the performance created a sensation and the

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Unformatted text preview: y for that.2 The resistance of the orthodox churches motivated Dorsey. He later recalled, “When I realized how hard some people were fighting the gospel idea, I was determined to carry the banner…I borrowed five dollars and sent out 500 copies of my song, ‘If You See My Savior,’ to churches throughout the country…It was three years before I got a single order. I felt like going back to the blues.”3 1 Bekker, p. 44. 2 Harris, pp. 182- 183 3 Petrie, Phil. “The History of Gospel.” On the website “Black Gospel Music: Presented by Smith/Mciver” The http://afgen.com/gospel.html Accessed 2- 11- 05 3 Despite the resistance of the orthodox churches to gospel music, it continued to flourish. During this decade, two gospel traditions were established that have been retained and that distinguish it from other forms of black music. First was its clear function as liturgical music intended to be performed in the church. Second was the practice of having it performed by members of the church, for even though guest artists might be invited to enhance the performance by singing solos or entire choirs might visit as part of a church- concert tour, the music was primarily created by the members of the congregation. Two distinct forms of gospel groups also emerged: “quartet singing” and “gospel choir singing.” The gospel quartet consisted of four or five male singers dressed in business suits who sang without instrumental accompaniment in a barbershop “harmonizing” style. The singers would enhanc...
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This document was uploaded on 02/16/2014.

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