3. Jesus's Childhood Journeys Reconstructed 1st century house In Nazareth an angel tells Mary she will become pregnant by the Holy Spirit Mary & Joesph Joseph travels south with Mary to his home town of Bethlehem ... Roman gateway ... a journey Luke links to the Roman Census conducted by Syrian governor Quirinius Star of Bethlehem Jesus is born in King David's birthplace Bethlehem in 5 or 6 BC Shepherd's fields at Beit Sahur Angels announce the good news to shepherds in fields near Beit Sahur Colonnades on the Temple Mount in Jerusalem Jesus is taken by his parents to the Temple in Jerusalem some days later Mosaic of Mary & Jesus His family stay in Bethlehem for around 2 years until visited by a group of Magi Map of Jesus's childhood journeys To escape King Herod's persecution, the family escapes to Egypt Church of the Annunciation in Nazareth After Herod dies they return home to Nazareth, near the larger town of Sepphoris The Temple Mount, JerusalemAt his Bar Mitzvah, Jesus & his family make the Passover journey to Jerusalem Bible study Click here for Group Study Outlines & Sermon Notes Shepherds worship Jesus Click here to start following Jesus's Childhood Journeys verse by verse Printer Printable VersionRead More
Gospel music From Wikipedia, the free encyclopedia "Gospel (genre)" redirects here. For the literary genre, see Gospel. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2014) (Learn how and when to remove this template message) Gospel music Stylistic origins Christian hymns negro spirituals Cultural origins Early 17th century Typical instruments Vocals piano organ guitar drums bass guitar tambourine Derivative forms Country rhythm and blues soul rock and roll Subgenres Southern gospel traditional black gospel urban contemporary gospel Fusion genres Christian country music Gospel music is a genre of Christian music. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music usually has dominant vocals (often with strong use of harmony) with Christian lyrics. Gospel music can be traced to the early 17th century, with roots in the black oral tradition. Hymns and sacred songs were often repeated in a call and response fashion. Most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Most of the singing was done a cappella. The first published use of the term "gospel song" probably appeared in 1874. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. Gospel music publishing houses emerged. The advent of radio in the 1920s greatly increased the audience for gospel music. Following World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate. Gospel blues is a blues-based form of gospel music (a combination of blues guitar and evangelistic lyrics).[not verified in body] Southern gospel used all male, tenor-lead-baritone-bass quartet make-up. Progressive Southern gospel is an American music genre that has grown out of Southern gospel over the past couple of decades. Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair. It peaked in popularity in the mid-1990s. Bluegrass gospel music is rooted in American mountain music. Celtic gospel music infuses gospel music with a Celtic flair, and is quite popular in countries such as Ireland. British black gospel refers to Gospel music of the African diaspora, which has been produced in the UK. Some proponents of "standard" hymns generally dislike gospel music of the late 19th and early 20th centuries. Today, with historical distance, there is a greater acceptance of such gospel songs into official denominational hymnals. Contents 1 Style 2 Roots and background 2.1 18th century 2.2 19th century 2.3 20th century 3 Gospel music genres and subgenres 3.1 Christian country music 3.2 British Black Gospel 4 Controversies 5 See also 6 References 7 Further reading 7.1 Bibliography 8 External links 8.1 Professional organizations 8.2 Media outlets Style "How Great Thou Art" File:20100209 Yolanda Adams - How Great Thou Art at the White House.ogv Yolanda Adams performs "How Great Thou Art" at the White House's Celebration of Music from the Civil Rights Movement in 2010. "How Great Thou Art" MENU0:00 audio only file Problems playing these files? See media help. Gospel music features dominant vocals (often with strong use of harmony) and Christian lyrics. Some modern gospel music, however, isn't explicitly Christian and just utilizes the sound. Subgenres include contemporary gospel, urban contemporary gospel (sometimes referred to as "black gospel"), Southern gospel, and modern gospel music (now more commonly known as praise and worship music or contemporary Christian music). Several forms of gospel music utilize choirs, use piano or Hammond organ, tambourines, drums, bass guitar and, increasingly, electric guitar. In comparison with hymns, which are generally of a statelier measure, the gospel song is expected to have a refrain and often a more syncopated rhythm. Several attempts have been made to describe the style of late 19th and early 20th century gospel songs in general. Christ-Janer said "the music was tuneful and easy to grasp ... rudimentary harmonies ... use of the chorus ... varied metric schemes ... motor rhythms were characteristic ... The device of letting the lower parts echo rhythmically a motive announced by the sopranos became a mannerism". Patrick and Sydnor emphasize the notion that gospel music is "sentimental", quoting Sankey as saying, "Before I sing I must feel", and they call attention to the comparison of the original version of Rowley's "I Will Sing the Wondrous Story" with Sankey's version. Gold said, "Essentially the gospel songs are songs of testimony, persuasion, religious exhortation, or warning. Usually the chorus or refrain technique is found." Roots and background According to Yale University music professor Willie Ruff, the singing of psalms in Gaelic by Presbyterians of the Scottish Hebrides evolved from "lining out" – where one person sang a solo and others followed – into the call and response of gospel music of the American South. Coming out of the African-American religious experience, American gospel music can be traced to the early 17th century. Gospel music has roots in the black oral tradition, and typically utilizes a great deal of repetition, which allows those who could not read the opportunity to participate in worship. During this time, hymns and sacred songs were lined and repeated in a call and response fashion, and Negro spirituals and work songs emerged. Repetition and "call and response" are accepted elements in African music, designed to achieve an altered state of consciousness we sometimes refer to as "trance", and strengthen communal bonds. Most of the churches relied on hand-clapping and foot-stomping as rhythmic accompaniment. Guitars and tambourines were sometimes available, but not frequently. Church choirs became a norm only after emancipation. Most of the singing was done a cappella. 18th century Perhaps the most famous gospel-based hymns were composed in the 1760s-1770s by English writers John Newton ("Amazing Grace") and Augustus Toplady ("Rock of Ages"), members of the Anglican Church. Starting out as lyrics only, it took decades for standardized tunes to be added to them. Although not directly connected with African-American gospel music, they were adopted by African-Americans as well as white Americans, and Newton's connection with the abolition movement provided cross-fertilization. 19th century Main article: Gospel Song (19th century) The first published use of the term "Gospel Song" probably appeared in 1874 when Philip Bliss released a songbook entitled Gospel Songs. A Choice Collection of Hymns and Tunes. It was used to describe a new style of church music, songs that were easy to grasp and more easily singable than the traditional church hymns, which came out of the mass revival movement starting with Dwight L. Moody, whose musician was Ira D. Sankey, as well as the Holiness-Pentecostal movement. Prior to the meeting of Moody and Sankey in 1870, there was an American rural/frontier history of revival and camp meeting songs, but the gospel hymn was of a different character, and it served the needs of mass revivals in the great cities. The revival movement employed popular singers and song leaders, the most famous of them being Ira D. Sankey. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. As an extension to his initial publication Gospel Songs, Philip Bliss, in collaboration with Ira D. Sankey issued no's. 1 to 6 of Gospel Hymns in 1875. Sankey and Bliss's collection can be found in many libraries today. The popularity of revival singers and the openness of rural churches to this type of music (in spite of its initial use in city revivals) led to the late 19th and early 20th century establishment of gospel music publishing houses such as those of Homer Rodeheaver, E. O. Excell, Charlie Tillman, and Charles Tindley. These publishers were in the market for large quantities of new music, providing an outlet for the creative work of many songwriters and composers. 20th century Mahalia Jackson in the Concertgebouw concert hall, The Netherlands The holiness-Pentecostal movement, or sanctified movement, appealed to people who were not attuned to the Europeanized version of black church music. Holiness worship has used any type of instrumentation that congregation members might bring in, from tambourines to electric guitars. Pentecostal churches readily adopted and contributed to the gospel music publications of the early 20th century. Late 20th-century musicians such as Elvis Presley, Jerry Lee Lewis, Mahalia Jackson, Andrae Crouch, and the Blackwood Brothers either were raised in a Pentecostal environment, or have acknowledged the influence of that tradition. The advent of radio in the 1920s greatly increased the audience for gospel music, and James D. Vaughan used radio as an integral part of his business model, which also included traveling quartets to publicize the gospel music books he published several times a year. Virgil O. Stamps and Jesse R. Baxter studied Vaughan's business model and by the late 1920s were running heavy competition for Vaughan. The 1920s also saw the marketing of gospel records by groups such as the Carter Family. The first person to introduce the ragtime influence to gospel accompaniment as well as to play the piano on a gospel recording was Arizona Dranes. In African-American music, gospel quartets developed an a cappella style following the earlier success of the Fisk Jubilee Singers. The 1930s saw the Fairfield Four, the Dixie Hummingbirds, the Five Blind Boys of Mississippi, the Five Blind Boys of Alabama, The Soul Stirrers, the Swan Silvertones, the Charioteers, and the Golden Gate Quartet. Racism divided the nation, and this division did not skip the church. If during slavery blacks were treated as inferior inside the white churches, after emancipation they formed their own separate churches. The gospel groups which were very popular within the black community, were virtually unknown to the white community, though some in the white community began to follow them. In addition to these high-profile quartets, there were many black gospel musicians performing in the 1920s and 30s, usually playing the guitar and singing in the streets of Southern cities. Famous among them were Blind Willie Johnson, Blind Joe Taggart and others. In the 1930s, in Chicago, Thomas A. Dorsey (known for composing the song "Precious Lord, Take My Hand"), who had spent the 1920s writing and performing secular blues music under the name "Georgia Tom", turned to gospel music, establishing a publishing house. He had experienced many trials in his life,including the death of his pregnant wife. Thomas gained biblical knowledge from his father, who was a Baptist minister, and was taught to play piano by his mother. He started working with blues musicians when the family moved to Atlanta. It has been said that 1930 was the year when modern gospel music began, because the National Baptist Convention first publicly endorsed the music at its 1930 meeting. Dorsey was responsible for developing the musical careers of many African-American artists, such as Mahalia Jackson. Meanwhile, radio continued to develop an audience for gospel music, a fact that was commemorated in Albert E. Brumley's 1937 song, "Turn Your Radio On" (which is still being published in gospel song books). In 1972, a recording of "Turn Your Radio On" by the Lewis Family was nominated for "Gospel Song of the Year" in the Gospel Music Association's Dove Awards. Following the World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate. In 1950, black gospel was featured at Carnegie Hall when Joe Bostic produced the Negro Gospel and Religious Music Festival. He repeated it the next year with an expanded list of performing artists, and in 1959 moved to Madison Square Garden. Today, black gospel and white gospel are distinct genres, with distinct audiences. In white gospel, there is a large Gospel Music Association and a Gospel Music Hall of Fame, which includes a few black artists, such as Mahalia Jackson, but which ignores most black artists. In the black community, James Cleveland established the Gospel Music Workshop of America in 1969. Gospel music genres and subgenres This article is a part in a series on Gospel music ChristianitySymbolWhite.PNG Roots and beginnings[show] Genres and subgenres[show] Related music genres[show] Associations and groups[show] Awards[show] Category Musicians See also: Christianity: Portal Category Christian music: Portal Category v t e Christian country music Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair, is also known as inspirational country. Christian country over the years has progressed into a mainstream country sound with inspirational or positive country lyrics. In the mid-1990s, Christian country hit its highest popularity. So much so that mainstream artists like Larry Gatlin, Charlie Daniels and Barbara Mandrell, just to name a few, began recording music that had this positive Christian country flair. These mainstream artists have now become award winners in this genre. British Black Gospel British black gospel refers to Gospel music of the African diaspora, which has been produced in the UK. It is also often referred to as urban contemporary gospel or UK Gospel. The distinctive sound is heavily influenced by UK street culture with many artists from the African and Caribbean majority black churches in the UK. The genre has gained recognition in various awards such as the GEM (Gospel Entertainment Music) Awards, MOBO Awards, Urban Music Awards and has its own Official Christian & Gospel Albums Chart. Controversies Some proponents of "standard" hymns generally dislike gospel music of the late 19th and early 20th centuries. For example, Patrick and Sydnor complain that commercial success led to a proliferation of such music, and "deterioration, even in a standard which to begin with was not high, resulted." They went on to say, "there is no doubt that a deterioration in taste follows the use of this type of hymn and tune; it fosters an attachment to the trivial and sensational which dulls and often destroys sense of the dignity and beauty which best befit the song that is used in the service of God." Gold reviewed the issue in 1958, and collected a number of quotations similar to the complaints of Patrick and Syndor. However, he also provided this quotation: "Gospel hymnody has the distinction of being America's most typical contribution to Christian song. As such, it is valid in its inspiration and in its employment."< Today, with historical distance, there is a greater acceptance of such gospel songs into official denominational hymnals. For example, the United Methodist Church made this acceptance explicit in The Faith We Sing, a supplement to the official denominational hymnal. In the preface, the editors say, "Experience has shown that some older treasures were missed when the current hymnals were compiled." See also Gospel Music Hall of Fame List of gospel musicians Phillip Paul Bliss House Soul music Stellar Awards References "Gospel History Timeline". University of Southern California. Retrieved January 31, 2012. Jackson, Joyce Marie. "The changing nature of gospel music: A southern case study." African American Review 29.2 (1995): 185. Academic Search Premier. EBSCO. Web. October 5, 2010. Malone (1984), p. 520 Malone (1984), p. 523 Christ-Janer, Hughes & Smith (1980), p. 365 Patrick (1962), pp. 171–172 Gold, Charles E. "The Gospel Song: Contemporary Opinion," The Hymn. v. 9, no. 3 (July 1958), p. 70. "From Charles Mackintosh's waterproof to Dolly the sheep: 43 innovations Scotland has given the world". The independent. January 3, 2016. Christ-Janer, Hughes & Smith (1980), p. 364 Benson, Louis F. The English Hymn: Its Development and Use in Worship. New York: George H. Doran Co., 1915, p. 486. Several sources cite the Bliss and Sankey 1875 publication as the first to use the word "gospel" in this sense. For example, Malone (1984), p. 520. Hall, Jacob Henry. Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company, 1914, provides contemporary information about songwriters, composers and publishers. Malone (1984), p. 521 See also Charles Davis Tillman. "COGIC Women in Gospel Music on Patheos". Patheos. June 10, 2009. Retrieved February 2, 2010. Malone (1984), p. 522 "Thomas A. Dorsey". "Southern Music Network". Southern Music in the 20th century. eb. October 14, 2010. Southern (1997), p. 484 "The Gospel Music Association's Dove Awards Nominations for the Gospel Song of 1972," Canaan Records (Waco, TX) CAS-9732-LP Stereo. Southern (1997), p. 485 Malone (1984), p. 524 "Larry Gatlin nominated for Christian Country Album of the Year". "Barbara Mandrell inducted into the Country Gospel Music Hall of Fame". Archived from the original on February 25, 2015. "Gospel Music". BBC. July 11, 2011. Smith, Steve Alexander (2009). British Black Gospel: Foundations of this vibrant UK sound. Monarch Books. ISBN 9781854248961. Mackay, Maria (November 4, 2005). "Freddie Kofi Wins Best Male at GEM Awards". Christian Today. N.A. (October 20, 2010). "Mobo Awards 2010: The Winners". The Daily Telegraph. "Gospel's Lurine Cato is triumphant at the MOBOs". The Voice Online. October 21, 2013. "Urban Music Awards – UMA- The World's No.1 awards show for HipHop, R&B, Soul, Jazz, Grime and Dance music". www.urbanmusicawards.net. "UKs first Official Christian & Gospel Albums Chart to launch next week". Record of the Day. March 14, 2013. Patrick (1962), p. 171 Patrick (1962), p. 172 Stevenson, Robert. Religion in Life, Winter, 1950–51[page needed] Hickman, Hoyt L., ed. "Introduction," The Faith We Sing (Nashville, TN: Abingdon Press, 2000).[page needed] Further reading A selection of gospel music collected by the Library of Congress in 1943 Oh Jonah!