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Genre of music emphasizing Christian lyrics

"Gospel (genre)" redirects here. For the literary genre, run into Gospel. For the African-American musical genre, see Black Gospel music.

Gospel music
Stylistic origins	Christian hymns spirituals
Cultural origins	Early on 17th century, Southern United States
Derivative forms	Country rhythm and dejection soul rock and roll
Subgenres
Black gospel
Fusion genres
Christian country music
Regional scenes
Southern gospel

Gospel music is a genre of Christian music. The creation, performance, significance, and even the definition of gospel music varies according to civilisation and social context. Gospel music is equanimous and performed for many purposes, including artful pleasure, religious or formalism purposes, and equally an amusement product for the marketplace. Gospel music often has dominant vocals (often with strong use of harmony) with Christian lyrics. Gospel music can be traced to the early 17th century.^[i]

Hymns and sacred songs were frequently repeated in a call and response fashion. Most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Nearly of the singing was done a cappella.^[ii] The first published use of the term "gospel song" probably appeared in 1874.

The original gospel songs were written and composed by authors such equally George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby.^[3] Gospel music publishing houses emerged. The appearance of radio in the 1920s greatly increased the audience for gospel music. Post-obit World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate.^[4]

Black gospel, by far the all-time-known variant, emerged out of the African-American music tradition and has evolved in diverse ways over the years, continuing to grade the basis of Black church worship even today. It has besides come to exist used in churches of various other cultural traditions (especially within Pentecostalism) and, via the gospel choir phenomenon spearheaded by Thomas Dorsey, has become a grade of musical devotion worldwide.

Southern gospel used all male, tenor-pb-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 equally country gospel music, is a subgenre of gospel music with a country flair. Information technology 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 produced in the UK.

History [edit]

According to Yale University music professor Willie Ruff, the singing of psalms in Scottish Gaelic by Presbyterians of the Scottish Hebrides evolved from "lining out"—where ane person sang a solo and others followed—into the telephone call and response of gospel music of the American South.^[5] Another theory notes foundations in the works of Dr. Isaac Watts and others.^{[6] [ unreliable source? ]}

Moreover, the genre arose during a fourth dimension when literacy was not a guarantee, utilizing a great deal of repetition (which, different more than traditional hymns, immune those who could non read the opportunity to participate).

18th century [edit]

Peradventure the almost famous gospel-based hymns were composed in the 1760s and 1770s by English language 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 non direct connected with African-American gospel music, they were adopted by African-Americans as well as white Americans, and Newton's connectedness with the abolition motion provided cantankerous-fertilization.

Holiness-Pentecostal era (19th century) [edit]

The get-go published employ of the term "Gospel song" probably appeared in 1874 when Philip Elation released a songbook entitled Gospel Songs. A Choice Collection of Hymns and Tunes. It was used to describe a new mode of church music, songs that were easy to grasp and more hands singable than the traditional church building hymns, which came out of the mass revival movement starting with Dwight Fifty. Moody, whose musician was Ira D. Sankey, as well every bit the Holiness-Pentecostal motility.^[3] Prior to the meeting of Moody and Sankey in 1870, there was an American rural/frontier history of revival and camp meeting songs, only the gospel hymn was of a unlike character, and it served the needs of mass revivals in the great cities.^[7]

The revival move employed popular singers and song leaders, the nigh famous of them being Ira D. Sankey. The original "gospel" songs were written and composed by authors such every bit George F. Root, Philip Elation, Charles H. Gabriel, William Howard Doane, and Fanny Crosby.^[3] 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.^[eight] Sankey and Elation'due south collection tin be constitute 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 institution of gospel music publishing houses such equally 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 piece of work of many songwriters and composers.^[ix]

The advent of radio in the 1920s greatly increased the audition for gospel music, and James D. Vaughan used radio equally an integral part of his business model, which also included traveling quartets to publicize the gospel music books he published several times a year.^[10] Virgil O. Stamps and Jesse R. Baxter studied Vaughan's business model and by the tardily 1920s were running heavy competition for Vaughan.^[11] The 1920s likewise saw the marketing of gospel records past groups such as the Carter Family.

Emergence of Black gospel (1920s–1970s) [edit]

The Pentecostal movement quickly made inroads with churches not attuned to the Europeanized Black church music that had become popular over the years since Emancipation. These congregations readily adopted and contributed to the gospel music publications of the early on 20th century. Sister Rosetta Tharpe, pioneer of stone and ringlet, shortly emerged from this tradition equally the get-go groovy gospel recording artist.^[12] The first person to introduce ragtime to gospel (and the first to play piano on a gospel recording) was Arizona Dranes.^[13]

The 1930s saw the rise of Black gospel quartets such every bit the V Bullheaded Boys of Mississippi and the Five Blind Boys of Alabama.^[14] 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.

In the 1930s, in Chicago, Thomas A. Dorsey turned to gospel music, establishing a publishing business firm.^[four] Information technology has been said that 1930 was the yr traditional black gospel music began, equally the National Baptist Convention kickoff publicly endorsed the music at its 1930 meeting.^[15] Dorsey was responsible for developing the musical careers of many African-American artists, such as Mahalia Jackson (best-known for her rendition of his "Precious Lord, Accept My Hand").^[iv]

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 nonetheless being published in gospel song books). (In 1972, a recording of "Plough Your Radio On" by the Lewis Family was nominated for Gospel Song of the Yr.)^[xvi]

In 1964, the Gospel Music Association was established, which in plough began the Pigeon Awards (in 1969) and the Gospel Music Hall of Fame (in 1972). Both of the latter two groups began primarily for Southern gospel performers, but in the tardily 1970s, began including artists of other subgenres, which brought in many Blackness artists.^[17] Also in 1969, James Cleveland established the Gospel Music Workshop of America, a Black gospel outlet.

Late 20th-century musicians such as Elvis Presley, Jerry Lee Lewis, and the Blackwood Brothers were also known for their gospel influences and recordings.^[11]

Contemporary Blackness gospel and gospel rap (1970s–present) [edit]

Urban contemporary gospel emerged in the late 70s, with artists such as the Clark Sisters and Andrae Crouch crossing over musically and gaining notoriety, and this pattern would repeat itself in subsequent decades, with new artists like Yolanda Adams and Kirk Franklin making increasingly more than bold forays into the secular world with their musical stylings. The electric current sphere of Black gospel recording artists is well-nigh exclusively of the urban gimmicky bent.

Also of note is the rising of Christian (or gospel) rap/hip-hop, which has gained increasing popularity since the days of the Gospel Gangstaz and The Cantankerous Movement. Often considered a subgenre of urban contemporary gospel, Christian rap has become dominated in nowadays times by artists from Reach Records, who have seen perhaps the most commercial success of whatsoever artists in the gospel genre; Lecrae (the label's founder and preeminent creative person) has charted in the height 10 of on the Billboard 200 three times, with his 2014 album "Anomaly" debuting at #i.

Subgenres [edit]

Black gospel [edit]

Traditional [edit]

Traditional Black gospel music is the near well-known form, frequently seen in Blackness churches, non-Blackness Pentecostal and evangelical churches, and in entertainment spaces across the country and world. It originates from the Southeastern United States ("the South"), where most Black Americans lived prior to the Slap-up Migration. This music was highly influenced past the hymnody of the spirituals and of Watts and, later, the musical way and vision of Dorsey. Whereas northern Black churches did not at kickoff welcome Dorsey'due south music (having become accepted to their own more Eurocentric flavorings), after the Southern migrants' new churches became more popular, then did gospel music, gospel choirs, and the general trend toward exclusive use of this music in Black churches. Dorsey, Mahalia Jackson, the Mississippi Mass Choir, and the Georgia Mass Choir are but a few notable examples.

Urban contemporary [edit]

Developing out of the fusion of traditional Black gospel with the styles of secular Black music popular in the 70s and 80s, Urban Contemporary gospel is the nigh mutual grade of recorded gospel music today. It relies heavily on rhythms and instrumentation mutual in the secular music of the gimmicky era (often including the use of electronic beats), while still incorporating the themes and heritage of the traditional Black gospel genre. Kirk Franklin is the foremost (and by far the best-selling) individual in this genre, while Andrae Crouch, the Clark Sisters, and Yolanda Adams are besides very popular and noteworthy.^{[ commendation needed ]}

British [edit]

British black gospel refers to gospel music of the African diaspora in the UK. It is besides oftentimes referred to equally "U.k. gospel".^[xviii] The distinctive sound is heavily influenced by Uk street culture with many artists from the African and Caribbean area majority black churches in the Great britain.^[19] The genre has gained recognition in various awards such every bit the Gem (Gospel Entertainment Music) Awards,^[xx] MOBO Awards,^{[21] [22]} Urban Music Awards^[23] and has its ain Official Christian & Gospel Albums Chart.^[24]

Southern gospel music [edit]

Southern gospel music comes from the Southeastern United States and is like in sound to Christian country music, merely it sometimes known as "quartet music" for its traditional "four men and a piano" prepare upward. The genre, while remaining predominantly White, began to integrate Black gospel stylings in the 1960s.^[25] It has evolved over the years into a popular form of music across the United States and overseas, especially amongst baby boomers and those living in the Due south. Like other forms of music the creation, performance, significance, and even the definition of southern gospel varies according to culture and social context. It is composed and performed for many purposes, ranging from artful pleasance, religious or ceremonial purposes, or as an entertainment production for the marketplace.

Christian country music [edit]

Christian country music, sometimes referred to every bit country gospel music, is a subgenre of gospel music with a country flair, is also known every bit 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 striking its highest popularity. And so much so that mainstream artists similar Larry Gatlin, Charlie Daniels and Barbara Mandrell, simply to name a few, began recording music that had this positive Christian country flair. These mainstream artists take now get award winners in this genre.^{[26] [27]}

Comparing to other hymnody [edit]

Some proponents of "standard" hymns generally dislike gospel music of the late 19th and early 20th centuries. For instance, 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 loftier, resulted."^[28] They went on to say, "there is no uncertainty that a deterioration in taste follows the utilize of this type of hymn and tune; it fosters an attachment to the footling and sensational which dulls and oftentimes destroys sense of the nobility and beauty which best befit the song that is used in the service of God."^[29]

Gold reviewed the issue in 1958, and collected a number of quotations similar to the complaints of Patrick and Sydnor. Notwithstanding, he too 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."^{[30] [31]}

Today, with historical distance, there is a greater credence of such gospel songs into official denominational hymnals. For case, the United Methodist Church fabricated this acceptance explicit in The Faith We Sing, a 2000 supplement to the official denominational hymnal. In the preface, the editors say, "Experience has shown that some older treasures were missed when the electric current hymnals were compiled."^[32]

Meet also [edit]

• Gospel Music Hall of Fame
• List of gospel musicians
• Phillip Paul Bliss House
• Soul music
• Stellar Awards

References [edit]

1. ^ "Gospel History Timeline". Academy of Southern California. Retrieved Jan 31, 2012.
2. ^ Jackson, Joyce Marie. "The changing nature of gospel music: A southern instance study." African American Review 29.2 (1995): 185. Academic Search Premier. EBSCO. Spider web. Oct five, 2010.
3. ^ ^{a b c} Malone (1984), p. 520
4. ^ ^{a b c} Malone (1984), p. 523
5. ^ "From Charles Mackintosh's waterproof to Dolly the sheep: 43 innovations Scotland has given the world". The Independent. January 3, 2016.
6. ^ "Isaac Watts – The Heart For Church Music, Songs and Hymns". Songsandhymns.org.
7. ^ Christ-Janer, Hughes & Smith (1980), p. 364
8. ^ Benson, Louis F. The English language 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 equally the first to use the word "gospel" in this sense. For example, Malone (1984), p. 520.
9. ^ Hall, Jacob Henry. Biography of Gospel Vocal and Hymn Writers. New York: Fleming H. Revell Company, 1914, provides contemporary information almost songwriters, composers and publishers.
10. ^ Meet also Charles Davis Tillman.
11. ^ ^{a b} Malone (1984), p. 521
12. ^ "Godmother of Stone and Curlicue: Sister Rosetta Tharpe". PBS . Retrieved Baronial 8, 2015.
13. ^ "COGIC Women in Gospel Music on Patheos". Patheos.com. June x, 2009. Retrieved February 2, 2010.
14. ^ Malone (1984), p. 522
15. ^ Southern (1997), p. 484
16. ^ "The Gospel Music Association's Pigeon Awards Nominations for the Gospel Song of 1972," Canaan Records (Waco, Texas) CAS-9732-LP Stereo.
17. ^ Malone (1984), p. 524
18. ^ "Gospel Music". BBC. July 11, 2011.
19. ^ Smith, Steve Alexander (2009). British Black Gospel: Foundations of this vibrant UK sound. Monarch Books. ISBN9781854248961.
20. ^ Mackay, Maria (November 4, 2005). "Freddie Kofi Wins All-time Male at GEM Awards". Christian Today.
21. ^ N.A. (October twenty, 2010). "Mobo Awards 2010: The Winners". The Daily Telegraph. Archived from the original on January 11, 2022.
22. ^ "Gospel's Lurine Cato is triumphant at the MOBOs". The Phonation Online. October 21, 2013.
23. ^ "Urban Music Awards". Urbanmusicawards.net.
24. ^ "UKs first Official Christian & Gospel Albums Chart to launch adjacent week". Recordoftheday.com. March 14, 2013.
25. ^ Goff, James R. (1998). "The Ascension of Southern Gospel Music". Church History. 67 (iv): 722–744. doi:10.2307/3169850. ISSN 0009-6407.
26. ^ "Larry Gatlin nominated for Christian Country Anthology of the Year". Tollbooth.org. Archived from the original on November four, 2009. Retrieved September eleven, 2008.
27. ^ "Barbara Mandrell inducted into the State Gospel Music Hall of Fame". Archived from the original on February 25, 2015.
28. ^ Patrick (1962), p. 171
29. ^ Patrick (1962), p. 172
30. ^ Stevenson, Robert. Religion in Life, Winter, 1950–51^{[ page needed ]}
31. ^ Gilded, Charles E. "The Gospel Song: Gimmicky Stance," The Hymn. v. ix, no. iii (July 1958), p. lxx.
32. ^ Hickman, Hoyt L., ed. "Introduction," The Faith We Sing (Nashville, Tennessee: Abingdon Press, 2000).^{[ page needed ]}

Bibliography [edit]

• Christ-Janer, Albert; Hughes, Charles W.; Smith, Carleton Sprague (1980). American Hymns Old and New. New York: Columbia Academy Printing.
• Malone, Bill C. (1984). "Music, Religious, of the Protestant South". In Samuel Southward. Hill (ed.). Encyclopedia of Religion in the Southward. Mercer Academy Printing.
• Patrick, Millar (1962). The Story of the Church building'due south Vocal . Revised by James Rawlings Sydnor. Richmond, Virginia: John Knox Press.
• Southern, Eileen (1997). The Music of Black Americans: a History (third ed.). New York: Due west. Due west. Norton.

Further reading [edit]

• Allen, Ray. Singing in the Spirit: African-American Sacred Quartets in New York City, in series, Publication[south] of the American Folklore Social club: New Series. Philadelphia, Pennsylvania: University of Pennsylvania Printing, 1991. 20,[two], 268 p., ill. with b&w photos. ISBN 0-8122-1331-9 pbk.
• Barlow, Sanna Morrison. Mountain Singing: the Story of Gospel Recordings in the Philippines. Hong Kong: Alliance Press, 1952. 352 p.
• Blackwell, Lois. The Wings of a Dove: The Story of Gospel Music in America. Norfolk: Donning, 1978.^{[ ISBN missing ]}
• Boyer, Horace Clarence. How Sweet the Audio: The Aureate Age of Gospel. Elliott and Clark, 1995. ISBN 0-252-06877-7.
• Broughton, Viv. Too Close to Heaven: The Illustrated History of Gospel Music. Midnight Books, 1996. ISBN one-900516-00-4.
• Albert E Brumley & Sons. The Best of Albert E. Brumley. Gospel Songs, 1966, paperback Amazing Grace^{[ ISBN missing ]}
• Cleall, Charles. Sixty Songs From Sankey. London: Marshall, Morgan and Scott, 1960.
• Collins, Irma H. (2013). Dictionary of Music Education. Maryland: Scarecrow Press.
• Cusic, Don. The Sound of Light: a History of Gospel Music. Bowling Green, Ohio: Bowling Green State University Popular Press, 1990. 4, 267 p. ISBN 0879724986 pbk.
• Darden, Robert. People Get Ready: A New History of Black Gospel Music. Continuum International Publishing Group, 2005, ISBN 0-8264-1752-3.
• Downey, James C. The Gospel Hymn 1875–1930. University of Southern Mississippi, MA,^{[ clarification needed ]} 1963.
• Eskew, Harry. "Gospel Music, I" in The New Grove Dictionary of Music and Musicians (1980), 7, 549–554.
• Hanson, Kenneth, The Hymnody and Hymnals of the Restoration Movement. Butler University, BD,^{[ clarification needed ]} 1951.
• Heilbut, Tony, The Gospel Audio: Skillful News and Bad Times, Limelight Editions, 1997, ISBN 0-87910-034-vi.
• McNeil, Westward. K., ed. Encyclopedia of American Gospel Music. Routledge, 2005. ISBN 0-415-94179-ii.
• Marovich, Robert M., A Urban center Called Heaven: Chicago and the Nascence of Gospel Music. Urbana: University of Illinois Press, 2015. ISBN 978-0252080692.
• Mungons, Kevin and Douglas Yeo, Homer Rodeheaver and the Rise of the Gospel Music Industry. Urbana: University of Illinois Press, 2021. ISBN 978-0252085833.
• Stevenson, Arthur L. The Story of Southern Hymnology. Roanoke, Virginia: Rock Press and Manufacturing, 1931.
• Zolten, Jerry. Bang-up God A' Mighty!: The Dixie Hummingbirds – Celebrating The Rise of Soul Gospel Music. Oxford University Press, 2003. ISBN 0-19-515272-seven.

Archival sources [edit]

• USC Gospel Music History Archive
• Finding aid to Camille Taylor collection of Black Music Caucus Gospel Choir Contest recordings at Columbia Academy. Rare Book & Manuscript Library.

External links [edit]

Professional organizations [edit]

• Gospel Music Association – Acknowledges all forms of gospel/Christian music
• Gospel Viu – Gospel Without Borders
• Gospel Wire – Primarily urban gimmicky gospel
• Pacific Gospel Music Clan – Known for Southern gospel
• Southern Gospel Music Association
• Gospel Music Data
• Festival Lumen – the biggest gospel music festival in central Europe

Media outlets [edit]

• Blackness Family Channel
• Bobby Jones Gospel
• Christian Broadcasting Network
• Daystar Television Network
• Gospel Music Channel
• The Inspirational Network
• Trinity Broadcasting Network
• KALO TV

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