# data[].attributes.headline
The first Africans forced to work in the New World left from Europe at the beginning of the sixteenth century

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The first Africans forced to work in the New World left from Europe at the beginning of the sixteenth century

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Slavery was predominantly in the South of America

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Slavery was predominantly in the South of America

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The number of people carried off from Africa reached 30,000 per year in the 1690s and 85,000 per year a century later.

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The number of people carried off from Africa reached 30,000 per year in the 1690s and 85,000 per year a century later.

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More than eight out of ten Africans forced into the slave trade crossed the Atlantic between 1700 and 1850.

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More than eight out of ten Africans forced into the slave trade crossed the Atlantic between 1700 and 1850.

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Began sometime around 1619 when a Portuguese slave ship carried human cargo of African people to England.

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Began sometime around 1619 when a Portuguese slave ship carried human cargo of African people to England.

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Life on the fields, working from sunup to sundown six days a week and having food not suitable for an animal to eat.

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Life on the fields, working from sunup to sundown six days a week and having food not suitable for an animal to eat.

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In the 15th Century, the Roman Catholic Church granted Portugal rights to trade in West Africa, and enslave those who lived there.

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In the 15th Century, the Roman Catholic Church granted Portugal rights to trade in West Africa, and enslave those who lived there.

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Work songs helped to pass down information about the lived experience of enslaved people to their communities and families. 

# data[].attributes.subject
Work songs helped to pass down information about the lived experience of enslaved people to their communities and families. 

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Music was a way for the slaves to express there feelings whether that was sorrow, joy, inspiration or hope

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Music was a way for the slaves to express there feelings whether that was sorrow, joy, inspiration or hope

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A common feature of African-American songs was the call-and-response format

# data[].attributes.subject
A common feature of African-American songs was the call-and-response format

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Since the earliest days of slavery, singing has accompanied all kinds of group and individual work activities of African Americans. These improvised songs, known as work songs, field calls (also field hollers) and street calls (also street cries) served many functions.

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Since the earliest days of slavery, singing has accompanied all kinds of group and individual work activities of African Americans. These improvised songs, known as work songs, field calls (also field hollers) and street calls (also street cries) served many functions.

# data[].attributes.attachment_link.title
‘Slave No More’ (Evaristo Muchovela) from The Sorrow Songs : Folk Songs of Black British Experience

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A Brief History of Slavery That You Didn’t Learn in School (Published 2019)

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A child’s shackles, a West African legacy, a black sergeant in the Union Army — these are stories you need to hear.

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The blues is a form of music that started in the United States during the start of the 20th century. 

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The blues is a form of music that started in the United States during the start of the 20th century. 

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 Work songs were generally encouraged by the slave owners, who saw them as means of increasing the slaves' work output and maintaining their morale.

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 Work songs were generally encouraged by the slave owners, who saw them as means of increasing the slaves' work output and maintaining their morale.

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blues music was started by former African slaves from spirituals, praise songs, and chants. The first blues songs were called Delta blues. These songs came from the area near the mouth of the Mississippi River.

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blues music was started by former African slaves from spirituals, praise songs, and chants. The first blues songs were called Delta blues. These songs came from the area near the mouth of the Mississippi River.

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Music was one of the only things that slaves had and it was passed orally through generations.

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Music was one of the only things that slaves had and it was passed orally through generations.

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The civil rights movement (1964-68) was basically an umbrella term for all the activism that aimed for full political, social, and economic rights for African Americans. During this movement, they sang African American spiritual, gospel, and folk songs to motivate them through long marches and for mental strength against harassment. "We Shall Overcome" is a gospel song that is considered the anthem of the movement. 

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The civil rights movement (1964-68) was basically an umbrella term for all the activism that aimed for full political, social, and economic rights for African Americans. During this movement, they sang African American spiritual, gospel, and folk songs to motivate them through long marches and for mental strength against harassment. "We Shall Overcome" is a gospel song that is considered the anthem of the movement. 

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Joan Baez - We Shall Overcome (BBC Television Theatre, London - June 5, 1965)

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The Emancipation Proclamation in 1863 led to the eventual abolition of slavery in the United States Constitution in 1865.

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The punishments could include whippings, torture, imprisonment, and some slaves were even sometimes murdered.

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The punishments could include whippings, torture, imprisonment, and some slaves were even sometimes murdered.

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 slave songs not only laid the musical foundations for the most popular forms of music in later American history—including the blues, jazz

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 slave songs not only laid the musical foundations for the most popular forms of music in later American history—including the blues, jazz

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Object Details

Author

Allen, William Francis 1830-1889

Ware, Charles Pickard 1840-1921

Garrison, Lucy McKim 1842-1877

Unaccompanied melodies.

Preface signed: William Francis Allen, Charles Pickard Ware, Lucy McKim Garrison.

Also issued online.

Also available online.

Elecresource

Contents

Roll, Jordan, roll -- Jehovah, Hallelujah -- I hear from Heaven to-day -- Blow your trumpet, Gabriel -- Praise, member -- Wrestle on, Jacob -- Lonesome valley -- I can't stay behind -- Poor Rosy -- Trouble of the world -- There's a meeting here to-night -- Hold your light -- Happy morning -- No man can hinder me -- Lord, remember me -- Not weary yet -- Religion so sweet -- Hunting for the Lord -- Go in the wilderness -- Tell my Jesus "morning" -- The graveyard -- John, John, of the Holy Order -- I saw the beam in my sister's eye -- Hunting for a city -- Gwine follow -- Lay this body down -- Heaven bell a-ring -- Jine 'em -- Rain fall and wet Becca Lawton -- Bound to go -- Michael row the boat ashore -- Sail, O believer -- Rock o' Jubilee -- Stars begin to fall -- King Emanuel -- Satan's Camp a-fire -- Give up the world -- Jesus on the waterside -- I wish I been dere -- Build a house in Paradise -- I know when I'm going home -- I'm a trouble in de mind -- Travel on -- Archangel, open the door -- My body rock 'long fever -- Bell da ring -- Pray all de member -- Turn sinner, turn O -- My army cross over -- Join the angel band -- I and Satan had a race -- Shall I die? -- When do we meet again -- The white marble stone -- I can't stand the fire -- Meet, O Lord -- Wai', Mr. Mackright -- Early in the morning -- Hail, Mary -- No more rain fall for wet you -- I want to go home -- Good-bye, brother -- Fare ye well -- Many thousand go -- Brother Moses gone -- The sin-sick soul -- Some valiant soldier -- Hallelu, hallelu -- Children do linger -- Good-bye -- Lord, make me more patient -- Day of judgment -- Resurrection morn -- Nobody knows the trouble I've had -- Who is on the Lord's side -- Hold out to the end -- Come go with me -- Every hour in the day -- In the mansions above -- Shout on, children -- Jesus, won't you come by-and-by? -- Heave away -- Wake up, Jacob -- On to glory -- Just now -- Shock along, John -- Round the corn, Sally -- Jordan's Mills -- Sabbath has no end -- I don't feel weary -- The hypocrite and the concubine -- O shout away -- O'er the crossing -- Rock o' my soul -- We will march thro' the valley -- What a trying time -- Almost over -- Don't be weary, traveller -- Let God's saints come in -- Golden altar -- Winter -- Heaven Bells -- Gold band -- Good old way -- I'm going home -- Sinner won't die no more -- Brother, guide me home -- Little children, then won't you be glad? -- Charleston gals -- Run, nigger, run -- I'm gwine to Alabamy -- My father, how long? -- I'm in trouble -- O Daniel -- O brother, don't get weary -- I want to join the band -- Jacob's ladder -- Pray on -- Good news, member -- I want to die like-a Lazarus die -- Away down in Sunbury -- This is the trouble of the world -- Lean on the Lord's side -- These are all my Father's children -- The old ship of Zion -- Come along, Moses -- Social band -- God got plenty o' room -- You must be pure and holy -- Belle Layotte -- Remon -- Aurore Bradaire -- Caroline -- Calinda -- Lolotte -- Musieu Bainjo

Physical description

xliv, 115 pages 23 cm

Smithsonian Libraries

Topic

African Americans

Folk music

Folk songs, English

Spirituals (Songs)

Slaves

Record ID

siris_sil_78680

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Slave songs of the United States | Smithsonian Institution

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Author Allen, William Francis 1830-1889 Ware, Charles Pickard 1840-1921 Garrison, Lucy McKim 1842-1877 Unaccompanied melodies. Preface signed: William Francis Allen, Charles Pickard Ware, Lucy McKim Garrison. Also issued online. Also available online.

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they mainly used cheap or no instruments, such as the banjo and steel string guitar and glass slides

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they mainly used cheap or no instruments, such as the banjo and steel string guitar and glass slides

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Scott Joplin was partially responsible for popularising a new era of music. His compositions would later spark the beginning of swing music, which would later evolve into jazz. 

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Scott Joplin was partially responsible for popularising a new era of music. His compositions would later spark the beginning of swing music, which would later evolve into jazz. 

# data[].attributes.headline
It was illegal to teach slaves to read or write so songs were used as another way to communicate and share stories

# data[].attributes.subject
It was illegal to teach slaves to read or write so songs were used as another way to communicate and share stories

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The blues genre was well represented by influential female artists such as Ma Rainey, Memphis Minnie, and Sister Rosetta Tharpe, who challenged gender norms within music at large during their time

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The blues genre was well represented by influential female artists such as Ma Rainey, Memphis Minnie, and Sister Rosetta Tharpe, who challenged gender norms within music at large during their time

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helped to shape the development of blues and jazz, which later influenced the development of rock and roll.

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helped to shape the development of blues and jazz, which later influenced the development of rock and roll.

# data[].attributes.headline
Many blues songs contain the metaphorical image of a train, symbolizing freedom, longing, and escape.

# data[].attributes.subject
Many blues songs contain the metaphorical image of a train, symbolizing freedom, longing, and escape.

# data[].attributes.headline
helped to shape the development of blues and jazz, which later influenced the development of rock and roll.

# data[].attributes.subject
helped to shape the development of blues and jazz, which later influenced the development of rock and roll.

# data[].attributes.headline
In early slavery drums were used to provide rhythm, but they were banned in later years because of the fear that black slaves would use them to cusing other instruments or their own bodies.ommunicate in a rebellion, nevertheless slaves managed to generate percussion and percussive sounds, 

# data[].attributes.subject
In early slavery drums were used to provide rhythm, but they were banned in later years because of the fear that black slaves would use them to cusing other instruments or their own bodies.ommunicate in a rebellion, nevertheless slaves managed to generate percussion and percussive sounds, 

# data[].attributes.body
rhythm, but they were banned in later years because of the fear that black slaves would use them to

communicate in a rebellion, nevertheless slaves managed to generate percussion and percussive sounds,

using other instruments or their own bodies.

# data[].attributes.headline
During the period of African American slavery, working songs were often sung in the fields, sometimes satirical. They were also used to pass down stories from older generations.  Work songs were often sung in a call and response structure, in which the leading singer would sing verses while the background singers sang chorus lines.

# data[].attributes.subject
During the period of African American slavery, working songs were often sung in the fields, sometimes satirical. They were also used to pass down stories from older generations.  Work songs were often sung in a call and response structure, in which the leading singer would sing verses while the background singers sang chorus lines.