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The Evolution of African American Worship is the original manuscript that disserts and documents the doctoral research of Dr. Antonia Arnold-McFarland. As a church music director, she realized a need to bring urgent attention to the concerns affecting the African American Worship Experience of the Black Church Tradition. For this demographic, the worship space, regardless of place, has always been critical to pivotal change in their social climate. To inspire hope and to change the outlook, this research takes a current day and relatable look at the problems faced by the independent gospel artist who, as a Christian disciple, is charged to exalt God and to evangelize to the world. This must be done while balancing demands of the music industry that often conflict against the Christian faith. At the same time, in the local church, the pastor and music ministry leadership must maintain an effective worship experience, heavily influenced by the controversial music industry. They are faced with a series of operational and spiritual challenges, alongside the demands to stay relevant and knowledgeable in the selection of appropriate music.In order to address these dynamics, Dr. Antonia Arnold-McFarland began advocating change as a music clinician and seeking solutions ten years prior to enrolling in the doctoral program. The academic undergirding enabled her to enhance her knowledge and to think critically, as she took an ethnomusicological approach. The emphasis is on the Thomas Dorsey to Kirk Franklin Era yet looks historically from 1619-2015 at key contributors and artists to the Black Sacred music artform. The research leverages the work of world-renown scholars in African American Worship and Church Music. It expands upon their research by including key historical parallels and social conditions. It also quantifies trends in the evolving acceptance for various types of Black Sacred music, as gospel music styles emerged. Her 2018 debut book, Moving Forward and Facing the Future, is an excerpt of the manuscript and a practical guide specifically for use in the music and worship arts ministry of The Black Church. It takes the research up to 2017. After its release and due to the request for copies, "Dr. Toni" realized a need to go back and make easily accessible the full manuscript of The Evolution of African American Worship. It will support ongoing scholastic research and ministerial needs.
Arranged in sixteen musical categories, provides entries for twenty thousand releases from four thousand artists, and includes a history of each musical genre.
In A City Called Heaven, Robert M. Marovich follows gospel music from early hymns and camp meetings through its growth into the sanctified soundtrack of the city's mainline black Protestant churches. Marovich mines print media, ephemera, and hours of interviews with artists, ministers, and historians--as well as relatives and friends of gospel pioneers--to recover forgotten singers, musicians, songwriters, and industry leaders. He also examines the entrepreneurial spirit that fueled gospel music's rise to popularity and granted social mobility to a number of its practitioners. As Marovich shows, the music expressed a yearning for freedom from earthly pains, racial prejudice, and life's hardships. Yet it also helped give voice to a people--and lift a nation. A City Called Heaven celebrates a sound too mighty and too joyous for even church walls to hold.
A brief history of gospel music ministry in America from pre-slavery to the beginning of the 21st century and the impact of the Gospel Music Workshop of America on the genre
American Music: An Introduction, Second Edition is a collection of seventeen essays surveying major African American musical genres, both sacred and secular, from slavery to the present. With contributions by leading scholars in the field, the work brings together analyses of African American music based on ethnographic fieldwork, which privileges the voices of the music-makers themselves, woven into a richly textured mosaic of history and culture. At the same time, it incorporates musical treatments that bring clarity to the structural, melodic, and rhythmic characteristics that both distinguish and unify African American music. The second edition has been substantially revised and updated, and includes new essays on African and African American musical continuities, African-derived instrument construction and performance practice, techno, and quartet traditions. Musical transcriptions, photographs, illustrations, and a new audio CD bring the music to life.
Spotlights the careers of the gospel singers who have made a distinctive contribution to the world of music
From Africa through the spirituals, from minstrel music through jubilee, and from traditional to contemporary gospel, "People Get Ready!" provides, for the first time, an accessible overview of this musical genre.
New Encyclopedia of Southern Culture: Volume 1: Religion
Most observers believe that gospel music has been sung in African-American churches since their organization in the late 1800s. Yet nothing could be further from the truth, as Michael W. Harris's history of gospel blues reveals. Tracing the rise of gospel blues as seen through the career of its founding figure, Thomas Andrew Dorsey, Harris tells the story of the most prominent person in the advent of gospel blues. Also known as "Georgia Tom," Dorsey had considerable success in the 1920s as a pianist, composer, and arranger for prominent blues singes including Ma Rainey. In the 1930s he became involved in Chicago's African-American, old-line Protestant churches, where his background in the blues greatly influenced his composing and singing. Following much controversy during the 1930s and the eventual overwhelming response that Dorsey's new form of music received, the gospel blues became a major force in African-American churches and religion. His more than 400 gospel songs and recent Grammy Award indicate that he is still today the most prolific composer/publisher in the movement. Delving into the life of the central figure of gospel blues, Harris illuminates not only the evolution of this popular musical form, but also the thought and social forces that forged the culture in which this music was shaped.
Music and worship arts ministries today are challenged to remain relevant and effective while operating in an environment of growing demands, diminishing skill sets, and limited resources. This book lays a scriptural foundation on worship and on how it has unfolded over time in the Black Church worship experience. It guides the ministry transformation by tracing the past, by realizing the gaps of the present and by providing research-based solutions to secure a promising future. For best results, use this book as a supplement to the advising and instructing of Dr. Antonia Arnold-McFarland.