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A work song is a typically rhythmic a cappella song sung by people working on a physical and often repetitive task. The work song is probably intended to reduce feelings of boredom. Rhythms of work songs also serve to synchronize physical movement in a gang. Frequently, the verses of work songs are improvised and sung differently each time. The improvisation provided the singers with a sometimes subversive form of expression: improvised verses sung by slaves had verses about escaping, improvised verses sung by sailors had verses complaining about the captain and the work conditions. Work songs also help to create a feeling of familiarity and connection between the workers. Rhythmic music and Rhythmic radio, also known as Rhythmic Crossover or Rhythmic Pop, is a term used to describe a certain group of radio stations and the Billboard chart that is compiled based on airplay from those radio stations. ...
A cappella music is vocal music or singing without instrumental accompaniment, or a piece intended to be performed in this way. ...
A song is a relatively short musical composition for the human voice (commonly accompanied by other musical instruments), which features words (lyrics). ...
Boredom is a state of mind in which one interprets ones environment as dull, tedious, and lacking stimuli. ...
Work Songs and Slavery Work songs sung by slaves are known by many names around the world. In America, such songs were the foundation for what would eventually become the Blues. Some songs were part of a native heritage and sung to remind the slaves of home, while others were instituted by the slave masters to raise morale, keep slaves working in rhythm, or any number of other purposes. Black American slave songs might be referred to as "chain gang songs" or "spirituals" depending on the context of the song[1]. The blues is a vocal and instrumental form of music based on a pentatonic scale as well as a characteristic twelve-bar chord progression. ...
A chain gang of convicts going to work near Sydney, New South Wales. ...
A spiritual is a African-American song, usually with a religious text. ...
In America, the most famous slave songs were sung by African-American slaves in the South. These songs were typically in a call-and-answer format, where a lead would sing a verse or verses and the other workers would respond with a chorus. One very famous song from this era is Swing Low, Sweet Chariot, a spiritual. Frederick Douglass, a slave that escaped to New York, noted in 1845 that Motto: Deo Vindice (Latin: With God As Our Vindicator) Anthem: God Save the South (unofficial) Dixie (popular) The Bonnie Blue Flag (popular) Capital Montgomery (until 29 May 1861) Richmond (29 May 1861–2 April 1865) Danville (from 3 April 1865) Language(s) English (de facto) Government Confederate Republic President Jefferson...
Swing Low, Sweet Chariot is a United States spiritual folk song. ...
Frederick Douglass, ca. ...
While on their way (to work), the slaves would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. They would compose and sing as they went along, consulting neither time nor tune. The thought that came up, came out, if not in the word, in the sound; and as frequently in the one as in the other. They would sometimes sing the most pathetic sentiment in the most rapturous tone, and the most rapturous sentiment in the most pathetic tone. This they would sing, as a chorus, to words which to many would seem unmeaning jargon, but which, nevertheless, were full of meaning to themselves. I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do.[2] Slave music in America fell into two main categories: spirituals and secular music. The secular music typically "consisted of field hollers, shouts, and moans that used folk tales and folk motifs, and that made use of homemade instruments." Though drums were banned in later years for fear that black slaves would use them to communicate in a rebellion, slaves "managed to generate percussion and percussive sounds, using other instruments or their own bodies."[3]
Spirituals were rooted deeply in Christianity, to which many slaves were fervent converts. This fervor mimicked the rise of Christianity among Roman prisoners and slaves many centuries earlier.
Today, many slave songs are sung as performance pieces, usually in the genre of folk music. Folk music, in the original sense of the term, is music by and for the common people. ...
Work Songs and the Sea -
Work songs sung by sailors during the 20th, 19th, and to a lesser extent 18th centuries are known as sea shanties. These songs were typically performed while adjusting the rigging, raising anchor, and other tasks where men would need to pull in rhythm. These songs often have a very punctuated rhythm precisely for this reason, along with a call-and-answer format. Sea shanties (singular shanty, also spelled chantey; derived from the French word chanter, to sing) were shipboard working songs. ...
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Well before the 19th century, sea songs were common on rowing vessels. Such songs were also very rhythmic in order to keep the rowers together. Because many cultures used slaves to row, these songs might also be considered slave songs. These songs were performed with and without the aid of a drum.
work songs had a very slow style and were normally sung in 4/4
See also Waulking songs (Scots Gaelic: Orain Luaidh) are pieces of Scottish folk music, traditionally sung by women while waulking (in fact, men were often banned from the sessions). ...
// Songs of milking Songs of milking The milking songs are those associate to the milking of cows with the purpose of tranquilizing the animal during the task. ...
References - ^ http://www.cbmr.org/styles/secular.htm
- ^ From Narrative of the life of Frederick Douglass, 1845. Accessed from http://www.spartacus.schoolnet.co.uk/USASsongs.htm
- ^ PBS site on the history of jazz available http://www.pbs.org/jazz/time/time_slavery.htm
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