Sacred Music in Transition

2017 ◽  
Author(s):  
Robert M. Marovich
Keyword(s):  
African American ◽  
Sacred Music ◽  
Radio Station ◽  
Historical Background ◽  
Radio Broadcasting

This chapter examines Chicago sacred music in a period of transition, focusing on the roles played by Charles Henry Pace and the Pace Jubilee Singers. The Pace Jubilee Singers are a fascinating example of African American sacred music in transition. They were among Chicago's first black religious artists to perform on radio, broadcasting during the 1920s and early 1930s over radio station WCBN and megawatt stations WLS and WGN. The group was also among the first mixed jubilee ensembles to feature a female soloist prominently in the person of Hattie Parker. This chapter first provides a historical background on Pace and his formation of the Pace Jubilee Singers before discussing the group's recordings, including sessions with Victor Records, and Parker's contribution to the group. It also considers the Pace Jubilee Singers' radio appearances following the end of their recording career, as well as the careers of Parker and Pace after the group's disbandment. Pace continued writing and publishing sacred music, including gospel songs, in Pittsburgh. He died on December 16, 1963.

scholarly journals STRATEGI BERJARINGAN RADIO KOMUNITAS ISLAM MADU FM TULUNGAGUNG

2018 ◽  
Vol 12 (2) ◽  
pp. 289
Author(s):  
Redi Panuju
Keyword(s):  
Rational Choice ◽  
Qualitative Approach ◽  
The State ◽  
Radio Station ◽  
Research Approach ◽  
Community Radio ◽  
Radio Broadcasting ◽  
Depth Interviews

The purpose of this study to determine the strategy of community radio broadcasting in particular contestation Madu FM community radio in Tulungagung in East Java Indonesia. Madu FM community radio phenomenon is interesting to study because it is a community radio station that managed to grow in the midst contestation broadcasting. Community radio gets limitation restriction (restriction) of the state through the Broadcasting Act (Act No. 32 of 2002 on Broadcasting). Besides, the community radio still has to compete with the private radio and private television. Madu FM is able to adapt to circumstances without violating the rules. The result is a strategy of community radio broadcasting successfully innovate innovation so that it becomes exist. This research approach is qualitative approach with the method of observation and in-depth interviews. The study was conducted during the period from March to August, 2016.Tujuan penelitian ini untuk mengetahui strategi penyiaran radio komunitas khususnya dalam kontes radio komunitas Madu FM di Tulungagung di Jawa Timur Indonesia. Fenomena radio komunitas Madu FM sangat menarik untuk diteliti karena merupakan stasiun radio komunitas yang berhasil tumbuh di tengah penyiaran kontestasi. Radio komunitas mendapat pembatasan pembatasan (pembatasan) negara melalui Undang-Undang Penyiaran (UU No. 32 Tahun 2002 tentang Penyiaran). Selain itu, radio komunitas masih harus bersaing dengan radio swasta dan televisi swasta. Madu FM mampu beradaptasi dengan keadaan tanpa melanggar peraturan. Hasilnya adalah strategi penyiaran radio komunitas berhasil berinovasi inovasi sehingga menjadi ada. Pendekatan penelitian ini adalah pendekatan kualitatif dengan metode observasi dan wawancara mendalam. Penelitian dilakukan selama periode dari bulan Maret sampai Agustus 2016.Keywords: Community Radio, contestation, strategies, adaptation and rational choice.

African American Sacred Music and Black Hymnody

2020 ◽  
pp. 134-151
Author(s):  
Stephen Michael Newby ◽  
Jocelyn Russell Wallage ◽  
Vernon M. Whaley
Keyword(s):  
African American ◽  
Sacred Music

scholarly journals Radio Stations and Audience Communication: Social Media Utilization and Listeners Interaction

2019 ◽  
Vol 7 (1) ◽  
pp. 23
Author(s):  
Zacharenia Pilitsidou ◽  
Nikolaos Tsigilis ◽  
George Kalliris
Keyword(s):  
Social Media ◽  
Time Lag ◽  
Radio Station ◽  
Interaction Patterns ◽  
Interaction Index ◽  
Radio Stations ◽  
Radio Broadcasting ◽  
Audience Interaction ◽  
Collection Period ◽  
Observation Period

The purpose of the study was to explore how Greek radio stations utilize social media and Facebook in particular, and to look into factors that influence interaction with their audience. Twenty radio stations broadcasting from the two largest cities in Greece were selected according to their radio profile and number of followers. The duration of the study was two weeks, weekends included, with one month time lag between them. Results showed that the type of content seems to influence audience’s participation. Listeners had higher participation when they were reading information with content of their favourite radio broadcasting. Moreover, it was noticed that a specific time of the day might facilitate communication between radio stations and their listeners. Interaction patterns differ in relation to radio profile and radio stations broadcasting location. This paper represents a first attempt to investigate the ways Greek radio stations utilize social media to accomplish higher participation levels. An interaction index was introduced and used in order to better reflect radio station audience interaction. Given the relatively short observation period present these findings should be considered preliminary and exploratory. Longer data collection period combined with alternative social media such as Twitter, can provide a deeper understanding of the topic. Radio stations can utilize the present findings to develop a more effective strategy communication through social media.

Singing High

2019 ◽  
pp. 34-51
Author(s):  
Alisha Lola Jones
Keyword(s):  
African American ◽  
Sacred Music ◽  
Art Music ◽  
Cultural Performance ◽  
Dual Processes ◽  
Live Performance ◽  
African American Churches ◽  
Western Art ◽  
American Churches

Drawing on a case study of African American countertenor Patrick Dailey and an ethnography of his live performance, this chapter is an ethnomusicological assessment of his social and theological navigation of gendered vocal sound. African American gospel singing challenges the binary gender framework that the American public expects, with men singing low and women singing high. As a man who sings high, Dailey has to demonstrate performance competence in African American worship. Dailey deftly negotiates the tensions and intersections between these dual processes of musical performance. He does so with an aspiration to deliver a presentation that is what he refers to as “anointed”: music that is from and for God. Dailey’s performance also engages African American audiences’ various types of cultural familiarity to portray competency as a worship leader and trained artist. Thus, while making a mark in sacred music history, more generally, Patrick Dailey’s performance reveals the subtle ways Western art music conventions of classifying vocalists are utilized and revised in the interpretation of cross-cultural performance in African American churches.

Wade in the Water: African American Sacred Music Traditions (review)

1998 ◽  
Vol 4 (4) ◽  
pp. 118-118
Author(s):  
Gavin James Campbell
Keyword(s):  
African American ◽  
Sacred Music

Turn Your Radio On

2017 ◽  
Author(s):  
Robert M. Marovich
Keyword(s):  
United States ◽  
Sacred Music ◽  
The United States ◽  
Gospel Music ◽  
Church Leaders ◽  
Black Disk ◽  
Early Adopters ◽  
White Community ◽  
Radio Broadcasting ◽  
Entrepreneurial Efforts

This chapter focuses on the pioneers of sacred music radio broadcasting in Chicago. During the 1920s, several Chicago Pentecostal and Holiness church leaders discovered the potential of radio as a medium for transmitting their ministries to households throughout Chicago and beyond. It was through radio that Chicago's white community was introduced to the sounds of sanctified singing and preaching. As a cultural and economic phenomenon, black-oriented radio in Chicago traces its roots to 1929 and the entrepreneurial efforts of Jack L. Cooper, the first black disk jockey not only in Chicago but in all of the United States. In Bronzeville, Elder Lucy Smith's All Nations Pentecostal Church and Rev. Clarence H. Cobbs's First Church of Deliverance were early adopters of radio for transmitting church services. This chapter examines the radio broadcasts of the All Nations Pentecostal Church and the First Church of Deliverance that allowed gospel music to be heard throughout Chicago, the Midwest, and, ultimately, the nation.

Got On My Traveling Shoes

2017 ◽  
Author(s):  
Robert M. Marovich
Keyword(s):  
African American ◽  
Sacred Music ◽  
Great Migration ◽  
Southern Culture ◽  
Protestant Churches ◽  
Promised Land ◽  
Congregational Singing ◽  
The Great Migration ◽  
Women And Children ◽  
Black Sacred Music

This chapter examines the role played by the Great Migration in the development of black sacred music in Chicago. Starting around 1916, thousands of black men, women, and children landed on Chicago's shores as part of the Great Migration, also known as the Great Northern Drive. Regardless of the way migrants traveled, Chicago was the destination of choice, the Promised Land. This chapter first discusses the sources of the new African American migrants' disillusionments in Chicago, including unemployment and substandard housing, before turning to early congregational singing in sanctified services and in storefront churches. It then considers the rise of African American Protestant churches as well as the migrants' creation of their own “islands of southern culture.” It also compares northern and southern worship practices among African American churches and concludes with an overview of the proliferation of storefront and sanctified churches in Chicago, along with sanctified worship in Spiritual churches and their influence on gospel music.

Wartime St. Louis and the Genesis of MOWM in the Gateway City, 1942

2017 ◽  
Author(s):  
David Lucander
Keyword(s):  
African American ◽  
Historical Background ◽  
Biographical Information ◽  
The People ◽  
March On Washington

This chapter provides a historical background to the outpouring of African American protest in wartime St. Louis. In May 1942, A. Philip Randolph and Milton Webster called a meeting at the St. Louis YWCA, during which they proposed that a local March on Washington Movement (MOWM) unit be established. T. D. McNeal, David Grant, Sallie Parham, Nita Blackwell, and Jordan Chambers are introduced as pioneers of protest in this upstart organization. When available, biographical information of key MOWM supporters illustrates how participating in wartime protests fitted within the arc of an individual's life. There was no singular path toward MOWM, but the people who associated with this organization shared an optimism that the war presented an opportune moment to effectively challenge Jim Crow's insidious multiplicity of forms.

scholarly journals Afroeuropean Modes of Self-Making: Afro-Dutch and Afro-Italian Projects Compared

2019 ◽  
Vol 3 (1) ◽  
pp. 317-331
Author(s):  
Serena Scarabello ◽  
Marleen de Witte
Keyword(s):  
African American ◽  
The Netherlands ◽  
Social Practices ◽  
Historical Background ◽  
Hybrid Identities ◽  
African Heritage ◽  
Contemporary Politics ◽  
Multicultural Identities ◽  
Ways Of Being

Abstract This article contributes to scholarship on Afroeurope by investigating the intersection of blackness, Africanness, and Europeanness in everyday discourses and social practices in the Netherlands and Italy. We examine how young African-descended Europeans are forging new ways of being both African and European through practices of self-making, which should be understood against both the historical background of colonialism and the contemporary politics of othering. Such practices take on an urgency for these youth, often encompassing a reinvention of Africanness and/or blackness as well as a challenge to dominant, exclusionary understandings of Europeanness. Comparing Afro-Dutch and Afro-Italian modes of self-making, centred on African heritage and roots, we discuss: 1) the emergence of a transnational, Afroeuropean imaginary, distinguished from both white Europe and African-American formations; and 2) the diversity of Afroeuropean modes of self-making, all rooted in distinct histories of colonialism, slavery, and immigration, and influenced by global formations of Africanness and blackness. These new Afro and African identities advanced by young Europeans do not turn away from Europeanness (as dominant identity models would assume: the more African, the less European), nor simply add to Europeanness (“multicultural” identities), nor even mix with Europeanness (“hybrid” identities), but are in and of themselves European.

Rationalization, Standardization, or Market Diversity?

2008 ◽  
Vol 32 (3) ◽  
pp. 405-436
Author(s):  
Stephen Lippmann
Keyword(s):  
United States ◽  
Golden Age ◽  
The United States ◽  
Radio Station ◽  
Vital Rates ◽  
Radio Stations ◽  
Comprehensive Data ◽  
Radio Broadcasting ◽  
Dramatic Decline ◽  
Broadcasting Industry

The “golden age” of radio broadcasting in the 1930s and 1940s was dominated by large, national broadcasting networks. The rise of these networks is thought to have been accompanied by a dramatic decline in the number of locally oriented stations in operation in the United States. However, this presumption contradicts the dynamics of concentration and organizational foundings in a variety of other industries. In this article I use comprehensive data on the vital rates of radio station founding, failure, and density to empirically test the popular claims of network dominance in the midcentury U.S. broadcasting industry. The results indicate that locally owned commercial stations were not eliminated by the rise of national broadcasting networks. In fact, concentration in the hands of the networks actually increased the viability of locally owned radio stations.

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