First of all, it is necessary to mention that an important role in shaping African-American music played a conversion of slaves from Africa to Christian. African Americans did not object to the conversion to a new faith, because it gave them hope for liberation. It is well perceived by the dogmas of Christianity, adapting to the realities of slave life. The church treated them as an opportunity to escape from the terrible reality. For these and others reasons, music that sounds in the church for African Americans has carried the traits of canonical European church music, and various elements of the pagan cults that come from their historical homeland. The degree of penetration of the aesthetic and musical elements of African origin into church music depended on the variety of Christianity. Continuing the discussion of previous information it is necessary to say that North African American’s, the so-called ‘spirituals’ (call-and-response), have appeared in the USA since the second half of the XVIII century. Spirituals combine the distinctive elements of African performance traditions (collective improvisation, the characteristic rhythm of glissando, not tempered chords, specific emotionality) with the stylistic features of the Puritan hymns.