The initial four performances of Dawson's symphony by a major orchestra made him him only the third African American composer, after William Grant Still in 1931 and Florence Price in 1933, to achieve such a milestone.
[3] The work consists of three movements: While the word "Negro" might feel outdated today, but for Dawson and many of his generation, it held deep pride and respect.
These are not widely known spirituals, but Dawson's artful integration of each into the symphony creates a seamless unity, where folk tunes and symphonic structure blend into a singular, cohesive form.
During 1952–53, Dawson embarked on a tour across West Africa, spending several weeks immersing himself in the local music and capturing recordings that profoundly influenced him.
When he returned to the United States, he infused these new inspirations into a substantial revision of his symphony, enhancing and expanding upon the original work, which had already garnered acclaim.