DOCSLIB.ORG

A Study of White Spiritual Music and Twelve Related Concepts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Study of White Spiritual Music and Twelve Related Concepts University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-1979 A Study of White Spiritual Music and Twelve Related Concepts Charles Douglas Barber University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Barber, Charles Douglas, "A Study of White Spiritual Music and Twelve Related Concepts. " Master's Thesis, University of Tennessee, 1979. https://trace.tennessee.edu/utk_gradthes/4838 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Charles Douglas Barber entitled "A Study of White Spiritual Music and Twelve Related Concepts." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in Music. George F. Devine, Major Professor We have read this thesis and recommend its acceptance: Donald M. Pederson Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Counci I: am submitting herewith a thesis written by Charles Douglas Barber entitled "A Study of White Spiritual Music and Twelve Related Concepts." I recommend that it be accepted in partial fulfi I lment of the requirements for the degree of Master of Arts, with a major In Music. geeorgrf- DeVine, r.JAVULL Major Professor We have read this thesis and recommend Its acceptance: Accepted for the Councl I: Vice Chancellor Graduate Studies and Research U.T. Archives A STUDY OF WHITE SP IR ITUAL MUS IC AND TWELVE RELATED CONCEPTS A Thesis Presented for the Master of Arts Degree The University of Tennessee, Knoxvi Ile Charles Douglas Barber December 1979 1�04830 ACKNOWLEDGEMENTS The work of George Pullen Jackson, though somewhat dated (Jackson died in 1953; most of his writings were 1 pub I ished in the 1930 s and 1940's) is sti 11 by far the most substantial body of work avai I able concerning White spiritual music, and serves as the reference core of this thesis. Also of great value was Dorothy Horn's book, Sing to ·Me of Heaven, as wel I as knowledge and encourage­ ment shared by her during several visits to her home. ii ABSTRACT As in other folk art, White spiritual music has not been wel I-documented. In this particular case, there does not even exist a clear definition of this somewhat unknown and often misunderstood phenomenon. The intent of this thesis is to present and justify a comprehensive definition of White spiritual music. To arrive at this goal, a two-fold approach was taken. The first chapter of the thesis does not deal precisely with White spiritual music, but rather with related and complementary concepts which are more fami I iar to the average person. This writer feels that what one may know or think he knows about the items discussed in Chapter One can often lead to assumed, but not necessarily correct, know I edge of \•/hi re sp ir itua I music. The primary thrust of Chapter 11 is a musical one-­ what are the scholarly musical ramifications of the White '; spirituals? White spiritual music was found to be a deliberate departure from established religious and musical practice of the eighteenth and nineteenth centuries. Its golden age, so to speak, was roughly 1850-1900, and activity was concentrated in the southeastern United States. iii iv W�ite spiritual music has historic and sty I lstic para Ileis with Negro spiritual mus ic. Chapter I I deals only with white spiritual music as a single musical entity. Textual considerations are avoided as being outside the scope of th is thesis. TABLE OF CONTENTS CHAPTER PAGE INTRODUCTION I. TOWARD AN UNDERSTAND ING OF WH ITE SPIRITUAL MUSIC: TWELVE RELATED DEFINITIONS 8 8 _Psa lmody .. Singing Schools 10 Fuging Tune . 12 Shape-Notes . 14 Round-Heads . 17 Faso Ia . 18 Dorayme . 19 Camp Meeting, Revival . 20 Negro Spiritual ... 23 Hymn . 26 Gospel Song ..... 27 Old Harp, Sacred Harp 30 I I. WH ITE SPIRITUAL MUSIC · 32 Historical Position 32 Sources and Centonization 34 Theoretical Characteristics of White Sp i r i twa I Music . ..37 BI-BLIOGRAPHY ......, ..•.. .........49 V vi APPENDICES . • .;5.4 Appendix A .55 Appendix 8 .,57 VITA . .60 LIST OF FIGU RES FIGURE PAGE I. Example from the reprint edition of Bi I I ing's Continental Harmony ............. ...14 2. Four-shape sequence used by Little and Smith ....15 3. Example of a page of shape-note music from The Sacred Harp . I 7 4. Comparison of "northern" and "southern" part-writ ing . .39 5. Melody from #295 in The Original Sacred Harp .42 6. Prevalent metric patterns in White spiritual music .42 7. Melody from #45 in The Original Sacred Harp ....46 8. Melody from #1 59 in The Or iginal Sacred Harp ....47 9. Examples of vocal ornamentation, taken from I 1 Jackson s tJh ite Spi r itua Is, 2 I I - 12 • . 48 10. "Amazing Grace" as it might be performed in an authent ic rendition . ...48 Vii INTRODUCT ION The American Folk-Hymn (or spiritual folk song, as it has been termed by the late George Pull en Jackson) is bastcally a secular folk tune which happens to be sung to a rel igious text. In many cases the text is also folk-�erived, but not infrequentl y it is drawn from the body of orthodox hymns found in the hymnal s of earlier days� The mustc, however, is almost invartably of folk origin, and its antecedents can generally be traced to the family of Anglo�Cel tic folk music, either vocal or instrumental. I The preceding quotation is the onl y compact and useful definition of White spiritual music that this writer has encountered. To find as much information as ts contained in that one paragraph, one must pore over many other chapters, articles, and entire books. Even the above definition, however accurate and useful it might be, is not I ikely to be encountered by very many readers; it appears in an article concerning a subject other than Whtie spiritual music, in a fairly ol d issue of a scholarly journal. The authority referred to above, Dr. George PU I len Jackson, author and editor of five books and other pub I ished writings, does not furnish as helpful a definition as 1 1rving Lowens, "John Wyeth's Repository of Sacred Music, Part Second: A Northern Precursor of Southern Fol k- Hymnody," Journal of the American Musicological Society, V/3 (Fa! I 1952), 114. 2 2 Mr. lowens. For example, in the introduction to White and Negro Spirituals, Dr. Jackson's first words are "Everybody 3 knows what a spiritual is.11 Indeed, whoever the term "everybody" might include, the issue is that many people think they know what a spiritual is, but knowledge of the subject by most people is misdirected or incomplete, if 4 not srmp. I y .tncorrec t . This writer's own experience is a case in point. Unti I my twenty-seventh year, I thought, as Dr. Jackson suggested, that I knew what a spiritual was; that is, a jazzy religious Negro song which originated in the American slave experience. This narrow concept of the term has been verbally affirmed by many acquaintances. "White 21n Sing to Me of Heaven (Gainesvi I le: University of Florida Press, 1970), 17, Dr. Dorothy Horn writes, "Dr. Jackson never really committed himself to a definition. " She herself offers only part of the preceding Lowens quotation, though later in her book she I ists characteristic features of folk hymns (p. 179). Those characteristics will be covered in the course of this paper. 3George Pullen Jackson, White and Negro Spirituals (New York: J. J. Augustin, 1943), I. 4 The lack of adequate and correct knowledge, even on the part of leading scholars, cannot be overemphasized. For example, White spiritual music, one of the few truly American musical expressions, seems rarely to be discussed in educa­ (, tional settings. Furthermore, in an article such as Bruno 1 Nett 1 s essay "�lords and Music: Eng I ish Fo Iksong in the United States" (appears in Contemporary Music and Music Cultures, Hamm, Netti, and Byrnside, Englewood Cliffs: Prentice-Hal I, 1975, 193-220. ) White spiritual music (having derived primarily from English folksong) is mentioned onl y in one short paragraph, and then not by name. And that paragraph is rife with misconceptions. 3 spiritual" seems to be a relatively unknown phrase, even in the urban South. With Mr. Lowen's paragraph as a starting point, the intent of this thesis is to deve lop a detailed description of White spiritual music. That description forms Chapter I I of th is thes is; the first chapter compr ises twelve related concepts, understandings of which are suggested as faci I itat ing, even being necessary to, an adequate compre­ hension of White spiritual music. The terms in Chapter r are handled as briefly as possible, and only as they rel ate to White spiritual music and the purpose of this study . In Chapter I I, some aspects of White spirituar music are covered more fully than others; the more succinctl y­ treated items are adequately covered by other writers, and references wi I I be made to the appropriate sources .
Load more

Recommended publications
  • Nme-1952-07-18-S-Ocr
    Registered at the G.P.O. as a Newspaper MUSicirAl (XE111111ESS No. 288 (NEW SERIES) EVERY FRIDAY PRICE 6d. JULY 18, 1952 Top left : US singer GuyMitchell,who arrived herethis week to open at the London Palladium, for a fortnight from Mondaynext.Top right: Mike Daniels' Band serenades Tower Bridge, in the first of the fortnightly " Rhythm on the River " trips last Sunday. Centre right: Happyopening of Ivor Kirchin's Man- hattan Club.(1. to r. seated)CabKaye, Phil Moore, Ivor Kir- chin. Standing, Jimmy Walker and Benny Lee. Bottom left: French nation- als celebrate July 14 inappropriatecos- tumeat Chelsea Town Hall.Bottom right:Luscious MarionDavis, who can be heard singing everyFridaynight withAmbrose and his Orchestra. 2 THE NEW MUSICAL EXPRESS formation to NME readers, par- ticularly in Yorkshire. The Palace Cinema,Heck- mondwike,arepresenting on Deal Sift August 1 and 2, a Republic Pic- ELL,ALL WRITE! ture which should be of great interest to jazz and pop fans tErrERs TO THE EDITOR 40 Foreign Orchestras and Musi-attempt cut everybody's throat,alike. cians.Jazz Concerts-June 28their own included. The title is "Chance of Heart"and exciting proposition to me.one way of doing it-if enough and 30. One such critic -cum -compereand features the bands of Count If the experiments come off,people joined in the Bunyard THANK you for publishing theof a well-known West End jazzBasie, Ray McKinley andthen everyone will jump on theProtest Movement, but person- statement we prepared. Ihaunt (in this case a modernFreddy Martin, with specialitiesband waggon to shout " I toldally I think the only way is for could spend a lot of time com-one)brought dawn from theby The Golden Gate Quartetyou so ".
    [Show full text]
  • Music for Contemporary Christians: What, Where, and When?
    Journal of the Adventist Theological Society, 13/1 (Spring 2002): 184Ð209. Article copyright © 2002 by Ed Christian. Music for Contemporary Christians: What, Where, and When? Ed Christian Kutztown University of Pennsylvania What music is appropriate for Christians? What music is appropriate in worship? Is there a difference between music appropriate in church and music appropriate in a youth rally or concert? Is there a difference between lyrics ap- propriate for congregational singing and lyrics appropriate for a person to sing or listen to in private? Are some types of music inherently inappropriate for evangelism?1 These are important questions. Congregations have fought over them and even split over them.2 The answers given have often alienated young people from the church and even driven them to reject God. Some answers have rejuve- nated congregations; others have robbed congregations of vitality and shackled the work of the Holy Spirit. In some churches the great old hymns havenÕt been heard in years. Other churches came late to the Òpraise musicÓ wars, and music is still a controversial topic. Here, where praise music is found in the church service, it is probably accompanied by a single guitar or piano and sung without a trace of the enthusi- asm, joy, emotion, and repetition one hears when it is used in charismatic churches. Many churches prefer to use no praise choruses during the church service, some use nothing but praise choruses, and perhaps the majority use a mixture. What I call (with a grin) Òrock ÔnÕ roll church,Ó where such instruments 1 Those who have recently read my article ÒThe Christian & Rock Music: A Review-Essay,Ó may turn at once to the section headed ÒThe Scriptural Basis.Ó Those who havenÕt read it should read on.
    [Show full text]
  • Television Academy Awards
    2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth.
    [Show full text]
  • Chapter 2 Music in the United States Before the Great Depression
    American Music in the 20th Century 6 Chapter 2 Music in the United States Before the Great Depression Background: The United States in 1900-1929 In 1920 in the US - Average annual income = $1,100 - Average purchase price of a house = $4,000 - A year's tuition at Harvard University = $200 - Average price of a car = $600 - A gallon of gas = 20 cents - A loaf of Bread = 20 cents Between 1900 and the October 1929 stock market crash that triggered the Great Depression, the United States population grew By 47 million citizens (from 76 million to 123 million). Guided by the vision of presidents Theodore Roosevelt1 and William Taft,2 the US 1) began exerting greater political influence in North America and the Caribbean.3 2) completed the Panama Canal4—making it much faster and cheaper to ship its goods around the world. 3) entered its "Progressive Era" by a) passing anti-trust laws to Break up corporate monopolies, b) abolishing child labor in favor of federally-funded puBlic education, and c) initiating the first federal oversight of food and drug quality. 4) grew to 48 states coast-to-coast (1912). 5) ratified the 16th Amendment—estaBlishing a federal income tax (1913). In addition, by 1901, the Lucas brothers had developed a reliaBle process to extract crude oil from underground, which soon massively increased the worldwide supply of oil while significantly lowering its price. This turned the US into the leader of the new energy technology for the next 60 years, and opened the possibility for numerous new oil-reliant inventions.
    [Show full text]
  • 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.
    [Show full text]
  • S. C. R. No. 533 99\SS02\R912 PAGE 1 MISSISSIPPI LEGISLATURE
    MISSISSIPPI LEGISLATURE REGULAR SESSION 1999 By: Senator(s) Blackmon, Johnson (19th), To: Rules Hall, Horhn SENATE CONCURRENT RESOLUTION NO. 533 (As Adopted by House and Senate) 1 A CONCURRENT RESOLUTION HONORING THE CANTON SPIRITUALS OF 2 CANTON, MISSISSIPPI, ON THEIR FIRST LIVE RECORDING IN JACKSON, 3 MISSISSIPPI, AT GREATER BETHLEHEM TEMPLE APOSTOLIC FAITH CHURCH, 4 1505 ROBINSON STREET, JACKSON, MISSISSIPPI, SATURDAY, FEBRUARY 6, 5 1999. 6 WHEREAS, The Canton Spirituals was organized and founded in 7 the early 1940's by Mr. Warren G. Ward, Rev. I.S. Watkins and the 8 late Mr. Harvey Watkins, Sr., of Canton, Mississippi; and 9 WHEREAS, The Canton Spirituals' contribution to the gospel 10 music industry has been, and continues to be, phenomena. The 11 project "Live in Jackson, Mississippi" promises fans worldwide to 12 be the very best of The Canton Spirituals; and 13 WHEREAS, they acquired national recognition as the only 14 gospel quartet in America, and the only Mississippi gospel artist 15 to receive two Stellars at the 1997 Stellar Gospel Music Awards; 16 and 17 WHEREAS, among other accomplishments, they have received 18 honors such as: the 1998 Urban Network Award, the 1998 Gospel 19 Artist of the Year Award, 1998 Inductees into the Gospel Music 20 Hall of Fame, and 1993 Grammy nominees for the project, "Live in 21 Memphis I." The Canton Spirituals is credited for inspiring and 22 encouraging many local and nationally known artists to pursue 23 their dreams in spirit and truth. Their love and adoration for 24 their music is authentically expressed through true commitment to 25 God, and to one another; and 26 WHEREAS, The Canton Spirituals consist of eight members; they 27 are: Victor Allen, Merlin Lucious, Michael Richardson, Wallace S.
    [Show full text]
  • James M. Black and Friends, Contributions of Williamsport PA to American Gospel Music
    James M. Black and Friends Contributions of Williamsport PA to American Gospel Music by Milton W. Loyer, 2004 Three distinctives separate Wesleyan Methodism from other religious denominations and movements: (1) emphasis on the heart-warming salvation experience and the call to personal piety, (2) concern for social justice and persons of all stations of life, and (3) using hymns to bring the gospel message to people in a meaningful way. All three of these distinctives came together around 1900 in Williamsport, Pennsylvania, in the person of James M. Black and the congregation at the Pine Street Methodist Episcopal Church. Because there were other local persons and companies associated with bands, instruments and secular music during this time, the period is often referred to as “Williamsport’s Golden Age of Music.” While papers have been written on other aspects of this musical phenomenon, its evangelical religious component has generally been ignored. We seek to correct that oversight. James Milton Black (1856-1938) is widely known as the author of the words and music to the popular gospel song When the Roll is Called Up Yonder . He was, however, a very private person whose failure to leave much documentation about his work has frustrated musicologists for decades. No photograph of him suitable for large-size reproduction in gospel song histories, for example, is known to exist. Every year the United Methodist Archives at Lycoming College expects to get at least one inquiry that begins, “I just discovered that James M. Black was a Methodist layperson from Williamsport, could you please tell me…” We now attempt to bring together all that is known about the elusive James M.
    [Show full text]
  • Chance the Rapper's Creation of a New Community of Christian
    Bates College SCARAB Honors Theses Capstone Projects 5-2020 “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book Samuel Patrick Glenn [email protected] Follow this and additional works at: https://scarab.bates.edu/honorstheses Recommended Citation Glenn, Samuel Patrick, "“Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book" (2020). Honors Theses. 336. https://scarab.bates.edu/honorstheses/336 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book An Honors Thesis Presented to The Faculty of the Religious Studies Department Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts By Samuel Patrick Glenn Lewiston, Maine March 30 2020 Acknowledgements I would first like to acknowledge my thesis advisor, Professor Marcus Bruce, for his never-ending support, interest, and positivity in this project. You have supported me through the lows and the highs. You have endlessly made sacrifices for myself and this project and I cannot express my thanks enough.
    [Show full text]
  • Complete Band and Panel Listings Inside!
    THE STROKES FOUR TET NEW MUSIC REPORT ESSENTIAL October 15, 2001 www.cmj.com DILATED PEOPLES LE TIGRE CMJ MUSIC MARATHON ’01 OFFICIALGUIDE FEATURING PERFORMANCES BY: Bis•Clem Snide•Clinic•Firewater•Girls Against Boys•Jonathan Richman•Karl Denson•Karsh Kale•L.A. Symphony•Laura Cantrell•Mink Lungs• Murder City Devils•Peaches•Rustic Overtones•X-ecutioners and hundreds more! GUEST SPEAKER: Billy Martin (Medeski Martin And Wood) COMPLETE D PANEL PANELISTS INCLUDE: BAND AN Lee Ranaldo/Sonic Youth•Gigi•DJ EvilDee/Beatminerz• GS INSIDE! DJ Zeph•Rebecca Rankin/VH-1•Scott Hardkiss/God Within LISTIN ININ STORESSTORES TUESDAY,TUESDAY, SEPTEMBERSEPTEMBER 4.4. SYSTEM OF A DOWN AND SLIPKNOT CO-HEADLINING “THE PLEDGE OF ALLEGIANCE TOUR” BEGINNING SEPTEMBER 14, 2001 SEE WEBSITE FOR DETAILS CONTACT: STEVE THEO COLUMBIA RECORDS 212-833-7329 [email protected] PRODUCED BY RICK RUBIN AND DARON MALAKIAN CO-PRODUCED BY SERJ TANKIAN MANAGEMENT: VELVET HAMMER MANAGEMENT, DAVID BENVENISTE "COLUMBIA" AND W REG. U.S. PAT. & TM. OFF. MARCA REGISTRADA./Ꭿ 2001 SONY MUSIC ENTERTAINMENT INC./ Ꭿ 2001 THE AMERICAN RECORDING COMPANY, LLC. WWW.SYSTEMOFADOWN.COM 10/15/2001 Issue 735 • Vol 69 • No 5 CMJ MUSIC MARATHON 2001 39 Festival Guide Thousands of music professionals, artists and fans converge on New York City every year for CMJ Music Marathon to celebrate today's music and chart its future. In addition to keynote speaker Billy Martin and an exhibition area with a live performance stage, the event features dozens of panels covering topics affecting all corners of the music industry. Here’s our complete guide to all the convention’s featured events, including College Day, listings of panels by 24 topic, day and nighttime performances, guest speakers, exhibitors, Filmfest screenings, hotel and subway maps, venue listings, band descriptions — everything you need to make the most of your time in the Big Apple.
    [Show full text]
  • 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.
    [Show full text]
  • Congressional Record—Senate S4931
    July 15, 2021 CONGRESSIONAL RECORD — SENATE S4931 Whereas, every July, people challenge rendition of ‘‘Summertime’’, a bluesy record African-American students receive any kind themselves to reduce their plastic footprint accompanied by melodic vocals; of arts education; through ‘‘Plastics Free July’’; Whereas Natalie Cole, the daughter of Na- Whereas African-American students scored Whereas, during the International Coastal thaniel Adams Coles, achieved musical suc- the lowest of all ethnicities in the most re- Cleanup in 2020, nearly 950,000 people across cess in the mid-1970s as a rhythm and blues cent National Assessment for Educational the globe cleaned up over 10,000 tons of plas- artist with the hits ‘‘This Will Be’’ and ‘‘Un- Progress arts assessment; tic from beaches; forgettable’’; Whereas students who are eligible for the Whereas switching to reusable items in- Whereas, in the 1940s, bebop evolved school lunch program established under the stead of single-use items can prevent waste, through jam sessions, which included trum- Richard B. Russell National School Lunch save water, and reduce litter; and peter Dizzy Gillespie and the alto saxo- Act (42 U.S.C. 1751 et seq.) have significantly Whereas July 2021 is an appropriate month phonist Charlie Parker, that were held at lower scores on the music portion of the Na- to designate as Plastic Pollution Action clubs in Harlem, New York, such as Minton’s tional Assessment for Educational Progress Month to recommit to taking action, indi- Playhouse; arts assessment than students who
    [Show full text]
  • Claimed Studios Self Reliance Music 779
    I / * A~V &-2'5:~J~)0 BART CLAHI I.t PT. BT I5'HER "'XEAXBKRS A%9 . AFi&Lkz.TKB 'GMIG'GCIKXIKS 'I . K IUOF IH I tt J It, I I" I, I ,I I I 681 P U B L I S H E R P1NK FLOWER MUS1C PINK FOLDER MUSIC PUBLISH1NG PINK GARDENIA MUSIC PINK HAT MUSIC PUBLISHING CO PINK 1NK MUSIC PINK 1S MELON PUBL1SHING PINK LAVA PINK LION MUSIC PINK NOTES MUS1C PUBLISHING PINK PANNA MUSIC PUBLISHING P1NK PANTHER MUSIC PINK PASSION MUZICK PINK PEN PUBLISHZNG PINK PET MUSIC PINK PLANET PINK POCKETS PUBLISHING PINK RAMBLER MUSIC PINK REVOLVER PINK ROCK PINK SAFFIRE MUSIC PINK SHOES PRODUCTIONS PINK SLIP PUBLISHING PINK SOUNDS MUSIC PINK SUEDE MUSIC PINK SUGAR PINK TENNiS SHOES PRODUCTIONS PiNK TOWEL MUSIC PINK TOWER MUSIC PINK TRAX PINKARD AND PZNKARD MUSIC PINKER TONES PINKKITTI PUBLISH1NG PINKKNEE PUBLISH1NG COMPANY PINKY AND THE BRI MUSIC PINKY FOR THE MINGE PINKY TOES MUSIC P1NKY UNDERGROUND PINKYS PLAYHOUSE PZNN PEAT PRODUCTIONS PINNA PUBLISHING PINNACLE HDUSE PUBLISHING PINOT AURORA PINPOINT HITS PINS AND NEEDLES 1N COGNITO PINSPOTTER MUSIC ZNC PZNSTR1PE CRAWDADDY MUSIC PINT PUBLISHING PINTCH HARD PUBLISHING PINTERNET PUBLZSH1NG P1NTOLOGY PUBLISHING PZO MUSIC PUBLISHING CO PION PIONEER ARTISTS MUSIC P10TR BAL MUSIC PIOUS PUBLISHING PIP'S PUBLISHING PIPCOE MUSIC PIPE DREAMER PUBLISHING PIPE MANIC P1PE MUSIC INTERNATIONAL PIPE OF LIFE PUBLISHING P1PE PICTURES PUBLISHING 882 P U B L I S H E R PIPERMAN PUBLISHING P1PEY MIPEY PUBLISHING CO PIPFIRD MUSIC PIPIN HOT PIRANA NIGAHS MUSIC PIRANAHS ON WAX PIRANHA NOSE PUBL1SHING P1RATA MUSIC PIRHANA GIRL PRODUCTIONS PIRiN
    [Show full text]