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Citations, Misunderstandings, and Authenticity in Coleridge-Taylor's Spiritual Arrangements

Published online by Cambridge University Press:  27 March 2025

Matthew Franke
Matthew Franke*
Affiliation:
Department of Music, Howard University, Washington, DC, USA
*
Email: [email protected]
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Abstract

In 1905, the Afro-British composer Samuel Coleridge-Taylor published his Twenty-Four Negro Melodies, a set of character pieces that includes arrangements of sixteen African American spirituals for piano solo. Despite this music's lasting popularity, scholars have done little to contextualize Coleridge-Taylor's statement that he wished to create a Black parallel to Brahms's Hungarian Dances or Dvořák's Slavonic Dances; most see the pieces as reflecting the influence of Dvořák. Yet these character pieces diverge from both Dvořák's and Brahms's precedent by including source citations with both melodies and lyrics. Coleridge-Taylor's compositional approach and his use of citations is much closer to Grieg and Stanford—two other role models whom scholars have regularly overlooked. The citations also rebalance the interpretative framework of the character piece as a genre, and, like W. E. B. Du Bois's use of spirituals in The Souls of Black Folk, can support several explanations. On one hand, they provide hidden texts for these instrumental pieces and provide a first line of defense against intentional (and bigoted) misunderstandings of the music. On the other hand, they also act as reference points for readers who want to learn more about the African American spiritual. Coleridge-Taylor's concern with cultural authenticity undoubtedly resulted from his close interactions with American spiritual singers, such as Frederick J. Loudin and Harry T. Burleigh. In this sense, the Negro Melodies served as Coleridge-Taylor's intervention in ongoing debates among Black Americans about the value and legacy of the spiritual.

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Research Article
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Journal of the Society for American Music , First View , pp. 1 - 27
Copyright
Copyright © The Author(s), 2025. Published by Cambridge University Press on behalf of the Society for American Music

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References

References

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Aveni, John Anthony. “Such Music as Befits the New Order of Things: African American Professional Musicians and the Cultural Identity of a Race, 1880–1920.” PhD diss., Rutgers University, 2004.Google Scholar
Banks, Jon. “Brahms's Hungarian Dances and the Early ‘Csárdás’ Recordings.” Music & Letters 102, no. 4 (November 2021): 758–82.CrossRefGoogle Scholar
Baumann, Max Peter. “The Reflection of the Roma in European Art Music.” The World of Music 38, no. 1 (1996): 95–138.Google Scholar
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Brodbeck, David. “Dvořák's Reception in Liberal Vienna: Language Ordinances, National Property, and the Rhetoric of Deutschtum.” Journal of the American Musicological Society 60, no. 1 (Spring 2007): 71–132.CrossRefGoogle Scholar
Brooks, Christopher A. “The ‘Musical’ Souls of Black Folk: Can a Double Consciousness Be Heard?” In Souls of Black Folk One Hundred Years Later, edited by Hubbard, Dolan, 269–83. Columbia, MO: University of Missouri Press, 2003.Google Scholar
Burleigh, Harry Thacker. Plantation Melodies Old and New. New York: Schirmer, 1901.Google Scholar
Carley, Lionel. Edvard Grieg in England. Woodbridge, UK: Boydell, 2006.Google Scholar
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Carter, Nathan M. “Samuel Coleridge-Taylor: His Life and Works.” DMA diss., Johns Hopkins University, 1984.Google Scholar
Clapham, John. “The National Origins of Dvořák's Art.” Proceedings of the Royal Musical Association 89 (1963): 75–88.CrossRefGoogle Scholar
Coleridge-Taylor, Avril. The Heritage of Samuel Coleridge-Taylor. London: Dobson, 1979.Google Scholar
Coleridge-Taylor, Jesse. A Memory Sketch or Personal Reminiscences of my Husband, Genius and Musician S. Coleridge-Taylor, 1875–1912. London: Crowther, 1943.Google Scholar
Coleridge-Taylor, Samuel. Twenty-Four Negro Melodies. Boston: Ditson, 1905.Google Scholar
Commins, Adèle. “‘Take Her Out and Air Her’: Irish Dances as Arranged by Stanford and Granger.” Musicology Australia 45, no. 1 (November 2023): 22–52.CrossRefGoogle Scholar
Cook, Nicholas. “The Imaginary African: Race, Identity, and Samuel Coleridge-Taylor.” In Handbook of Musical Identities, edited by MacDonald, Raymond, Hargreaves, David J., and Miell, Dorothy, 703–21. Oxford: Oxford University Press, 2017.CrossRefGoogle Scholar
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Du Bois, W. E. B. Darkwater: Voices from Within the Veil. New York: Harcourt, Brace, and Howe, 1920.Google Scholar
Du Bois, W. E. B. The Souls of Black Folk: Essays and Sketches. Chicago: McClurg, 1903.Google Scholar
Fenner, Thomas P., Rathbun, Frederic G., and Cleaveland, Bessie, eds. Cabin and Plantation Songs as sung by the Hampton Students. 3rd ed. New York and London: G. P. Putnam, 1901.CrossRefGoogle Scholar
Fisher, William Arms. Deep River: American Negro Melody. Boston: Ditson, 1916.Google Scholar
Floyd, Samuel A. Jr. The Power of Black Music: Interpreting its History from Africa to the United States. Oxford: Oxford University Press, 1995.Google Scholar
Gelbart, Matthew. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner. Cambridge: Cambridge University Press, 2007.Google Scholar
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Graham, Sandra Jean. Spirituals and the Birth of a Black Entertainment Industry. Urbana: University of Illinois Press, 2018.Google Scholar
Grieg, Edvard. Norske Folkeviser, Opus 66. Leipzig: C. F. Peters, 1897.Google Scholar
Grieg, Edvard. Slåtter/Norwegian Peasant Dances. Leipzig: C. F. Peters, n.d.Google Scholar
Green, Jeffrey. Samuel-Coleridge-Taylor: A Musical Life. London: Pickering & Chatto, 2011.Google Scholar
Grimley, Daniel M. Grieg: Music, Landscape and Norwegian Identity. Suffolk: Boydell & Brewer, 2006.Google Scholar
Hallowell, Emily. Calhoun Plantation Songs. Boston: C. W. Thompson, 1901.Google Scholar
Hutchinson, John. The Dynamics of Cultural Nationalism: The Gaelic Revival and the Creation of the Irish Nation State. London: Allen & Unwin, 1987.Google Scholar
Irvine, Thomas. “Hubert Parry, Germany, and the ‘North.’” In Dreams of Germany: Musical Imaginaries from the Concert Hall to the Dance Floor, edited by Gregor, Neil and Irvine, Thomas, 194–217. New York: Berghahn, 2018.Google Scholar
Jaji, Tsitsi. “Art Song Poetics: Performing Samuel Coleridge-Taylor's Setting of Paul L. Dunbar's ‘A Corn Song.’” J19: The Journal of Nineteenth-Century Americanists 1, no. 1 (Spring 2013): 201–6.CrossRefGoogle Scholar
Jensen, Eric Frederick. Debussy. Oxford: Oxford University Press, 2014.Google Scholar
Jubilee and Plantation Songs. Characteristic Favorites. Boston: Ditson, 1887.Google Scholar
Krehbiel, Henry Edward. Afro-American Folksongs: A Study in Racial and National Music. New York: Schirmer, 1914.Google Scholar
Lampert, Vera. “Nationalism, Exoticism, or Concessions to the Audience? Motivations behind Bartók's Folksong Settings.” Studia Musicologica Academiae Scientarium Hungaricae 47, no. 3/4 (September 2006): 337–43.Google Scholar
Liszt, Franz, and von Sayn-Wittgenstein, Caroline. “Berlioz and His “Harold” Symphony.” In Source Readings in Music History, translated and edited by Oliver Strunk. Revised edition under direction of Leo Treitler. Volume 6, The Nineteenth Century, edited by Solie, Ruth A., 116–32. New York: W. W. Norton, 1998.Google Scholar
Marsh, J. B. T., and Loudin, F. J.. The Story of the Jubilee Singers Including Their Songs. With Supplement Containing an Account of Their Six Years’ Tour Around the World, and Many New Songs. London: Hodder and Stoughton, 1898.Google Scholar
McGinty, Doris Evans. “‘That You Came So Far to See Us’: Coleridge-Taylor in America.” Black Music Research Journal 21, no. 2 (Fall 2001): 197–234.Google Scholar
Micznik, Vera. “The Absolute Limitations of Programme Music: The Case of Liszt's ‘Die Ideale.’” Music & Letters 80, no. 2 (May 1999): 207–40.Google Scholar
Parmer, Dillon. “Brahms, Song Quotation, and Secret Programs.” Nineteenth-Century Music 19, no. 2 (Autumn 1995): 161–90.CrossRefGoogle Scholar
Passmore, Asia. “Samuel Coleridge-Taylor and Transatlantic Connections in the Piano Music of the Black Diaspora.” DMA diss., University of Georgia, 2024.Google Scholar
Potter, Caroline. Erik Satie: A Parisian Composer and His World. Woodbridge, UK: Boydell & Brewer, 2016.Google Scholar
Radano, Ronald. Lying Up a Nation: Race and Black American Music. Chicago: University of Chicago Press, 2003.Google Scholar
Reef, John S. “Harry T. Burleigh's Art-Song Spiritual ‘Sometimes I Feel like a Motherless Child.’” Indiana Theory Review 38 (Spring 2023): 96–122.CrossRefGoogle Scholar
Revill, George. “Hiawatha and Pan-Africanism: Samuel Coleridge-Taylor (1875–1912), a Black Composer in Suburban London.” Ecumene 2, no. 3 (July 1995): 247–66.CrossRefGoogle Scholar
Richards, Paul. “Africa in the Music of Samuel Coleridge-Taylor.” Africa: Journal of the International African Institute 57, no. 4 (1987): 566–71.Google Scholar
Richards, Paul. “A Pan-African Composer? Coleridge-Taylor and Africa.” Black Music Research Journal 21, no. 2 (Fall 2001): 235–60.CrossRefGoogle Scholar
Rings, Steven. “The Learned Self: Artifice in Brahms's Late Intermezzi.” In Expressive Intersections in Brahms: Essays in Analysis and Meaning, edited by Platt, Heather and Smith, Peter H., 19–50. Bloomington: University of Indiana Press, 2012.Google Scholar
“Samuel Coleridge-Taylor. Born August 15, 1875. Died September 1, 1912.” Musical Times 53, no. 836 (October 1, 1912): 637–39.Google Scholar
Sayers, W. C. Berwick. Samuel Coleridge-Taylor, Musician: His Life and Letters. London: Cassel, 1915.Google Scholar
Schenbeck, Lawrence. Racial Uplift and American Music, 1878–1943. Jackson: University Press of Mississippi, 2012.CrossRefGoogle Scholar
Self, Geoffrey. The Hiawatha Man: The Life and Work of Samuel Coleridge-Taylor. Aldershot, UK: Scolar Press, 1995.Google Scholar
Seward, Theodore F. and White, George L.. Jubilee Songs as sung by the Jubilee Singers. 3rd ed. New York: Biglow & Main, 1884.Google Scholar
Sharp, Cecil, ed. Folk-Songs from Dorset. London: Novello, 1908.Google Scholar
Shaw, Stephanie J. W. E. B. Du Bois and The Souls of Black Folk. Chapel Hill: University of North Carolina Press, 2013.Google Scholar
Simpson, Anne Key. Hard Trials: The Life and Music of Harry T. Burleigh. Metuchen: Scarecrow Press, 1990.Google Scholar
Snyder, Jean E. Harry T. Burleigh: From the Spiritual to the Harlem Renaissance. Urbana: University of Illinois Press, 2016.CrossRefGoogle Scholar
Stanford, Charles Villiers. Four Irish Dances. Arranged for piano by Percy Grainger. New York: Fischer, 1916.Google Scholar
Stanford, Charles Villiers. “Some Thoughts concerning Folk-Song and Nationality.” Musical Quarterly 1, no. 2 (April 1915): 232–45.CrossRefGoogle Scholar
Stanford, Charles Villiers. Songs of Erin: A Collection of Fifty Irish Folk Songs. London: Boosey, 1901.Google Scholar
Sundquist, Eric J. To Wake the Nations. Race in the Making of American Literature. Cambridge: Harvard University Press, 1993.Google Scholar
Tall, David. “Grainger and Folk Song.” In The Percy Grainger Companion, edited by Foreman, Lewis, 55–69. London: Thames, 1981.Google Scholar
Thompson, Jewel Taylor. Samuel Coleridge-Taylor: The Development of His Compositional Style. Metuchen: Scarecrow Press, 1994.Google Scholar
Thurman, Kira. Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms. Ithaca: Cornell University Press, 2021.Google Scholar
Todd, R. Larry. “Mendelssohn's Lieder ohne Worte and the Limits of Musical Expression.” In Mendelssohn Perspectives, edited by Grimes, Nicole and Mace, Angela, 197–222. London: Routledge, 2012.Google Scholar
Trotter, James M. Music and Some Highly Musical People. Boston: Lee and Shephard, 1878.Google Scholar
Walden, Joshua S. “Composing Character in Musical Portraits: Carl Philipp Emanuel Bach and ‘L'Aly Rupalich.’” Musical Quarterly 91, no. 3/4 (September 2008): 379–411.Google Scholar
Ward, Andrew. Dark Midnight When I Rise: The Story of the Jubilee Singers Who Introduced the World to the Music of Black America. New York: Farrar, Straus, and Giroux, 2000.Google Scholar
Washington, Booker T. “Samuel Coleridge-Taylor.” In Twenty-Four Negro Melodies, by Coleridge-Taylor, Samuel, vii–ix. Boston: Ditson, 1905.Google Scholar
Washington, Booker T. The Story of My Life and Work. Cincinnati: Ferguson, 1900.Google Scholar
White, Harry. “Art Music and the Question of Ethnicity: The Slavic Dimension of Czech Music from an Irish Point of View / Umjectnička Glazba i Problem Ethniciteta: Slavenska Dimenzija Češke Glazbe s Irskog Gledišta.” International Review of the Aesthetics and Sociology of Music 35, no. 1 (June 2004): 29–46.Google Scholar
Wilson, Olly. “Composition from the Perspective of the African-American Tradition.” Black Music Research Journal 16, no 1 (Spring 1996): 43–51.CrossRefGoogle Scholar
Wolfenstein, Eugene Victor. A Gift of the Spirit: Reading “The Souls of Black Folk.” Ithaca: Cornell University Press, 2007.Google Scholar
Work, Frederick J. New Jubilee Songs. 2nd ed. Nashville: Fisk University, 1904.Google Scholar
Work, John W. Jr. “Introduction.” In Folk Songs of the American Negro, edited by Work, Frederick J.. Nashville: Work Bros. & Hart, 1907.Google Scholar
W. E. B. Du Bois Papers, 1803–1999 (bulk 1877–1963), Credo UMass Amherst Libraries’ Department of Special Collections and University Archives, University of Massachusetts, Amherst, Amherst, MA. https://credo.library.umass.edu/view/collection/mums312Google Scholar
Allen, William Francis, Ware, Charles Pickard, and Garrison, Lucy McKim. Slave Songs of the United States. New York: Simpson, 1867.CrossRefGoogle Scholar
Anderson, Paul Allen. Deep River: Music and Memory in Harlem Renaissance Thought. Durham: Duke University Press, 2001.Google Scholar
Antcliffe, Herbert. “Some Notes on Coleridge-Taylor.” Musical Quarterly 8, no. 2 (April 1922): 180–92.Google Scholar
Aveni, John Anthony. “Such Music as Befits the New Order of Things: African American Professional Musicians and the Cultural Identity of a Race, 1880–1920.” PhD diss., Rutgers University, 2004.Google Scholar
Banks, Jon. “Brahms's Hungarian Dances and the Early ‘Csárdás’ Recordings.” Music & Letters 102, no. 4 (November 2021): 758–82.CrossRefGoogle Scholar
Baumann, Max Peter. “The Reflection of the Roma in European Art Music.” The World of Music 38, no. 1 (1996): 95–138.Google Scholar
Beckerman, Michael. “The Master's Little Joke: Antonín Dvořák and the Mask of Nation.” In Dvořák and His World, edited by Beckerman, Michael, 134–54. Princeton: Princeton University Press, 1994.Google Scholar
Bellman, Jonathan. “Toward a Lexicon for the Style hongrois.” Journal of Musicology 9, no. 2 (Spring 1991): 214–37.CrossRefGoogle Scholar
Brodbeck, David. “Dvořák's Reception in Liberal Vienna: Language Ordinances, National Property, and the Rhetoric of Deutschtum.” Journal of the American Musicological Society 60, no. 1 (Spring 2007): 71–132.CrossRefGoogle Scholar
Brooks, Christopher A. “The ‘Musical’ Souls of Black Folk: Can a Double Consciousness Be Heard?” In Souls of Black Folk One Hundred Years Later, edited by Hubbard, Dolan, 269–83. Columbia, MO: University of Missouri Press, 2003.Google Scholar
Burleigh, Harry Thacker. Plantation Melodies Old and New. New York: Schirmer, 1901.Google Scholar
Carley, Lionel. Edvard Grieg in England. Woodbridge, UK: Boydell, 2006.Google Scholar
Carr, Catherine. “The Music of Samuel Coleridge-Taylor (1875–1912): A Critical and Analytical Study.” PhD thesis, Durham University, 2005.Google Scholar
Carter, Nathan M. “Samuel Coleridge-Taylor: His Life and Works.” DMA diss., Johns Hopkins University, 1984.Google Scholar
Clapham, John. “The National Origins of Dvořák's Art.” Proceedings of the Royal Musical Association 89 (1963): 75–88.CrossRefGoogle Scholar
Coleridge-Taylor, Avril. The Heritage of Samuel Coleridge-Taylor. London: Dobson, 1979.Google Scholar
Coleridge-Taylor, Jesse. A Memory Sketch or Personal Reminiscences of my Husband, Genius and Musician S. Coleridge-Taylor, 1875–1912. London: Crowther, 1943.Google Scholar
Coleridge-Taylor, Samuel. Twenty-Four Negro Melodies. Boston: Ditson, 1905.Google Scholar
Commins, Adèle. “‘Take Her Out and Air Her’: Irish Dances as Arranged by Stanford and Granger.” Musicology Australia 45, no. 1 (November 2023): 22–52.CrossRefGoogle Scholar
Cook, Nicholas. “The Imaginary African: Race, Identity, and Samuel Coleridge-Taylor.” In Handbook of Musical Identities, edited by MacDonald, Raymond, Hargreaves, David J., and Miell, Dorothy, 703–21. Oxford: Oxford University Press, 2017.CrossRefGoogle Scholar
Cruz, Jon. Culture on the Margins: The Black Spiritual and the Rise of American Cultural Interpretation. Princeton: Princeton University Press, 1999.CrossRefGoogle Scholar
Du Bois, W. E. B. Darkwater: Voices from Within the Veil. New York: Harcourt, Brace, and Howe, 1920.Google Scholar
Du Bois, W. E. B. The Souls of Black Folk: Essays and Sketches. Chicago: McClurg, 1903.Google Scholar
Fenner, Thomas P., Rathbun, Frederic G., and Cleaveland, Bessie, eds. Cabin and Plantation Songs as sung by the Hampton Students. 3rd ed. New York and London: G. P. Putnam, 1901.CrossRefGoogle Scholar
Fisher, William Arms. Deep River: American Negro Melody. Boston: Ditson, 1916.Google Scholar
Floyd, Samuel A. Jr. The Power of Black Music: Interpreting its History from Africa to the United States. Oxford: Oxford University Press, 1995.Google Scholar
Gelbart, Matthew. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner. Cambridge: Cambridge University Press, 2007.Google Scholar
Glusman, Elfriede. “The Early Nineteenth-Century Lyric Piano Piece.” PhD thesis, Columbia University, 1969.Google Scholar
Graham, Sandra Jean. Spirituals and the Birth of a Black Entertainment Industry. Urbana: University of Illinois Press, 2018.Google Scholar
Grieg, Edvard. Norske Folkeviser, Opus 66. Leipzig: C. F. Peters, 1897.Google Scholar
Grieg, Edvard. Slåtter/Norwegian Peasant Dances. Leipzig: C. F. Peters, n.d.Google Scholar
Green, Jeffrey. Samuel-Coleridge-Taylor: A Musical Life. London: Pickering & Chatto, 2011.Google Scholar
Grimley, Daniel M. Grieg: Music, Landscape and Norwegian Identity. Suffolk: Boydell & Brewer, 2006.Google Scholar
Hallowell, Emily. Calhoun Plantation Songs. Boston: C. W. Thompson, 1901.Google Scholar
Hutchinson, John. The Dynamics of Cultural Nationalism: The Gaelic Revival and the Creation of the Irish Nation State. London: Allen & Unwin, 1987.Google Scholar
Irvine, Thomas. “Hubert Parry, Germany, and the ‘North.’” In Dreams of Germany: Musical Imaginaries from the Concert Hall to the Dance Floor, edited by Gregor, Neil and Irvine, Thomas, 194–217. New York: Berghahn, 2018.Google Scholar
Jaji, Tsitsi. “Art Song Poetics: Performing Samuel Coleridge-Taylor's Setting of Paul L. Dunbar's ‘A Corn Song.’” J19: The Journal of Nineteenth-Century Americanists 1, no. 1 (Spring 2013): 201–6.CrossRefGoogle Scholar
Jensen, Eric Frederick. Debussy. Oxford: Oxford University Press, 2014.Google Scholar
Jubilee and Plantation Songs. Characteristic Favorites. Boston: Ditson, 1887.Google Scholar
Krehbiel, Henry Edward. Afro-American Folksongs: A Study in Racial and National Music. New York: Schirmer, 1914.Google Scholar
Lampert, Vera. “Nationalism, Exoticism, or Concessions to the Audience? Motivations behind Bartók's Folksong Settings.” Studia Musicologica Academiae Scientarium Hungaricae 47, no. 3/4 (September 2006): 337–43.Google Scholar
Liszt, Franz, and von Sayn-Wittgenstein, Caroline. “Berlioz and His “Harold” Symphony.” In Source Readings in Music History, translated and edited by Oliver Strunk. Revised edition under direction of Leo Treitler. Volume 6, The Nineteenth Century, edited by Solie, Ruth A., 116–32. New York: W. W. Norton, 1998.Google Scholar
Marsh, J. B. T., and Loudin, F. J.. The Story of the Jubilee Singers Including Their Songs. With Supplement Containing an Account of Their Six Years’ Tour Around the World, and Many New Songs. London: Hodder and Stoughton, 1898.Google Scholar
McGinty, Doris Evans. “‘That You Came So Far to See Us’: Coleridge-Taylor in America.” Black Music Research Journal 21, no. 2 (Fall 2001): 197–234.Google Scholar
Micznik, Vera. “The Absolute Limitations of Programme Music: The Case of Liszt's ‘Die Ideale.’” Music & Letters 80, no. 2 (May 1999): 207–40.Google Scholar
Parmer, Dillon. “Brahms, Song Quotation, and Secret Programs.” Nineteenth-Century Music 19, no. 2 (Autumn 1995): 161–90.CrossRefGoogle Scholar
Passmore, Asia. “Samuel Coleridge-Taylor and Transatlantic Connections in the Piano Music of the Black Diaspora.” DMA diss., University of Georgia, 2024.Google Scholar
Potter, Caroline. Erik Satie: A Parisian Composer and His World. Woodbridge, UK: Boydell & Brewer, 2016.Google Scholar
Radano, Ronald. Lying Up a Nation: Race and Black American Music. Chicago: University of Chicago Press, 2003.Google Scholar
Reef, John S. “Harry T. Burleigh's Art-Song Spiritual ‘Sometimes I Feel like a Motherless Child.’” Indiana Theory Review 38 (Spring 2023): 96–122.CrossRefGoogle Scholar
Revill, George. “Hiawatha and Pan-Africanism: Samuel Coleridge-Taylor (1875–1912), a Black Composer in Suburban London.” Ecumene 2, no. 3 (July 1995): 247–66.CrossRefGoogle Scholar
Richards, Paul. “Africa in the Music of Samuel Coleridge-Taylor.” Africa: Journal of the International African Institute 57, no. 4 (1987): 566–71.Google Scholar
Richards, Paul. “A Pan-African Composer? Coleridge-Taylor and Africa.” Black Music Research Journal 21, no. 2 (Fall 2001): 235–60.CrossRefGoogle Scholar
Rings, Steven. “The Learned Self: Artifice in Brahms's Late Intermezzi.” In Expressive Intersections in Brahms: Essays in Analysis and Meaning, edited by Platt, Heather and Smith, Peter H., 19–50. Bloomington: University of Indiana Press, 2012.Google Scholar
“Samuel Coleridge-Taylor. Born August 15, 1875. Died September 1, 1912.” Musical Times 53, no. 836 (October 1, 1912): 637–39.Google Scholar
Sayers, W. C. Berwick. Samuel Coleridge-Taylor, Musician: His Life and Letters. London: Cassel, 1915.Google Scholar
Schenbeck, Lawrence. Racial Uplift and American Music, 1878–1943. Jackson: University Press of Mississippi, 2012.CrossRefGoogle Scholar
Self, Geoffrey. The Hiawatha Man: The Life and Work of Samuel Coleridge-Taylor. Aldershot, UK: Scolar Press, 1995.Google Scholar
Seward, Theodore F. and White, George L.. Jubilee Songs as sung by the Jubilee Singers. 3rd ed. New York: Biglow & Main, 1884.Google Scholar
Sharp, Cecil, ed. Folk-Songs from Dorset. London: Novello, 1908.Google Scholar
Shaw, Stephanie J. W. E. B. Du Bois and The Souls of Black Folk. Chapel Hill: University of North Carolina Press, 2013.Google Scholar
Simpson, Anne Key. Hard Trials: The Life and Music of Harry T. Burleigh. Metuchen: Scarecrow Press, 1990.Google Scholar
Snyder, Jean E. Harry T. Burleigh: From the Spiritual to the Harlem Renaissance. Urbana: University of Illinois Press, 2016.CrossRefGoogle Scholar
Stanford, Charles Villiers. Four Irish Dances. Arranged for piano by Percy Grainger. New York: Fischer, 1916.Google Scholar
Stanford, Charles Villiers. “Some Thoughts concerning Folk-Song and Nationality.” Musical Quarterly 1, no. 2 (April 1915): 232–45.CrossRefGoogle Scholar
Stanford, Charles Villiers. Songs of Erin: A Collection of Fifty Irish Folk Songs. London: Boosey, 1901.Google Scholar
Sundquist, Eric J. To Wake the Nations. Race in the Making of American Literature. Cambridge: Harvard University Press, 1993.Google Scholar
Tall, David. “Grainger and Folk Song.” In The Percy Grainger Companion, edited by Foreman, Lewis, 55–69. London: Thames, 1981.Google Scholar
Thompson, Jewel Taylor. Samuel Coleridge-Taylor: The Development of His Compositional Style. Metuchen: Scarecrow Press, 1994.Google Scholar
Thurman, Kira. Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms. Ithaca: Cornell University Press, 2021.Google Scholar
Todd, R. Larry. “Mendelssohn's Lieder ohne Worte and the Limits of Musical Expression.” In Mendelssohn Perspectives, edited by Grimes, Nicole and Mace, Angela, 197–222. London: Routledge, 2012.Google Scholar
Trotter, James M. Music and Some Highly Musical People. Boston: Lee and Shephard, 1878.Google Scholar
Walden, Joshua S. “Composing Character in Musical Portraits: Carl Philipp Emanuel Bach and ‘L'Aly Rupalich.’” Musical Quarterly 91, no. 3/4 (September 2008): 379–411.Google Scholar
Ward, Andrew. Dark Midnight When I Rise: The Story of the Jubilee Singers Who Introduced the World to the Music of Black America. New York: Farrar, Straus, and Giroux, 2000.Google Scholar
Washington, Booker T. “Samuel Coleridge-Taylor.” In Twenty-Four Negro Melodies, by Coleridge-Taylor, Samuel, vii–ix. Boston: Ditson, 1905.Google Scholar
Washington, Booker T. The Story of My Life and Work. Cincinnati: Ferguson, 1900.Google Scholar
White, Harry. “Art Music and the Question of Ethnicity: The Slavic Dimension of Czech Music from an Irish Point of View / Umjectnička Glazba i Problem Ethniciteta: Slavenska Dimenzija Češke Glazbe s Irskog Gledišta.” International Review of the Aesthetics and Sociology of Music 35, no. 1 (June 2004): 29–46.Google Scholar
Wilson, Olly. “Composition from the Perspective of the African-American Tradition.” Black Music Research Journal 16, no 1 (Spring 1996): 43–51.CrossRefGoogle Scholar
Wolfenstein, Eugene Victor. A Gift of the Spirit: Reading “The Souls of Black Folk.” Ithaca: Cornell University Press, 2007.Google Scholar
Work, Frederick J. New Jubilee Songs. 2nd ed. Nashville: Fisk University, 1904.Google Scholar
Work, John W. Jr. “Introduction.” In Folk Songs of the American Negro, edited by Work, Frederick J.. Nashville: Work Bros. & Hart, 1907.Google Scholar