The Gospel Music that Features in the Christian Liturgy of the Pentecostal Church - Literature review Example

The Gospel Music That Features In the Christian Liturgy of the Pentecostal Church Introduction Gospel music can be used to deepen and advance theology that extends Christian wisdom about God at the individual level and that of the global. Pentecostal churches are the significant locus of gospel music and have promoted the successful interaction of social groups. Gospel music has played a significant role in the enhancement of Pentecostalism and at the same time Pentecostalism has performed a necessary service in the improvement and acceptance of modern gospel music. James (2001, p. 56) claims that the style of gospel music that exists in any given Pentecostal church depends partly on the age of the singers. Thus, the senior adult tend to prefer the transitional and traditional gospel music while, the young adults prefer modern gospel music that may predominate the main worship service. Whatever the period and age, the singing is given in the form of gospel songs in the Pentecostal churches. Development of gospel music People who were enslaved and worked in the field during the civil war told their stories in the spiritual way explaining their current life and teaching their children on the hardship they endured. When the enslaved adopted the Christian religion, their faith naturally became the focus of their songs. However, their songs were no longer limited to the spiritual because they started using the hymns written by white composers like Isaac Watts and Wesleys. The enslaved accepted the gospel music because it was attributed to their style and culture, especially the meter hymn that is still used in the most Pentecostal churches. As the civil war came to an end and enslaved were finally emancipated, it marked the beginning of what is referred to the historical gospel hymns. According to James (2001, p. 55), these songs flourished during the social and economic deprivation of depression and started to make their way out of the Pentecostal churches. According to Anderson and James (2007, p. 285) indicate that the civil rights movement brought rebirth of older songs, especially spiritual songs that became the freedom songs. These spiritual songs were the bridge between what is known as historical gospel and modern gospel songs. The publicizing of the Pentecostal churches and protest brought a wider exposure to the gospel music and its popularity spread. Currently, the modern gospel is one of the most popular sounds in the music industry. In the twentieth century, the most widespread and celebrated of the people tradition was the growth and development of gospel music, especially in the Pentecostal churches. These churches were visited by the traveling musicians and evangelists from the Chicago gospel scene like Sallie Martin and Thomas Dorsey. Despite this contact with new gospel sounds, arranged spirituals, and hymns were still popular styles of church music. Pastors and Pentecostal churches supported the expansion of gospel music by starting gospel choirs and hosting outstanding concerts in various Pentecostal churches like opportunity Baptist. Various composers started transcribing and publishing their gospel music and gospel performers protected themselves from exploitation by forming gospel unions. Anderson and James (2007, p. 289) indicate that the gospel growth extended beyond churches in the black community and moved to worldly white venues around the city. Most of the gospel composers and performers received attention via television programs, firms and release of albums by choirs. Thus, the developed technology has assisted a lot in developing the gospel music worldwide. Many gospel singers have developed new styles of singing and different, exciting music ministries. From neo spiritual to the modern gospel and praise and worship music, these song writers reflect the range of gospel music in Pentecostal churches today. The gospel music composers Wallace (2005, P. 104) indicates that the gospel music was brought substantial change in the Pentecostal churches as was created and performed daily. However, people were leaving the south daily for the search of better jobs to cater for their family’s responsibilities and wherever they went they took the gospel music with them. The emancipation led to sizeable migration, and African American commenced settling in north of the Deep South and continued to use the gospel music in their new churches. These inspired several composers to attempt to capture the passion, energy and anxiety of southern Christians. One of these composers was William Henry Sherwood, who flourished during the civil war and lived in Petersburg, in Virginia. He had established orphanage for African American children and was a composer who conducted both choir and band. He is a key model in the gospel music because he appears to have been the first composer to take advantage of the return to the roots movement of the small body of freed slaves that flocked to Azusa Street. According to Wallace (2005, P. 100), Sherwood published a collection of gospel hymns and other songs under the title of “Harp of Zion”. Like other collections published during this period, Sherwood includes hymns of several other composers and a significant number of his own songs. The melodies, harmonies were in the gospel music mode, but his songs are limited to few words and responses are written into songs. He was the first to be recognized as a composer of gospel music in 1940s and 1950s when gospel was first recognized as an acceptable African American musical art form. According to Wallace (2005, P. 109), Thomas Dorsey was also a prominent composer of gospel music in Chicago during the 1930s and he is known for his song “precious lord, take my hand.” In the 1920s, he was composing the secular music, but he turned full time to gospel, opened a publishing place and introduced the black gospel style of piano music. Thomas will be remembered for developing the gospel musical careers of many African American artists. A Valerie caper was also a composer of gospel music, especially Christmas piece for his choir that was in semi gospel style because the gospel music was developing during that period. He composed gospel music that would be connected with his African American heritage, and that elevated the lives of people. According to Wallace (2005, P. 100), Edward Boater was a composer of the gospel songs that were becoming popular and dedicating most of his creativity to the composition of black gospel songs and Negro spirituals. The Mahalia Jackson contributed a lot in developing the gospel music via her composition and performance. She helped introduce gospel music in the Chicago churches via musical style that made her highly respected. Gospel music in the Christian liturgy of the Pentecostal Church The protestant churches features hymn singing in their worship services that adds an ecstatic and joyful excitement to the prayer services. The Pentecostal churches believe and emphasize the grace of the Holy Spirit that inspires them to compose and sing touching gospel songs. A Pentecostal church’s worship seems conservative by the way they shun contemporary praise and worship chorus. They use guitars and drums to sing gospel songs from the book that make people refer them as traditional and resistant to change. To change this attitude, Pentecostal churches have tried to change the taste of gospel music that would make worship interesting. Begbie (2000, P. 157) indicate that the rhythmically associated with gospel songs by the young adult choirs in the Pentecost churches is demonstrated as a holy dance or shouts. The shout is to gospel music and its cult what the ring shout was to the spiritual and what spirit possession was to performers of sacred songs. In shouting, as in the ring shout in the Pentecostal churches is a kind of culturally restricted composition that differentiates it from secular dance. In the Pentecostal churches, they can determine whether a shouter is dancing in spirit or in the flesh. In this case, by suddenly halting the gospel shout music, one is capable to check for faithfulness. The shout serves as a testimony to the shouter where she or he feels the sense of dedication. The gospel music in the Pentecostal churches is classified along racial lines that are white and black. The traditional white gospel music is used during night singing and is also referred to as southern gospel music. The white gospel music is an extension of back gospel music and the two frequently crossed paths, but they developed independently (Begbie, 2000, P.257). The highly syncopated, quick tempo shouts of gospel songs of passionate significant in Pentecostal churches. These are accompanied by a much wider array of musical instrument than what is commonly allowed in non Pentecostal churches. The gospel music is collectively produced by the congregation by stomping feet, clapping hands and other available instruments during the gospel music performance in these churches. Thus, the rhythmic gospel music made it a perfect breeding ground for the enhancement of gospel music in the future. Gospel songs belong to the people because they help them to deepen their faith in God and fill them with the sense of hope when they are faced with problems. The gospel music in the Pentecostal churches has evolved from a solo song with relatively easy accompaniment to a complex composition that is performed by vast chorus that are accompanied by several instrument and conductors. Gospel music is a unique style of performance because it reflects the holistic understanding of the significant of the body and soul spiritual expressions. Anderson and James (2007, p. 305) indicate that the concept of gospel music as entertainment beyond the liturgical environment contributed to its classification as music outside the bounds of worship. The gospel pearls offered a fascinating perspective of the concept of music for worship in the Pentecostal churches. It helped in facilitating the spread of the use of gospel music in the liturgy of the Pentecostal churches from the 1920s to present days. Although, gospel music is categorized according to periods and innovative features of its genre and style, it is not always given the same name. The gospel music in the Pentecostal churches is classified as modern gospel, golden era and contemporary gospel music. Thus, the gospel music is characterized by dominant vocals that reflect the religious nature of the Pentecostal churches and are expected to have a refrain syncopated rhythm. According to Anderson and James (2007, p. 308), the gospel music was used in the Pentecostal churches as a means of communication with God because the songs were based on the religious ideologies of the Christianity. Several gospel music singers that attended Pentecostal churches developed the interest in singing gospel music that in turn spirited and filled them with knowledge of God. The increasing number of gospel artist connected to various Pentecostal churches is able to developing their talent vial composing and performing gospel music in the crusades and concerts. Meanwhile, the gospel music has played a significant role in the musical and spiritual renewal that the composers get from bible and Christian themes. The difference between spiritual and gospel music The significant difference between spiritual and gospel music is the use of the accompaniment instrument like piano and electronic organ. Elias (2008, p. 490) indicate that the accompanied instruments like guitar, drums and others are commonly used as accompaniments for the gospel songs in the Pentecostal churches. They are used to create rhythm and make Christian enjoy the sound and the tone of the gospel songs. However, the performance of the spiritual is mostly cappella, solemn and intense, but at the same, it creating emotional feelings and moving. Gospel music in order to attract more young adults has developed beat similar to that of the black secular music with its riffs response and voice exclamation and rocking in time. According to Anderson and James (2007, p. 307), the spiritual songs accompaniment was much less complex like that of gospel songs because they were attributed to the spirit possession that was peaceful and emotional. Pentecostal churches are regarded as spirited and energetic with the expressed desire to experience the Holy Spirit presence that led to use of spiritual music. However, the gospel music created controversy and division because some Pentecostal churches like Methodist perceived its beat and style to be inappropriate in religious worship service. They decided to use the spiritual songs that they considered suitable for the religious worship service because they made them feel the presence of the Holy Spirit. Elias (2008, p. 493) indicate that the gospel singing has been adopted and accepted in various Pentecostal churches because it is more culturally related to their customs of performer audience participation. During the gospel music, performance the congregation responds by singing along, clapping their hands and tapping their feet in harmony and the rhythm with singer. This is not the case with the spiritual gospel because there is no harmony in sing and rhythm is totally not followed due to the limitation to Holy Spirit presence. Meanwhile, the spiritual is involved with shouting and emotional activities that did not bring any rhythm in worship serves in the Pentecostal churches services. Conclusion The gospel music during the civil war was classified according to racial lines that are white and black. However, gospel music continued to develop the racial line was abolished via collaboration of various artists from different countries. Meanwhile, many composers were and attempted to capture the passion and the world of music via composing gospel songs that were used in the Pentecostal worship services. The publicizing of the Pentecostal churches and protest brought a wider exposure to the gospel music and its popularity spread. Meanwhile, the gospel music accompaniment attracted most of the congregation due to the rhythm and harmony that was involved. The gospel singing has been adopted and accepted in various Pentecostal churches because it is more culturally related to their customs of performer audience participation. Thus, the development of technology like use of radios and digital media has assisted in publishing and recording gospel music. The gospel music helps in strengthening the Christianity faith in God and should be taken seriously and encourage young artist to be focused. Bibliography Anderson, T and James, B.2007, Introduction to African American Studies: Transdisciplinary Approaches and Implications, Black Classic Press, United Kingdom. Begbie, J. 2000, Theology, Music, and Time, Cambridge University Press, United Kingdom. Elias, K. 2008, the Wiley-Blackwell Companion to African Religions, John Wiley and Sons, New York. James, A. 2001, Readings in African American Church Music and Worship, GIA Publications Inc, New York. Wallace, D. 2005, Passionately Human, No Less Divine: Religion and Culture in Black Chicago, Princeton University Press, New York. Read More