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Foreword

Foreword As of this year, 1995, this book is exactly fifty years old, and yet until now it has never been seen by the public. It might have been seen by a few publishers whom the author contacted after he completed the manuscript in 1945, but their responses might have been similar to mine when I first received a copy from Rebecca T. Cureau: The man­ uscript is a good first draft, but it is not yet ready for publication. But sensing the extraordinary information and insight resulting from the author's folkloric research, I decided to take the manuscript through two more carefully crafted drafts.I First, at Cureau's suggestion, I incorporated into the original manu­ script the improved version of chapter 2 , which appeared in Atlanta University's Phylon in 19 5 5 as "The Romance of the Negro Folk Cry in America." I should also point out that fifty-one pages are missing (or the author intentionally deleted them) from the collection of songs comprising the appendix. Nonetheless, the eighty remaining songs and the many musical examples throughout the book over­ shadow the loss . Actually, the songs missing from the appendix were the least of my sorrows. Indeed, when http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

Foreword

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Copyright
Copyright © 1995 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-9.1-2.vii
Publisher site
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Abstract

As of this year, 1995, this book is exactly fifty years old, and yet until now it has never been seen by the public. It might have been seen by a few publishers whom the author contacted after he completed the manuscript in 1945, but their responses might have been similar to mine when I first received a copy from Rebecca T. Cureau: The man­ uscript is a good first draft, but it is not yet ready for publication. But sensing the extraordinary information and insight resulting from the author's folkloric research, I decided to take the manuscript through two more carefully crafted drafts.I First, at Cureau's suggestion, I incorporated into the original manu­ script the improved version of chapter 2 , which appeared in Atlanta University's Phylon in 19 5 5 as "The Romance of the Negro Folk Cry in America." I should also point out that fifty-one pages are missing (or the author intentionally deleted them) from the collection of songs comprising the appendix. Nonetheless, the eighty remaining songs and the many musical examples throughout the book over­ shadow the loss . Actually, the songs missing from the appendix were the least of my sorrows. Indeed, when

Journal

Black Sacred Music – Duke University Press

Published: Sep 1, 1995

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