{[ promptMessage ]}

Bookmark it

{[ promptMessage ]}

Listening example amazing grace by the blackwood

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: invisible churches” were maintained. These musical practices included hand clapping, foot stomping, call- and- response performance, rhythmic complexity, melodic improvisation, heterophonic textures, and percussive accompaniment.10 It was within the services of these churches that gospel music was born. Further differences between spirituals and gospel music can be seen in their structural characteristics. THE STRUCTURAL CHARACTERISTICS OF GOSPEL AND SPIRITUALS Melody, Rhythm, and Harmony Melodies in gospel music incorporate many of the “bent notes” and “blue notes” (lowered thirds and sevenths) associated with the blues. Spirituals, on the other hand, only occasionally use these notes. Gospel music is rhythmically intense, with strong emphasis on the second and fourth beats (the beats that tend to be de- emphasized and considered ‘weak’ in European- based music). Often the rhythm is further characterized by syncopation and enhanced by percussion instruments and by the playing of other instruments in a percussive manner. Spirituals, on the other hand, are often in a free, rhapsodic rhythm or, in their concert versions, in a style more closely associated with the non- syncopated and metrical rhythm of European classical music. Texture, Instrumentation, and Form Gospel songs are sung in a homophonic texture, with a great deal of emphasis on call- and- response performance style. The early spirituals, on the other hand, were sung in a monophonic or heterophonic texture and in a direct performance style. Concert versions of spiritu...
View Full Document

{[ snackBarMessage ]}

Ask a homework question - tutors are online