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Black gospel music, often called gospel music or gospel, is the traditional music of the Black diaspora in the United States.It is rooted in the conversion of enslaved Africans to Christianity, both during and after the trans-atlantic slave trade, starting with work songs sung in the fields and, later, with religious songs sung in various church settings, later classified as Negro Spirituals ...
Traditional black gospel [1] is music that is written to express either personal or a communal belief regarding African American Christian life, as well as (in terms of the varying music styles) to give a Christian alternative to mainstream secular music. It is a form of Christian music and a subgenre of black gospel music.
The Two Gospel Keys recorded "You've Got to Move", which was released on a 78-rpm record in 1948. [1] Emma Daniels (vocals and guitar) and Mother Sally Jones (vocals and tambourine) comprised the gospel music duo. [2]
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 is characterized by dominant vocals and strong use of harmony with Christian lyrics. Gospel music can be traced to the early 17th century. [1]
Black gospel music traces its roots back to slavery when enslaved people sang call-and-response songs such as “Roll, Jordan, Roll” and “Swing Low, Sweet Chariot.” These early folk songs ...
The song was first recorded by the Fisk University jubilee quartet in 1920 (published by Columbia in 1922), and there are at least 14 black gospel recordings before World War II. [3] Because of its pacifistic imagery, "Down by the Riverside" has also been used as an anti-war protest song, especially during the Vietnam War. [1]
The lyrics also show a trend toward those more commonly associated with "Children, Go Where I Send Thee." For instance, the line "Two, two, the lily-white boys clothed all in green" in Grainger's recording has become "One was the little white babe all dressed in blue" in the Bellwood Prison Camp recording.
The Norfolk Jubilee Quartet's version was the 35th "race record" (records produced by racial minorities) by Paramount Records, and it was a commercial success. [8] The Selah Jubilee Singers produced a recording of the song in 1942 in a style consistent with their earlier barbershop-style songs; they moved to the jubilee style and the 1942 ...