Ain't Gonna Study War No More
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Southern Black Gospel Music: Qualitative Look at Quartet Sound
LIBERTY UNIVERSITY SOUTHERN BLACK GOSPEL MUSIC: QUALITATIVE LOOK AT QUARTET SOUND DURING THE GOSPEL ‘BOOM’ PERIOD OF 1940-1960 A THESIS SUBMITTED TO THE FACULTY OF THE SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY BY BEATRICE IRENE PATE LYNCHBURG, V.A. April 2014 1 Abstract The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the ‘Southern’ gospel music distinction. The quartet sound was the most popular form of music during the Golden Age of Gospel, a period in which there was significant growth of public consumption of Black gospel music, which was an explosion of black gospel culture, hence the term ‘gospel boom.’ The gospel boom period was from 1940 to 1960, right after the Great Depression, a period that also included World War II, and right before the Civil Rights Movement became a nationwide movement. This work will evaluate the quartet sound during the 1940’s, 50’s, and 60’s, which will provide a different definition for gospel music during that era. Using five black southern gospel quartets—The Dixie Hummingbirds, The Fairfield Four, The Golden Gate Quartet, The Soul Stirrers, and The Swan Silvertones—to define what southern black gospel music is, its components, and to identify important cultural elements of the music. -
Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
Paper for B(&N
International Journal of Humanities and Social Science Vol. 9 • No. 9 • September 2019 doi:10.30845/ijhss.v9n9p4 Biographies of Two African American Women in Religious Music: Clara Ward and Rosetta Tharpe Nana A. Amoah-Ramey Ph.D. Indiana University Department of African American and African Diaspora Studies College of Arts and Sciences Ballantine Hall 678 Bloomington IN, 47405, USA Abstract This paper‟s focus is to compare the lives, times and musical professions of two prominent African American women— Clara Ward and Rosetta Thorpe — in religious music. The study addresses the musical careers of both women and shows challenges that they worked hard to overcome, and how their relationship with other musicians and the public helped to steer their careers by making them important figures in African American gospel and religious music. In pursuing this objective, I relied on manuscripts, narratives, newspaper clippings, and published source materials. Results of the study points to commonalities or similarities between them. In particular, their lives go a long way to confirm the important contributions they made to religious music of their day and even today. Keywords: African American Gospel and Religious Music, Women, Gender, Liberation, Empowerment Overview This paper is structured as follows: It begins with a brief discussion of the historical background of gospel and sacred music. This is followed by an examination of the musical careers of Clara Ward and Rosetta Thorpe with particular attention to the challenges they faced and the strategies they employed to overcome such challenges; and by so doing becoming major figures performing this genre (gospel and sacred music) of music. -
January 2008 Issue 300
jazz &blues report www.jazz-blues.com now in our 34th year January 2008 Issue 300 The Blues Foundation Announces 29th Annual Blues Music Awards Nominees Watermelon Slim Picked In Six Categories The Blues Foundation Announces 29th Blues Music Awards Nominees Published by Martin Wahl Communications Editor & Founder Bill Wahl Memphis, TN – The Blues Foundation will present the Blues Music Awards Layout & Design Bill Wahl for the first time in their 29-year history in the Mississippi Delta, the birthplace of the Blues. Performers, industry representatives and fans from around the Operations Jim Martin globe will celebrate the best in Blues recording and performance from the pre- Pilar Martin vious year on May 8 at the Grand Casino Event Center in Tunica Resorts, Contributors Mississippi, just down the road from Memphis, the Awards’ home since their Michael Braxton, Mark Cole, 1980 inception. Kelly Ferjutz, Dewey Forward, Among those heading the list of the honorees is Mississippi favorite son Chris Hovan, Nancy Ann Lee, Bobby Rush who garnered four nominations, including another historical first— Peanuts, Matt Simpson, Wanda nomination as Artist of the Year in both the Acoustic and Soul Blues catego- Simpson, Mark Smith, Dave ries. This singular achievement stems from the nominators’ recognition of the Sunde, Duane Verh, Emily Wahl two personas exhibited in his 2007 public performances—some shows featur- Weinstock. and Ron ing his long-running soul revue while others found him alone with a guitar and a harmonica in support of his Acoustic Album of the Year nominee Raw. Check out our constantly updated website. Now you can search for CD Watermelon Slim & the Workers returned in force, securing six nomina- Reviews by artists, titles, record tions for the second consecutive year on the strength of their Album of Year labels, keyword or JBR Writers. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
APRIL 22 ISSUE Orders Due March 24 MUSIC • FILM • MERCH Axis.Wmg.Com 4/22/17 RSD AUDIO & VIDEO RECAP
2017 NEW RELEASE SPECIAL APRIL 22 ISSUE Orders Due March 24 MUSIC • FILM • MERCH axis.wmg.com 4/22/17 RSD AUDIO & VIDEO RECAP ARTIST TITLE LBL CNF UPC SEL # SRP ORDERS DUE Le Soleil Est Pres de Moi (12" Single Air Splatter Vinyl)(Record Store Day PRH A 190295857370 559589 14.98 3/24/17 Exclusive) Anni-Frid Frida (Vinyl)(Record Store Day Exclusive) PRL A 190295838744 60247-P 21.98 3/24/17 Wild Season (feat. Florence Banks & Steelz Welch)(Explicit)(Vinyl Single)(Record WB S 054391960221 558713 7.98 3/24/17 Store Day Exclusive) Cracked Actor (Live Los Angeles, Bowie, David PRH A 190295869373 559537 39.98 3/24/17 '74)(3LP)(Record Store Day Exclusive) BOWPROMO (GEM Promo LP)(1LP Vinyl Bowie, David PRH A 190295875329 559540 54.98 3/24/17 Box)(Record Store Day Exclusive) Live at the Agora, 1978. (2LP)(Record Cars, The ECG A 081227940867 559102 29.98 3/24/17 Store Day Exclusive) Live from Los Angeles (Vinyl)(Record Clark, Brandy WB A 093624913894 558896 14.98 3/24/17 Store Day Exclusive) Greatest Hits Acoustic (2LP Picture Cure, The ECG A 081227940812 559251 31.98 3/24/17 Disc)(Record Store Day Exclusive) Greatest Hits (2LP Picture Disc)(Record Cure, The ECG A 081227940805 559252 31.98 3/24/17 Store Day Exclusive) Groove Is In The Heart / What Is Love? Deee-Lite ECG A 081227940980 66622 14.98 3/24/17 (Pink Vinyl)(Record Store Day Exclusive) Coral Fang (Explicit)(Red Vinyl)(Record Distillers, The RRW A 081227941468 48420 21.98 3/24/17 Store Day Exclusive) Live At The Matrix '67 (Vinyl)(Record Doors, The ECG A 081227940881 559094 21.98 3/24/17 -
The Deep River Quartet and the Netherland's Vocal Harmony Legacy
The Deep River Quartet and The Netherland’s Vocal Harmony Legacy By Charlie Horner With contributions from Pamela Horner (In memory our friend, Dick Rietveld) One such singer was a 17-year-old Dutch high school student with a deep voice, named Siebe Vink. In 1968, he was invited to sing bass for the Jordan River Quartet. Sy had first heard the Golden Gate Quartet’s recording of “Shadrach” at a neighbor’s home and quickly developed an “unremitting passion for this un- precedented swinging music”. Golden Gate Quartet bass Orlandus Wilson’s vocal interpretations became an inspiration for Sybrandus to follow. In fact, Sy took the stage name “Sybrandus” Finck in honor of the Gates’ “Orlandus”. The Jordan River Quartet members were all high school students in Huis ter Heide, in the central Netherlands. For three years the group sang Gates’ in- fluenced spirituals. When leader Ben van de Wijngaard left in 1971, Sybrandus started his own group called the Deep River Quartet. Members included three former The Deep River Quartet, 2005 members of the Jordan River Quartet; Eric Suyderhoud Left to right: Sybrandus Finck, Bryan (first tenor) Otmar Kortram, (second tenor) and Sybran- Sporkslede, Ace Vincent, Dick Rietveld. dus Finck (bass), along with newcomer Ton Eykelen- boom (baritone). Though the music we love originated from Afri- In the early years, the Deep River Quartet’s rep- can American spirituals, the United States has no mo- ertoire consisted only of African American spirituals nopoly on great vocal harmony. and gospel songs. As with many American quartets, the With its unique blend of vocal harmony, the Deep River Quartet began singing in church. -
Alan Lomax Collection (AFC 2004/004): Radio Programs
American Folklife Center, Library of Congress Alan Lomax Radio-Related Materials, 1939–1969: A Guide Todd Harvey (2016) Contents Introduction .................................................................................................................................................. 3 Source Collections ......................................................................................................................................... 4 CBS (1939-1945) ............................................................................................................................................ 6 Radio Research Project ............................................................................................................................... 25 BBC (1943-1944) ......................................................................................................................................... 28 Armed Forces Radio Service (1945?) .......................................................................................................... 29 Mutual (1947-1949) .................................................................................................................................... 30 BBC (1951-1957) ......................................................................................................................................... 34 NBC (undated) ............................................................................................................................................. 39 U.S. Department of Health -
Extra Special Supplement to the Great R&B Files Includes Updated
The Great R&B Pioneers Extra Special Supplement to the Great R&B Files 2020 The R&B Pioneers Series edited by Claus Röhnisch Extra Special Supplement to the Great R&B Files - page 1 The Great R&B Pioneers Is this the Top Ten ”Super Chart” of R&B Hits? Ranking decesions based on information from Big Al Pavlow’s, Joel Whitburn’s, and Bill Daniels’ popularity R&B Charts from the time of their original release, and the editor’s (of this work) studies of the songs’ capabilities to ”hold” in quality, to endure the test of time, and have ”improved” to became ”classic representatives” of the era (you sure may have your own thoughts about this, but take it as some kind of subjective opinion - with a serious try of objectivity). Note: Songs listed in order of issue date, not in ranking order. Host: Roy Brown - ”Good Rocking Tonight” (DeLuxe) 1947 (youtube links) 1943 Don’t Cry, Baby (Bluebird) - Erskine Hawkins and his Orchestra Vocal refrain by Jimmy Mitchell (sic) Written by Saul Bernie, James P. Johnson and Stella Unger (sometimes listed as by Erskine Hawkins or Jmmy Mitchelle with arranger Sammy Lowe). Originally recorded by Bessie Smith in 1929. Jimmy 1. Mitchell actually was named Mitchelle and was Hawkins’ alto sax player. Brothers Paul (tenorsax) and Dud Bascomb (trumpet) played with Hawkins on this. A relaxed piano gives extra smoothness to it. Erskine was a very successful Hawkins was born in Birmingham, Alabama. Savoy Ballroom ”resident” bandleader and played trumpet. in New York for many years. -
The Musical Roots of Doo Wop
THE MUSICAL ROOTS OF DOO WOP OVERVIEW ESSENTIAL QUESTION How did Doo Wop develop as a musical genre? OVERVIEW From the beginning, Doo Wop music had what today might be called a DIY or “Do It Yourself” character: it could be performed nearly anywhere — without the need for expensive equipment or special technology — at almost any time by anyone with some singing ability. Years before gaming consoles and cable TV, harmonizing on the street corner or front stoop was an enjoyable way to pass the time, particularly for residents of poorer neighborhoods for whom other forms of entertainment may have been prohibitively expensive. Musical instruments, after all, cost money. Singers replaced backing bands with their voices, supplying full harmonies and even mimicking the sounds of instruments. When Doo Wop emerged as a musical phenomenon in the 1950s, this kind of group singing became part of American popular culture on a bigger scale. Amateur or semi-professional groups were taken off the streets in neighborhoods like Harlem in New York City and put into recording studios. White groups began imitating black groups, and the sounds of Doo Wop were everywhere by the middle of the decade. Doo Wop’s musical and social roots point to a long history of vocal harmony in American culture, particularly in African-American communities. Social singing provided entertainment in barbershops, bars, schools, churches, theaters, and other communal spaces. Some of the musical precedents students will consider in this lesson include the barbershop quartets that flourished from the 1890s through World War I; the Pop vocal groups such as the Mills Brothers that topped the charts in the 1920s, 30s, and 40s; and the Gospel singers who made harmonizing a spiritual practice throughout the early twentieth century. -
How They Got Over: a Brief Overview of Black Gospel Quartet Music
How They Got Over: A Brief Overview of Black Gospel Quartet Music Jerry Zolten October 29, 2015 Jerry Zolten is Associate Professor of Communication Arts & Sciences, American Studies, and Integrative Arts at the Penn State-Altoona. his piece takes you on a tour through black gospel music history — especially the gospel quartets T — and along the way I’ll point you to some of the most amazing performances in African American religious music ever captured on film. To quote the late James Hill, my friend and longtime member of the Fairfield Four gospel quartet, “I don't want to make you feel glad twice—glad to see me come and glad to see me go.” With that in mind I’m going to get right down to the evolution from the spirituals of slavery days to the mid-twentieth century “golden age” of gospel. Along the way, we’ll learn about the a cappella vocal tradition that groups such as the Fairfield Four so brilliantly represent today. The black gospel tradition is seeded in a century and a half of slavery and that is the time to begin: when the spirituals came into being. The spirituals evolved out of an oral tradition, sung solo or in groups and improvised. Sometimes the music is staid, sometimes histrionic. Folklorist Zora Neale Hurston famously described how spirituals were never sung the same way twice, “their truth dying under training like flowers under hot water.”1 We don’t know the names of the people who wrote these songs. They were not written down at the time. -
Svetlana Smolina – Biography
Piano Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Contents: Biography Press Concert Reviews Mailing Address: Repertoire 1000 South Denver Avenue YouTube Video Links Suite 2104 Tulsa, OK 74119 Photo Gallery Website: http://www.pricerubin.com Complete artist information including video, audio and interviews are available at www.pricerubin.com Svetlana Smolina – Biography SVETLANA SMOLINA performed with orchestras and in recitals worldwide. Notable appearances with orchestras include Mariinsky Orchestra at Carnegie Hall, New York Philharmonic at Avery Fisher, St.Petersburg, Philharmonic, Orchestra National de France, Odessa and Nizhny Novgorod Philharmonic, Pittsburgh Symphony, New Florida Philharmonic, Shreveport Symphony, New York Chamber. A frequent guest at festivals worldwide, Ms. Smolina has performed at the Salzburg Festival, Hollywood Bowl, Ravinia Rising Stars, White Nights, Maggio Musicale, Mikkeli, Ruhr, Easter, Rotterdam Phillips Gergiev, International Gilmore, Settimane Musicali di Stresa, Michelangeli, Hennessy Artists Series at Hanoi Opera House, The Voice of Music in Upper Galilee,in Royal Covent Garden Opera, Mariinsky 3 Concert Hall, Tchaikovsky Moscow Conservatory, Mozarteum, Merkin Hall, Kravis Center, NJPAC, Gulbenkian Foundation, Grand Artists Series in Tel-Aviv, Academia Santa Cecilia in Rome. Recent recordings include Stravinsky’s Igor Stravinsky Les noces (Valery Gergiev, conductor on Decca/Phillips and on Mariinsky Label which received ICMA award for Best Choral Work in 2011), a recording of solo Chopin Album for the Chopin iTunes Project, Benjamin Britten Young Apollo live recording from Walt Disney Hall for BCM+D records and many broadcasts for NPR, BBC, PBS, RAI, Cultura TV and other networks. In the summer of 2011 Svetlana joined iPalpiti Festival of International Laureates in Los Angeles, making her debut at Walt Disney Concert Hall with iPalpiti Orchestra (Eduard Schmieder, conductor).