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Hard Bob, Funky, Gospel Jazz Music - Essay Example

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This paper will discuss the black Gospel music and its roots, how has it changed for the last decades and what sub-genres exist in this type of music…
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Hard Bob, Funky, Gospel Jazz Music
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Download file to see previous pages Generally, however, Gospel Music themes covered areas of Christian religious worship, praise and thanksgiving to the Holy Trinity. There were several main characteristic of Black Gospel Music that distinguished it from other Gospels. Throughout the years since its development, many artists have also sprung and they not only contributed to its development, but took this particular subgenre into the next level. Black Gospel, also called Urban Contemporary Gospel, like the mainstream genre it belonged to, sought to express the collective Christian beliefs of the community. It was deemed the Christianized version of the mainstream modern music of the earlier half of the 20th century. Though the themes were somewhat fixed, the main characteristics of this subgenre changed throughout the years. Tempo and beat often differed according to the taste of the artists and the particular music era they belonged to. For instance, in the early years of its conception (1920s-1940s), Thomas A. Dorsey, the “Father of Gospel Music, along with pioneer singers Willie Mae Ford Smith and Sallie Martin, popularized Black Gospel by mixing elements of Blues or Spirituals with the Christian religious experience (Petrie). With “happiness” as the prime element in testifying a religious experience, there was a good deal of dancing (mainly employing the Boogie-Woogie style to the accompaniment of Jazz instruments). In the 1930s, the religiosity of Gospel Music mingled with political and social commentaries as popularized by male groups called quartets, who usually sang A Cappella and in jubilee style. Unlike the less lively hymns of the 20s, groups such as the Soul Stirrers and the Golden Gate Quartet blended more melodies in their songs, giving them a playful rhythm as well as more social significance (i.e. background music for the civil rights movement) (Petrie; Warner 35-6). The 30s also saw the rise of creative Gospel singers like Sister Rosetta ...Download file to see next pagesRead More
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