This chapter examines the controversy between Harry T. Burleigh and his colleagues and critics over the issue of spirituals during the Harlem Renaissance. Although Burleigh was still regarded as the pioneer and by most as the master arranger of spirituals during the mid-1920s, there were dissenting voices. Henry Krehbiel, for example, warned against oversophistication of African American folk music “by standardizing its form, making it conform to the standard of music of European conception.” Carl Van Vechten also criticized Burleigh and his colleagues for relying on the Hampton and Fisk collections for most of their arrangements. This chapter considers how Burleigh came to be the target of criticism from some of the most outspoken of the younger Harlem or New Negro Renaissance voices, as well as his counterargument that the movement was chauvinist and separatist, or sacrificed what he felt were basic artistic standards. It also discusses Burleigh's belief that the vast repertoire of spirituals must be preserved in simpler versions accessible to untrained singers, as well as in art-style transformations for professional singers.
The Disinterested and Fine: New Negro Renaissance Poetry and the Racial Formation of Modernist Studies
