By Burton W. Peretti
Elevate each Voice strains the roots of black track in Africa and slavery and its evolution within the usa from the top of slavery to the current day. The music's creators, shoppers, and vendors are all a part of the tale. Musical genres similar to spirituals, ragtime, the blues, jazz, gospel, rhythm and blues, rock, soul, and hip-hop-as good as black contributions to classical, kingdom, and different American tune forms-depict the continuities and techniques that mark either the song and the heritage of African americans. A wealthy number of records is helping to outline where of song inside African American groups and the country as an entire.
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Additional resources for Lift Every Voice: The History of African American Music (African American History (Rowman & Littlefield))
While slavery was phased out in the northern states, it gained a new vitality in the South thanks to the arrival of the cotton gin and the massive demand for cotton by the textile industry on both sides of the Atlantic. As their profits multiplied, the planter class came to view slavery not as a necessary evil, but as a positive force, the foundation of the prosperous cotton South. Simultaneously, white people across the United States increasingly championed ideas that characterized black people as intellectually, biologically, and socially inferior.
They traveled across the South to reunite families that had been broken up by slave sales. They replaced “slave names” with first and last names of their own choosing. They sought paid employment and the rudiments of education, and they built their own communities. 5 New African American churches proliferated. In addition to serving as musical centers for free black communities, they were also political, social, and charitable institutions. Ministers such as Henry Turner, who later became the AME bishop in Georgia, became model “race men”—tireless, principled, and eloquent defenders of black people’s rights and dignity in American society.
Music, like all aspects of slave life, came under white regulation. Since the 1600s planters had been convinced that slaves used drumming as a code to spread calls to insurrection over long distances. Laws in the West Indies banned the “talking drums” of recent African arrivals and restricted mass gatherings of slaves. ”8 By the 1800s all slave states had such laws. Tensions stirred by the discovery of various slave insurrection plots, as well as exaggerated fears of northern abolitionism, created a virtual paranoia among southern whites about potential slave insurrections.
Lift Every Voice: The History of African American Music (African American History (Rowman & Littlefield)) by Burton W. Peretti