The first known study of the black musical form of call-and-response and its immense significance in African American oral and literary practices is “A Study in Negro Folk Rhymes” by Thomas W. Talley (1870-1952) in his book Negro Folk Rhymes Wise and Otherwise: With A Study (1922), a collection of black secular folksongs, unquestionably the first such compilation by a black scholar. Belonging to collections on black music and poetry published during the Harlem Renaissance or New Negro Movement,1 Talley and his text do not appear in studies about the period. They are absent from The Encyclopedia of the Harlem Renaissance (2004) and Harlem Renaissance Lives (2009), two compendiums about the era. Moreover, studies of antiphony in African American oral and literary discourses fail to credit Talley’s pioneering work. Two anthologies on the subject, Call & Response (1998) and Call and Response (2011), and a study of the form in African American fiction, Call-and-Response in Twentieth-Century Black Fiction (1988, 2001), fail to acknowledge Talley’s “Study.” It is unmentioned in works on black poetics and prosody.2 Indeed, Talley’s book has been so thoroughly ignored that it is currently listed on the Forgotten Books website.3 Although this listing does not necessarily imply scholarly neglect, it is useful to note how major scholarly bibliographies, for example the MLA Bibliography, also demonstrate the range of scholarship that fails to acknowledge or discuss Talley.4 The neglect of this central text in the black oral and literary traditions deserves examination. The son of former slaves, Talley was a chemistry professor, who also taught biology and science, at Fisk University. He chaired the chemistry department for twenty-five years (1902-1927). However, his groundbreaking work on antiphony best captures his indelible contribution to the Harlem Renaissance specifically and to African American oral and literary studies generally.5 His “Study,” occupying some hundred pages (228-326), brilliantly analyzes black folklore practices with call-and-response as their basis. It is also the first original study of the praxis of prosody in black folk utterances. Although unacknowledged in black oral and literary studies today, such was not the case when Talley’s book was published, as contemporary reviews of it show, beginning with the Introduction, which was written by a Vanderbilt professor of literature, Walter Clyde Curry. Unsurprisingly, Curry laces his assessment with racist condescension; he nonetheless applauds the book for “being a pioneer and practically unique in its field” (v), specifically describing Talley’s “Study” as “illuminating” (x). In his review of the book in The Sewanee Review, another white writer, J. H. Nelson of Trinity College (now Duke University), muses that (after exhibiting condescension similar to Curry’s) “[t]he student of folk literature should welcome the book as a distinct contribution to [Talley’s] source material. Moreover, the compiler has included a valuable study of the material and, among other things, has performed a real service in explaining ‘call’ and ‘’sponse’ ” (369). The Harlem Renaissance writer Jessie Redmon Fauset states: “Professor Talley seems to have done for the Negro Folk Song what Mr. [James Weldon] Johnson has done for poems by Negro authors, and like Mr. Johnson’s preface not the least valuable part of Professor Talley’s service lies in the ‘Study’ ” (68).6 Another Harlem Renaissance

中文翻译：

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“密码语言”：哈莱姆文艺复兴时期的托马斯·W·塔利和呼唤与响应

关于呼唤和回应的黑人音乐形式及其在非裔美国人口头和文学实践中的巨大意义的第一个已知研究是托马斯·W·塔利（Thomas W. Talley，1870-1952）在他的着作《黑人民谣》中的“黑人民谣研究” Rhymes Wise and Different: With A Study (1922)，黑人世俗民歌合集，毫无疑问是黑人学者的第一部此类合辑。属于哈莱姆文艺复兴或新黑人运动期间出版的关于黑人音乐和诗歌的收藏，1 塔利和他的文字没有出现在有关该时期的研究中。他们没有出现在哈莱姆文艺复兴时期的百科全书（2004 年）和哈莱姆文艺复兴时期的生活（2009 年）中，这两本关于这个时代的纲要。此外，对非裔美国人口头和文学话语中对音的研究未能归功于塔利的开创性工作。关于这个主题的两本选集，Call & Response (1998) 和 Call and Response (2011)，以及对非裔美国小说形式的研究，Call-and-Response in Twentieth-Century-Century Black Fiction (1988, 2001)，都没有承认 Talley 的“研究”。在黑人诗学和韵律的作品中没有提到它。 2 事实上，塔利的书已经被彻底忽视，以至于它目前列在被遗忘的书籍网站上。 3 虽然这个列表并不一定意味着学术上的忽视，但值得注意的是学术参考书目，例如 MLA 参考书目，也展示了未能承认或讨论 Talley 的学术范围。4 黑人口头和文学传统中对这一中心文本的忽视值得研究。塔利是前奴隶的儿子，是菲斯克大学的化学教授，同时教授生物学和科学。他担任化学系主任长达 25 年（1902-1927 年）。然而，他在对唱方面的开创性工作最能体现他对哈莱姆文艺复兴时期以及对非裔美国人口述和文学研究的不可磨灭的贡献。 5 他的“研究”占地数百页（228-326），出色地分析了黑人民间传说实践-and-response 作为他们的基础。这也是对黑人民间话语韵律实践的第一次原创研究。尽管在今天的黑人口头和文学研究中未被承认，但塔利的书出版时并非如此，正如当代评论所显示的那样，从引言开始，这是由范德比尔特文学教授沃尔特克莱德库里撰写的。不出所料，库里在他的评估中带有种族主义的傲慢态度。尽管如此，他还是称赞这本书“是该领域的先驱和实际上独一无二的”（v），特别将 Talley 的“研究”描述为“具有启发性”（x）。在 The Sewanee Review 上对这本书的评论中，另一位白人作家、三一学院（现杜克大学）的 JH Nelson 沉思说（在表现出与库里类似的屈尊之后）“[t]民间文学学生应该欢迎这本书对 [Talley] 源材料的独特贡献。此外，编译器对材料进行了有价值的研究，除其他外，在解释“呼叫”和“响应”方面发挥了真正的作用”（369）。哈莱姆文艺复兴时期的作家杰西·雷德蒙·福塞特 (Jessie Redmon Fauset) 说：“塔利教授为黑人民歌所做的事情，就像 [詹姆斯·韦尔登] 约翰逊先生为黑人作家的诗歌所做的那样，就像先生一样。