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Masaryk University Faculty of Arts Department of English And Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Boglárka Zagyiová The Influence of 19th Century Negro Spirituals on Contemporary American Music Bachelor's Diploma Thesis Supervisor: Jeffrey Alan Smith, M.A., Ph.D. 2016 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my supervisor, Jeffrey Alan Smith, M.A., Ph.D., for his support, helpful guidance and kind encouragement in the process of writing this thesis. Table of Contents 1. Introduction .................................................................................................... 6 2. Negro Spirituals and the Question of National Identity ...................................... 10 3. The Evolution of Spirituals .............................................................................. 15 4. Rap .............................................................................................................. 22 4.1. Rap and the African Connection ............................................................... 24 4.1.1. Recycling of Material ........................................................................ 24 4.1.2. Verbal Prowess ................................................................................ 25 4.1.3. Dance ............................................................................................. 26 4.1.4. Technology ...................................................................................... 27 4.1.5. Time and Place of Performance ......................................................... 28 5. Comparison of Rap and Spirituals-Lyrics .......................................................... 30 5.1. Rhyme ................................................................................................... 30 5.1.1. Spirituals ......................................................................................... 30 5.1.2. Rap ................................................................................................. 32 5.2. Composition and Repetition ..................................................................... 35 5.2.1. Spirituals ......................................................................................... 35 5.2.2. Rap ................................................................................................. 36 5.3. Message ................................................................................................ 38 5.3.1. Spirituals ......................................................................................... 38 5.3.2. Rap ................................................................................................. 42 6. Comparison of Rap and Spirituals-Music .......................................................... 47 6.1. Rhythm .................................................................................................. 47 6.1.1. Spirituals ......................................................................................... 47 6.1.2. Rap ................................................................................................. 50 6.2. Chorus ................................................................................................... 53 6.2.1. Spirituals ......................................................................................... 53 6.2.2. Rap ................................................................................................. 56 6.3. Form ..................................................................................................... 58 6.3.1. Spirituals ......................................................................................... 58 6.3.2. Rap ................................................................................................. 60 7. Comparison of Rap and Spirituals-Performance ................................................ 63 7.1. Musical Instruments and Techniques ........................................................ 63 7.1.1. Spirituals ......................................................................................... 63 7.1.2. Rap ................................................................................................. 63 7.2. Body Movements .................................................................................... 66 7.2.1. Spirituals ......................................................................................... 66 7.2.2. Rap ................................................................................................. 68 8. Conclusion .................................................................................................... 73 9. Bibliography .................................................................................................. 76 9.1. Primary Sources ...................................................................................... 76 9.2. Secondary Sources .................................................................................. 77 10. List of Examples, Figures and Tables ........................................................... 82 10.1. List of Examples .................................................................................. 82 10.2. List of Figures ..................................................................................... 83 10.3. List of Tables ...................................................................................... 83 11. Résumé (English) ....................................................................................... 84 12. Résumé (Czech) ......................................................................................... 85 1. Introduction Negro spirituals are the keystone of the majority of contemporary popular American musical styles. The latest movement to be influenced by spirituals is rap. The relation between the two genres is undeniable. They carry a remarkable number of similarities in their lyrics, music and performance as well. Paradoxically, the songs of a nation who were oppressed and humiliated for so many years grew to be a distinctive musical genre which characterizes the United States of America. Despite the opposition of many, it is now regarded the base of popular American music. The distinctive voice of slavery had an impact on genres that dominate today's music industry. This thesis in particular, will focus on the influence exerted by spirituals on rap. Rap is undoubtedly the indirect continuation of slave songs which keep on living in the spirit and music of rap even after more than a century. In contempt of the significance and imprint of spirituals, for a long time they were underestimated and did not get the full respect they deserve. Experts were confounded by their origin, and Henry Edward Krehbiel described the dilemma in the following way: “there had been a great deal of discussion about slave songs. 'whether or not they were entitled to be called American and whether or not they were worthy of consideration as foundational elements for a school of American composition'” (qtd. in Ramey 112). While spirituals' provenance is uncertain, rap gets the full credit for being American. Rap has evolved from spirituals, and this is overwhelmingly supported by evidence of similarities which will be covered in the thesis. 6 Obviously, the two genres do differ in many particulars due to the 150-year historical gap dividing them. One of these differences lies in the technological inventions that have made music-making so much easier. However, from a musical point of view they both share syncopation and the presence of the chorus. Furthermore, the similarities are to be noted in the body movements as well, which are entrenched in older African traditions. One indisputable point is the correlation in the difficult circumstances the genres were produced under. Black people have to accept their sorrowful history of slavery, Houston Baker explains, as this is what constitutes the foundation of African American expression today (qtd. in Shusterman 623). While spirituals are a unique musical genre, rap is part of a bigger movement: hip-hop. Hip-hop is not only a musical style but also a way of thinking for the people of this generation. It is “'a way to release tension, to let out frustration that young people face in the world today. '“ (Banfield 37). In order to better apprehend rap, we have to be aware of the existence of the generation rap was created by. Hip-hop journalist Toure defined the hip-hop generation and defended its existence in society: “'We are a nation with no precise date of origin, no physical land, no single chief. But if you live in the Hip-Hop nation, if you are not merely a fan of the music but a daily imbiber of the culture . then you know the Hip-Hop Nation is a place as real as America on a pre-Columbus atlas'” (qtd. in Neal 57). The subsequent chapters will deal in more depth with the comparison of rap and spirituals from three different perspectives: their lyrics, music and performance. The second chapter will introduce the concept of spirituals, and 7 will tackle the question of whether they can be called American despite the African origin of people who practiced them. The opinions of experts and scholars on the issue will be ordered chronologically so that we can observe the development of people's ideas. The third chapter will follow the evolution of musical genres starting from gospel
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