Spirits That Dwell In Deep Woods Ii

Revealing the fascinating body of hymnal work that flourished in Southern communities populated by the children of slaves between 1885 and 1925, this stirring collection of spiritual songs sheds light on a vanished era. While these hymns owe much to their rural Southern origin, they are distinct from traditional gospel, borrowing heavily from the oral storytelling tradition of the region and possessing a rousing, repetitive nature. Twenty-four hymns from this underappreciated era in African American music are included, along with an extensive analysis of each work, providing a rare look into a pivotal generation of church music.

This volume presents a treatise on trees and how they relate to the human spirit. Through its in-depth discussion of the meaning of trees, a need for a shift in thinking becomes clear. Historically, people in dominant cultures have viewed trees as resources to be used and forests as obstacles to such endeavors as farming and ranching. This publication presents a different view of trees and forests, one calling for a shift from domination and irreverence to respect and care—even kinship. While the text includes a discussion about some of the amazing characteristics of trees, the primary focus here is on the philosophical meaning of, and emotional connections with, trees. Its integration of disciplines and the recognition of different ways of knowing will make this book appealing to a wide variety of readers.

In the late 1920s, Reverend A. W. Nix (1880–1949), an African American Baptist minister born in Texas, made fifty-four commercial recordings of his sermons on phonographs in Chicago. On these recordings, Nix presented vocal traditions and styles long associated with the southern, rural Black church as he preached about self-help, racial uplift, thrift, and Christian values. As southerners like Nix fled into cities in the North to escape the rampant racism in the South, they contested whether or not African American vocal styles of singing and preaching that had emerged during the slavery era were appropriate for uplifting the race. Specific vocal characteristics, like those on Nix’s recordings, were linked to the image of the “Old Negro” by many African American leaders who favored adopting Europeanized vocal characteristics and musical repertoires into African American churches in order to uplift the modern “New Negro” citizen. Through interviews with family members, musical analyses of the sounds on Nix’s recordings, and examination of historical documents and relevant scholarship, Terri Brinegar argues that the development of the phonograph in the 1920s afforded preachers like Nix the opportunity to present traditional Black vocal styles of the southern Black church as modern Black voices. These vocal styles also influenced musical styles. The “moaning voice” used by Nix and other ministers was a direct connection to the “blues moan” employed by many blues singers including Blind Willie, Blind Lemon, and Ma Rainey. Both Reverend A. W. Nix and his brother, W. M. Nix, were an influence on the “Father of Gospel Music,” Thomas A. Dorsey. The success of Nix’s recorded sermons demonstrates the enduring values African Americans placed on traditional vocal practices.

Enslaved Africans brought their music and religion with them to America. They adapted their spiritual worldview into the existing Christian framework for survival. The God of the oppressor was transformed into the God of liberation and justice. Salvation became the conduit for survival. Sacred song was embedded with African spirituality and African American theology to create a religious experience from the seventeenth century to the twentieth century that sustained African American people and became established forms of praise and worship. The Civil Rights movement changed the religious reality of African American people. Sacred song in the twenty- first century has many challenges. Will the legacy and heritage of sacred song survive?