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I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent. -
Blood Bought Radio Worldwide Report Dates from 8/30/2020 - 9/5/2020
BROADCASTER RAW DATA DRT SUMMARY REPORT BLOOD BOUGHT RADIO WORLDWIDE REPORT DATES FROM 8/30/2020 - 9/5/2020 ARTIST SONG TITLE LABEL TOTAL SPINS BRIDGING THE GAP VISIT TODAY AT MOVEMENT LLC WWWBRIDGINGTHGAPMOVEMENTLLCCOM UNKNOWN 64 BLOOD BOUGHT PRODUCTIONSWHERE SCHEDULE AN APPOINTMENT TODAY AT HARMONY MEETS QUALITY WWWBRIDGINGTHEGAPMOVEMENTLLC UNKNOWN 61 BLOOD BOUGHT RADIO BBR INTRO 1 UNKNOWN 59 TUNE INTO THE OFFICIAL STATION 4 CHH X RHYTHM BLOOD BOUGHT RADIO & PRAISE UNKNOWN 49 TUNE INTO WORD OF KNOWEDGE RADIO SHOW BRIDGING THE GAP EVERY SUNDAY AT 6PM EST ON BLOOD BOUGHT MOVEMEMENT LLC RADIO UNKNOWN 42 BLOOD BOUGHT RADIO BBR INTRO 2 UNKNOWN 40 BLOOD BOUGHT RADIO BBR PROMO 6 UNKNOWN 25 BLOOD BOUGHT RADIO BBR THROWBACK INTRO 2 UNKNOWN 25 CLEAR VISION IMAGING SCHEDULE AN APPOINTMENT TODAY AT & MEDIA WWWBRIDGINGTHEGAPMOVEMENTLLC UNKNOWN 24 D ROAD BBR HIS HOP RADIO SHOW PROMO UNKNOWN 23 BLOOD BOUGHT RADIO BBR PROMO 10 UNKNOWN 22 BLOOD BOUGHT RADIO BBR PROMO 4 UNKNOWN 22 HOSTED BY @KNOWTHELEDGE415 X@MOSESBOYMUSIC - WORD OF KNOWLEDGE RADIO SHOW (2020 S8 EP19) UNKNOWN 21 BLOOD BOUGHT RADIO BBR PROMO 3 UNKNOWN 20 BLOOD BOUGHT RADIO BBR PROMO 2 UNKNOWN 19 BLOOD BOUGHT RADIO BBR PROMO 5 UNKNOWN 19 BLOOD BOUGHT RADIO BBR PROMO 9 UNKNOWN 19 BLOOD BOUGHT RADIO BBR PROMO 1 UNKNOWN 18 BLOOD BOUGHT RADIO BBR PROMO 7 UNKNOWN 18 BLOOD BOUGHT RADIO BBR PROMO 8 UNKNOWN 18 2ND SAMUEL 151 BLOOD BOUGHT RADIO DROP UNKNOWN 11 KEYA SMITH BBR DROP UNKNOWN 11 DR HOWARD ROBERTS BBR DROP DO YOURSELF A FAVOR AND KEEP IT LOCKED UNKNOWN 9 BLOOD BOUGHT RADIO BBR -
1 Carole FREDERICKS Springfield Gospel Music and the Blues Are
Carole FREDERICKS Springfield Gospel music and the Blues are sisters in song. Both genres are the issue of the Negro Spirituals and both share worldwide popularity. If Gospel music sings of the grace of God, the Blues denotes the difficulties and challenges of life. They tell the same story, one from a secular point of view and the other from a spiritual perspective…both with genuine and often brutal honesty. There are lessons to be learned from each. Every once in a while a voice will come along that reveals the depth of kinship between Gospel and Blues music. The late Carole Fredericks was such a voice. In 1996, she released the album Springfield as a testament to the intimate bond between Gospel, Blues and the human condition. “In a music where the unexpected is not unusual and the curious can be common-place, how likely is it that the younger sister of a famous bluesman, who spoke only English until she was in her thirties, should relocate to Europe, become a big star in France and the francophone countries around the world, and eventually leave a musical legacy that has become a standard resource for teaching French? That is, of course, a potted biography of the remarkable Carole Fredericks – whose older brother, Henry St. Clair Fredericks, is better known to the blues world as Taj Mahal. Carole died too young in 2001. ‘Springfield’ was the first of her two solo albums, and was originally released in 1996. It is sung entirely in English, in case you were wondering, and revisits Carole’s roots – the title refers to the town where Carole and her family were raised. -
Race, Technology, and Theology in the Emergence of Christian Rap Music
Pneuma 33 (2011) 200-217 brill.nl/pneu “It’s Not the Beat, but It’s the Word that Sets the People Free”: Race, Technology, and Theology in the Emergence of Christian Rap Music Josef Sorett Assistant Professor of Religion and African-American Studies, Columbia University, New York [email protected] Abstract In an effort to address lacunae in the literature on hip hop, as well as to explore the role of new music and media in Pentecostal traditions, this essay examines rap music within the narra- tives of American religious history. Specifically, through an engagement with the life, ministry, and music of Stephen Wiley — who recorded the first commercially-released Christian rap song in 1985 — this essay offers an account of hip hop as a window into the intersections of religion, race, and media near the end of the twentieth century. It shows that the cultural and theological traditions of Pentecostalism were central to Wiley’s understanding of the significance of racial ideology and technology in his rap ministry. Additionally, Wiley’s story helps to iden- tify a theological, cultural, and technological terrain that is shared, if contested, by mainline Protestant, neo-Pentecostal, and Word of Faith Christians during a historical moment that has been described as post-denominational. Keywords Christian hip hop, Stephen Wiley, Word of Faith, racial ideology Over the past two decades a growing body of research on hip hop music and culture has taken shape. More often than not, the inquiries in this emerging literature have located hip hop (or rap) in the traditions of African American cultural (literary and musical) expression.1 Within this corpus, little attention 1 The two seminal works in the field of hip hop studies are Tricia Rose’sBlack Noise: Rap Music and Black Culture in Contemporary America (Middletown, CT: Wesleyan Press, 1993); Houston Baker’s Black Studies, Rap, and the Academy (Chicago: University of Chicago Press, 1993). -
100 Free Gospel Music Downloads 1940 - 1970 the History of Gospel Music
100 free gospel music downloads 1940 - 1970 The History of Gospel Music. 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 God’s 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. It is the Alpha and Omega of God’s spiritual principle that plays upon the keyboard of mans integrity. It is a resonance, an echoing sound throughout the ages that has surrendered the wonders of God’s Almighty creations. After thousands of years, the sound of Gospel Music is still enthralling and captivating because it stands against the social background as a shadow of today’s community problems and dilemmas. From the 1930’s to the 1960’s desperate circumstances controlled our lives; despair and hope, life and death; but Gospel Music mirrored our predicaments as a collective group of people, it reflected upon our social status, and eventually reverberated in our made up minds that God was indeed on our sides. -
City of Angels
ZANFAGNA CHRISTINA ZANFAGNA | HOLY HIP HOP IN THE CITY OF ANGELSHOLY IN THE CITY OF ANGELS The publisher gratefully acknowledges the generous support of the Lisa See Endowment Fund in Southern California History and Culture of the University of California Press Foundation. Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Holy Hip Hop in the City of Angels MUSIC OF THE AFRICAN DIASPORA Shana Redmond, Editor Guthrie P. Ramsey, Jr., Editor 1. California Soul: Music of African Americans in the West, edited by Jacqueline Cogdell DjeDje and Eddie S. Meadows 2. William Grant Still: A Study in Contradictions, by Catherine Parsons Smith 3. Jazz on the Road: Don Albert’s Musical Life, by Christopher Wilkinson 4. Harlem in Montmartre: A Paris Jazz Story between the Great Wars, by William A. Shack 5. Dead Man Blues: Jelly Roll Morton Way Out West, by Phil Pastras 6. What Is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists, by Eric Porter 7. Race Music: Black Cultures from Bebop to Hip-Hop, by Guthrie P. Ramsey, Jr. 8. Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans, by William T. Dargan 9. Music and Revolution: Cultural Change in Socialist Cuba, by Robin D. -
116 Clique 13 Letters Full Album Zip
116 Clique, 13 Letters Full Album Zip 116 Clique, 13 Letters Full Album Zip 1 / 3 2 / 3 ... 13 Letters (A 116 Clique Compilation Album). 13 Letters (A 116 Clique Compilation Album) (CD, Album, Compilation) ... Tracklist Hide Credits ... DVD-1, –116 Clique, Full Sample Lesson Of 13 Letters: The Curriculum. DVD-2, –Trip Lee .... 13 Letters is the second compilation album by the Christian hip hop group 116 Clique. It charted at No. 29 on the Billboard Christian Albums chart and No. 10 on .... 116 Clique, 13 Letters full album zip. Join the campaign and make a difference.. ... The Compilation Album · 116 Clique – 13 Letters · Our World Redeemed · Trip Lee – 20/ ... You are here: Home / Music Vids / Lecrae – Killa (Track 02) – REHAB . ... MP3 ✦✦✦SUSCRIBE TO HEAR THE LATEST MUSIC ALWAYS IN HD + FREE DOWNLOAD✦✦✦ ✦ Lecrae 'REHAB' Tracklisting Revealed ... Flame & Jai 13.. Listen free to 116 Clique – 13 Letters (Begin With The End - Lecrae, Dig In - Trip Lee ft. Tedashii ... Do you know any background info about this album? Start the .... Reach Records has just re-released the 13 Letters CD with a sample DVD ... The 116 Clique is back with the Groundbreaking new album where rap and the bible collide! ... Full sample lesson from the 13 Letters Curriculum. 116 Clique, 13 Letters Full Album Ziphttp://cinurl.com/11qocn.. 116. 13 Letters. 116. 13 Letters. Purchase — ... No Thanks. Subscribe to the Reach Records email list. Email Address. First Name. Last Name. Zip Code. Birthday.. Why I prefer Christian rap over secular Andy mineo top right trip lee bottom right Christian ... Song: Open Letter (Battlefield) Artist: KB ft. -
Go Viral 9-5.Pdf
Hello fellow musicians, artists, rappers, bands, and creatives! I’m excited you’ve decided to invest into your music career and get this incredible list of music industry contacts. You’re being proactive in chasing your own goals and dreams and I think that’s pretty darn awecome! Getting your awesome music into the media can have a TREMENDOUS effect on building your fan base and getting your music heard!! And that’s exactly what you can do with the contacts in this book! I want to encourage you to read the articles in this resource to help guide you with how and what to submit since this is a crucial part to getting published on these blogs, magazines, radio stations and more. I want to wish all of you good luck and I hope that you’re able to create some great connections through this book! Best wishes! Your Musical Friend, Kristine Mirelle VIDEO TUTORIALS Hey guys! Kristine here J I’ve put together a few tutorials below to help you navigate through this gigantic list of media contacts! I know it can be a little overwhelming with so many options and places to start so I’ve put together a few videos I’d highly recommend for you to watch J (Most of these are private videos so they are not even available to the public. Just to you as a BONUS for getting “Go Viral” TABLE OF CONTENTS What Do I Send These Contacts? There isn’t a “One Size Fits All” kind of package to send everyone since you’ll have a different end goal with each person you are contacting. -
Features Departments
the newsletter of Christ the Word Presbyterian Church for March,the Year of Our LORD, TheGAZETTE 2011 Features Departments A Restless Evil…1 Getting To Know… 3,8 Music Review…5 Pathway Corner… 4 LWY Retreat Recap…10 Women of the Word… 6,7 Missions Update…11 FYI… 9 Budget Update… 9 Calendar of Events… 12 says, “Even a fool when he keeps silent is considered A Restless Evil wise.” This is because I knew all too well the truth of Proverbs 10:19, “When there are many words, transgres- sion is unavoidable.” Speech is mankind’s main form of communication; it is part of being created in the image of God. God speaks, therefore He created us to speak and the tongue is what makes our speech intelligible. You can have a perfect mouth, a perfect larynx, and perfect lungs but without a tongue, speech is impossible. In the Fall, every part of our body, including our tongue became corrupt. When asked for Scripture references about the tongue, most will refer to the book of James. James says more about it than any other book in the Bible except Prov- by Craig Twining erbs. The first twelve verses of James 3 give us numerous descriptions about the tongue—none of them good. When I was younger, my tongue used to get me into One particularly vivid description is in James 3:5, “..and a lot of trouble. If I was arguing, I had to get the last the tongue is a fire, the very world of iniquity; the tongue word; if I had been hurt in any way, I made sure that my is set among our members as that which defiles our entire words hurt back just as badly; if I didn’t agree with some- body, and sets on fire the course of our life, and is set on thing someone said, my reply typically contained a fire by hell.” dose of sarcasm. -
American Popular Music
American Popular Music Larry Starr & Christopher Waterman Copyright © 2003, 2007 by Oxford University Press, Inc. This condensation of AMERICAN POPULAR MUSIC: FROM MINSTRELSY TO MP3 is a condensation of the book originally published in English in 2006 and is offered in this condensation by arrangement with Oxford University Press, Inc. Larry Starr is Professor of Music at the University of Washington. His previous publications include Clockwise from top: The Dickinson Songs of Aaron Bob Dylan and Joan Copland (2002), A Union of Baez on the road; Diana Ross sings to Diversities: Style in the Music of thousands; Louis Charles Ives (1992), and articles Armstrong and his in American Music, Perspectives trumpet; DJ Jazzy Jeff of New Music, Musical Quarterly, spins records; ‘NSync and Journal of Popular Music in concert; Elvis Studies. Christopher Waterman Presley sings and acts. is Dean of the School of Arts and Architecture at the University of California, Los Angeles. His previous publications include Jùjú: A Social History and Ethnography of an African Popular Music (1990) and articles in Ethnomusicology and Music Educator’s Journal. American Popular Music Larry Starr & Christopher Waterman CONTENTS � Introduction .............................................................................................. 3 CHAPTER 1: Streams of Tradition: The Sources of Popular Music ......................... 6 CHAPTER 2: Popular Music: Nineteenth and Early Twentieth Centuries .......... ... 1 2 An Early Pop Songwriter: Stephen Foster ........................................... 1 9 CHAPTER 3: Popular Jazz and Swing: America’s Original Art Form ...................... 2 0 CHAPTER 4: Tin Pan Alley: Creating “Musical Standards” ..................................... 2 6 CHAPTER 5: Early Music of the American South: “Race Records” and “Hillbilly Music” ....................................................................................... 3 0 CHAPTER 6: Rhythm & Blues: From Jump Blues to Doo-Wop ................................ -
“John the Revelator”--The Golden Gate Quartet (1938) Added to the National Registry: 2005 Essay by Kathryn Kemp (Guest Post)*
“John the Revelator”--The Golden Gate Quartet (1938) Added to the National Registry: 2005 Essay by Kathryn Kemp (guest post)* Golden Gate Orchestra, reissue Gospel, as a distinct musical genre, has a long rich history that pre-dates the arrival of enslaved Africans to the English colonies in America. The Negro spiritual, as an art form, was created in “hush arbors”--sacred spaces where people could sing and worship away from the oppression and inhumanity of chattel slavery. The spirituals sprang from the experiences of the African people and share their consciousness of life in Africa and America. These enslaved persons developed a theology to explain the existence of a God who loved them but also allowed them to live in bondage. Their understanding of the God taught in the new religion of the Bible contained stories that gave them hope and faith. Stories about the Hebrew children in Egypt who were liberated by Moses. They heard stories about Jesus the Christ--who gave freedom to all who believed in His name. American folk music derived from this early tradition of Negro spirituals. These songs were the first indigenous musical form developed by people of African origin in America. W.E.B. Du Bois asserts it “remains as the singular spiritual heritage of the nation and the greatest gift of the Negro people.” Negro spirituals moved from “hush arbors” and churches to classrooms when they became part of a musical curriculum in high school and college glee clubs. Arranged spirituals, sung and performed by the Fisk Jubilee Singers (formerly known as the Nashville Singers), popularized the music of people of African ancestry throughout concert halls in American and Europe during the 1890s. -
Exploring the Gospel Fusion Arrangements of the Recording Collective
Belmont University Belmont Digital Repository Composition/Recording Projects School of Music Fall 11-20-2020 Exploring the Gospel Fusion Arrangements of The Recording Collective Tyler Williams [email protected] Follow this and additional works at: https://repository.belmont.edu/music_comp Part of the Composition Commons, and the Musicology Commons Recommended Citation Williams, Tyler, "Exploring the Gospel Fusion Arrangements of The Recording Collective" (2020). Composition/Recording Projects. 2. https://repository.belmont.edu/music_comp/2 This Thesis is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Composition/Recording Projects by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. EXPLORING THE GOSPEL FUSION ARRANGEMENTS OF THE RECORDING COLLECTIVE By TYLER WILLIAMS A PRODUCTION PAPER Submitted in partial fulfillment of the requirements for the degree of Master of Music in Commercial Music, Media Composition and Arranging in the School of Music of the College of Music and Performing Arts Belmont University NASHVILLE, TENNESSEE November 2020 Acknowledgements This project would not have been possible without the contributions of numerous individuals. I first want to thank Dr. Tony Moreira for being such an encouraging presence during my time here at Belmont. The fruits of his musical instruction can be seen and heard in the arrangements included in this production. Thank you also to Keith Mason and Dr. Peter Lamothe, whose seminar classes directly impacted the trajectory and execution of this project. I am deeply grateful to the musicians whose incredible talents brought pure magic to the recording process.