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World War II to the Civil Rights Movement
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African American Music in the Civil Rights Movement 3


Gospel music has historical roots in traditional slave spirituals, which were songs of sorrow, but also jubilation at the thought of freedom.

Gospel music has historical roots in traditional slave spirituals, which were songs of sorrow, but also jubilation at the thought of freedom.

The power of singing congregationally in unison (or a cappellaChoral or vocal music performed without instrumental accompaniment.) strengthened African Americans' resolve and also implied singing songs that most of the attendants already knew by heart. Many African Americans were familiar with the religious music sung in churches, namely spirituals and hymns. Therefore, these types of songs often furnished the basis for protest songs.Songs associated with a movement for social change. Hence, the same or similar melodies from spirituals and hymns were used in creating new lyrics for event-related protests and consequently, these lyrics were often, but not always, secular. For example, a couple of songs adapted from spirituals include "Oh Freedom!" and this video recording of Choir Boy Music Video: Eyes on the Prize:"

Choir Boy Music Video: Keep Your Eyes on the Prize

Choir Boy Music Video: Keep Your Eyes on the Prize [ 00:00-00:00 ]

In protest song performance practicesThe term applied to musical techniques employed in specific musical genres during specific musical eras. Quite often, it refers to techniques that are implied, and not written or notated., often a solo voice would begin, and if one or more people knew the song, they would slowly join in. It is often said, "If someone starts a song and you know it, you never let them finish it alone." Moreover, the solo voice would often start by singing the chorusA section within a song that lyrically affirms the song's title with the same words. This section is often tuneful or easier to remember. It occurs a number of times throughout the song. of a song as a form of an announcement, as the attendants were bound to perceive this to be the most tuneful and, therefore, a recognizable part of the song. An example of this is heard in the previous song "Oh Freedom!" . Here the soloist is begun singing the gist of the song, and at 00:40 a group of voices continues by singing the same words in harmony. Likewise, songs were regularly sung in the lining-out or imitational call-and-responsePerformance style with a singing leader who is imitated by a chorus of followers. This is also known as responsorial singing. manner: One voice would sing (call) the opening line followed by the group singing the same passageA phrase or short section of a musical composition. (response). And, on occasions, the group would respond with some variations such as singing in harmonyCountermelodic notes to accompany a tune. using a slightly different rhythmThe subdivision of a space of time into a defined, repeated pattern. The controlled movement of music in time. It may be defined as the division of music into regular metric portions; the regular pulsation of music. , or adding a counter solo phrase. All of this heard in a different recording of the song "Oh Freedom!" . In this version the soloist sings from the beginning to 00:42, at which point a group of singers respond by singing with the same lyrics in harmony, slightly changing the rhythm, adding handclapping, and various vocables.

Martin Luther King, Jr.

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

We Shall Not Be Moved

Oh I, shall not
I shall not be moved I shall not
I shall not be moved
Just like a tree planted by the water
I shall not be moved