Sweet Low Sweet Chariot Essay Papers

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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Abstract

Beginning 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

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This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. (CC BY 4.0).

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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.

AMA Style

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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