New-York tribune., 1913-07-20
Why the Songs Are
Predominantly Re-
ligious-ThePau-
city Of Secu-
lar Songs.
CHAPTER III.

Having looked into the genesis OF the
folksongs of the American negroes, pur-
pose 10 lay a foundation for an eXami-
nation into some of the musical idOms
which characterize them. so that, pres
entity. their origin as well as their effect
may be discussed. Before then, however,
something must be said about the various
classes of songs and their use Here the
most striking fact that presents itself is
the predOmnance of hymns, or religious
songs The reason for this will readily
be found by those who are willing TO ac-
cept Herbert Spencer's theory OF the
origin of music and my definition Of folk
song. Slavery was the sorrow of the
Southern blacks; religion was their COM
fort and refuge. That religion was not
dogmatic, philosophical or even ethical
system so much as an emotional eN-
perience These hymns, says Mr.. Allen
in his introduction TO slave Songs of the
United States" "will be found peculiarly
interesting in illustrating the feelings,
opinions and habits of the slaves. D..
One of their customs. often alluded to in
the songs. is that of wandering
through the woods and swamps when
under religious excitement, like the an
cient bacchantes." almost all their songs
were thoroughly religious in their tone.
says Colonel HigginsOn, who confesses
that he was moved 10 collect them by his
interest in Scottish ballad literature. and
were in a minor key, both as to words
and music. The attitude is always the
same, and, as a commentary on the life
of the race. is infinitely pathetic Nothing
but patience for this life-nothing but
triumph i'm the next. Sometimes the pres
ent predominates, sometimes the future
but the combination is always implied
Concerning the prevalent mode of the
songs Colonel Higginson is in error; they
are predominantly major, not minor. Inc
mistake is a common one among persons
who have no technical training in music
and who have been taught that suffering
always expresses itself in the minor mode
great majority of those who write
about savage or primitive music generally
set II down as minor whenever it has a
melancholy cast Though the words are
sometimes rude and the strains often
wild. vet they are the outpourings of an
Ignorant and poverty stricken people
whose religious language and ideals
Al struggled lOr eNpTeSslO!4 anu ANNi4'- -
III through limited vocabularies and prlml-
tive harmonies. They are not merely
poetry, they are life itself-the life OF the
human soul manifesting itself in rude
words. wild strains and curious, though
beautiful harmones." says Robert Il.
Motion. commandant Of Hampton lnstl-
tute. Booker T. Washington bears this
testimony: The negro folksong has Tor
the negro race the same value that the
folksong OF any other people has for that
people. 1t reminds the race Of the rock
thence it was hewn.' it fosters race pride,
and in the days Of slavery 1t furnished
an outlet for the anguish of smitteh
hearts. The plantation songs
9own as the 'spirituals' are the spon-
taneous outbursts Of intense religious
tervor, and had their origin chiefly in the
camp meetings. the revivals and in other
religious exercises They breathe a child
like faith in a personal Father and glow
with the hope that the children oil
bondage will ultimately pass out OF the
wilderness of slavery into the land ol
freedom"