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end of the 20th century, new interest developed in the spiritual as a valuable form of music in its own right. Famous vocalists such as Jessye Norman and Kathleen Battle have included traditional spirituals in their repertoires, and songs such as "Go Down, Moses" and "Sometimes I Feel like a Motherless Child" find their way onto many choral concert programs.

Today, 150 years after the abolition of slavery, many black Americans don't enjoy listening to spirituals; the pain, horror and humiliation of slavery is still too fresh, and audiences for concerts of black spirituals are usually predominantly white. But people of all races listen to jazz, blues, hip-hop and gospel, genres that are musical children or grandchildren of the spirituals. W.E.B. Du Bois once said that spirituals are "the articulate message of the slave to the world." As shown by the vast variety of newer music that traces its roots to the songs of the slaves, the world is still listening to that message of lamentation, sorrow... and hope.

Sources:
"Sweet Chariot: The Story of the Spirituals," the University of Denver.
http://ctl.du.edu/spiri tuals/History/

"Joe Carter and the Legacy of African-American Spirituals," National Public Radio, Speaking of Faith.
http://speakingoffaith.p ublicradio.org/programs/joecar ter/index.shtml

"Negro spirituals remain an enduring legacy," Randall Chase, Associated Press
http://www.detnews.com/20 05/religion/0504/28/A10-164474 .htm

Learn more about this author, Kallie Szczepanski.
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