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The objective of this article is to bring to the field of post-abolition historical studies some reflections about the legacy of slave songs - or the 'sounds of slavery' - in the United States and in Brazil. Rather than focus on the well-known differences between the two countries, the intention here is to call the attention of the reader to possible dialogues and contacts based around the disputes and meanings attached to this legacy. As well as the specialized bibliography on this issue, I concentrate on the assessments of two intellectuals at the end of the nineteenth century, who both had contact with the songs of the descendants of slaves in the Americas and who both reflected on the political meanings of those songs: Du Bois and Coelho Netto. Their assessments are part of a broader context of the internationalization of black music and the rise to prominence of black musicians in the post-abolition period. Key words: slave songs; black music; post-emancipation; Brazil; United States of America. The world of music has always offered a wide field of possibilities for the study of African and slave experiences in the Americas. In the words of Shane and Graham White, slave songs, which are understood as music, verse and dance, can be defined as 'the sound of slavery' ( ).

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In fact, slave songs were a structural component of the slave-owning American societies; they were an integral part of the policies of control and repression of the slave-owners and the authorities, as well as the strategies of resistance and negotiation of the slaves. The 'sound of slavery' was constant in slave quarters, workplaces, cities and farms, in meeting places and parties, both in Brazil and the United States. However, these songs also had far-reaching implications, which went beyond the world of slaves and their celebrations.

The songs of slaves become spectacles at social and religious events organized by the slave-owners, and throughout the nineteenth century they came to be sung and represented, in a stereotyped and derogatory manner, by Blackface performers in the United States and Cuba, and in theatrical reviews in Brazil. Slave songs, in the form of cakewalks or lundus often appeared in the potentially lucrative market of musical scores, in music halls, in theaters and even in the nascent music industry - but not necessarily the black protagonists that those songs depicted. The world of entertainment and that of Atlantic music entrepreneurs produced attractive dance crazes based on genres and rhythms that were identified with the black population of the Americas. From the late nineteenth century, the political framework of abolition in the Americas did not greatly change the commercial paths already trodden by slave songs, but it did extend their reach and also discussions about their meanings and interpretations. I intend to show how the musical field started to express, perhaps as nowhere else, the impasses and the social and political conflicts experienced in the post-abolition period between the late nineteenth and early twentieth century. After abolition, intellectual discussions about the formation of modern nations, in cultural terms, put the musical contribution of Africans and their descendants as an important item on the agenda. Even in the United States, spirituals emerged as something of immense value after being 'discovered' at the end of the Civil War (1861-1865) by progressive northern folklorists.

Through music, and the musical skills of the black population, racial and even national differences were constructed and reinforced; the future possibilities for integrating ex-slaves into new societies and free nations were evaluated. In a direct relation to the rise of racist social theories at the end of the nineteenth century, slave songs took on more modern and obviously racialized versions, which were known and published academically and commercially as black music. Centered around this legacy and these memories, which were associated with the sounds of Africa, slavery and miscegenation, musicians, intellectuals linked to music, and folklorists assessed their future and inaugurated the study and writing of the history of black music in the Americas. The main objective of this article is to bring to the field of post-abolition historical studies some aspects and moments of this long debate about the legacy of slave songs - or the 'sound of slavery' - in the United States and Brazil. Rather than reinforce the obvious differences between the two countries, my intention is to highlight dialogues and approaches in the formulations of black music and the experiences of black musicians in the Americas between the late nineteenth and early twentieth century. The evaluations of the meanings attached to the songs of the descendants of slaves, which were written by two outstanding intellectuals of the early twentieth century, the North American W.

Du Bois and the Brazilian Coelho Netto, serve as the motivation and resources for the development of the central questions of this article. The impressions and evaluations of these intellectuals, who both had direct experiences of the 'sounds of slavery,' demonstrate in an exemplary manner the importance of, and the new meanings attached to, the discussions and representations about the legacy of slave songs in the post-abolition era within the wider context of the internationalization of black music and the projection of black musicians in the nascent music recording industry. Bhim In Mahabharat Serial there. 'A sort of suppressed terror hung in the air an seemed to seize us, - a pythian madness, a demoniac possession, that lent terrible reality to song and world. The black and massive form of the preacher swayed and quivered as the words crowded to his lips and flew at us in singular eloquence.

The people moaned and fluttered, and the the gaunt-cheeked brown woman beside me suddenly leaped straight into the air and shrieked like a lost soul while round about came wail and groan and outcy, an a scene of human passion such as I had never conceived before' (, p.148-149). 12, p.241-242. 'The Music of Negro religion is that plaintive rhythmic melody, with its touching minor cadences, which, despite caricature and defilement, still remains the most original and beautiful expression of human life and longing yet born on American soil. Sprung from the African forests, where is counterpart can still be heard, it was adapted, changed, and intensified by the tragic soul-life of the slave, until, under the stress of law and whip, it became the on true expression of a people's sorrow, despair and hope' (, p.149). 58Du Bois was the first black person to be awarded a Ph.D. At Harvard in 1895.

His thesis, 'The Suppression of the African Slave Trade to the United States of America, 1638-1870' was published in 1896. Du Bois collaborated in the organization of associations fighting for the defense of the black population, such as the Niagara Movement in 1905 and the NAACP (National Association for the Advancement of Colored People) in 1910. In 1919 he organized the first Pan-African Congress in Paris and he participated in the organization of several other Pan African Congresses throughout the twentieth century. In 1935, he published his major work, The Black Reconstruction.