• Blackwell, Lois. The Wings of a Dove: The Story of Gospel Music in America. Norfolk: Donning, 1978. (English)
• Boyer, Horace Clarence, How Sweet the Sound: The Golden Age of Gospel Elliott and Clark, 1995, (English) ISBN 0-252-06877-7.
• Broughton, V. Too Close To Heaven - The Illustrated History Of Gospel Music, Midnight Books, 1996, (English) ISBN 1-900516-00-4
• Albert E Brumley & Sons, The Best of Albert E Brumley, Gospel Songs, 1966, (English) ISBN na-paperback Amazing Grace
• Clearall, Charles. Sixty Songs From Sankey. London: Marshall, Morgan and Scott, Ltd., 1960. (English)
• Darden, Robert People Get Ready: A New History of Black Gospel Music Continuum International Publishing Group, 2005, (English) ISBN 0-8264-1752-3.
• Downey, James C. The Gospel Hymn 1875-1930. University of Southern Mississippi, MA, 1963. (English)
• Eskew, Harry. "Gospel Music, I" in The New Grove Dictionary of Music and Musicians(1980), (English) VII, 549-554. (English)
• Goff, James R. "The Rise of Southern Gospel Music" Church History, v. 67, no. 4, Dec. 1998, pp. 722ff (English) (English) .
• Hanson, Kenneth The Hymnody and Hymnals of the Restoration Movement. Butler University, BD, 1951. (English)
• Heilbut, Tony The Gospel Sound: Good News and Bad Times Limelight Editions, 1997, (English) ISBN 0-87910-034-6.
• McNeil, W. K., Ed. Encyclopedia of American Gospel Music. Routledge, 2005. (English) ISBN 0-415-94179-2.
• Stevenson, Arthur L. The Story of Southern Hymnology. Roanoke, VA: Stone Printing and Manufacturing, 1931.
• Zolten, Jerry Great God A" Mighty!:The Dixie Hummingbirds - Celebrating The Rise Of Soul Gospel Music, Oxford University Press, 2003, (English) ISBN 0-19-515272-7.

Notes

Links

Professional organizations

• - All forms and varieties of the gospel genre
• - The main source of information on Southern (Black) Gospel
• - Source of information on Southern (Black) Gospel
• - Urban contemporary gospel (modern urban gospel; white gospel)
• - Gospel genre news

External media

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Passage characterizing Gospel

“I saw in a dream that I was walking in the dark, and suddenly surrounded by dogs, but I walked without fear; suddenly one small one grabbed me by the left thigh with its teeth and did not let go. I began to crush it with my hands. And as soon as I tore it off, another, even larger one, began to gnaw at me. I began to lift it and the more I lifted it, the larger and heavier it became. And suddenly brother A. comes and, taking me by the arm, took me with him and led me to a building, to enter which I had to walk along a narrow board. I stepped on it and the board bent and fell, and I began to climb onto the fence, which I could barely reach with my hands. After much effort, I dragged my body so that my legs hung on one side and my torso on the other side. I looked around and saw that Brother A. was standing on the fence and pointing out to me a large alley and a garden, and in the garden there was a large and beautiful building. I woke up. Lord, Great Architect of Nature! help me tear away from myself the dogs - my passions and the last of them, which combines in itself the forces of all the previous ones, and help me enter that temple of virtue, which I achieved in a dream.”
“December 7th.
“I had a dream that Joseph Alekseevich was sitting in my house, I was very happy, and I wanted to treat him. It’s as if I’m chatting incessantly with strangers and suddenly I remember that he can’t like this, and I want to approach him and hug him. But as soon as I approached, I see that his face has changed, it has become youthful, and he is quietly telling me something from the teachings of the Order, so quietly that I cannot hear. Then it was as if we all left the room, and something strange happened. We sat or lay on the floor. He told me something. But I seemed to want to show him my sensitivity and, without listening to his speech, I began to imagine the state of my inner man and the mercy of God that had overshadowed me. And tears appeared in my eyes, and I was glad that he noticed it. But he looked at me with annoyance and jumped up, stopping his conversation. I became afraid and asked if what was said applied to me; but he didn’t answer anything, showed me a gentle look, and then we suddenly found ourselves in my bedroom, where there is a double bed. He lay down on the edge of it, and I seemed to be burning with a desire to caress him and lie down right there. And he seemed to ask me: “Tell me the truth, what is your main passion?” Did you recognize him? I think you already recognize him." Confused by this question, I answered that laziness was my main passion. He shook his head in disbelief. And I, even more embarrassed, answered that, although I live with my wife, on his advice, but not as my wife’s husband. To this he objected that he should not deprive his wife of his affection, and made me feel that this was my duty. But I answered that I was ashamed of this, and suddenly everything disappeared. And I woke up, and found in my thoughts the text of the Holy Scripture: There is light in man, and the light shines in the darkness, and the darkness does not embrace it. Joseph Alekseevich’s face was youthful and bright. On this day I received a letter from a benefactor in which he writes about the duties of marriage.”
“December 9th.
“I had a dream from which I woke up with my heart fluttering. I saw that I was in Moscow, in my house, in a large sofa room, and Joseph Alekseevich was coming out of the living room. It was as if I immediately found out that the process of rebirth had already taken place with him, and I rushed to meet him. I seem to kiss him and his hands, and he says: “Did you notice that my face is different?” I looked at him, continuing to hold him in my arms, and it was as if I saw that his face was young, but there was only a hair on his head. no, and the features are completely different. And it’s as if I were saying to him: “I would recognize you if I happened to meet you,” and meanwhile I think: “Did I tell the truth?” And suddenly I see that he is lying like a dead corpse; then he gradually came to his senses and entered with me into a large office, holding a large book, written on Alexandrian sheets. And it’s as if I’m saying: “I wrote this.” And he answered me by bowing his head. I opened the book, and in this book there was beautiful drawing on all the pages. And I seem to know that these paintings represent the love affairs of the soul with its lover. And on the pages I seem to see a beautiful image of a girl in transparent clothes and with a transparent body, flying towards the clouds. And as if I knew that this girl is nothing more than an image of the Song of Songs. And it’s as if, looking at these drawings, I feel that what I’m doing is bad, and I can’t tear myself away from them. God help me! My God, if this abandonment of me by You is Your action, then Thy will be done; but if I myself caused this, then teach me what to do. I will perish from my depravity if You forsake me completely.”

The Rostovs' financial affairs did not improve during the two years they spent in the village.
Despite the fact that Nikolai Rostov, firmly adhering to his intention, continued to serve darkly in a remote regiment, spending relatively little money, the course of life in Otradnoye was such, and especially Mitenka conducted business in such a way that the debts grew uncontrollably every year. The only help that obviously seemed to the old count was service, and he came to St. Petersburg to look for places; look for places and at the same time, as he said, in last time amuse the girls.
Soon after the Rostovs arrived in St. Petersburg, Berg proposed to Vera, and his proposal was accepted.
Despite the fact that in Moscow the Rostovs belonged to high society, without knowing it and without thinking about what society they belonged to, in St. Petersburg their society was mixed and uncertain. In St. Petersburg they were provincials, to whom the very people whom the Rostovs fed in Moscow, without asking them to what society they belonged, did not descend.
The Rostovs lived in St. Petersburg as hospitably as in Moscow, and at their dinners a wide variety of people gathered: neighbors in Otradnoye, old poor landowners with their daughters and the maid of honor Peronskaya, Pierre Bezukhov and the son of the district postmaster, who served in St. Petersburg. Of the men, Boris, Pierre, whom the old count, having met on the street, dragged to his place, and Berg, who spent whole days with the Rostovs and showed the elder Countess Vera such attention as a young man can give, very soon became household people in the Rostovs’ house in St. Petersburg. intending to make an offer.

Voca-Beat vocal school tells you about the Gospel music genre.

Take vocal lessons at the Voca-Beat vocal school and you will plunge into the endless world of the art of self-expression through singing.

The word Gospel literally translates from Old English as “Good News.” This style is especially close to spirituals, as it developed from it, as well as a combination of psalms borrowed from Protestants and traditional African songs. However, gospel music is more emotional; It is characterized by the construction of a song according to the “Question-Answer” principle,

Free improvisation, singing repeated several times in a row, swing. Performers can switch to falsetto, dance, and use syncopation.

The expressiveness and emotionality of gospel music is explained by the fact that the Holy Spirit seems to inhabit the performers in order to speak to the people through them. Glossolalia - mumbling and sudden shouts incomprehensible to the people - imitate the ability to speak other languages ​​​​unknown to earthly inhabitants, this is a gift from above. In addition, all listeners participate in the chants. All this gives rise to a feeling of obsession, ecstasy.

Gospel music originated in the Methodist churches of South America, and is generally divided into white and black.

White gospel appeared before black gospel, at the end of the nineteenth century. Then it was purely religious music, a combination of folk motifs and traditional Christian hymns. Already at the beginning of the twentieth century, gospel music became part of the music industry and entered the big stage. At the origins of the genre, one can recall the Carter Family group: their recordings were popular in the twenties and thirties of the last century.

Around the same time, the genre of black, Negro gospel music emerged. He came out Christian churches to the masses thanks to Mahalia Jackson, the queen of black gospel. She was inducted into the Rock and Roll Hall of Fame as a singer who became a kind of “forerunner” of rock. The years when Mahalia Jackson collaborated with Thomas Dorsey are considered to be the “Golden Era of Gospel.” It was at this time that the style became secular and went beyond religion.

Before World War II, large gospel choirs were popular. Such groups included up to 150 participants. After the war, choirs turned into quartets, and men's choirs were especially popular. Music has become commercial. The most popular gospel quartet of the time was the Soul Stirrers. They were the first to use only a guitar as accompaniment. The influence of the Soul Stirrers influenced the male rock and pop bands of the sixties, as well as the soul style.

James Cleveland has been called the "Louis Armstrong of gospel music." In the fifties, working as a vocalist, producer and composer, he did much to popularize the gospel genre, and in 1968 he opened the Gospel Music Workshop. The same gospel music is known thanks to many other performers.

Gospel became the basis for the formation of such genres as jazz, rhythm and blues, soul and funk.

In popular music, gospel music was also performed by such artists as Ray Charles, Elvis Presley, Little Richard, and Johnny Cash.

Sources:

“Gospel, soul, funk” (N. Sosnovsky), Zabriskie Rider magazine No. 18.