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      • Nonetheless the style of the music itself had existed for at least 35 years prior although the traditional wisdom that Southern Gospel music was "invented" in the 1870s by circuit preacher Everett Beverly is spurious.
      www.gospelgigs.com/southern.gospel.history.asp
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  2. Southern gospel - Wikipedia

    en.wikipedia.org › wiki › Southern_gospel

    Nonetheless, the style of the music itself had existed for at least 35 years prior—although the traditional wisdom that southern gospel was "invented" in the 1870s by circuit preacher Everett Beverly is spurious.

    • Late 19th century, white and African Americans who practiced evangelical Christianity
  3. Southern Gospel Music - The Origin and History

    www.slideshare.net › garyharbin › southern-gospel

    May 29, 2011 · Southern Gospel music is one of the earliest forms of contemporary music in America. It has a rich history deeply rooted in the very fabric of the South and us… Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising.

  4. The birth of Gospel music - Chicago Tribune

    www.chicagotribune.com › nation-world › chi-chicago

    By introducing syncopated rhythms, lamenting vocal lines and other blues elements to religious music, Dorsey invented the gospel song--a music neither totally sacred nor wholly secular. Just a...

  5. A key figure in the development of Gospel was Thomas A. Dorsey (1899 -1993). Referred to today as the father of Gospel Music, Dorsey pioneered the form in Chicago. Before devoting his career to the development of Gospel, Dorsey, the son of a Georgia Baptist preacher, was a prolific blues and jazz composer and pianist.

  6. The History of Gospel Music - Gospel Music Heritage Month ...

    gospelmusicheritage.org › site › history
    • Reviews
    • Introduction
    • Style
    • Influence
    • Themes
    • Quotes
    • Significance
    • Music
    • Definition

    The Gospel Music experience cannot be told in a short story, or even in a melody of songs, for it is far too rich, far too harmonious and deliberately stimulating. It is a living experience, always changing, always giving, and always becoming the foundation that gave moral, physical and spiritual support to a great and powerful people. Gospel Music is a shining beacon of hope, a fantastic journey of joy divine, and a triumphant victory in God that comes from deep down in the souls of Gods Chosen People. The greatest melodies and the most stimulating songs have been given to this Nation and the World through the African American experience. There has been no other event in history that has been more compelling, convincing, or persuasive than Gospel Music. Some of the most beautiful music of all times was born out of intense grief and suffering, and Gospel Music is no exception.

    Theprologue of Gospel Music owes its grandeur and its sense of veracity to Thomas Andrew Dorsey who is called the Father of Gospel Music. He combined Christian praise with the rhythms of jazz and blues. Mr. Dorsey wrote many songs, two of his greatest were Precious Lord and Peace in The Valley. Both of these songs were written after the tragic death of his wife and newborn son. These songs have become community owned songs, as singers and listeners throughout the world relate to the words of assurance that are delivered and adopted in the messages.

    The influence of Mahalia Jackson is evident in her style and references to the storms of life and of the good that is produced through overcoming adversity. Her melodious voice stirred listeners as they Moved On Up A Little Bit Higher and invited them to participate in her songs. She developed a flair for composing songs that moved the heart and regenerated the soul of a people who looked to the hills from whence cometh their help. The songs were so exciting and popular that congregations automatically joined in the singing and shouting as they lifted up the name of Jesus.

    Religious freedoms stood in the forefront of a people who knew that God was the beginning and the end. The methodical beats of and the syncopation rhythms of Mrs. Albertina Walker and the Caravan gave birth to a brand new gospel experience. With her words representing patience, endurance, survival, and staying power, her voice rekindled the awesome power of God as she told Him in song Lord Keep Me Day by Day. Her dominant presence in religious song has been formulated, devised, developed, and shared among all generations. The Caravan along with Mrs. Walker presented a wholesome type of devotion that rekindled a loyalty, which inspired the people to rise up and become God fearing. Mrs. Walker was born in Chicago, Illinois and began singing in the youth choir at the West Point Baptist Church at an early age, and joined several Gospel groups thereafter, including The Pete Williams Singers and the Robert Anderson Singers. Albertina was greatly influenced by Mahalia Jackson her friend andconfidante. Mahalia Jackson took her on the road when she was just a teenager. Mahalia used to kid me. Shed say, Girl, you need to go sing by yourself. Albertina Walker did just that. In 1951, she formed the group called The Caravans. She was given the title Queen of Gospel Music initially by such notables as the late Reverend James Cleveland and Jessy Jackson for her outstanding achievements within the genre after the death of Mahalia Jackson in 1972.

    More than that. The great struggle of the 1960s until 1980 was a struggle of the common man. It was a battle for rights against privileges, the long, slow, and awkward striving for government, this syncopation consisted of the people, by the people, and for the people- the struggles which were identical in Blacks, Whites, Brown, and Others.

    And in this common struggle of man / woman we have found that no one member can win or can lose alone. For we are all in this struggle of lifetogether, look around; the musical chord of brotherhood joins usunified together. Against the most revered and arrogant institution of entrenched Segregation that this Nation has ever experienced, Black people came to believe that we were Somebody and that We do count in the great scheme of things. It is impossible for us to understand the development of Gospel Music without some knowledge of the temptations that have crossed our faith. There has never been a time when Gospel Music has not been a part of the African American Experience. When we consider the tragic, dreadful, and catastrophic experiences which occur to so many in our society- and when wetend to feel and believe that there is no way out, Gospel Music is there toTake our Hands and Lead us On. Finally, this sincere admiration of Gospel Music, this admiration and reverence is now felt throbbing in every corner of the globe, and are the Musical Chords that bind the Nations of the world together while yet leaving unimpaired that love of country in the individual citizen which in the present stage of the worlds progress is essential to the worlds well-being.

    In analyzing those factors that have entered into our moral and spiritual lives, we find that the part that slavery has played in the drama of African Americans life that was experienced in this new land. The Gospels of this era had a measure of strength, might and potency. It revealed humanity in times of severe, brutal, and relentless hardships. But throughout this ordeal, Gospel Music wasa place of inspiration. It was a comfort that provided a renewed hope, a renewed joy, renewed peace, and a renewed passion for life. The music is a deep well cast down into a refreshing stream of life encompassing notes.

    Contemporary Gospel is a development of our faculties and powers through a relationship with God. It reinforced the belief that God is the Master of our Faith and the Captain of our soul. And we need, incidentally, to know enough to know whose we are and what we are here for. This new music had its crossover into theworld of entertainment through such stars as Ray Charles, Al Green, Aretha Franklin, The Edwin Hawkins Singers (O Happy Day), Andrea Crouch; (The Blood Will Never Lose its Power), which was composed by him when he was only thirteen years of age.

    Gospel Music is not a mere form of entertainment to be had when desired; it is a form of character, obedience, and spirit. It follows upon the long discipline, which gives a people self-possession, self-mastery, a habit of order and peace and common counsel and reverences for Gods will that directs our lives.

  7. History of Gospel Music & Top Gospel Songs of All Time

    www.godtube.com › news › history-of-gospel-music-top

    Oct 19, 2020 · History of Gospel Music. Gospel music arose from the culture of the African-American church. In the late 1800s, African-American churches in the southern United States began blending several forms of music into their worship services, including African-American spirituals, hymns, and holy songs.

  8. Origins – Early Gospel Music

    www.earlygospel.com › origins
    • African Roots
    • Slavery Era
    • The Church and Preachers
    • The Seminal Influence of Thomas A. Dorsey
    • Gospel Music Evolution
    • Sources

    Tribal African music of four hundred years ago differed from European and white American music in one major regard: secular music did not exist in African traditions. Besides sacred music, Europeans sang about love, war, and drinking, as well as the recent historical events of nearby villages, or far off countries. While many of these songs mentioned God in some manner, many still remained secular and popular among the village and country folk. All African music was naturally sacred and the concept of singing secular music was alien to them. Their music can be seen to satisfy four main functions in the fabric daily life, they are: religious, agricultural and sexual fertility, hunting, and war. In this regard African music has more in common with Native American music than European music since song was used as a means of being in harmony with nature and the cosmos. One predominant style of music that is still retained and was brought to America during the slavery period of the early...

    From the need to subjugate or from fear, many American slave owners did not allow blacks to use traditional African instruments, nor could they play or sing their native music. Gradually much of the words and melodies were forgotten and disappeared in North America. It is because of this ban on their musical ancestry that a new African American style of music was created. New songs were created using the African traditions of harmony, call and response, behind a strong rhythmic meter mixed with European traditions of harmony and musical instruments. Gospel songs created by Blacks used Christian subjects with African vocal and rhythmic influences. The church became a sanctuary for Black slave expression. It was the only place that groups of slaves could congregate without fear of white supervision. Though not all slave holders allowed religious instruction or permission to worship and had to meet secretly. The enslavement of Blacks in the American Colonies began during the 1600’s. Sl...

    The role of the church remained central to Blacks in America once they were emancipated. With emancipation, a just and equal freedom was elusive and largely nonexistent. Jim Crow laws remained as a given in the South and a huge exodus of Blacks migrated to the industrialized North, which promised jobs and more freedom. To a very limited degree jobs were found, but only jobs that whites did not want to do. More freedom was granted to them only, as some historians argue, because the North lacked the tradition of a fully organized and functioning racist tradition, and because virtually the entire organized abolitionist tradition existed in the North. The former abolitionists switched from advocating emancipation to advocating fair treatment for recently freed Blacks. With this political and social backdrop, the church evolved as a religious sanctuary from the eyes of slave holders to a sanctuary where Black culture and music could thrive. In this atmosphere churches were used as meetin...

    Thomas Andrew “Georgia Tom” Dorsey first gained recognition as a blues pianist in the 1920s and later became known as the “father of gospel music” for his role in developing, publishing, and promoting the gospel blues. Thomas A. Dorsey learned his religion from his itinerant black Baptist preacher father and piano from his organ music teacher mother in Villa Rica, Georgia, where he was born in 1899. He also came under the influence of local blues pianists when they moved to Atlanta in 1910. He and his family relocated to Chicago during World War I where they joined the Pilgrim Baptist Church, and he studied at the Chicago College of Composition and Arranging and became an agent for Paramount Records. He began his musical career known as Georgia Tom (initially “Barrelhouse Tom”), playing barrelhouse piano in one of Al Capone’s Chicago speakeasies and leading Ma Rainey’s Jazz band. He hooked up with slide guitarist Hudson “Tampa Red” Whittaker with whom he recorded the best selling sl...

    African Roots Africa, where it all began. Of all the lavish gifts Africa has given the world, the richest is the unique combination of music and religion: religion with rhythm. With the first African slaves landing on American shores around 1619 came African rhythm, work songs and field hollers – the basic elements for the spirituals. It is rhythm that drives American music: the spirituals, and by extension gospel, the blues, jazz, ragtime and rock n’roll. The Rise of Spirituals From the early 1600’s right through to the American Civil War in 1865 groups of African American slaves in the Southern states sought solice in work songs and field hollers to ease the drudgery of hard labour in the fields, on the railroads, in the turpentine camps, wherever slaves were put to work as forced labour. The ‘call and response’ religion-based songs that gave them hope for a brighter future. Two distinct approaches to slavery had quickly emerged in America; the Northern states had slaves working a...

    “People Get Ready! A New History of Black Gospel Music”, Robert Darden, Continuum Publishing, New York, 2004 “The Music of Black Americans – A History”, Eileen Southern, W. W. Norton & Company, 1997 “Songsters and Saints”, Paul Oliver, Cambridge University Press, 1984 “Saints and Sinners : Religion, Blues and (D)evil in African-American Music and Literature”, Edited by Robert Sacré, Université de Liège, 1996 American Hymnody (www.smithcreekmusic.com/Hymnology/American.Hymnody) Christian Biography Resources (www.wholesomewords.org/biography/biorpbliss.html) Crosscurrents (Association for Religion and Intellectual Life), New York (www.crosscurrents.org) Gospel Music Museum, Atlanta, Ga (www.gospelmusicmuseum.com) Southern Music Network (www.southernmusic.net) Wikipedia (http://en.wikipedia.org/wiki/Gospel_music) Images on this page are licensed under a Creative Commons Attribution-NoDerivs 3.0 Unported License

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