Access the full text.
Sign up today, get DeepDyve free for 14 days.
References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.
At the time of his death in 1966, Willis Laurence James had lived to see a gradual turning of the tide in the direction of appreciation for the folk traditions that evolved in America during the era of African enslavement. Born at the tum of the century, when many of the old est black traditions were still transmitted orally in rural areas throughout the South, James began to collect in his youthful mem ory songs that he later raised to the level of choral artistry. He was among that early group of well-educated and highly talented black musicians who undertook the study and preservation of a music widely considered the only indigenous American folk song next to that of the Native Americans. There was hardly a time in his life when James was not drawn to the culture from which black folk song evolved. As a result of his work as a folklorist, folk song arranger, and original composer, his reputation as an authority on black folk life spread from the local and regional levels to the national arena during the 1950s, at which time he began receiving invitations to lecture throughout the coun try and abroad. In 1951
Black Sacred Music – Duke University Press
Published: Sep 1, 1995
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.