AFRICAN-AMERICAN MUSICAL ROOTS Harry T. Burleigh of Spirituals Minstrel Ragtime Shows

James Reese Europe and Band (Badger). Wikipedia James Reese Europe, a prominent African-American musician, consid- First page of “The Frolic” (Burleigh). ered ragtime to be a true and natu- Burleigh’s Arrangement of “Deep River,” 1907 (first page). Courtesy Historical American Sheet Music, David M. Rubenstein Rare Book ral expression of African-Americans, and Manuscript Library, Duke University, RBR Music 694 Ragtime music, syncopated saying “the Negro plays ragtime as if it was second nature to him -- as music primarily performed on it is” (Berlin 246). African-American slaves per- the piano, contributed greatly Burleigh in 1906 - Musical Director of the St. George’s Men’s Club minstrel formed a wide variety of spir- show. Photograph from the 1907 minstrel show program. to the development of harmon- ituals and other Christian Developed in the 19th century, ic and melodic complexities of music. Many of these songs later African-American music were coded messages of sub- minstrel shows were a popular form of entertainment in the (Jones). Though Burleigh called version against slaveholders, antebellum and Reconstruction ragtime “the old plantation mel- or which signaled escape. periods. Minstrel shows includ- ody caricatured and debased,” The title of this spiritual as ed both black and white enter- many of Burleigh’s composi- arranged by Harry T. Burleigh tainers who wore blackface, tions such as “The Frolic” used refers to crossing the river and the shows mocked African- syncopated rhythms that were Jordan, which was a symbol American music and culture clearly influenced by ragtime in many spirituals not only of through racial stereotypes. (Snyder 322). a wish to reach heaven, but Beginning in 1906, Burleigh also of a yearning to be freed ran a vaudeville show for St. from slavery (Jones). George’s Men’s Club in New York City. He served as musical director, where performances included more than the racial mockery typical of minstrel- sy. The 1907 program reveals only one ragtime tune typical of the Zip Coon character (a dominant racial stereotype).