Milligan College TN Clap Yo Hands Glen Owens Christian Vinyl LP Record SEALED

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Milligan College Choir Tennessee Clap Yo Hands Glen Owens Christian Vinyl LP Record SEALED
Vinyl / Jacket Grade per Goldmine Standard: NM / NM; Sealed
SIDE ONE SET DOWN SERVANT.................................arr. Robert Shaw Soloist: Lynn Bain & Jim Cord DANIEL, DANIEL, SERVANT OF THE LORD......arr. Undine S. Moore Soloist: Wayne Fife & Jim Cord HE NEVER SAID A MUMBALIN’ WORD_________arr. G. William Henninger JOSHUA FIT THE BATTLE OF JERICHO............................ .arr. Harry Geller DIS OL' HAMMER ... ______.........................arr. Jester Hairston YOU BETTER MIND .................................................... arr. Jester Hairston I HEAR A VOICE A-PRAYIN'.......................arr. Houston Bright SIDE TWO CH1NG-A-RING CHAW......... AMEN ..................... Soloist: Jim Cord HOLD MY MULE............. SALANGADOU __................ Flute Soloist: Jacque Smith EZEKIEL SAW DE WHEEL . . . . Soloist: Gary Colvin DEEP RIVER.................. .arr. Aaron Copland arr. Jester Hairston arr. Jester Hairston .arr. Norman Luboff arr. Norman Luboff . arr. Norman Luboff Soloist: Jim Cord From the deep South, where weeping willows shade the lazy streams, come the Songs of the American negro. This music is one of the richest bodies of folk music originating on the North American Continent. The emphasis in negro music was always placed on the spiritual or religious songs of the negro. And what are these spirituals and their descendants; exactly what they imply - music, full and running over with spirit. The religious aspect of these songs exerted a strong appeal to the negro in bondage, for during the darker moments of his slavery, he had learned to cling to the idea of an after life in his ultimate deliverance from human suffering. Through slavery and sorrow, work and play, the negro sang. No matter if they were picking cotton, bailing hay, building a railroad or loading a riverboat, they sang of crossing the river Jordan, of Daniel’s deliverance from the Lion’s Den, or of Moses leading the children of Israel to the Promised Land. All of these had a personal promise for the enslaved negroes. They not only sang of their sorrow and hope but of their work and play. Such songs as "Dis Ole Hammer” and "Hold My Mule” were very much a part of their everyday life. The negro composer was a slave composer; his vocabulary was rather limited. To convey his message, he had to be rather resourceful, and from this need, came a unique, individual art and a purity of expression. Another facet of the spiritual was the speech itself, the dialect of the negro slaves. The English language contains difficult sounds and letter combinations which resisted an easy pronunciation by some groups of people. For the Africans it was the sound of "th” that was especially difficult. So "this” became "dis” and "with” became "wid”. Final r’s caused trouble too, so they were eliminated and "door and fear” became "doh and feah”. Another impor- tant facet of the music is the rhythm itself. The negro became an artist in forging lyrics in rhythmic repitition and in a sense both melody and lyric were made subordinate to that pulsating life. This, then is the true meaning of the spiritual. To make people glad, to make people happy and also to console them when in sorrow. As you listen to these songs, do not be surprised if you suddenly find your hands clapping or your feet tapping. Or if you find yourself imaginatively dancing the Josey-do with Nellie, or fighting the Battle of Jerico with Joshua, or even shedding a tear for Ole John Henry. For this is the true spirit of spiritual s. CONCERT CHOIR MEMBERS FIRST SOPRANO Mary Ruth Dickson - Etowah, Tennessee Mary Lou Marcum - Hamilton, Ohio Becky Norris - Indianapolis, Indiana Sandy Smith - Hammond, Indiana SECOND SOPRANO Carolyn Clark - Lexington, Kentucky Gretchen Graf - Indianapolis, Indiana Carol Horning - Lancaster, Pennsylvania Alice McDowell - Indianapol is> Indiana Marilyn Pugh - Indianapolis, Indiana FIRST ALTO Jacque Carroll - Indianapolis, Indiana Carol Clifton - Columbus, Ohio Tansie Gideon - Snellville, Georgia Donna Harkey - East Point, Georgia Angie Southerland - Greeneville, Tennessee Kathy Wymore - Cincinnati, Ohio SECOND ALTO Diann Cowley - Waynesburg, Ohio Kathy Fogleman - Napa, California Marla Malotte - Battle Creek, Michigan Lesley Rogers - Mt. Gilead, Ohio Judy Washier - Butler, Indiana Lynn Bain - East Point, Georgia FIRST TENOR Waype Fife - Johnson City, Tennessee Cecil Johnson - Johnson City, Tennessee Roger Presley - North Tazewell, Virginia Jim Ray - Toronto, Ohio SECOND TENOR John Banks - Elizabethton, Tennessee Phil Cobb - Lexington, Kentucky Larry Goble - West Van Lear, Kentucky Dan Hendrickson - Winter Park, Florida Rex Jackson - Indianapolis, Indiana Rich Williamson - Wellington, Illinois BARITONE Dennis Callahan - Flemington, Pennsylvania Jim Cord - Stow, Ohio Gary Gregory - Mt. Vernon, Illinois Mike Steed - Indianapolis,'Indiana Dave Varner - Canton, Ohio BASS Ron Ash - Canton, Ohio Dan Baker - Pontiac, Michigan Gary Colvin - Canton, Ohio Don Jeanes - College Park, Georgia Ken McCullough - Seattle, Washington ACCOMPANISTS Terry Colter (Guitar) - Winston-Salem, N. C. Nancy Miller (Piano) - Hanoverton, Ohio Steve Patrick (Piano) - Johnson City, Tennessee Jacque Smith (Flute) - Aurora, Illinois Bob Winter (Drums) - Knoxville, Tennessee



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