The Negro Folk Music of Alabama

Alabama’s Negro folk music is a rich and varied tradition that has influenced both blues and gospel music. This blog explores the history and influence of this musical tradition.

The Origins of Negro Folk Music in Alabama

The Negro folk music of Alabama is the product of the cultural blending of two traditions: the African and the European. The earliest recorded instance of Negro folk music in Alabama dates back to 1773, when a group of slaves from West Africa were brought to Mobile by the French. These slaves brought with them a rich tradition of folk music, which they continued to practice in their new home.

The African tradition of Negro folk music is characterized by its use of call-and-response patterns, polyrhythms, and improvisation. These elements were combined with the more structured European tradition to create a unique musical style that would come to be known as Negro spirituals. This new musical genre was first heard in public in 1819, when a group of slaves sang aNegro spiritual at a Fourth of July celebration in Mobile.

The popularity of Negro spirituals began to grow in the 1830s, as more and more slaves were exposed to them through religious revivals and camp meetings. By the end of the decade, they had become an important part of black religious life in Alabama. In 1839, one observer noted that Negro spirituals were being sung “in every cabin” on plantations across the state.

The rise of Negro spirituals coincided with a growing movement for black emancipation. In 1831, Nat Turner’s slave rebellion inspired other blacks to fight for their freedom, and by the 1850s, Alabama had become a hotbed of abolitionist activity. It was against this backdrop that Negro spirituals came to be seen as an expression of black pride and resistance. In 1856, an antislavery newspaper in Mobile described them as “the soul-stirring songs of our persecuted brethren.”

Today, Negro spirituals remain an important part of black religious life in Alabama. They are still sung at camp meetings and revival services, and are often performed by gospel choirs and soloists. Many famous musicians have recorded versions of these songs, including Mahalia Jackson, James Cleveland, andAretha Franklin.

The Characteristics of Negro Folk Music

There are several characteristics which Negro folk music shares with the music of other folk groups. The first of these is that it is primarily functional. That is, the songs were created to serve some specific purpose or meet some need of the group. For example, work songs were created to make the work process more efficient or bearable; play party games helped young people to find mates; and spirituals expressed the religious beliefs of the people.

A second characteristic of folk music is that it is community-oriented. The songs are a part of the community tradition and are passed down from generation to generation. In fact, many folk songs can only be learned by hearing them sung within the community.

Finally, folk music is typically anonymous. That is, the authorship of the tunes and lyrics is often unknown. This is not to say that there was no individual creativity involved in the making of folk music; rather, it was not considered important to know who created a particular song. What was important was that the song be a part of the community tradition.

The Functions of Negro Folk Music

The primary function of Negro folk music, as of folk music the world over, is to give the people a means of expressing their feelings, their hopes, their joys and their sorrows. In the songs the individual or the group speaks for itself; in secular songs it talks about its own affairs, and in religious songs it expresses its own particular feeling about God and His relation to man. The song is significant not only because of what it says but also because of how it says it. The manner or style in which a song is sung often has more bearing on its interpretation than the literal meaning of the words. It is not enough to know that a certain song is a “drinking” song or a “love” song; one must know how it was sung, for often the attitude with which a song was sung was more important than what was actually said.

The Significance of Negro Folk Music

Negro Folk Music as an expression of the negroes’ life in America is significant because: first, in spite of the difficulties and discouragements which beset them, the negroes have always held on to their music as one of their most valuable possessions; second, this music has been a potent factor in the survival and progress of the race; and third, it is the only really indigenous American music.

The first point is illustrated by the fact that during slavery times when it was death to be caught with a fiddle or drum, the slaves continued to sing. In theFaceBook poston “The Significance of Negro Folk Music”, W. E. B. Du Bois says: “The history of_negro_music is thus one of thrilling interest and real adventure.” The second point is evident when we remember that it was through singing that the slaves kept up their hope and courage enough to bear the intolerable conditions under which they lived; that it was through singing that they passed on to their children something of their own culture and traditions; and that it was through singing that they were finally able to find their way out of slavery into freedom.

As for the third point, it is well worth our while to try to understand why this music is truly American. In his book Folk Songs of America, John Lomax says: “The folk songs of America are those which have been created by the people themselves in the course of their daily work and play, or which they have borrowed from other folk groups and adapted to their own use.” And again: “All other criterion being equal, a song may be called an American folk song if its words and music spring from American soil.”