Lisa Clemmons
Com 290
April 4,
2003
Gospel Music
Background
Gospel music was first seen as Anthem music and its roots
were formed at the turn of the century.
The style of the music came about around the 1600s to 1865; it was know
as the call and response pattern in which a leader sings and the congregation
responds. Spiritual and gospel
music are so close that most people can’t tell the difference. Spirituals are sung very slowly and with
deep feelings; it’s a product of the slave experience in
America which
was passed down through oral tradition. Gospel has a rhythm and blues type of up
beat which utilizes instruments of every kind. (Drums, tambourines, guitars,
saxophones, trumpet, etc.) Interest in black gospel music took control over the
country and parts of the cities and towns because God said, make a joyful noise
unto me using these instruments.
The increase in popularity turned some of the more
conservative church members away from contemporary gospel music. “These changes are part of a natural
musical and cultural evolution.” (Lornell, Kip) As African-Americans popular culture
increased along with middle class status, so did gospel music. The mission of the gospel music is still
alive today, which is to; lift the spirits of the people and to help them
express themselves through their religion.
Gospel music was also used during the Great Depression. The music gave many people an up lifting
way of taking their minds off depressing things. “Most churches songs had no life, no
spirit…gospel music intended to strike a happy medium for the down-trodden.”
(Goins, L.)
I
The term gospel music suggests many things to different people
- The
word simply refers to any religious music, regardless of the music’s age or
origin.
- “Congregational songs,
ring shouts, quartets, sacred harp choirs,” would qualify. (Lornell, Kip)
- Gospel music is
combined with secular forms including ragtime and blues along with religious
words.
II
Gospel music in the 1930s
- This music was very
important in the early 1930s
- Thomas A. Dorsey was
regarded as the “father” of gospel music
- During the 30s and 40s
Dorsey worked with two important figures of Black Gospel music. Mahalia Jackson and Sallie Martin.
- Dorsey toured the
country performing, lecturing, and writing songs.
- There will be Peace in the Valley and
Precious Lord, Take my Hand
- In
the 30s the gospel movement was centered around
Chicago, where most of the gospel
groups and choirs sung in churches.
The 40s saw gospel music now on a national scale.
III
Gospel Music and the Black Consciousness
- In
many traditional African culture, music serves as a powerful instrument as a
form of communication.
- “Like the spiritual
which preceded it, gospel is a testament to both the continuation of
significant elements of an older world view among black Americans and to their
sense of community.” (Goines, Leonard)
IV
Controversial and social issues
- “It
was within the context of a sharpening dichotomy between church music and
street music that gospel song developed.
A division between sacred and secular was not part of the African world
views as it is in the West.” (Goines, L.)
- Black churches were
seeking respectability by banning the shout, and staying within the
traditional singing.
- Many of the churches
were trying to discourage gospel music because they felt that the church stood
for spiritual healing and uplifting.
- This type of music
turned some of the more conservative church members away from contemporary
gospel music.
V
Conclusion
- By
the 1950s, gospel music had made a great change, it was more sophisticated.
- The
demand for marketing and musical
diversity was in great demands
- In
most of the Black Churches today, gospel music can be heard loud and clear
with instruments of every kind being played while the congregation clap their
hands, stomp their feet, shouting and praising God.
For more information on Gospel music, click
on to these websites:
http://www.blackgospel.com
http://www.gmtn.com
http://www.sgma.org