Table of Contents

List of Illustrations Preface Acknowledgments Introduction Part I. The Proverbial Trees: Patterns of Change in African American Music Making 1. "Blest Be the Tie That Binds": Part I: Congregational Singing as a Worship Ethos for Dr. Watts Hymns 2. "Blest Be the Tie That Binds": Part II: Regional Style Traditions of Dr. Watts Hymn Singing 3. "Our God, Our Help in Ages Past": The Tradition of Dr. Watts in English Historical Perspective 4. "Father, I Stretch My Hands to Thee": The Tradition of Dr. Watts in African Historical Perspective 5. "I Love the Lord, He Heard My Cries": The Role of Dr. Watts Hymns in the Musical Acculturation of African Americans 6. "Go Preach My Gospel, Saith the Lord": Words as Movers and Shakers in African American Music Part II. The Proverbial Forest: Webs of Significance in African American Music Making 7. "I Heard the Voice of Jesus Say": The Singing Life of the Reverend Doctor C.{ths}J. Johnson (1913--90) 8. "Come Ye That Love the Lord": The Lining Out--Ring Shout Continuum and the Five-Key Sequence 9. "God Moves in a Mysterious Way": The Lining Out--Ring Shout Continuum beyond Church Walls Conclusion Appendix A. Selection of Transcribed and Discussed Performances Appendix B. Partial Annotated List of Recorded Lining-Out Performances Held in the Archive of Folk Culture, Library of Congress Notes Bibliography Discography Index

About the Author

William T. Dargan is Professor of Music at Saint Augustine's College.