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"Sound of Praise": Reflexive Ethnopedagogy and Two Gospel Choirs in Tallahassee, Florida Sarah Kathleen Arthur

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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 "Sound of Praise": Reflexive Ethnopedagogy and Two Gospel Choirs in Tallahassee, Florida Sarah Kathleen Arthur Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC “SOUND OF PRAISE”: REFLEXIVE ETHNOPEDAGOGY AND TWO GOSPEL CHOIRS IN TALLAHASSEE, FLORIDA By SARAH K. ARTHUR A thesis submitted to the School of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Sarah Arthur defended on October 27, 2004. _________________________________ Frank Gunderson Professor Directing Thesis _________________________________ Dale A. Olsen Committee Member _________________________________ Benjamin Koen Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv List of Figures.....................................................................................................................vi Abstract..............................................................................................................................vii “WE ARE ALL ONE”: INTRODUCTION........................................................................1 1. “IT’S NOT FOR US, IT’S FOR THEM”: THE FSU GOSPEL CHOIR......................16 2. “OH, HAPPY DAY”: THE HISTORY OF MUSIC IN THE A.M.E. CHURCH.........32 3. “IT’S ALL ABOUT ME”: ETHNIC IDENITY AND CHOIR MEMBERSHIP..........42 4. “DO IT RIGHT TONIGHT”: PERFORMANCE IN GOSPEL SINGING...................51 5. “THERE’S NO MUSIC?”: TEACHING METHODOLOGIES....................................67 6. “IT AIN’T HARD TO TOUCH SOMEBODY WITH YOUR SONG, WHEN YOUR SONG IS REAL TO YOU”: CONCLUSION...................................................................89 APPENDICES...................................................................................................................93 APPENDIX A: INTERVIEW TRANSCRIPTS...................................................93 APPENDIX B: EXCERPTS FROM RICHARD ALLEN’S 1801 HYMNAL...114 APPENDIX C: CONCERT PROGRAMS..........................................................116 APPENDIX D: SONG TRACKS FOR CD.........................................................121 BIBLIOGRAPHY............................................................................................................122 BIOGRAPHICAL SKETCH...........................................................................................126 iii LIST OF TABLES 1. The Ethnopedagogy Model............................................................................................11 2. Metaphors and their Elicited Musical Responses..........................................................72 iv LIST OF FIGURES 1. The FSU Gospel Choir Concert.....................................................................................16 2. Choral Rehearsal Room, Kuersteiner Music Building, FSU School of Music..............19 3. Michael Figgers and the choir in rehearsal....................................................................20 4. A choir member and her baby in rehearsal....................................................................24 5. Michael Figgers leads in the choir in prayer before the spring concert.........................25 6. Choir members embrace before dress rehearsal............................................................26 7. FSU Liturgical Dancers.................................................................................................27 8. Michael Figgers sings “Why Not Today?”....................................................................30 9. Richard Allen, Founder of the A.M.E. Church..............................................................35 10. Bethel African Methodist Episcopal Church, Orange St., Tallahassee, FL.................37 11. The sanctuary inside Bethel A.M.E. Church...............................................................39 12. Imani accompanies her mother to rehearsal on a regular basis...................................42 13. The Youth, Collegiate, and Young Adult Choir in rehearsal......................................45 14. Dexter Harris in rehearsal............................................................................................47 15. Kim Stevenson sings praise in rehearsal......................................................................48 16. “Worthy” Concert at Bethel.........................................................................................51 17. Musicians listen to director Marty Lamar during the dress rehearsal..........................57 18. Bethel Praise Dancers in Concert................................................................................58 19. Marty Lamar directs the choir in dress rehearsal.........................................................60 20. A young audience member shows his appreciation for the music...............................61 21. Minister Omega Forbes................................................................................................63 22. Mitchell Lewis conducts the FSU Gospel Choir.........................................................68 v 23. Marty Lamar conducts in rehearsal..............................................................................69 24. Michael Figgers conducts in rehearsal.........................................................................69 25. Marty Lamar sings from behind the piano...................................................................71 26. Handout of the song text for “God Is Here”................................................................75 27. Opening melody of “God Is Here”..............................................................................76 28. “We Are the Children of the Church”, African American Heritage Hymnal.............78 29. “We Acknowledge Your Presence” opening melody.................................................81 30. “We Acknowledge Your Presence” chorus................................................................82 31. “We Acknowledge Your Presence” melody and chorus in parts...............................83 32. FSU Choir members embrace following prayer.........................................................89 vi ABSTRACT This thesis is an ethnomusicological study of gospel music as performed and experienced by the Florida State University Gospel Choir and the Youth, Collegiate, and Young Adult Choir at Bethel African Methodist Episcopal Church in Tallahassee, Florida. Gospel music has become an increasingly important form of artistic expression for understanding the roots of American music. Unfortunately, it has been marginalized as an area of study in universities and colleges for decades. This thesis emphasizes gospel music as a musical genre worthy of study in educational institutions. Its rich history, cultural significance, and pedagogical value make it an important part of American music. This thesis also explores how the ethnomusicological study of pedagogy in culture, or what I call ethnopedagogy, provides a deeper understanding of the gospel music tradition and culture. This thesis provides educators, choral directors, and ethnomusicologists with a resource for teaching African American gospel music traditions, and it will serve as a model for ethnopedagogy and its applicability to the social sciences. vii “WE ARE ALL ONE”: INTRODUCTION I mean, look at me, I’m white, I’m 52 years old...the feelings I get singing...of community, that we are all one. The feeling of people brought together for the same purpose, to access that higher power for help. It’s awe-inspiring.1 Purpose Gospel music has become an increasingly important form of artistic expression for understanding the roots of American music. Unfortunately, gospel music has been marginalized as an area of study in universities for decades. To create an understanding of this musical expression in the context of two gospel choirs, I analyze the pedagogical tools used in rehearsals and performances through the examination of teaching methodologies, musical transcriptions, and field notes from fieldwork experiences. I suggest that researchers will find both pedagogical intent and musical meaning via the ethnopedagogical process. This thesis is an ethnomusicological study of gospel pedagogy as expressed by the Florida State University Gospel Choir and the combined Youth, Collegiate, and Young Adult Choir at Bethel African Methodist Episcopal Church in Tallahassee, Florida. Gospel music proponents are constantly vying for recognition and acceptance of gospel music as a genre deserving of academic and musical study. They are struggling to have gospel music accepted in universities along side other, more established forms of music, primarily Western art music. In music schools, the following questions of validity may arise: Is gospel music worthy of study in academia? Is it “musical” enough? Does it offer room for musical development and growth? Will it provide comprehensive musicianship for the students? Will it allow the students to further develop their skills in theory, history, and pedagogy? Also, what are some of the ethical considerations for teaching religious music in academia? In the broader context
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