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John Mercer Langston and the Fight for Black Freedom, 1829–65

John Mercer Langston and the Fight for Black Freedom, 1829–65 60 Blodc Soaed Musk not make the same mistakes that liberation theology has made in the past-claiming that God is the liberator of the oppressed without accounting for the actual lack of liberation at levels and in areas that elude national attention. Before theomusicology boldly claims that the two-edged sword of God in the civil rights songs told old Pharaoh "where to go," Moses must "go down" and take a closer look­ engage in empirical study-to determine whether or not his people were in fact let go. Cheek, William, and Aimee Lee Cheek. John Mercer Langston and the Fight for Black Freedom, 1829-65. Urbana : University of Illinois Press, 1989. Theomusicology is no more interested in Joshua McCarter Simp­ son, the most prolific antislavery songwriter of moral abolitionism, than in John Mercer Langston, the black theologian and lawyer who was neither a songwriter nor a singer. While antislavery song is a topic of interest to theomusicology, it cannot fully comprehend the meaning of Simpson's antislavery songs without discerning the intel­ lectual climate among black Ohioans which informed his lyrics . Although Simpson is only mentioned once in the Cheeks' book (as a "composer of black folk music " ), http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

John Mercer Langston and the Fight for Black Freedom, 1829–65

Cheek, William; Cheek, Aimee Lee
Black Sacred Music , Volume 4 (2) – Sep 1, 1990
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Copyright
Copyright © 1990 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-4.2.60
Publisher site
See Article on Publisher Site

Abstract

60 Blodc Soaed Musk not make the same mistakes that liberation theology has made in the past-claiming that God is the liberator of the oppressed without accounting for the actual lack of liberation at levels and in areas that elude national attention. Before theomusicology boldly claims that the two-edged sword of God in the civil rights songs told old Pharaoh "where to go," Moses must "go down" and take a closer look­ engage in empirical study-to determine whether or not his people were in fact let go. Cheek, William, and Aimee Lee Cheek. John Mercer Langston and the Fight for Black Freedom, 1829-65. Urbana : University of Illinois Press, 1989. Theomusicology is no more interested in Joshua McCarter Simp­ son, the most prolific antislavery songwriter of moral abolitionism, than in John Mercer Langston, the black theologian and lawyer who was neither a songwriter nor a singer. While antislavery song is a topic of interest to theomusicology, it cannot fully comprehend the meaning of Simpson's antislavery songs without discerning the intel­ lectual climate among black Ohioans which informed his lyrics . Although Simpson is only mentioned once in the Cheeks' book (as a "composer of black folk music " ),

Journal

Black Sacred Music – Duke University Press

Published: Sep 1, 1990

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