Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans
University of California Press, 2006 M06 27 - 337 pages
This book, a milestone in American music scholarship, is the first to take a close look at an important and little-studied component of African American music, one that has roots in Europe, but was adapted by African American congregations and went on to have a profound influence on music of all kinds—from gospel to soul to jazz. "Lining out," also called Dr. Watts hymn singing, refers to hymns sung to a limited selection of familiar tunes, intoned a line at a time by a leader and taken up in turn by the congregation. From its origins in seventeenth-century England to the current practice of lining out among some Baptist congregations in the American South today, William Dargan’s study illuminates a unique American music genre in a richly textured narrative that stretches from Isaac Watts to Aretha Franklin and Ornette Coleman.
Lining Out the Word traces the history of lining out from the time of slavery, when African American slaves adapted the practice for their own uses, blending it with other music, such as work songs. Dargan explores the role of lining out in worship and pursues the cultural implications of this practice far beyond the limits of the church, showing how African Americans wove African and European elements together to produce a powerful and unique cultural idiom. Drawing from an extraordinary range of sources—including his own fieldwork and oral sources—Dargan offers a compelling new perspective on the emergence of African American music in the United States.
Copub: Center for Black Music Research
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Blest Be the Tie That Binds Part II Regional Style Traditions of Dr Watts Hymn Singing
Our God Our Help in Ages Past The Tradition of Dr Watts in English Historical Perspective
Father I Stretch My Hands to Thee The Tradition of Dr Watts in African Historical Perspective
I Love the Lord He Heard My Cries The Role of Dr Watts Hymns in the Musical Acculturation of African Americans
Go Preach My Gospel Saith the Lord Words as Movers and Shakers in African American Music
THE PROVERBIAL FOREST WEBS OF SIGNIFICANCE IN AFRICAN AMERICAN MUSIC MAKING
I Heard the Voice of Jesus Say The Singing Life of the Reverend Doctor CJ Johnson 19131990
God Moves in a Mysterious Way The Lining OutRing Shout Continuum beyond Church Walls
Selection of Transcribed and Discussed Performances
Partial Annotated List of Recorded LiningOut Performances Held in the Archive of Folk Culture Library of Congress
Come Ye That Love the Lord The Lining OutRing Shout Continuum and the FiveKey Sequence
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African American apparent associated Baptist Church became become begins black Baptist black music blues body Bois called century chapter chorus close communities congregational continue culture developed distinctive early elements English example experience expressive followed frame genres gestures gospel Grace hand hear heard hymn singing jazz Jesus John Johnson Keep kind language leader less linguistic lining Lord means measured melody meter moaning morning move movement North notes opening oral origins particular patterns performance phrase pitch poetic rhythms practice prayer preaching psalms range recorded regional response rhythmic rhythms ring shout ritual sacred Selection sense sermon shout singer slaves social song sound sources South Carolina speech speech rhythms spirituals structure style sung texts throughout tion tradition Transcription tune verse vocal voice Watts hymns worship
Page 29 - I heard the voice of Jesus say, "Come unto Me and rest; Lay down, thou weary one, lay down Thy head upon my breast:" I came to Jesus as I was, Weary, and worn, and sad; I found in Him a resting-place, And He has made me glad. I heard the voice of Jesus say, "Behold, I freely give The living water, thirsty one, Stoop down, and drink, and live...