Religious Folk-Songs of the Southern Negroes

by Howard Washington Odum

It will thus be seen that emphasis has been placed almost entirely upon the emotional beauty of the negro songs. They have been portrayed as the exponents of sadness in the race, and the feelings of the black folk have been described with no little skill. Observation for the most part has been made by those who have heard the negro songs but have not studied them. No careful analysis has been attempted. Perhaps casual observers have been mistaken as to the intensity of the emotions expressed and have given undue emphasis to its practical relation and effect upon the individual and upon the race. The judgment of those who have not known the negro, and to whom his singing is a revelation, leads to sweeping generalizations. On the other hand, those who have known the negroes in many walks of life, and have come to know him better than any others, have often emphasized a single phase of the negro folk-song. There can be no doubt as to the beauty and weirdness of the negro singing, but a careful analysis of the general emotional feeling predominating, together with careful interpretation of all things concerned, make comparisons less dangerous and expressions less extravagant. Slavery has passed, four decades of liberty for the slave people have signalized the better civilization, and there still remains among the negroes the same emotional nature, the same sad, plaintive, beautiful, rhythmic sorrow-feeling in their songs.

Some of the qualities of the negro’s emotions as seen in his singing will be noted subsequently. Omitting for the present this feature of his songs, and qualifying the statement by interpreting his nature and environment, it may be affirmed that all that has been said of the spirituals is true. They are beautiful, childlike, simple and plaintive. They are the negro’s own songs and are the peculiar expression of his own being; much may be said concerning them. Many of the spirituals are still popular among the negroes, and often take the place of the regular church hymns. The less intelligent negroes sing them, and they are sung freely by the more intelligent class. Ministers of all denominations take advantage of their peculiar power to sway the feelings of the negroes into accustomed channels. Many of the old spirituals that were common in slavery are still current and are sung with but little modification; others are greatly modified and enlarged or shortened. Traces of the slave songs may be found in the more modern spirituals that have sprung up since the war. The majority of the songs have several versions, differing according to localities, and affected by continual modification as they have been used for many years. Some have been so blended with other songs, and filled with new ideas, as to be scarcely recognizable, but clearly the product of the negro singers. Besides the old and the mixed songs, there are many that are entirely new, arising out of various circumstances and developing with successive renditions.

The spirituals current among the Southern negroes to-day are very much like those that were sung three or four decades ago. The differences may be seen in the comparisons that follow in the examples given: There are more rhymed words in the present-day negro song than there was in the earlier ones; consequently there is often less meaning in a line or stanza. The tendency seems to be more toward satisfactory sound impression than for spontaneous feeling expression as in the older spirituals. Meaning and words in general are often sacrificed in the effort to make rhyme, to make the song fit into a desired tune, to bring about a satisfying rhythm, or to give prominent place to a single well-sounding word or phrase. It would thus seem that the religious songs composed in the usual way by the negroes of the present generation have less conviction, and more purposive features in their composition. The dialect of the older songs is purer than those of the present-day negro. One finds little consistency in the use of dialect in the songs that are sung now; rarely does one hear the lines repeated in exactly the same form. Dialect or the common form of the word, it would seem, is used according as feeling, the occasion, or the necessity for rhyme or rhythm permits or demands. Many of the negro songs that are the most beautiful in their expression would appear expressionless were they robbed of their dialect and vividness of word portrayal. The imagery and dialect give the songs their peculiar charm; the more mechanical production that is apparently on the increase may be sung to the same melody, but the song itself has little beauty. However, the negroes themselves prefer the old songs and almost invariably return to the singing of the more primitive ones that have become a part of their heritage. In those cases where the tunes differ from the old melodies, the song has assumed a characteristic nature, either from its origin and composition, from constant usage by the negroes, from local qualities, or from unusual combinations. And in these original creations of the negro religion are found the truest expression of nature and life as it is reflected in the negro of to-day; it is not the expression of complex life, but of simple longing. In the outbursts of joyous song and melody the note of victory is predominant; in the sadder-toned songs, sung in “plaintive, rhythmic melody”, the prevailing note is that of appeal. In either case there is some sort of conviction back of the song, and it becomes the expression of primitive human life. They set forth the more simple thoughts of an emotional and imaginative worship. They magnify the personal and the spectacular in religion. They satisfy the love of melody, rude poetry, and sonorous language. Simple thought is expressed in simple rhyming phrases. Repetition of similar thoughts and a single chorus, with simple and pleasing music which lends itself easily to harmonious expression, are characteristic. The music is specially adapted to the chorus-like singing which is produced by the clever and informal carrying of many parts by the singers. The song often requires a single leader, and a swelling chorus of voices take up the refrain. It is but natural that these songs should be suited to protracted services as good “shoutin’ songs” or “runnin’ speerichils.” The same rhythm makes them pleasing to the toilers who are disposed to sing religious songs while they work and promotes a spirit of good fellowship as well as being conducive to general “good feelin’.” The united singing of children is also beautiful. Throughout these characteristic songs of the negro, the narrative style, the inconsequential, disjointed statements, the simple thought and the fastidious rhymes are all expressive of the negro’s mental operations.

All of the negro’s church music tends to take into it the qualities of his native expression—strains minor and sad in their general character. The religious “tone” is a part of the song, and both words and music conform to the minor key. The negroes delight in song that gives stress and swell to special words or phrases that for one reason or another have peculiar meanings to them. For the most part, all religious songs are “spirituals” and easily merge into satisfying melodies when occasion demands. With the idea gained from the music of the songs must be joined the church scenes and its personalities freely mingled with the music. The preaching, praying, singing and with it shouting and unity of negro worship—perfection of rhythmic sing-song, these with the throbbing instinct of the people make the negro music what it is. The negroes sing their regular denominational hymns with the same feeling, often, as they do the spirituals, and while mention must be made of their church hymns as such, they often reach in singing them a climax similar to their most fervent outbursts, and freely mingle them with the old songs. In addition to the tune in which the hymn is written the negro puts his own music into the singing, and his own interpretation into the words. This together with the “feeling-attitude” which is unconsciously his, and the satisfaction which he gets from his singing, places negro church music in a class of its own. A glance at the part which singing plays in the negro’s church services will aid in the interpretation of his songs.

Church services are opened with song; a leader may occupy his place at a central table or chair, select a song and begin to sing. Or they may wait for the “speerit” and a leader from the pews may begin to sing, others join in the song, while the congregation begins to gather in the church. The leader often lines his song aloud, reading sometimes one, sometimes two lines, then singing. He often puts as much music-appeal into the lining of the song as he does in the singing. The rhythmical, swinging tone of the reader adds zest to the singing which follows. Most of the negroes who sing know a great many songs—in fact, all of their regular songs—if they are given a start by the leader. On the other hand, the congregation often gives the leader a start when he lags, and both together keep the song going until they are ready to stop singing or to begin another song.

If the service is prayer meeting or a class meeting the leader usually continues the songs throughout the singing part of the exercises; at regular preaching services the preacher reads the regular hymns and leaves the beginning and the final songs to the leaders. In the class meeting, the general congregation led by song-leaders sing, as a rule, while the class leaders are engaged with their classes. Now a woman on this side, now a man or woman on the other side of the church begins the song and others join in the doleful tunes; so too, while collections are being made the singing is kept up continuously. The process is the same: a leader begins to sing, another joins in the singing, then another and another until the majority of those present are singing. Most negroes who attend church participate in the singing, although many will not do so regularly, preferring to remain quiet for a time, then to burst out into song. The negroes have been proverbial for their good singing, and undoubtedly they have won a deserved reputation. A group of five or ten negroes singing at a mid-week prayer meeting will often appear the volume of song equivalent to that of many times their number of white people singing. The comparison, however, is not a fair one, for the music is entirely different. One can scarcely appreciate the singing of the negroes until he has heard them on various occasions and in different capacities. Let him listen on a quiet Sunday evening from a position on a hill to the singing of four negro congregations, each clearly audible. It would appear to be the rhythmical expression of deep human feeling and longing in an unrestrained outburst of ten thousand souls. Inside the church one may watch the leaders as they line the songs and listen to their rich, tremulous voices; he may see the others respond and listen to the music of each peculiar voice. The voice of the leader seems to betray great emotions as he reads the lines and begins to sing. He appears literally to drink in inspiration from the songs while his soul seems to be overflowing as he sings the words telling of grace and redemption. However, he manifests the same kind of emotion when he sings one song as when singing another, the same emotion when he reads the words wrongly as when he has read them correctly; it makes little difference to him. He is consumed with the music and with the state of feeling which singing brings to him. After all, perhaps one feeling dominates his whole being while he sings, and there can be no song to him which does not accord with this.

A complete analysis of the negro church music in its detail is worthy of the efforts of any one who could describe it. And while the folk-song is of more importance in the present work than the music of these same songs, a few further details that are apparently characteristic of the negroes will not be amiss. The singing begins slowly and with time-honored regularity but is followed by the agreeable and satisfying effect made by the joining in of varied voices. Many times the singers begin as if they would sing a simple subdued song, or a hymn with its written music. But in a short while, apparently not being able to resist the impulse to give their feelings full sway, their voices fall into that rhythmical swing peculiar in a large degree to the negroes; all measures alike become stately. The average negro is proud of his stylish choir because it represents a step towards a model which the negroes wish to follow: but they do not like the choir’s singing as well as their own informal song. In general the negro’s song will characterize his natural self wherever he sings or hears it sung; he is loath to give it up. And while some pastors have testified that there were no members in their church who would not sing the church songs, it is very evident that many of the younger negroes do not enter fully into the spirit of the old songs and they must necessarily undergo radical changes and rapidly pass away.

Before coming to the further study of the negro spirituals, it will be well to inquire into the nature of the favorite standard church hymns commonly used by the negroes in their church services. A comparison may then be made with the popular folk-songs. The favorite songs and most common themes sung by the negroes may best be seen at their prayer meetings or class meetings, or at such gatherings as require no formality. One may attend week after week and hear the same songs and feel the same pathos emanating from the songs which the worshippers have learned to sing and love. They enjoy singing of heaven and rest and luxury where ease abounds and where Sabbaths have no end. They love to sing the praises of the Deliverer who shall free them from life’s toils. They have chosen the “good old” songs that have vividness and concrete imagery in them; they have placed a new feeling into them and a different interpretation. The meaning of the words and the sentiment of the song are transcended by the expression in the singing. The accustomed manner, together with their responsive feeling, absorb whatever of pure devotion might have existed in their attitude—the sinking itself becoming devotion. The negro looks always to some future state for happiness and sings often:

This earth, he cries, is not my place;
I seek my place in heaven.

The negroes sing with a peculiar faith the common stanzas of their hymns: “We’ve seen our foes before us flee,” “We’ve seen the timid lose their fears”, “We’ve seen the prisoners burst their chains”, “We’ve seen the guilty lose their stains.” So, too, they conceive, as of old, of the eternal rest and sing, with its full stanzas: