African American Music
By 1945, nearly everyone in the African American community had heard gospel music (2). At this time, gospel music was a sacred folk music with origins in field hollers, work songs, slave songs, Baptist lining hymns, and Negro spirituals. These songs that influenced gospel music were adapted and reworked into expressions of praise and thanks of the community. Although the harmonies were similar to those of the blues or hymns in that they shared the same simplicity, the rhythm was much different. The rhythms often times had the music with its unique accents, the speech, walk, and laughter which brought along with it synchronized movements. (2) The gospel piano style was based on the rhythm section concept, where the middle of the piano was used to support the singers. This area supported the singers by doubling the vocal line in harmony. The bottom, left corner of the piano was used as a bass fiddle while the upper right hand portion played the counter melodies, taking the place of a trumpet or flute. It was the right hand corner that filled in the material during the rhythmic breaks. Often times the text of the gospel songs portrayed meanings of the Trinity, blessings, thanks and lamentations. The singers used the voices to com
In 1933, Mahalia was given the opportunity to return to New Orleans and visit her family. When attending a tent show back home in Greenville, she met the acquaintance of an eight-year-old boy named John Sellers. She was very impressed with his talents and they two remained friends. John would often stop by randomly to visit Mahalia and he turned toward Mahalia as a role model. Living with his Aunt Carrie, John got kicked out of the house over a disagreement and moved in with Mahalia was said that her home was his home. An opportunity knocked on Mahalia's door when he was offered a job working for a family in a small South Side apartment. (5)This family, the MacIvers, employed John and gave him his own apartment and five dollars a week. Still staying in touch with Mahalia, John attended church with her one Sunday afternoon and joined her in singing. John Sellers quickly became known as "Brother John" in the church circle and his relationship with Mahalia began to slip away. (3) In 1957, Mahalia had saved enough money to purchase of home of her very own. She bought a single level house with a small garage in Indiana Avenue, which was mostly a white neighborhood in the South Side of Chicago. Unfortunately with her choice of locations, Mahalia faced severe discrimination once again. An unidentified person fired air-rifle pellets into her front window. This was only once incident in the rising tide of racism. (1) When Mahalia was just a small child, everyone that knew her agreed that she possessed something special. At eight years old, she had an uncommonly large voice. Using her talented voice both in and outside of church, she gained much praise. She of acquired a rich range spirituals and hymns. (5)Living in New Orleans, music was all around her and the city was filled with performing bands, pianists and various other types of musicians. It was almost as if everyone in the city of New Orleans knew how to play a musical instrument or sing a song. The new music was being produced for and by blacks. It because a tradition to hire brass bands to lead the funeral parade. This is only one small example of the good time spirit of the city. To them, they cried at the incoming of child and rejoiced at the outgoing. Death was something that was celebrated, not feared. This type of music played after burying the dead was called Second Line music. People would line the curbs and the returning band and dancing crowd often times attracted many fans. Despite the fact that someone had died, people were always happy. (1) The music meant something to them. It was the music of their souls and it was part of the New Orleans people and they way they did things. (3) African American gospel music was a twentieth century phenomenon which evolved through the people that moved from rural communities to urban centers in cities. They left their areas of limited promise and social and economic terror in hopes of starting over. (4) Gospel was s style of repertoire and singing. The music was delivered as a high powered spiritual force. The emphasis was placed on the vocal rhythms. Gospel music combined call and response forms, with slow-metered , lined out protestant hymns. Mahalia had gained an acquaintance, Martin Luther King, from when she supported the efforts in Montgomery. Mahalia loved to listen to what King had to say and saw her voice as a weapon for change. In May 1957, Mahalia sang at the Christian Leadership Conference held at Lincoln Memorial in Washington D.C. The time for compromise was over. In May 1954, the Supreme Court decided to act on the case known as Brown et al. V. United States, dealing with the reconsideration of the Fourteenth Amendment. For the first time in history, segregation was declared unequal, unfair and undemocratic. The community would no longer face "separate but equal" facilities. Progression was underway, or so it seemed. Race relations collapsed in Birmingham. The three principal black leaders, King, Shuttlesw
Some common words found in the essay are:
Aunt Duke, African American, Mahalia Jackson, Baptist Church, Crown Theater, Cadillac Mahalia, George Avakian, Apollo Records, Bess Berman, Smith Smith, mahalia jackson, gospel music, gospel songs, 1 mahalia, baptist church, call response, martin luther, mahalia moved, martin luther king, luther king, 3 mahalia, mahalia believed people, african american gospel,
Approximate Word count = 6184
Approximate Pages = 25 (250 words per page double spaced)
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