythmic structure, and the pentatonic scale of five whole tones, is, above all, a deeply emotional song. The words are most often related to biblical passages, but the predominant effect is of patient, profound melancholy. The spiritual is directly related to the sorrow songs that were the source material of the blues (see jazz jazz, the most significant form of musical expression of African-American culture and arguably the most outstanding contribution the United States has made to the art of music.

Origins of Jazz



Jazz developed in the latter part of the 19th cent.
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), and a number of more joyous spirituals influenced the content of gospel songs (see gospel music gospel music, American religious musical form that owes much of its origin to the Christian conversion of West Africans enslaved in the American South. Gospel music partly evolved from the songs slaves sang on plantations, notably work songs, and from the Protestant
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).

Beginning in the late 19th cent., when a celebrated chorus from Fisk Univ. traveled throughout the United States and abroad, wide attention was given to the spirituals of American blacks. This body of song was long thought to be the only original folk music of the United States, and research into its origin centered mainly on the nature and extent of its African ancestry. Because slaves were brought to the United States from many parts of Africa, no single African musical source is clear. Elements that African music and American black spirituals have in common include syncopation, polyrhythmic structure, the pentatonic scale, and a responsive rendition of text. Audience participation increased the improvisatory nature of the spirituals, with the result that tens and even hundreds of versions of a single text idea exist.

Early in the 20th cent., Cecil Sharp Sharp, Cecil James, 1859–1924, English musician, best known for his researches in English folk music. In 1911 he founded the English Folk Dance Society. In the United States he collected (1914–18) folk songs in the Appalachian Mts.
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 explored the extent of American folk-song literature, much of which he demonstrated to be of British ancestry. After that discovery, G. P. Jackson traced the considerable influence of revivalist and evangelist songs from the early 19th-century camp meetings of the Southern white population. Jackson claimed, using hundreds of comparative examples, that many black spirituals were adapted from or inspired by these white spirituals. African musical traditions were apparently amalgamated with the religious songs of the white South, which had many sources, to produce a form of folk music that was distinctly black in character.

Bibliography

Collections and arrangements of spirituals have been made by R. Johnson and J. W. Johnson, R. N. Dett, G. L. White, J. A. Lomax and A. Lomax, R. Hayes, and others. See also G. P. Jackson, White Spirituals in the Southern Uplands (1933) and Spiritual Folk-Songs of Early America (1937); G. P. Jackson, White and Negro Spirituals (1943); L. Jones, Blues People (1963); J. Cone, The Spirituals and the Blues (1980).


spiritual

In North American white and black folk music, an English-language folk hymn. White spirituals derived variously, notably from the “lining out” of psalms, dating from at least the mid-17th century. Where congregations could not read, a leader intoned the psalm one line at a time, alternating with the congregation's singing of each line to a familiar melody; the tune, sung slowly, was ornamented with passing notes, turns, and other graces. A second source was the singing of hymns set to borrowed melodies, often secular folk tunes. Themes included going home to the promised land and gaining ground against sin; typical refrains were “Roll, Jordan” and “Glory Hallelujah.” The songs survive in oral tradition in isolated areas and also in the form of shape-note singings. African American spirituals developed in part from white rural folk hymnody but differ greatly in voice quality, vocal effects, rhythm, and type of rhythmic accompaniment. They were sung not only in worship but also as work songs, and the text imagery often reflects concrete tasks. Like the white gospel song, the modern African American gospel song derives from the spiritual.


spiritual
1. of, relating to, or characteristic of sacred things, the Church, religion, etc.
2. standing in a relationship based on communication between the souls or minds of the persons involved
4. the sphere of religious, spiritual, or ecclesiastical matters, or such matters in themselves
5. the. the realm of spirits


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The same spirituals learned in Sunday school--"Let Us Break Bread Together," "Go Tell It on the Mountain," "He's Got the Whole World in His Hand," were born when slaves, newly converted to Christianity, took words from the Bible, and turned them into religious songs and church rituals that many black churches still use today.
Written by Assumptionist priest and theology professor Bruno Chenu of France, The Trouble I've Seen: The Big Book of Negro Spirituals is an extraordinary exploration of the origin and history of Negro spirituals.
Freedom in My Soul will showcase an expression of a variety of musical styles, ranging from traditional spirituals to gospel, blues, jazz, a cappella, do-wop and hip-hop.
 
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