SLAVERS CAPTIVE [Slave for Hire #9]

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Because Solomon Northup was a highly-skilled fiddler and a keen observer of plantation culture, his autobiography is one of the most substantive accounts of musical life during slavery and, to my knowledge, the only slave narrative that includes sheet music in its text. Uncovering the sounds of vernacular music of the pre-recorded era can be incredibly challenging. Courtesy of the David M. Do I play it like this or like that? At what tempo? The aim of such exercises is not historical accuracy, but rather, an attunement to the sonic possibilities of a given piece.

These possibilities cannot tell me how Northup would have played the song or what it meant to him, but they allow me to consider the kinds of choices that he would have had to make as a performer, thus illustrating the intellectual and sensorial richness of his music-making. Rather than simply presenting and describing the sheet music, I aim to make it possible for people to hear what would otherwise sit silently on the page. The use of guitar accompaniment would have been highly unlikely during the period, but it helps to support my amateur playing by providing a livelier, fuller feeling.

It is unclear from the narrative whether or not the tune is an original composition or something Northup learned while living along the Red River, where he was enslaved in Louisiana. One also wonders how many nineteenth-century readers would have plucked the melody at a keyboard or bowed it on a family fiddle.

What might their motivations have been? According to Northup, the lyrics that accompanied patting were often nonsensical because they were made to conform to the tonal and rhythmic pattern being patted. Though presented below the sheet music at the end of the book, the lyrics are ill-fitting for the fiddle tune provided, which seems more likely to have been played without vocal accompaniment.

Here you can see a wonderful example of patting accompanying a nineteenth-century fiddle tune as performed by the Carolina Chocolate Drops and guest Danny Barber Intricate patting begins at After regaining freedom, his talents are presented for sale in the book presumably to appeal to the sort of audiences who would also have coveted the sheet music of minstrelsy, which caricatured and lampooned black performances.

Music-making was both labor and leisure for Solomon Northup and it profoundly influenced his experiences as a slave. His narrative also illuminates the far-reaching impact that he and other black musicians had on their communities as well as nineteenth century music. It was my companion—the friend of my bosom triumphing loudly when I was joyful, and uttering its soft, melodious consolations when I was sad.

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Some have criticized the popularization of his circumstances, arguing that because he conforms to modes of respectability as a literate, propertied black man, he serves as an ideal hero for white audiences while inadequately representing the experience of slavery. He is captured and enslaved while touring as a circus musician.

But his talent as a first-rate fiddler travels with him, becoming a defining element of his experience of slavery. Fiddles were extraordinarily popular instruments during the era. Lightweight, portable, and increasing in mass production during the nineteenth-century, a single fiddle could service a large dance if need be.

As such, slaves were encouraged or forced to take up the instrument and musical ability was considered a highly prized skill.

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Fiddling granted primarily male slaves an unusual degree of mobility as well as opportunities for economic advancement. The fact that numerous runaway slave ads note that the sought-after individuals were fiddlers or had in their possession a violin suggests that the increased mobility and access to income may have facilitated escape for some.

The young man cannot and so Northup takes the instrument from him, boldly showing off his more substantial repertoire and ability, much to the delight of those around him.

Whether in New York State, a New Orleans slave market, or a backwoods swamp plantation, fiddling was a thoroughly popular form of entertainment , widely enjoyed by Americans, slave and free, rich and poor, native and immigrant. At one ball, he was tipped seventeen dollars, an extraordinary amount that he used to furnish his cabin with bare necessities.

The violent, dreaded affairs interrupted precious sleep and were utterly humiliating for the participants. For Master Epps, Northup is a mere musical device, a kind of proto-phonograph, full of tunes that can be made to play on command. Through Northup, we can see how before the eras of sound reproduction and broadcast, the circulation of music across North America was greatly facilitated by the forced migration of enslaved people.

Northup brought a unique repertoire on his journey and he also learned new music that he transported back to the New York publishers of his autobiography. Afro-diasporic musicians began revolutionizing Western music centuries before Northup was born, and as we can see, continued to do so in profoundly significant ways in the Antebellum era both in spite of and due to the harsh conditions of their enslavement. If you liked this post, you may also dig:.

Sincere thanks for posting this fascinating historical analysis of the music Mr Northup played.

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I was busy sight singing the sheet music, then noticed your recordings: much better! Like Like. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account.

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