Gospel Music

Gospel Music

By 1945, nearly everyone in the African American community had heard gospel music (2). At

this time, gospel music was a sacred folk music with origins in field hollers, work songs,

slave songs, Baptist lining hymns, and Negro spirituals. These songs that influenced gospel

music were adapted and reworked into expressions of praise and thanks of the community.

Although the harmonies were similar to those of the blues or hymns in that they shared the

same simplicity, the rhythm was much different. The rhythms often times had the music with

its unique accents, the speech, walk, and laughter which brought along with it synchronized

movements. (2) The gospel piano style was based on the rhythm section concept, where the

middle of the piano was used to support the singers. This area supported the singers by

doubling the vocal line in harmony. The bottom, left corner of the piano was used as a bass

fiddle while the upper right hand portion played the counter melodies, taking the place of a

trumpet or flute. It was the right hand corner that filled in the material during the rhythmic

breaks. Often times the text of the gospel songs portrayed meanings of the Trinity,

blessings, thanks and lamentations. The singers used the voices to communicate their

feelings about Chr...

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...nthinking. The other was extremely lonely and spending hours on the phone with

her ex husband. Inside she was a scared woman who was seeking a close companion. (3) In

June 1975, a film entitled ?Kinfolks? documented the life and music of Mahalia Jackson. Her

art was her work; her work was her art. (1)

Bibliography:

DeVeaux, Scott. Birth of Bebop, The. Berkeley and Los Angeles, California: University of California Press, 1997

http://www.la.psu.edu/~jselzer/burke/hawk1.html 2/18/00

http://www.ponyexpress.net/~colehawkins/abouthawk.html 2/18/00

Kernfeld, Berry. New Grove Dictionary of Jazz, The. Vol. II London: The MacMillan Company, 1988

Sadie, Stanley. New Grove Dictionary of Music and Musicians, The. Vol. II New York: The MacMillan Company, 1928