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The Gospel Music
The term Gospel music may refer to two kinds apparently similar music: the one, strictly related to the religious music, much like the spiritual choral song, which emerged in the African-American Christian churches-Methodist in the thirties; the other, the religious music composed widespread and subsequently played by artists of any faith or ethnicity, especially in the south of the United States of America, and later spread to the rest of the world. The division between black America and white America and then between the black church and the white church, kept these styles separated , but never in an absolute way. Both styles come from Christian choral hymns-Methodists of African Americans, in turn born from the ancient spontaneous chants during the working days of slavery in the United States, often in agricultural cotton fields.
This musical style often was (and still is) in solo vs choir mode, that is a short sentence song, performed by a single cantor (in the fields of slavery was sung by a single slave) alternated the response of the choir (in slavery time, the rest of the slaves who were working). While the spiritual was easier in the music, the gospel is refined and enriched over time, with the addition of rhythm tracks of blues and rhythm and blues, and markedly spread throughout the western world. In the gospel, some artists (such as Mahalia Jackson) are restricted to appear and remain in the purely religious contexts of spiritual inspiration and Christian topic.Sallie Martin: I'll Tell It Wherever I Go
by PurpleSnowman29Origins(from Twenties to Forties)
What most people would identify as "Gospel Music" is an Afro-American religious music based on large church choirs which is matched by an outstanding lead vocalist. In fact, the kind made famous by artists such as Thomas A. Dorsey, Sallie Martin, Willie Mae Ford Smith and others changed dramatically about 80 years ago, and has its roots in the most spontaneous of religious devotion of the Churches of the Saints, which encouraged individual believers to "bear witness" talking and playing (and sometimes dancing) spontaneously of their faith during the celebration. In the twenties, the artists of this type of churches were often preachers who traveled from church to church, and between a sermon and the other began to hack into a style that melded traditional religious themes with the techniques of blues and boogie woogie. Also began to carry tools derived from jazz, percussion and wind instruments such as, in the church.
Dorsey, who had composed and played the piano for blues giants such as Tampa Red, Ma Rainey and Bessie Smith, worked hard to develop his own music, organizing an annual convention for gospel artists, touring with Martin to sell musical arrangements and overcome the resistance of the more conservative churches toward what they considered a sinful and worldly music. Combining the structure "sixteen bar" and blues ways and rhythms with religious texts, he opened the possibility for innovative artists such as Sister Rosetta Tharpe, to use their talents in song, and inspired the faithful to "shout" to "throw out "to add to his words or to insert their own musical lines in response to his song.Sister Rosetta Tharpe - Down By the Riverside
by jcyphe
This "free style" influenced other religious blacks styles. The best-known groups of the thirties were male quartets or small groups such as the Golden Gate Quartet singing, usually without accompaniment, in the style quartet Jubilee carefully stirring harmonies, melodious songs, syncopated playful and sophisticated arrangements to obtain an experimental style fresh far the more sober singing of hymns. These groups absorbed popular sounds from pop groups like the Mills Brothers and produced songs that combined religious themes, humor and socio-political satire. They began to show more and more influence from the Gospel from which they incorporated the new music in their repertoire.The Mills Brothers - How'm I Doin', Hey, Hey
by SyberkaPLThe Gold Era (from the Forties to the Fifties)
The new Gospel music composed by Dorsey and others showed itself to be very popular in the quartets, which turned in a new direction. Groups such as the Dixie Hummingbirds, the Pilgrim Travelers, the Soul Stirrers, the Swan Silvertones, the Sensational Nightingales and the Five Blind Boys of Mississippi also introduced greater freedom to the Jubilee style closed harmonies, adding the ad libitum and short phrases repeated in the background to keep a rhythmic base for the innovations of the lead singer. The soloists emerged more as the Jubilee became Hard Gospel and as the singers began to cry more, often in falsetto, anchored at a low relevance. The quartets singers combined virtuoso soloist performance and rhythmic harmonics innovations. Ira Tucker Sr. and Paul Owens called it "trickeration" and that amplified the intensity of their musical and emotional songs.soul stirrers-stand by me
by DaEnTaPrise
While quartets were reaching their peak in the Forties and Fifties, a number of female singers was reaching success. Some, such as the great Mahalia Jackson certainly one of the greatest interpreters of gospel- and Bessie Griffin were mostly solo, sometimes as Clara Ward, The Caravans, The Davis Sisters and Dorothy Love Coates, played in small groups. Some groups such as the Ward Singers were using a kind of theatricality and group dynamics details that were in use in male quartets, but the majority of gospel singers based their chances of success of an exceptional technical expertise and extreme personal charm.
Roberta Martin from Chicago, Illinois took exception under many points of view . She led mixed groups of men and women who had a style that emphasized not so much virtuosity staff and sponsored a number of artists such as James Cleveland, that would change the face of the Gospel in the decades to come.Mahalia Jackson - Amazing Grace
by TaddypoeChoirs and Stars(from Sixties to today)
James Cleveland and Alex Bradford brought a revolution in the gospel launching the era of large choirs, large structures governed and organized who used complex arrangements to push their vocal strength to get to the propulsive rhythm, the intricate harmonies and individual virtuosity of the quartets' golden age.
Groups such as the Brooklyn Tabernacle Choir and the Mississippi Mass Choir are two of the most popular of the hundreds of groups linked to local parishes."When I Rose This Morning" - Mississippi Mass Choir
by malacomg
At the same time as the latest star Andrae Crouch, CeCe Winans and Take 6 continued on pop influences, just like Dorsey and other pioneers borrowed from Blues and Jazz. Others, such as Kirk Franklin, have introduced elements of Hip Hop.
The slow death of Jim Crow *** (Jim Crow is a character of a famous coon song born between the late nineteenth and early twentieth centuries, in the minstrel shows that were held in the United States: Jump Jim Crow.In it was described that a black man named Jim Crow , cripple, who worked in a team. His figure was taken as an emblem of racial discrimination during the emancipation struggle is often said that the black had to "fight against Jim Crow." "Coon" was a derogatory nickname given to blacks)*** also changed the priority of the gospel. During the years of Blacks formal segregation and repression , the gospel was used, especially for the churches of the saints largely apolitical and quietist, as a hidden form of political protest. Verses such as: "When I get to Heaven I'm going to sing and shout / 'Cause nobody there's going to turn me out" and "I know my robe's going to fit me well /' Cause I tried it on at the gates of hell ") had a second obvious meaning to many listeners who had no opportunity to claim their own place in the world in the most direct ways.
Gospel songs were therefore the logical choice for the refrains of the Civil Rights Movement, which drew its leaders, most of his organization and its ideals by black churches.Take 6 - Stand by me (New Morning - Paris - May 2nd 2013)
by alaindmj
http://it.wikipedia.org/wiki/Gospel*Attention please* - - "This translation (and / or content) is made by Sylvhia exclusively for "I Nove Mondi Forum". In case of partial or full release is mandatory to link to the original source and the required credits".
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The Gospel Music04 Settembre 2014 |
