А что такое госпел?
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SilentWolf
- Сообщения: 483
- Зарегистрирован: Вс июл 13, 2003 12:08 pm
- Откуда: Ростов-на-Дону
gospel music <br> <br> <br>American religious musical form that owes much of its origin to the Christian conversion of West Africans enslaved in the American South. Gospel music partly evolved from the songs slaves sang on plantations, notably work songs, and from the Protestant hymns they sang in church. However, gospel music did not derive as much from Protestant hymns as did spirituals. Gospel music, more emotional and jubilant, also stemmed from the call-and-response singing between preacher and congregation, which became common in black churches. Gospel lyrics often call for obedience to God and avoidance of sin in order to obtain the reward of heaven’s kingdom; they also celebrate God’s love. Gospel style makes use of choral singing in unison or harmony, often, but not always, led by a lead singer or singers. The songs are performed with fervent enthusiasm, vigor, and spiritual inspiration, with much ornamentation in the solo vocal lines. 1 <br>In the black culture of the first half of the 20th cent., gospel music was considered antithetical to blues and jazz, despite their similarity of origins, and gospel performers rarely sang in nonreligious settings. Later, as all three forms became popular outside the black community, they were less mutually exclusive. A strong gospel element underlies the “soul” jazz and rock music of the 1950s and 60s. Composer and pianist Thomas A. Dorsey, often referred to as “the father of the gospel song,” played a major role in the development of gospel music. Important gospel performers have included Mahalia Jackson, Sister Rosetta Tharpe, Alex Bradford, James Cleveland, The Swan Silver Tones, The Mighty Clouds of Joy, The Dixie Hummingbirds, and The Five Blind Boys of Mississippi. Pop singers who have been heavily influenced by gospel include Aretha Franklin and Ray Charles. While the greatest era in gospel is widely considered to be c.1945–1965, the tradition and the music remain vital in contemporary culture. The Gospel Music Association rewards achievements in the genre with the annual Dove Awards. 2 <br>See T. Heilbut, The Gospel Sound: Good News and Bad Time (1971); L. Gentry, A History and Encyclopedia of Country and Western and Gospel Music (1961, repr. 1972); H. C. Boyer, How Sweet the Sound: The Golden Age of Gospel (1995). 3 <br> <br> <br>spiritual <br> <br> <br>a religious folk song of American origin, particularly associated with African-American Protestants of the southern United States. The African-American spiritual, characterized by syncopation, polyrhythmic structure, and the pentatonic scale of five whole tones, is, above all, a deeply emotional song. The words are most often related to biblical passages, but the predominant effect is of patient, profound melancholy. The spiritual is directly related to the sorrow songs that were the source material of the blues (see jazz), and a number of more joyous spirituals influenced the content of gospel songs (see gospel music). 1 <br>Beginning in the late 19th cent., when a celebrated chorus from Fisk Univ. traveled throughout the United States and abroad, wide attention was given to the spirituals of American blacks. This body of song was long thought to be the only original folk music of the United States, and research into its origin centered mainly on the nature and extent of its African ancestry. Because slaves were brought to the United States from many parts of Africa, no single African musical source is clear. Elements that African music and American black spirituals have in common include syncopation, polyrhythmic structure, the pentatonic scale, and a responsive rendition of text. Audience participation increased the improvisatory nature of the spirituals, with the result that tens and even hundreds of versions of a single text idea exist. 2 <br>Early in the 20th cent., Cecil Sharp explored the extent of American folk-song literature, much of which he demonstrated to be of British ancestry. After that discovery, G. P. Jackson traced the considerable influence of revivalist and evangelist songs from the early 19th-century camp meetings of the Southern white population. Jackson claimed, using hundreds of comparative examples, that many black spirituals were adapted from or inspired by these white spirituals. African musical traditions were apparently amalgamated with the religious songs of the white South, which had many sources, to produce a form of folk music that was distinctly black in character. 3 <br>Collections and arrangements of spirituals have been made by R. Johnson and J. W. Johnson, R. N. Dett, G. L. White, J. A. Lomax and A. Lomax, R. Hayes, and others. See also G. P. Jackson, White Spirituals in the Southern Uplands (1933) and Spiritual Folk-Songs of Early America (1937); G. P. Jackson, White and Negro Spirituals (1943); L. Jones, Blues People (1963); J. Cone, The Spirituals and the Blues (1980). 4 <br> <br>
- Slava Chernov
- Сообщения: 11521
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Нда.... <br>пришел из отпускааааа.... <br>Зря мной стащали... <br>после драки кулаками не машут.... <br>но читать было интересно, правда долго
<br>(извиняйте, тема опять наверх выпрыгнула, надеюсь в последний раз 
Интересно читать, как уважаемые harperы от вопроса о госпеле перешли к религии и нелегкой жизни афроамериканцев,(действуя при ЭТОМ крайне тактично). Все о госпеле (по минимуму) написано в книге "Рок вчера, сегодня, завтра" года где-то 70-72 выхода. Книга очччень (мне ее отец давал почитать, чтобы я посмеялся) интересная в том плане,что в те времена существование любой незапрещенной импортной музыки оправдывалось тем, что это единственный способ сообщить "обездоленным и угнетенным" всего миру о своих проблемах и зашифровать в ней "протест против существующего строя", госпел в том числе. <br>А вообще-то госпел-это когда негры (извините, афроамериканццы), собирались (собираются) по выходным в церкви и просят на распев у Господа всяких благ, не собираясь, в принципе, ничего давать взамен. <br>Очень часто у них это неплохо получается (в смысле мелоди).
