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A taxonomy of musical gesture in African American gospel music

Published online by Cambridge University Press:  03 February 2010

Andrew Legg
Andrew Legg
Affiliation:
Private Bag 63, Hobart, Tasmania 7001, Australia E-mail: [email protected]
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Abstract

African American gospel music seems without obvious parallel as a musical and social phenomenon of the twentieth century. It is a powerful musical and ‘spiritual’ expression that is to a larger extent defined by the musical style, vocal techniques and performance practices of one of its central figures: the gospel singer. Although these originally African American gospel vocal techniques and practices have now also significantly influenced the development of contemporary popular music and the broader gospel vocal style, the specific terminology used to describe them lacks precise definition, and also highlights the failure of conventional notation in successfully capturing or representing them.

This article seeks then to firstly define and annotate some of the key descriptive terms commonly applied to African American gospel singing techniques in order that greater consistency and clarity can be achieved in relation to their usage within contemporary popular music research. Secondly, it will also introduce an analytical notational system, accompanied by a series of annotated musical transcriptions, that forms the basis of the author's taxonomy of musical gesture for African American gospel music, and which may provide a framework for comparative analytical research within the field of gospel-inspired contemporary popular music.

Type
Articles
Information
Popular Music , Volume 29 , Issue 1 , January 2010 , pp. 103 - 129
Copyright
Copyright © Cambridge University Press 2010

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References

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Afro-American Spirituals, Work Song, and Ballads. Various artists, The Library of Congress Archive of Folk Culture/Rounder Records, CD 1510. CD, 1998Google Scholar
Franklin, Aretha, ‘Amazing Grace’, R2 75627, 1999Google Scholar
Franklin, Aretha, Amazing Grace. Atlantic, 2-906-2. Vinyl recording, 1972. Re-issue, Atlantic/Rhino,. R2 75627. CD, 1999Google Scholar
Houston, Cissy, ‘Stop’, 51416-1312-2, 1997Google Scholar
Fountain, Clarence, ‘Something's Got a Hold of Me’, SCD-88030-2, 1996Google Scholar
Fountain, Clarence, ‘When I Come to the End of My Journey’, SCD-88030-2, 1996Google Scholar
Houston, Cissy, He Leadeth Me. House of Blues/Platinum entertainment, 51416-1312-2. CD, 1997Google Scholar
Reed, Dora, Reed, Henry and Hall, Vera, ‘Trouble So Hard’, 1510, 1998Google Scholar
Love Coates, Dorothy, ‘Trouble’, LC 5762, 1993Google Scholar
Williams, Ernest, ‘Ain't No More Cane’, CD 1510, 1998Google Scholar
Hammond, Fred, ‘My Heart is For You’, 82876-86952-9, 2006Google Scholar
Hammond, Fred, ‘God is a Good God’, 01241-43197-9, 2003Google Scholar
Fred Hammond and Radical For Christ, Speak Those Things: POL Chapter III – Live in Chicago. Verity/Zomba, 01241-43197-9. DVD, 2003Google Scholar
Fred Hammond and Radical For Christ, Free To Worship: Live at the Potter's House. Verity/Zomba, 82876-86952-9. DVD, 2006Google Scholar
Mass Choir, Georgia, I Owe You The Praise. Savoy Records, SCD 7129 DIDX 70627. CD, 2002Google Scholar
Georgia State Mass Choir, ‘Joy’, SCD 7129 DIX 70627, 2002Google Scholar
Quartet, Golden Gate, Gospels and Spirituals: The Gold Collection. Dejave/Retro, R2CD-70-07/1. CD, 1998Google Scholar
Hezekiah Walker and the Love Fellowship Choir, Live In New York By Any Means. Verity/Zomba, 01241-43062-2. CD, 1995Google Scholar
Hezekiah Walker and the Love Fellowship Choir, 20/85 The Experience. Verity, 82876-62829-2. CD, 2005Google Scholar
Cleveland, James, James Cleveland Sings with the World's Best Choirs. Savoy Records, SCD 7059 DIDX 26982. CD, 1980Google Scholar
Cleveland, James, Great Day: The Very Best of the Reverend James Cleveland. Collectables Records, COL 6102. CD, 1998Google Scholar
Cleveland, James, ‘Just a Sinner’, COL 6102, 1998Google Scholar
Cleveland, James, ‘Peace Be Still’, SCD 7059 DIDX 26982, 1980Google Scholar
Moore, James, ‘Let us Go Back to Church’, MCCD 093, 1992Google Scholar
Jubilee 4, Greatest Spirituals. Quicksilver Records, QSCD-1026. CD and DVDGoogle Scholar
Brown, Kirvy, ‘Lord Do It’, 82876-62829-2, 2005Google Scholar
Franklin, Kirk, God's Property: From Kirk Franklin's Nu Nation. B-Rite Music/Fo Yo Soul, INTD-90093. CD, 1997Google Scholar
Franklin, Kirk, ‘It's Rainin’, INTD-90093, 1997Google Scholar
Collins, Lanelle, ‘Work that Thang Out’, 51416-5240-2, 1996Google Scholar
Jackson, Mahalia, Gospels and Spirituals. Dejavu Retro, R2CD-40-39/1. CD, 2001Google Scholar
Jackson, Mahalia, ‘The Upper Room’, R2CD-40-39/1, 2001Google Scholar
Jackson, Mahalia, ‘The Upper Room’, R2CD-40-39/1, 2001Google Scholar
Williams, Marion, ‘Nobody Knows, Nobody Cares’, LC 5762, 1993Google Scholar
Williams, Marion, ‘Shall These Cheeks go Dry’, LC 5762, 1993Google Scholar
National Baptist Convention Mass Choir, Let's Go To Church. CGI Records, 51416-5240-2. CD, 1996Google Scholar
Porter, Paul, ‘I'm Blessed’, 51416-5240-2, 1996Google Scholar
Rejoice: A Celebration of Classic Gospel Music. Music Collection International, MCCD 093. CD, 1992Google Scholar
Singers, Roberta Martin, The Best of the Roberta Martin Singers. Savoy Records, SCD7018 70577. CD, 1990Google Scholar
Sounds of Blackness, Africa to America; the Journey of the Drum. A&M/Perspective Records, 549 009 2. CD, 1994Google Scholar
The Great Gospel Women. Various artists, Shanachie Records, LC 5762. CD, 1993Google Scholar
The Original Five Blind Boys of Alabama, The Sermon. Specialty Records, SPCD-7041-2. CD, 1993Google Scholar
The Original Five Blind Boys of Alabama, City in the Sky. Stax, SCD-88030-2. CD, 1996Google Scholar