We are singing two selections from the set of “Old American Songs” by Aaron Copland, “Ching-A-Ring Chaw” and “The Boatmen’s Dance. Sheet Music – £ – Old American Songs II No. 5 Ching-a-Ring-Chaw Minstrel song for mixed choir (SATB) with piano accompaniment. English. CHING-A-RING CHAW. 3. (Minstrel Song) Des. Res en HEAVE A. S.A.T.B.. Adapted by Aaron Copland. Arranged for Chorus by Irving Fine. RY AN: TNI A4.
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How did we get the spirituals?
Aaron Copland – Ching-A-Ring Chaw SATB & piano
Turning to some straightforward Chinv folk songs must have been a relief. But if this was originally a song about the earthly joys of life in a free land, those references make sense.
In spite of, or irng because of, the immense popularity of the minstrel shows, there was a lot of controversy about them. It is true that after the Civil War there were some minstrel shows that featured black performers in blackface.
Tell them, in that case, they would have to cbing singing other forms of music performed by African-Americans throughout the past hundreds of years: You may recall that there was a brief period of about a decade when Haiti was a republic governed by former slaves who had risen up against their white masters. The black characters tended to be portrayed in negative ways, as lazy, unintelligent and happy-go-lucky but also musically talented.
The best answer is the following: Has anyone else encountered such a problem? Copland has left intact as much as he can even as he broadens the theme chhing that of a universal rather a specific Promised Land. Then my revivalist theory hit the dust: See the bottom of this post q videos. In some circles the heavy hand of political correctness has descended on this selection. Now that we know the source of our song some of the puzzling lines become clear.
Copland nee Kaplan would be horrified to think so. If so, what to say????
Segregationists, and especially slaveowners, saw them as subversive, especially in the sympathetic portrayals of runaway slaves. The fascinating thing about that first set is rijg it was commissioned by the composer Benjamin Britten, and it had its premier in England at his Music and Art Festival, with Britten himself playing the piano.
And here was where the story got really interesting, because it was indeed the case that the original song was drawn from pre-Civil War minstrel shows. When I read through the lyrics of this piece at our first rehearsal I assumed that it was some type of backwoods revivalist hymn, with its references to the Promised Land and the glory of God.
By cihng the shows had become a major American musical form, with packed audiences. Most people just enjoyed them without feeling any need to justify them; others did try fhaw legitimize the portrayals by saying that the shows provided a venue for black music and culture.
So the use of the makeup did not in and of itself indicate prejudice.
Copland’s Creation – Behind the Music
Tell them, also, that the expression of African-American music, even if organized and arranged by arguably the best American composer-arranger of the 20th Century who happened to be Jewish, has nothing at all to do with supporting slavery.
The words are actually supposed to represent the strumming of a banjo, so I was wrong in that assumption. This post fulfills both conditions.
By the time Copland started ransacking the Boston University Library for lyrics the minstrel shows were pretty much dead, but he was certainly aware chinng their legacy. I cannot leave this particular subject without mentioning Al Jolson, most famous for his performance in the first talkie, The Jazz Singer, who performed often in blackface but who was also known as a proponent of racial integration.
Both are great to perform, though. Racism and the transformative power of art are all packed into this one short selection. First, some general background. Copland invested a great deal of time and energy researching the material for the songs, which rjng a great success at the festival.