Gospel Music

2021 ◽  
pp. 88-99
Author(s):  
Gayle Wald
Keyword(s):  
Gospel Music

Falling Up

2021 ◽  
Vol 33 (2) ◽  
pp. 99-129
Author(s):  
Clinton McCallum
Keyword(s):  
Analytical Framework ◽  
Art Music ◽  
Gospel Music ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Spiritual Transcendence ◽  
Modal Jazz ◽  
Musical Representations ◽  
Ring Shout ◽  
Black Gospel Music

This article investigates melodic figures and harmonic sequences that miraculously only step up to illuminate an aesthetic lineage that connects gospel to electronic dance music. It argues that the synth-risers and ever-opening filters of contemporary euphoric rave music like happy-hardcore and uplifting-trance find precedence in compositional devices that made their way into funk/soul and disco/garage from Black gospel music, and that these gospel inventions were derived from the Afro-diasporic ring-shout. Cognitive linguistic and psychoacoustic theories premise an analytical framework for musical representations of endless ascent. Through close readings of representative recordings—a 1927 Pentecostal sermon by Reverend Sister Mary Nelson, James Cleveland’s “Peace Be Still,” Chic’s “Le Freak,” Trussel’s “Love Injection,” and DJ Hixxy’s remix of Paradise's “I See the Light”—the article examines various historical intersections with parlour music, European art music, and modal jazz, and suggests that musical ascent has a non-causal but, nevertheless, objective relationship with a type of spiritual transcendence.

Religion and Race in American Music

2018 ◽  
Author(s):  
David W. Stowe
Keyword(s):  
Native American ◽  
African Americans ◽  
Gospel Music ◽  
American Music ◽  
Social Boundaries ◽  
Worship Music ◽  
Religious Music ◽  
European Americans ◽  
Musical Adaptations ◽  
Group Identities

Religious music functions both to create group identities and to dissolve social boundaries. Historically, American music has been characterized by racial and religious crossover. While many ethnic groups have participated in constituting American music, the most seminal crossovers have occurred between African and European Americans. Jazz was shaped largely by the interactions of Jews and African Americans. Gospel music developed from the interaction of vernacular slave spirituals, Protestant hymns, and the secular blues. Christian hymns have been thoroughly indigenized by many Native American groups. Compared to Buddhists and Jews, American Hindus and Muslims have made few musical adaptations of their worship music, but their music has been widely sampled in American popular styles. In recent decades, mainline Protestant hymnals have come to reflect the deeply multicultural reality of American sacred song.

scholarly journals Religiosity versus Spirituality in the Contemporary Nigerian Gospel Music

2016 ◽  
Vol 5 (2) ◽  
pp. 116-132
Author(s):  
Floribert Patrick Calvain Endong
Keyword(s):  
Music Industry ◽  
Secondary Data ◽  
Gospel Music ◽  
The Past ◽  
Literary Sources ◽  
Musical Cultures ◽  
Sex Scandals ◽  
Religious Landscape ◽  
Good Number

Abstract There have been remarkable (r)evolutions in the Nigerian gospel music industry for the past decades. These revolutions have led to the emergence and survival of various modern and controversial musical cultures/traditions, modes and performances including worldliness and paganism in the industry. In view of these relatively nefarious musical cultures, a good number of scholars and observers tend to arguably redefine and (re)brand Christian communication in general and Nigerian gospel music in particular. It is in following this premise that this paper examines the phenomenon of religiosity and worldliness in the Nigerian gospel music industry. Based on observations and secondary data (literary sources), the paper argues that the Nigerian gospel music industry is just a vivid reflection of the country’s gloomy socio-religious landscape, characterized by the emergence/prevalence of fake ministers and various ubiquitous instrumentalities that perpetrate spiritual bareness in the country. Aspects of religiosity observed in some Nigerian gospel songs include controversial rhythms, imitations/adaptations of worldly songs, lyrical emphasis on prosperity (materialism, fame and earthly glories) at the detriment of spirituality/salvation, gospel artists being associated with sex scandals and occult practices.

scholarly journals Gereja Karismatik dan Inkulturasi Musik di Dalam Sistem Ibadahnya

SELONDING ◽  
2019 ◽  
Vol 13 (13) ◽  
Author(s):  
Hari Sasongko
Keyword(s):  
The United States ◽  
Gospel Music ◽  
Religious Community ◽  
World War ◽  
Charismatic Movement ◽  
Musical Tradition ◽  
The World ◽  
Church In The World ◽  
The Church ◽  
Music Tradition

The charismatic movement is an embryo of  the birth of  charismatic church in the world. The movement was began before the World War where the situation was marked by the economical decadence, particularly in the United States of America that caused uneasiness in several live of young community. The church model based on the power of Holly Spirit in the comprehension of Christian traditional faith. It is differenced from another church that grows in Europe.  The church has been developing and finally, it is taking root on Western culture tradition, and then it appeared gospel music tradition. Unfortunately the members of this religious community are disposed another musical tradition that lives around them whereas they are something important to the success of progress of cultural dialog, so the charismatic chruch seem exclusive.  By mean of historical studies, the writer try to critise on the prospect dialog between charismatic church and local tradition. The dialog will open the posibility of cultural spirit to furnish, support, and appreciate one to another. Keywords: charismatic, local music tradition, dialog, religious.

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