During the last half of the century this style

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Unformatted text preview: ions of their African American counterparts. Often these poor whites could relate to the poverty and desire for a better life expressed in black spirituals, hymns, and gospel music. As a consequence, these rural white churches developed their own version of gospel music, referred to as “white gospel” or “Southern gospel.” Many white country musicians and early rock ‘n’ roll musicians were raised in white gospel music. Since white rural Baptists and Pentacostalists viewed much of the non- church music as “the devil’s music,” many white country boys and girls had to depend on the church as their means to learn music. By the 1930s, white quartets and choirs were touring white church halls and performing for radio stations their versions of black gospel. Prominent white musicians such as Hank Williams, The Carter Family, Boz Scaggs, Tennessee Ernie Ford, Elvis Presley, and Jerry Lee Lewis all have performed and recorded white gospel. Today, southern or “white” gospel is a fully developed sub- genre within country music, with its own charts to track the progress of recordings and its own award ceremonies. 8 STRUCTURAL CHARACTERISTICS Click here for Listening Example or copy the following URL into a new browser window: http://www.rhapsody.com/members/0yr6v2/playlists/mp.173747014. Distinguishing Gospel from Spirituals One of the first questions many people ask about gospel music is, how is it different from spirituals? Although both are forms of religious music, they emerged at different times and out of different so...
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This document was uploaded on 02/16/2014.

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