In the following essay, Cuny-Hare offers a brief description of the development of this spiritual.
These songs known as Spirituals are the expression of a supreme belief in immortality that transcends mere religious creeds and theoretical dogma. Through them the paganism of African "spirit" songs are reboro and modified by Christian doctrines, and they are the musical expression of spiritual emotion created by the race and not for it.
"Swing Low Sweet Chariot," an American "Negro Spiritual" in the pentatonic scale, noted in Fisk Jubilee Songs, 1871, offers a key to this development. The variants of this song are "Good Old Chariot," "Swing Low Sweet Chariot," (Hampton) and "The Danville Chariot." In the first movement of Dvorak's "New World Symphony," in which this theme occurs, it is given out by the flute. The song has been arranged with piano accompaniment...
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AbstractBeginning with the chariot as an ancient and pan-cultural example of the way in which art has humanized technology, this essay explores the limited role which modern art has thus far played in dealing with the current crisis of technocentrism. It does so by bringing to bear on the subject a newly-promulgated theory of the development of modern art which focuses on the absence therein of an evolved kinetic sculpture. View Full-Text
Keywords: kinetic sculpture; kinetic art; technocentrismkinetic sculpture; kinetic art; technocentrism►▼ Figures
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MDPI and ACS Style
Smith, G.W. Swing Low, Sweet Chariot: Kinetic Sculpture and the Crisis of Western Technocentrism. Arts2015, 4, 75-92.
Smith GW. Swing Low, Sweet Chariot: Kinetic Sculpture and the Crisis of Western Technocentrism. Arts. 2015; 4(3):75-92.Chicago/Turabian Style
Smith, G. W. 2015. "Swing Low, Sweet Chariot: Kinetic Sculpture and the Crisis of Western Technocentrism." Arts 4, no. 3: 75-92.
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