APPROVAL SHEET Title of Thesis: Black Gospel Music Styles, 1942- 1975: Analysis and Implications for Music Education Name of Candidate: Barbara Wesley Baker Doctor of Philosophy, /f) 1978 Thesis and Abstract Approved: -· Date Approved : Roger J Professar" o Mus·c Education Music a nd Secondary Education ABSTRACT Title of Disserta tion: Black Gospel Music Styles, 1942-1975: Analysis a nd Implications for Music Education Barbara Wesley Baker, Do c tor of Philosophy, 1978 Dissertation directed by: Dr. Roger Folstrom, Professor and Chairman, Music Education Music and Secondary Education Departments Purpose a nd Significan ce of the Study The purpose of this dissertation is to determine styles and style changes that h ave occurred in Black gos pel music since 1942, and to do cument those changes with representative cassette recordings . Im­ plications of those changes are presented for secondary music education and for prospective music teacher training. This study should provide a significant a ddition to the field of music, and to Black music, be­ cause of the creation of an analysis model that provides the framework for analysis of styles in Black gospel music. This study also provides acces s to another musi ca l resource for use in the secondary school music classroom by linking the a nalysis of Black gospel to the practical, edu­ ca tive uses of Black gospel music. Procedures A model for stylistic analysis was developed and validated by a jury of experts. Ten artists and groups were selected using the fol­ lowing criteria. (1) They must be Black singers of Black gospel music. (2) They must have a prototypical style . (3) They must have a unique or distinctive characteristic. (4) They must be product iv e . (5) They must have recorded Black gospel music between 1942 and 1975. Fifty­ s even r e cordings of the ten artists sele cted we re collected and analyz­ ed using the model. Results were labeled and generalizations about the style periods and changes were made. I mplications of the research con­ cerning the addition of gospel music to the secondary school and college music curricul were also included. Findings There were four major style periods discovered. These periods were : (1) 1942-1950, (2) 1951-1958, (3) 1960-1968, and (4) 1969-1975 . In Period I, there were few varieties of vocal combinations but many vocal deviced used . The blues vocal style predominated. The piano, organ, and guitar were used in instrumental ens embles. A cappella group s were observed. Single level dynamics predominated. Fast tempos were common. Syllabic melodic rhythms occurred most frequently . Re­ cordings conlained traditional blues and diatonic chord progressions. Textures were primarily monophonic. Two-part song forms were observed . Modulations were not present in recordings of this period. There were two subdivisions of style in this period. First, the Folk Gospel Style was characterized by singers who sang unaccompanied or with solo guitar. Second, the Urbane Style was characterized by suave, polished performances always accompanied by a piano or organ, and sometimes an amplified guitar. The recordings in Period II contain ed mor e vocal devices than in Period I. Responsorial vocal style was most common. Drums were added t o the piano, organ, and guitar instrumental ensemble. Instru­ mental devices increased. Textures were either homophonic or contrast­ ing sections. Three-part song forms and traditional diatonic progres- sions occurred most often. Modulations were not observed. In Period III, choral ( g roup) singing overshadowed all of the other performing forces.. Responsorial vocal style predominated. Polar­ ized piano style (low, deep bass notes with high, treble chords) and syncopated chordal piano style were observed most frequently. Tempos were slower and there were a few modulations. Chord progressions tend­ ed to be transitional diatonic. Two-part song forms predominated. In Period IV, the number of vocal combinations and vocal de- vices decreased. String, brass, and woodwind instruments were detected. Tempos were slightly faster than in Period III. Three- part song forms were most common. Dynamic levels were graduated and extra-musical ele­ ments such as congregational responses increased. Conclusions The f ollowing conclusions were made as a result of the study. 1. There were style p e riodsand significant style changes that occurred in Black gospel music from 1942-1975. 2. These styles evolved as a result of the unique talents of a performer, composer or conductor; the change in function of the piano; the addition of instruments to the accompanying ensemble; or changes in the performing forces. 3. Gospel music can and should be taught in the secondary school music curricula and in college music methods classes. 4 . Mor e research needs to be conducted to determine the state of gospel music before 1942 and after 1975. 5. The results of this study should contribute to the identi­ fication, classification, and understanding of future styles in Black gospel music. €)Copyright Barbara Wesley Baker 1978 BLACK GOSPEL MUSIC STYLES, 1942-1975: ANALYSIS AND IMPLICATIONS FOR MUSIC EDUCATION by Barbara Wesley Baker Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements for the degree of Doctor of Philosophy 1978 This dissertation was not microfilmed. Cassette available on request. /I DEDICATION This dissertation is dedicated to my parents, Rev. and Mrs. John Roland Wesley, Sr., and to my husband, Isaiah Baker. ii ACKNOWLEDGMENTS I wish to thank the American Association of University Women for their financial assistance in the completion of this dissertation. I extend my sincerest appreciation for the guidance and supervision that Dr. Shelley G. Davis, Dr. Dominique-Renl de Lerma, Dr. Roger J. Folstrom, Dr. Robert Risinger, Dr. Paul Traver, Dr. Eugene Troth, and Dr. Bruce Wilson gave to this dissertation. A special word of thanks is also ex­ tended to Dr. Horace Clarence Boyer and Dr. Bert Konowitz for their helpful suggestions. During the course of the four years spent completing this dis­ sertation, a number of individuals contributed spiritually, physically, and financially to my work. My warmest thanks to all of them, and especially to: Dr. Jodellano J. Statom, Dr. and Mrs. Claude Driskell, Mr. 1homas A. Dorsey, Mrs. Gertrude R. Cooper, Dr. George J. Funaro, Mr. Wayne Shirley, Mr. Roland Grayson, Mrs. Dorothy Zeiset, Mr. James Smart, Mr. Fred Huette, Mrs. Pearl Tubiash, Mrs. Jessie Miller, Dr. Archie Buffkins, Mrs. Ila Myers, Mrs. Brenna Jackson, Miss Robin Miller, and Miss Jan Myers. iii TABLE OF CONTENTS DEDICATION . . ACKNOWLEDGMENT Chapter PART I I. STATEMENT OF THE PROBLEM AND PROCEDURES Introduction to the Study Statement of the Problem Purpose and Significance of the Study Methodology Limitations of the Study Definition of Terms Organization of the Study II. REVIEW OF LITERATURE .. Dissertations and Theses Articles . . . III . DEVELOPMENT OF THE MODEL Introduction Construction of the Model Evaluation and Revision The Second Revision The Final Revision IV. RESULTS OF THE ANALYSIS Introduction ..... . iv ii iii 1 1 10 12 13 15 16 17 19 19 24 29 . 29 34 39 L:6 52 59 59 Criteria for Selection of Artists and Recordings Results of the Analysis PART II V. IMPLICATIONS FOR MUSIC EDUCATION Introduction Historical Background Educational Rationale for Using Black Gospel Music Secondary Vocal Music Secondary General Music Secondary Music Teacher Education VI. SUMMARY AND CONCLUSIONS APPENDIX A 60 64 132 132 133 137 141 144 151 155 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 APPENDIX B Sample Letter to Experts Evaluation Sheets APPENDIX C 166 167 Completed Models APPENDIX D . . . . . . . . . . . ........... 176 Selected Discography BIBLIOGRAPHY V 347 350 LIST OF TABLES 1. Analysis Model: First Revision . 2. Analysis Mod el: Second Revision 3. Analysis Model : Final Revision 4. Vocal Combinations Found in 57 Recordings From 1942-1975 5. Vocal Devices Found in 57 Recordings From 1942-1975 . . . . . . . . . . . . . . . . 6. 7. 8. 9. 10. 11. 12. 13. 14. Vocal Styles Found in 57 Recordings From 1942-1975 Instruments Used in 57 Recordings From 1942-1975 Instrumental Devices Used Recordings From 1942-1975 Instrumental Styles Found Recordings From 1942-1975 Textures Found in 57 Recordings From 1942-1975 Dynamics Found in 57 Recordings From 1942-1975 Tempos Found in 57 Recordings From 1942-1975 Meters Found in 57 Recordings From 1942- 1975 Densities Found in 57 Recordings From 1942-1975 in in . . 15. Melodic Rhythms Found in 57 Recordings From 1942-1975 16. Harmonic Rhythms Found in 57 Recordings From 1942-1975 57 . . . . 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............. ............. vi 47 53 56 66 69 73 75 78 81 83 85 86 88 89 91 92 17. Melodic Contours Found in 57 Recordings From 1942-1975 18. 19. Melodic Motion Found in 57 Recordings From 1942-1975 . Melodic Ranges Found in 57 Recordings From 1942-1975 . ...... ... . . 20. Melodic Tessituras Found in 57 Recordings From 1942-1975 21. Tonalities Found in 57 Recordings From 1942-1975 22 . Modulations Found in 57 . . . . . . . . . . . . . . . . . . . 94 95 96 97 99 Recordings From 1942-1975 ..... ..... . . . ..... 100 23. Final Cadences Found in 57 Recordings From 1942-1975 . . . • ...... ....... 101 24. Chord Progressions Found in 57 Recordings From 1942-1975 ................ 103 25. Forms Found in 57 Recordings From 1942-1975 ............ 104 26. Religious Characterizations Found in 57 Recordings From 1942-1975 . . . ... ....... 107 27. Tex tual Interpolations Found in 57 Recordings From 1942-1975 . . . . ............. 110 28. Extra-Musical Elements Found in 57 Recordings From 1942-1975 112 29 . Summary of Period I 120 30. Summary of Period II . 125 31. Summary of Period III . 127 32. Summary of Period IV 131 33. Some Current Trends That Influence General Music Teaching 147 34. List of Recordings Analyzed 174 vii PART I i CHAPTER I STATEMENT OF THE PROBLEM AND PROCEDURES Introduction to the Study Black gospel music is a musical genre that is distinct from all other types of Black religious music. Black gospel differs from Negro spirituals in mood, accompaniment, and known authorship. It is also a different type of sacred music from anthems and hymns, mainly because the improvisation a nd expression of personal emotion that are so much a part of the gospe l song performance are lacking in anthems and hymns. The term "gospel " literally means "good news." Gospel music can be said to express the good news of Jesus Christ's birth, mission, and gift to mankind in song as proclaimed by Psalm 98:1,4. 0 sing unto the Lord a new song; for he hath done marvelous things! His right hand, and his holy arm, hath gotten him the victory. Make a joyful noise unto the Lord, all the earth; break forth into joyous songs and sing praises! 1 Black gospel is the joyful expression of this Biblica l command. Black gospel music is relatively young as compared to other types of sacred music (i.e., Gregorian Chant, the 15th-century Mass, or the 16th­ century Motet). Black gospel evolved as a distinct musical style around the turn of the twentieth century. As with other artistic expressions, the exact da te Black gospel was first sung is unknown a nd probably can 1King James Translation (Revised Standard Version). 2 never be determined with certainty since there are no written accounts of its precise beginning. 1 Furthermore, according to Lawrence W. Levine, there were no cataclysmic demarca tion points in Afro-American history which marked the a bsolute decline of one form of fo lk expression and the rise of another. There were rough watersheds, o f course: .. the large-scale migration of blacks from the country to the city, and from the South to the North. But these ... were cumulative changes spread over an extensive time period and allowing fo r a grad­ ual admixture of various s t yles and influences. 2 Perhaps a significan t watershed associated with the development of Black gospe l music was the schism created by doctrinal a nd liturgical differences between the [Black ] Baptist Church and a group from its fo ld which later evo lved into the Church of God in Christ around the turn of the twentieth century . In Lexing ton, Mississippi, in 1895, a group led by Brother Charles Henry Mason, later ordained a Bishop, broke away from the Black Baptist Church and founded the Church of God, a fundamentalist church that believed in the literal translation of the Bible . 3 These churches were often called "holiness" or "sanctified" because they emphasize living a perfect life free f rom sin . The primary charac­ t eristics which differentiate them from the orthodox Negro church are (1) emphasis upon healing, (2) sanctification resulting in gifts 1Examples of nearly every other style of music can be found pre­ ceding the date usually given as the beginning point. A classic example is that of the term "sonata form." Its use does not appear in the litera­ ture until several decades after the death of three masters of the sonata: Haydn, Mozart, and Beethoven. 2Lawrence W. Levine, Black Culture and Black Consciousness: Afro­ American Folk Thought From Slavery to Freedom (New York: Oxford University Press , 1977), p. 191. 3Mrs. Alberta Roberts Scott, interviewed in Harvey , Illinois, Oc tober 22, 1977. This church name differs from the published accounts of this church name found in The World Book Encyclopedia, Vol. 3 (Chicago: Field Enterprises Educational Corporation, 1965), p. 423, and in George Robinson Ricks, "Some Aspects of the Religious Music of the United States Negro " (Ph.D. dissertation, Northwestern University, 1960), p. 113. Mrs. Scott is the oldest child of Bishop W. M. Roberts, a nd was a n eye witness to much of the early history of the Church of God in Christ. J of prophesy, (J) speaking in unknown tongues and healing powers, (4) shouting and the use of various musical instruments, (5) special services called "tarrying," in which the faithful and the mourners come to pray, testify and sing while waiting for the "Holy Ghost" (who manifests himself in individual behavior including running, shout ing, jumping or rolling on the floor, and speaking in unknown tongues)~ and (6) co~trary to the usual pat~ern, the assum1tion of leadership by women in the form of pastorship of churches. Members of this church also wanted to sing a more "spirited" song.2 Bishop Mason was called to California ~rom Memphis] around 1906 to witness the presence of the Holy Spirit speaking through individuals in unknown tongues, as when t he Holy Spirit had descended on the Apostles, described in t he New Testament, Acts 2 :4 . And they were filled with the Holy Spirit and began to speak in other tongues as the Spirit gave them utterance. Bishop Hason received the "gift " of the Holy Spirit and returned to the Church of God in Memphis, preaching and speaking in unknown tongues. Some ministers a nd members of the church felt this gift to be a n imaginary recreation of the day of Pentecost. Bishop Mason , William Matthew Roberts, Ozra Thurston Jones, E . R. Drivers, and E. M. Page separated from the Church of God over this dispute and renamed their church, the Church of God in Christ. Bishop Mason ordained these men around 1917 and they each went out to establish the Church of God in Christ. Bishop Roberts went to Chicago, Bishop Jones to Philadelphia, Bishop Drivers to California and Bishop Page to Texas. 3 As the church spread, so did Black gospel music. This particular church group was cited by Ricks as the primary influence on 1Ricks, "Some Aspects of the Religious Music," pp. 114-115. 2Horace Clarence Boyer, "Gospel Music Comes of Age : An Overview," Black World, November 1973, p. 46. 3Mrs . Scott, interview. 4 Black gospel music. 1 Black gospel did not appear instantly as an isolated style with­ out antecedents or roots linking it to other types of Black sacred vocal music. The Black precursors of gospel were the Negro spiritual and the "jubilee." The jubilee was a happy song usually performed by a small group of men (four to eight), but sometimes with one female added to the group. The jubilee was generally performed without accompaniment, but on occasion a guitar or small organ was used. 2 Ano ther style of music that influenced the development of Black gospel music was the White revival hymn, sometimes referred to as a camp meeting spiritual or gospel song. These revival hymns were sung in White fundamentalist churches and at huge religious cursades, conducted by evangelists such as Dwight Lyman Moody (1837-1899) and his music director, Ira David Sankey (1840-1908). There is evidence that Black and White gospel songs existed at the same time but developed separate performance practices and styles . 3 Early Black hymn writers, exposed to Negro Spirituals, jubilees, and White revival hymns, developed a repertoire of religious folk hymns. These folk hymns existed primarily in the oral tradition and were spread by itinerant Black evangelists as they traveled to Black f undamentalist churches in the South and to urban centers of the North.4 1Ricks, " Some Aspects of Religious Music," p. 133. 2rbid . , pp . 126-133 . 3william H. Tallmadge, "The Responsorial and Antiphonal Practice in Gospel Song, " Ethnomusicology 12 (May 1968): 235. 4 Horace Clarence Boyer, "The Gospel Song: A Historical and Ana- l y tical Study" (M.A. thesis, University of Rochester, 1964), p. 9. 5 The first Black hymn writer to publish a gospel song was probably the Reverend Charles Albert Tindley, a Methodist minister originally from the south but preaching in Philadelphia. 1 Tindley copyrighted "What Are They Doing In Heaven?" in 1901 . 2 Other Black hymn writers like Lucie E. Campbell were writing gospel songs by 1905. 3 Because Tindley was not an itinerant preacher, he worked in relative isolation from the national Black community . Except for a few hymns published in the Black Baptist Hymnal, his hymns were not widely known outside his region until after World War I. 4 Unfortunately, even though he was probably the first Black gospel song writer to publish a gospel song, Tindley was never formally acknowl edged as the "Father of Black Gospel Music ." According to Ricks, " some Holiness groups used Tindley's songs as a model and began developing a style of religious song characterized by free expression a nd rhythmic instrumenta l accompaniment. 11 5 Mrs. Gertrude Roberts Cooper, daughter of Bishop William Matthew Roberts, recalled this type of song as it was sung during her childhood in Memphis around 1915. It [the gospel music performed at her They were just called " church songs." rhythmic singing . There was a piano, hand-clapping. church] was not termed that. The church was doing this tambourines, but sometimes just A lot of them [gospel songs] are still being used, but not as written. The melodies were frequently changed [then]. The closest thing I can think of to describe it was a "hillbilly" type of song. There 1Boyer, "Gospel Music Comes of Age, " p . 79. 2see Sunday School Publishing Board, Gospel Pearls (Nashville: National Baptist Convention, 1921), p. 69. 3Boyer, "Gospel Music Comes of Age," p. 79. 4Eileen Southern, The Music of Black Americans: A History (New York : W.W. Norton & Company, Jnc., 1971), p. 403. 5Ricks, " Some Aspects of the Religious Music, " p . 133. 6 were two lines, a bridge, and two more lines. You could sing a dozen songs to the same tune. 1 Perhaps the allusion to hillbilly type songs refers to the Whit e gospel song style as an antecedent to 1915 gospel . It is more likely to be a reference to a "country" or rural quality in the music. This aua lity was not exclusively associated with the White gospel style. Folk music of various styles was often characterized by such a description. Thomas Andrew Dorsey (b. 1899), the acknowledged "Father of Black Gospel Music," 2 was exposed to these early gospel songs during his youth. After moving to Chicago in 1917, Dorsey composed blues songs and accompanied blues singers such as Gertrude "Ma" Rainey and Bessie Smith . Dorsey ack­ nowledged Tindley and the blues as major influences on his gospel style. By 1926, Dorsey had begun to compose a new kind of gospel song.3 Employing simple, tuneful melodies that blended "blue" notes (flatted thirds, fifths, and sevenths, though not restricted to these notes), heavily accented rhythms, syncopated phrasings and a sixteen-bar blues form with lively pia no accompaniment, Dorsey's songs became the prototype for Black gospel music. Even Black gospel songs written by other Black writers were often referred to as "Dorsey's. " 4 Thomas Dorsey nurtured, promoted, and 1Mrs. Gertrude Roberts Cooper, interviewed in Chicago, Illinois, March 23, 1975. 2Horace Clarence Boyer, "Thomas A. Dorsey: 'Father of Gospel Music, "' Black World, July 1974, pp. 20- 32. 3Ibid., p. 22 . 4Marshal Stearns, " If .You Want to Go to Heaven, Shout. " High Fidelity, August 1959, p. 92 . 7 institutionalized Black gospel music. 1 It is the Dorsey gospel song of the early 1930's that emerged as the standard t o which all others were com­ pared. Black gospel music was not immediately embraced by the more orthodox and conservative Black churches . These Black ministers and con­ gregations considered the blues quality, the lively rhythmic beat, and the instruments to be sacrilegious. E. Franklin Frazier wrote of this phenomenon: Some of the so-called advanced Negro churches resented these gospel singers and refused to permit them to sing within their churches . 2 Mahalia Jackson, a prominent gospel singer in Chicago during that time, remembered: In those days, the big colored churches didn't want me [to sing in their churches ] and they didn't let me in. I had to make it my business to pack the little basement-hall congregations and store­ front churches and get their respect that way.3 Not until the 1930 (Black) Baptist Convention, that convened in Chicago, was gospel music accepted and endorsed by the Baptist Church. Even then, gospel was looked down upon as a lower-class form.4 Black gospel music was not readily accepted by upper class Blacks in the Black community. Part of the problem lay in the negative 1For a more complete discussion of Thomas Dorsey ' s contributions, see Boyer, "Thomas A. Dorsey: 'Father of Gospel Music,'" cited above, and Alfred Duckett, "An Interview With Thomas A. Dorsey," Black World, July 1974, pp. 4-18. 2E. Franklin Frazier, "The Negro Church and Assimilation," in The Black Church in America, Hart Nelson, Raytha Yokley, Anne Nelson, eds. (New York: Basic Books, Inc., 1971), p. 136. 3Mahalia Jackson, Movin' On Up (New York: Avon Books, 1969), p. 66. 4Ricks, "Some Aspects of the Religious Music," pp. 136-137. 8 associations connected with gospel music. Those negative connotations of unalloyed backwardness were often associated with the South. Robert Anderson, a prominent gospel singer in Chicago during the 1950's and 1960's, described Mahalia Jackson ' s performances as taking "the people back to slavery times. 111 Tony Heilbut added: She was unashamedly Southern, moaning and growling like the down­ home congregations, skipping and strutting like the Sanctified preachers. 2 The people for whom gospel had been performed were overwhelmingly poor, oppressed, unlettered, largely agrarian and only recen tly urbanized. The gospel performer appeared to many to be loud, crude, and completely lacking in sophistication and artistic style . Perhaps these negative associations can be characterized as a perception of primitivism--with all the pejorative meanings that word sometimes connotes and denotes.3 Jazz, ragtime, and blues were initially associated with brothels, low life, the seamy and repugnant. The settings in which these genres were played caused not only the church people , but others as well, to view these secular genres as licentious, illegitimate, immoral, and socially unacceptable. Black gospel, having many of the same style ele­ ments as the blues, has only in the last decade begun to be thought of as a widely acceptable musical genre . One cannot discuss Black gospel music without being mindful of the ugly presence of racism and negrophobia4 lRobert Anderson, quoted in Tony Heilbut, The Gospel Sound (New York: Simon & Schuster, 1971), p. 62. 2Ibid. 3see Russel Ames, The Story of ,American Folk Song (New York : Grossett & Dunlap, 1955), pp. 128-129. 4Defined as a strong fear of Negroes. 9 that did and often still continue to infect American life.l The presence of these attitudes, in addition to ordinary and less virulent forms of parochialism, l ed to large-scale ignorance, neglect, and finally rejection of Black gospel. Black gospel, however, continuously had a small, devoted audience of Blacks and Whites. Black gospel was published by White firms, 2 and it was recorded by such diverse White artists as Guy Lom­ bardo, Red Foley, Elvis Presley, 3 and Tennessee Ernie Ford. Sister Rosetta Tharpe, one of the early Black female soloists, developed a national following as a result of her American tours and recordings in the 1940's. By 1950, Mahalia Jackson's recording of "Move On Up A Little Higher" sold over a million copies--copies bought by Whites as well as Blacks. 4 Mahalia performed on various radio and tele­ vision shows in the 1950 ' s, and she toured Europe in 1958. Clara Ward, her mother, Gertrude, and the Ward Singers gained national prominence by appearing on nationally syndicated television shows as well as touring the Holy Land in the late 1950's.5 By the 1960's, numerous Black groups, quartets, and soloists 1For a detailed discussion of the historical development of racism in the South, see C. Vann Woodward's chapter entitled "Capitulation of Racism, " in The Strange Career of Jim Crow,2nd revised ed. (London: Oxford University Press, 1966), pp. 67-109. 2These publishers include Ira Sankey, Homer Rodeheaver, Stamps­ Baxter and R. E. Winsett. See Horace Boyer, "Gospel Music Cornes of Age," p. 79, and Tony Heilbut, The Gospel Sound, p. 31. 3Heilbut, The Gospel Sound, pp. 29, 31. 4Boyer, "Gospel Music Comes of Age," pp. 83-84. 51bid., p. 84. 10 were performing in the United States and Europe. The audience for Black gospel multiplied. Gospel singers were singing in night clubs in Las Vegas, at the Newport Jazz Festivals, in Broadway musicals, a t colleges and universities. Gospel music was also performed at "Anniversaries" where four to fifteen singers or groups appeared on one concert that was not celebrating any particular occasion. 1 Since the development of the Dorsey gospel song, Black gospe l music has increasingly become an integral part of American culture.2 Black gospel has also had substantial influence on soul, rhythm-and­ blues, rock-and-roll, and other types of popular American music. Horace Clarence Boyer described Black gospel as the "synthesis of all Black vocal music--chant , spirituals, blues, and soul. 11 3 Statement of the Problem This study is designed to: (1) determine whether Black gospel music has changed stylistically from 1942 to 1975; (2) develop a model for the analysis of Black gospel music styles; (3) delineate all major and distinctive styles and style periods from 1942-1975 that may have emerged; and (4) discuss the i mplication of those changes for secondary music education. Despite the few dissertations and articles written about Black gospel music, this genre has seemingly had the least scholarly attention of all the usual categories of Black music (for example, Negro spirituals, 1 rb id. 2see Arnold Shaw, The World of Soul : Black America's Contribution to the Pop Music Scene (New York: Cowles Book Company, Inc., 1970), pp. 237-246 ; and Phyl Garland, The Sound of Soul (Chicago: Henry Regnery Company, 1969). 3Boyer, "Gospel Music Comes of Age, " p . 44. 11 soul, blu es , ragtime, jazz, and art music). An obvious reason for this lack of attention may be related to a concomitant lack of exposure to Black gospel. Other than isolated instances of gospel music produced for commercial consumption, 1 performances of this music have occurred primarily in Black fundamentalist churches in the Black community. Few researchers have undertaken a sustained, objective investigation of Black gospel music. In a time of increased ethnic awareness and cultural pluralism in the United States, music educators are being called upon to teach the music of a ll Americans. 2 However, many music educators have not been trained to use this music in the classroom. There are three major reasons for this lack of training: (1) no standard, systematic, educationally oriented method for the teaching or the analysis of Black gospel music exists; (2) much of the terminology used to discuss this music has required an intuitive understanding of the Black experience in Africa and in America, as well as an understanding of Black aesthetic and cultural values;3 and (3) the educational materials for use in the classroom are 1Performances other than in the Black church service. 2see Warrick L. Carter, "Indigenous American Music : Its Fight for Educational Acceptance," NAJE Educator 4 (February-March 1972): 6-8, 32,39; and Dominique-Rene de Lerma, "Black !Iusic Now!" Music Educators Journal 57 (November 1970) :25-29; Otis D. Simmons, "Reach the Bedrock of Student l nterest," Music Educators Journal 58 (November 1971 ) :38-41; and Robert H. Klotman, "The Supervisor Must Know the Score," Music Educator Journal 56 (October 1970): 125-130. 3Discussed in detail in Pearl Williams Jones, "Afro-American Gospel Music: A Crystallization of the Black Aesthetics," Ethnomusicology 22 September 1975):373-385; Addison Gayle, ed . , The Black Aesthetic (Gar­ den City, N.J.: Doubleday and Company, Inc., 1971); and Paul Joseph Bur­ gett, "Aesthetics and the Music of Black Americans: A Critical Analysis of the Writings of Selected Black ,Authors with Implica tions· for Music Education and Black Music Studies" (Ph.D. dissertation, University of Rochester, 1976). 1 2 severe l y limited. 1 The present study focuses on style and tho se changes t hat have occurred in Black gospel music over a t hirty-three year span and the implications of the changes for secondary school vocal a nd general music, and for the training of prospective secondary school music teachers. Purpose and Significance of the Study Black gospel music has had a major influence on contemporary American popular music . 2 Yet, little is known of gospel's stylistic evolution . The writing of Black music history as well as American music history cannot be deemed comprehensive or complete until Black gospel music is included. This study will supply the foundation for the future writing of the complete artistic history of Black gospel music and advance the knowledge and scholarship of gospel music by documenting the evolution of style periods and stylistic traits within those periods. In addition , it will facilitate access to a musical code by which Black gospel music can be understood and appreciated by student s and teachers of all ethnic backgrounds. This study will be of substantial value to music and to music education, since it provides access to a new, untapped resource for use in the secondary school music classroom by linking the theoretical analysis of gospel music (Part I) to its practica l, educative uses in the classroom 1Marian Tally Brown, "A Resource Manual on the Music of the Southern Fundamentalist Black Church" (Mus. Ed . D. dissertation, Indiana University, 1974), a nd Luvenia ,A . George, Teaching the Music of Six Different Cultures in the Modern Secondary School (West Nyack, N.Y.: Parker Publishing Co . , 1976), pp . 105-109. 2Black gospel music is used on televisi_on in commericals and theme songs, in night clubs, jazz festivals, concert halls, colleges and in churches of various denominations. 13 (Part II) . The research will also provide a unique contribution to twentieth-cent ury American music history because it will document the stylistic history of a previously undocumented musical art form. This research should thus present a significant addition to the fie ld of music study and to Black music through the creation of a model that provides the framework for analysis of style in Black gospel music. Gospel has not been widely used because educational materials on Black gospe l a re limited; no one source provides a theory or method for using Black gospel in secondary and post-secondary music curricula. Consequently, Black gospel music has not been used to its full potential in the classroom. This dissertation facilitates access t o Black gospel music and its history by offering an intellectual tool (analysis model) to help tra nslate the materials from disparate disci­ plines (ethnomusicology, musicology, and music education) into an edu­ cationally oriented methodology for style analysis in Black gospel music. In addition, this study should prove to be a lasting contri­ bution to the field of Black music because of the development of a tool that can be used by scholars in Black gospel music research to ascertain, compare, and synthesize future styles of Black gos pel music . This disser­ t a tion should also prove valuable to American music educational pedagogy by breaking new ground in developing ideas and materials for the field of music education. Methodology This dissertation is divided into two major parts. Part I desc ribes the selection of recordings to be analyzed, the development of the analy- sis model, a nd the analysis of the recordings, thus providing do cumentation 14 of Black gospel music styles. The f ollowing procedures were used. First, selected representative recordings of Black gospel music from 1942 through 1975 were collected. Examples for analysis were sel e cted from the recordings of ten prototypical recording artists; criteria for selection of the specific artists are detailed in Chapter III. General considerations for selection of recordings were: (a) Was the composition written or arranged by a Black composer or performer and recorded by a Black group or soloist? (b) Did the recording artists have a prototypical style that was widely imitated? (c) Was there a unique or distinctive characteristic that is associated with a particular soloist or group? (d) Was th e artist or group highly productive over a ten-yea r span ? Finally, (e) were the records available to the researcher? The maximum number of recordings analyzed per group or artist was limited to six. Sources for these recordings included the Library of Congress, the New York Public Library, the Philadelphia Free Library, the Detroit Public Library, the McKeldin Library at the University of Maryland, private collection of Mrs. Gertrude Roberts Cooper,l as well as other private collections in Chicago , Detroit, New York, Bowling Green, Ohio, · and Washington, D. C. The second step in the procedure was the development of a model for analysis of stylistic elements and style traits. Examples of the analysis model may be seen in Appendix C. Validation of the model com­ ponents was obtained by consulting a jury of identified experts in Black gospel, Black music, ethnomusicology, music education, and musicology. Copies of the components were sent to each expert for critiques and 1Mrs. Cooper owns several hundred Black gospel records, inherited from the library of one of the first Black radio stations during the 1940's in Chicago, Illinois. 15 suggestions . (See Appendix B) In the third step, an analysis of stylistic traits and elements of the collected musical examples was completed . Results of this analysis were labeled and categorized ; generalizations about the findings were made. Similarities and differences of song styles, manner of per­ formance, and stylistic periods were also included. The historical documentation of these styles was recorded on cassette tapes. Representative examples from each period were made. These recordings contain narration that points out specific elements of style for the listener as well as several representative recordings from each period. Part II of the dissertation consists of the implications for mu sic educa tion, s ummary and conclusions. Specifically, the implications for secondary vocal and general music focus on the possibilities of (1) cross- cultural t eaching of Black gospel music in the secondary school; (2) inclusion of Black gospe l music in the secondary school music pro­ gram; and (3) the potential for helping secondary music education majors a t the college level to develop facilities in improvisation (vocal and instrumental), harmony, ear training, analysis, and functional piano. Limitations of the Study It is beyond the scope or purpose of this dissertation to develop a curriculum for the incluston of Black gospel music at any level. How­ ever , its findings will provide a model for style analysis that may be included in such a curriculum at a later date. Production of source materials for a course of study in Black gospel music is not considered to be a primary objective of this 16 di sser t a tion. Any educationa l ma t erials that r esult from this study a r e inte nd ed to support the f indings and implications of this study. No attempt has been made to include all recording artists of Black gos pel music . This study is intended to detect major style periods and changes . Artists who did not meet the criteria for selection have been excluded. Finally, the scope of this study is limited to gospe l music recorded be tween 1942 and 19 75. Of the ten artists selected for this study, the earliest available recording was made in 1942. Consequently, the date for the beginning of the study has been limited to 1942. Definition of Terms I n t he context of this dissertation, Black gospel music, often referred to as " Black gospel, " and " gospel, " is defined as Black religious music written or arranged by Black composers and performers, performed by Black artists (solo or ensemble), accompanied with instruments and / or body percussion; 1 i t allows for free int erpretation of t he vocal and instrumental lines by the performers, employs call-and-response patterns, has harmony, is syncopated, has a strong rhythmic drive, 2 and is performed in a vocal improvisatory style that incorporates the performer ' s natural 1Body percussion includes hand clap2ing 1 foot patting, thigh slapping, and any other percussive sounds ma de with the body . 2Not all gospel songs have this strong rhythmic drive . There is a class of songs described as " free rhythm, " i . e., without a steady pulse . 17 vocal quality. Black gospel music incorporates audience participation through body percussion, textual interpolations, and extra-musical ele­ ments (e.g., shouting). Style is defined as the sum total of identifiable elements (musi­ cal and non-musical) of a musical expression or genre that distinguishes the genre as a specific musical type, distinctive from other related (or non-related) musical types. A style trait is defined as a specific, individual element (musical or non-musical) that is combined with other traits to form a style. These style traits have been isolated and in­ cluded in the analysis model. Analysis model is defined as a systematic procedure designed for use by secondary school music educators and students for discovering meaningful traits of the Black gospel music style. Model headings and components are defined in the Glossary found in Appendix A. Organization of the Study In view of the two-part structure of this dissertation, chapter headings reflect the natural divisions of each part as well as the specific content of each chapter. Chapter II is a review of pertinent literature and provides historical and theoretical antecedents of this study. Chapter III describes the construction, development, and validation of the analysis model. Criteria for the selection of artists and records as well as the results of the application of the model are presented in Chapter IV, thus completing Part I of the dissertation. Part II consists of sectionsthat discuss the broad and specific implications of Part I for music education, with particular em~hasis on secondary school vocal and general music, secondary school music teacher education, and secondary music teaching (Chapter V). A summary and 18 conclusions from the dissertation follows in Chapter VI. In addition to the bibliography, appendices include a glossary of terms (Appendix A), materials related to the development of the analysis model (Appendix B), completed analysis models (Appendix C), and a selected discography (Appen­ dix D) . CHAPTER II REVIEW OF LITERATURE Va luable his t orical persp ec tives a nd ins i ght s we r e gained f rom num ero us sour ces inc luding magaz ine a nd news paper ar tic l es 1 a s well a s gen er a l his t ories of Black music . 2 The lit era tur e most r el evant t o the pres en t study , however, wa s f ound in diss erta tions , thes es, a nd a rtic l es in books a nd s chol a rly journa ls. Consequently , this r evi ew will be divid ed into two sec tions: (1) disser t a tions a nd thes es, a nd (2) a rticles. Dissertations and Theses On e of the firs t dissertations writt en on Black gospel music wa s compl e ted by Geor ge Robinson Ri cks, 3 in 1960. Ricks ' s dissertation described a nd do c um ent ed t he "contemporary gospel style ... i ncluding its historical a nd so cio-cultura l background a nd the r elation of the con­ tempora r y go sp el style to antecedent musical pra ctices in s p i r i tu a l s a nd j ubil ees . 11 4 Using the e thnomusi cologi cal model established by 1cha rles Hobson, "Soul ' s In, But Gosp el ' s Out of Sight , " Tuesday, February 1969, pp. 11 - 12, 29; Thomas A. Dors ey, "Precious Lord, " Decision, Dec ember 1974, pp . 4, 13; "Chicago Sings the Gospel Truth, " Chicago Tribune, 18 April 1976, sec . 6, pp. 2, 3; and "Negro Gosp e l Music Make s Cultura l Heritage Contribution, " Billboard 77 (O c tob er 1965), p. 78 . 2Eileen Southern, Readings i n Black American Music (New York: W.W. Norton & Company, 1971) ; and John Storm Roberts, Black Music of Two Worlds (New York: Praeger Publishers, In c ., 197 2). 3" Some Aspects of t he Religious Music of the United Sta tes Negro " (Ph. D. dissertation , Northwestern University, 1960). 4Ricks, " Some Aspec ts, " prefa ce . 1 9 20 Melville J. Herskovits, Ricks analyzed ten Negro spirituals, ten Black gospel songs, and ten jubilees, in order to establish the observable and measurable characteristics of each type of song. Using the Labora­ tory of Comparative Musicology, Ricks found common elements present in each of the song types. Of particular significance to this dissertation were the elements in the ten gospel songs observed and analyzed. These elements were: (1) syncopation and off-beat phrasing; (2) ornamented melodic devices; (3) overlapping call and response patterns; (4) instru­ mental accompaniment; and (5) improvisation in instrumental and vocal performance . From the perspective of a cultural anthropologist, Ricks's study provided a substantial amount of new information on the history of Black religious music in the United States. As an ethnomusicologist, Ricks's work in establishing the frequency of melodic intervals, types of scales and modes employed, melodic contours, ranges, meters, and other character­ istics was a tour de force for gospel research. It is beyond the scope of this study to conduct such an ethnomusicological study, but Ricks's findings were of value to this study in determining elements to be in­ cluded in an analysis model. Horace Clarence Boyer's master's thesis1 provided a general historical account of the development of the Black gospel song. In Part II of the thesis, Boyer transcribed and analyzed eight recordings2 of Black gospel songs recorded between 1950 and 1962. Theoretical analysis of the texts, melody, harmony, rhythm, and performance l"The Gospel Song: A Historical and Analytical Study" (M.A. thesis, University of Rochester, 1964). 2Printed versions of seven of the songs were included, but no attempt at a formal comparison was made. 21 practices revealed "practices common to most gospel songs."l Among the practices indicated as common to most gospel songs were: (1) no modu- lations; (2) relatively small melodic intervals (seconds and thirds most common); (3) some common altered chords (1~ 1 and \~ ) ; (4) normal root movement; (5) frequent use of non-harmonic tones (accented, unaccented, and syncopated); (6) doubling of the fifth (most frequently), root, and third (less frequently), in vocal accompaniment; (7) syncopated accompa­ niment; and (8) harmonic rhythm varied between one chord per measure, one chord for every two measures, and two chords per measure. Boyer ' s thesis was a signal contribution to the literature and provided accurate theoretical analysis of the actual performance of the gospel style. Boyer ' s notions of common practices in the performance of gospel songs were of particular importance to this author in helping to articulate more clearly the characteristics of the gospel style during the 1950 ' s. Boyer ' s doctoral dissertation also focused on Black gospel music . 2 Based on the premise that the primary source of Black music-- the Black church--must be understood before complete understanding of Black music, secular and sacred, can be achieved, Boyer taped and analyzed fifteen church services in the metropolitan Rochester, New York area. Type and function of the music, congregational response, and participation of the congregation in the entire worship service were analyzed. The types of services were divided into four distinct categories: (1) intellectual, ( 2) conservative, (3) emo t ional, and (4) f undamental. The 1Boyer, "The Gospel Song, " p. 39. 211An Analysis of Black Church Music with Examples Drawn from Services in Rochester, New York" (Ph . D. dissertation, University of Rochester, 1973) . 22 last two categories presented useful information and analysis of the gospel song as it functions in the worship service. Additional insights into the gospel music style and ethnic performance of non-gospel hymns were of particular value to this author. Boyer's description of African retentions in Black fundamentalist church music supported his premise that Black church music is indeed the root from which all other types of Black music sprang. It then follows that, in order to teach a comprehensive course in Black music, some attention must be given to Black church music, especially Black gospel. The tenet that Black gospel music is a type of Black music that must be studied if Black music is to be understood is crucial to the philosophical foundations on which this dissertation is based. One of the first experimental research projects designed to teach the music of the Black fundamentalist church was conducted by Marian Tally Brown. 1 Using 158 Florida Junior College students as subjects, Brown developed and tested a four-week teaching unit on the music of the southern fundamentalist Black church. The study was designed to evaluate the effectiveness of a testing instrument on southern fundamen­ talist Black church music to be used in a junior college humanities course. No significant difference was indicated in a comparison of pre­ and post-test scores for the experimental and control groups. As part of Brown's research, extensive resource materials on teaching t he music and musical materials of the fundamentalist churches were presented. Of particular importance to this dissertation was Brown ' s discussion of African roots and retentions in gospel music from an l 11 A Resource Manual on t he Music of the Southern Fundamentalist Black Church" (Mus . Ed . D. dissertation, Indiana University, 1974). 23 historical, sociological, and cultural perspective. Of added importance was the discussion of elements of the gospel style present in other types of Black music, notably soul, blues, and "pop gospel ." 1 Brown defined gospel as: a composed urban religious style emerging during the twentieth century, showing the influence of such secular types as rhythm-,nd­ blues, blues, and rock-and-roll, jazz, and more recently, soul. Brown discussed the cross-fertilization of gospel and other secular styles and identified five characteristics of the gospel tradition, circa 1950: (1) call and response; (2) gospel clap and various vocal devices; (3) dissolution of melodic lines into rhythmical and melodic motifs; (4) breaks or rests within phrases; and (5) usage of syncopated and ragtime rhythms. 3 In addition to the five characteristics of the gospel style listed above, Brown identified the following characteristics present in soul, blues, and pop gospel recordings: (1) husky, hoarse, throaty vocal timbres; (2) sliding tones; (3) exploitation of instrumental tim­ bres; (4) improvisation of lyrics; (5) melisrnatic phrasing; and (6) usage of falsetto. Brown's research is of particular significance to the present study because it presents a number of characteristics of the gospel style that should be included in a tool for analysis of gospel music. It is also important to this dissertation because it was one of the first 1 Performers in this category presumably are commercial recording artists whose roots are in the fundamentalist musical tradition, but who are not exclusively or necessarily performing the more authentic funda­ mentalist church music. 2Brown, "A Resource Manual," p. 14. 3Ibid., p. 149. 24 scholarly works that focused on the teaching of Black gospel music to college level students, of whom a substantial number (128 of 158) were non-Black. The only book exclus ively about Black gospel music was written by Tony Heilbut, a college English professor. The Gospel Soundl pro­ vided substantial biographical material about Thomas Dorsey, Sallie Martin, Mahalia Jackson, Clara Ward, James Cleveland, Alex Bradford, and other important gospe l performers. In the book, Heilbut commented on the cultural aesthetics of the Black community and on the unique social conditions that i mpacted upon the performers a nd upon their music. Heilbut also provided analysis of several gospel song lyrics. Inter­ spersed between the recounting of hard times and suffering of the artists are Heilbut's comm ents on the gospel style. Heilbut presented a unique commentary on the contemporary history of Black gospel music. Articles In 1970, the report of a research project on teaching African music at the college level concluded that "there is serious need for f 1 . .,2 urther research concerning gospe music. That report also contained a brief article about Afro-American gospel music written by Pear l 3 Williams Jones. While conceding that "definitive information is very 1971). 1 Tony Heilbut, The Gospel Sound (New York: Simon & Schuster, 2 Vada Butcher, Development of Materials for a One Year Course in African Music (Washing ton, D. C.: Dept. of Health, Education, and Welfare, 1970), p. 7. 311 Afro-American Gospel Music: A Brief Historical a nd Ana­ lytical Survey (1930-1970)," in Development of Materials, pp. 199- 219 . 25 scarce because t here has been so little time given to research in, a nd analysis of, gospel music," Jones defined Afro-American gospel music as : a particular body of contemporary black religi ous music which is the sum total of our past and present socio - economic a nd cul tural traditions.l the elements that characterize Afro-American gospe l music, accordi ng to Jones, are: (1) use of texts of poetic imagery; (2) polyrhythms with syncopated accent s ; (3) melod i es based on tradi tional blues scales; (4) European harmonies; a nd (5) free form imporvised cha nt and theme a nd · · t t 2 varia tion s rue ures. Jones lists additional characteristics of "contemporary Afro- American gospe l music " as follows: (1) Black urba n songs tha t can be composed, or can be of folk origin but performed in th e gospel style; (2) ":music of joy; 11 (3) instrumenta l accompaniment; (4) contemporary ha rmony over melismati c , syncopated me lodic lines; (5) varied fo rms ; and (6) texts expressing faith and hope , trials and tribulations in the cont emporary vernacular of Black Americans. 3 Jones dis cuss ed the history of gospe l music, 1930-1970, a nd lab e l ed each decade in terms of the most popular or predomin ant vocal group (e.g. , Th e Sixties: Gospel Choirs), thus indicating, implicitly, that performing gr oup s influenced gospel sty l e. While Jones states unequivo cally that " gospel music has remained fundamentally unchanged, 11 4 her discussion of "stylistic tr ends" in gospe l would seem to imply tha t gospel music has changed. lrbid., p. 201. 2Ibid., p. 202 . 3Ibid. 4Ibid., p. 210. 26 William H. Tallmadge described a style of Black gospel singing in his article, "Dr. Watts and Mahalia Jackson: The Development, Decline 1 f k 1 . A . 111 and Surviva o a Fol Sty e in merica. Tallmadge linked the highly ornamented "lining out" of hymns by Dr. Isaac Watts (1674-1749), sung by Negroes circa 1750, to the style of Black gospel singing labeled by George Pullen Jackson as "surge " singing. 2 The late Mahalia Jackson was perhaps the most famous exponent of surge singing and the style probably exists today in some White and Black fundamentalist churches . Tallmadge distinguished two contemporary musical styles derived from the older lining out practice: (1) secular Black work songs; and (2) con­ temporary Black gospel singing. 3 After a brief history of the lining out practice, Tallmadge described the three-part practice as it occurred in the Black church . First, a rapid chanting ( ''sprechstimme ") in a stereotyped rhythmic pattern was usually sung by a deacon. Next, the tune was then sung by the congregation in the highly ornamented, melismatic style (sur ge ). The humming cho ·rus was added at the end of the surge . 4 Tallmadge concluded that other styles of popular music may have been influenced by the lining out style as sung by Mahalia Jackson , specifically, some rock-and-roll performers. If this conclusion is in fact true, it is yet another instance of Black gos pel's impact on 1Ethnomusicology 5(May 1961): 95-99 . 2 11Lining out began in Scotland early in the 17th century. The clerk read every line before it was sung. " Henry Foote quoted in Tallmadge, p . 95. For more details on surge singing, see George Pullen Jackson, White and Negro Spirituals (Locust Valley, N.Y.: J. J. Augustine, 1943). 3Tallmadge, ' 'Dr. Watts, " p. 98. 4Ibid. 27 American popular music. In a second article on Black music style, 1 Tallmadge described and illustrated three basic response patterns used in both White and Black gospel songs, one antiphonal, 2 the other two responsorial.3 Tallmadge presented several possible origins for the responsorial a nd antiphonal practices in both White and Black gospel songs. He sug­ gested that performance practices in Negro gospel singing were in some ways derived from White practices, but that Negro gospel singing developed in a style that was distinct from the White prototype. 4 Tallmadge a lso stated that: A realization of these two differing but related responsorial prac­ tices [antiphonal and responsorial] as they appear in Negro singing is necessary to any real stylistic evaluation of Negro Music.5 Tallmadge's conclusion supports the premise that much more work in style analysis needs to b e done befo re a c l ear understanding of Black gos pel music can be ~chieved. Tallmadge's research also lends credence to the notion that a closer look at the gospel song may shed light on o ther t ypes of American folk and popular music. In conclusion, certain recurrent themes continue to appear in the literature on Black gospel music. First, researchers and writers 111The Responsorial and Antiphonal Practice in Gospel Song" Ethnomusicology 12 (May 1968): 219-138: 2rwo voices answered by two others in rhythmic imitation. 3one voice (soprano), makes a melodic statement, answered by the remaining three in rhythmic imitation; rhythmic vocal accompani­ ment (ostinato) established by two or three voices throughout the song. The melody is usually in the top voice. 4Tallmadge, "Responsorial," p. 235. 5Ibid. 28 t end to agree tha t cer tain element s are present in Black gos pel music. These e lements are : (1) call-and-response patterns; (2) syncopation; (3) ornamented melodic devi ces ; (4) i nstrumental accompaniment; and (5) vocal and instrumental improvisation that expresses t he personal inter­ pre t atio n of the performer. These elements, however, only provide the larger framework for gos pel song a nalysis. Closer s crutiny of these ele­ ment s in the historical evolution of gospel music could provide o ther charac t eristics tha t bo th typify the gos pel style a nd represent changes in its evolution. Second, each of the modes of a na l ysis , whether historical, theoretical, socio-cultural, experimental, lite r ary, or e thnomusicolog ­ i cal, brought the Black gospel song into c l earer focus. The tota l pic­ ture, however , was not altoge ther clear. None of thes e modes of a naly­ sis was realistically suited for gospel song a na lysis in the secondary s chool music c lass, thus severely limiting the potentials for us e of the gos pe l song in the music cl ass. Third, a ll the modes of analysis have yet to provide the kind of historically objective data tha t enable one to generalize about style periods or stylistic tra its within established style p eriods in the evolution of Black gospel music. This disser tation is intend ed to supply the historical docu­ mentation of style changes in the history of Black go sp e l music, and to develop a system of analysis for gospel music that will be of easy access for both student and teacher in the s econdary music c lassroom. CHAPTER III DEVELOPMENT OF THE MODEL Introduction Bla ck gospel music has in the recent past been thought to have r emained the same--without style periods or stylistic changes--since its beginning around the turn of the twentieth century. This dissertation seeks to examine the validity of this proposition. It is hypothesized in this study that there are style periods and style changes in gospel music, just as there are style periods and style changes in other related genres of Black music (jazz, blues, and popular music). The purpose of this chapter is to explain the development of an analysis model that: (1) could use phonograph recordings to distin­ guish style periods in Black gospel music; (2) would detect incremental changes in styles within style periods, and between style periods; and (3) would be designed for use by secondary school music teachers and students. Before the development of the analysis model was undertaken ' there were two problems faced by the researcher that had to be resolved. The first problem involved making a determination of the scope of the analysis to be conducted. For centuries philosophers, scholars, musicians, theorists, gentlemen, and dilettants have attempted to observe, to dissec t, to 29 30 1 . 1 define, to interpret--to ana yze music. Often these attemp ts resulted in the "ripping of a complex tonal fabric into its irreducible threads."2 These kinds of analyses told "how" a piece of music was put together. The researcher was then able to conduct what one author called a "tour through a composition, pointing out each landmark and its more obvious 3 characteris tics." Admittedly, there was a great deal that could be l earned about the music, its development and its interpretation, that could be explained in historical, musicological, socio-cultural, philosophical, and physiological terms. Any comprehensive explanation would include some of these modes of analysis. However, according to Felix Salzer, theorist and teacher, these types of analysis were only of significant value if a "musical understanding of the music" was also integrated 1 . 4 into the ana ysis . Even the most comprehensive and penetrating analysis of Black gospel music is unlikely to capture all of the subtle and often e lusive aesthetic qualities of this musical style. An understanding of Black gospel music as an art, and as an expression of personal t e stimony is needed. There is "much in art that defies reasoning and 1 For a compendium of historical thought on music since Ptolemy, see Gustave Reese, Fourscore Classics of Music Literature (New York: Bobbs-Merrill Company, Inc . , 1957~; reprint ed. (New York: Da Capo Press, 1959). 2 william Thomson, "The Prob~em ~f Mus~cal Analysis and Univer­ sals," in Source Book III : Perspective in Music Education, ed. Bonnie c. Kowall (Washington, D.C. : Music Educators National Conference , 1966), p. 152. 3 1eopold Mannes, Foreward to Structural Hearing: Tonal Coherence in Music, vol . 1, by Felix Salzer (New York: Dover Publi­ cations, Inc . , 1962). 4 Salzer, Structural Hearing, p. 30. 31 concrete explanation. 111 Yet, this limitation does not preclude a n intellectual inspection of that part of gospel music that can be s crutinized. There are aspects of gospel music that can be investigated. Like most vocal music, gospe l has rhythm, form, me lody, text and har­ mony. The mod e of investigation, however, will determine the "how" of the music (how many, how the song is put together) however, something else is needed to determine the "what" of the music (what the music means, in essence, the interpretation of the results). The und ers tanding of the musical qualities and e lements is the partner of scrupulous a nd thorough analysis because: any analysis of music that does not go beyond the mere act of identification, classifica~ion, and tabulation leaves out the main attraction of the journey. These two parts of the whole form a complete structure that constitutes a unit that is more than the sum of its parts, i.e., a complete Ges talt. The scope of the analysis presented in this dissertation is based on a gestaltist attempt to describe, to analyze, and to interpret the music with an understanding of similarities and differences between the music analyzed and other related musical styles. The second problem to be resolved was the matter of subjectivity of the observer who attempts to analyze gospel music. It is the case that every researcher brings to the analysis a different background, a different perspective, different skills, and varying degrees of knowledge and biases about the medium to be analyzed . It also granted that each 1Ibid, p. 31. 2 Thomson, "The Problem of Musical Analysis," p. 155 . 32 researcher may make some judgments about the music that are different from other researchers. However, it is more likely that the basic elements of the music, no matter what the specific means by which they are arrived at, will be more or less the same elements found by each researcher. With the present analysis of gospel music, the basic elements identified are all publicly verifiable and can be duplicated by other researchers. Subjective judgments have been made in some instances, but these judgments will in on substantial way effect the basic outcome of the results providing t he same recordings are analyzed. The resolution of the problem of subjectivity in analysis raises one other important notion about the present analysis : the use of recordings to determine style. Musicologists throughout history have been handicapped, to an extent, by an inability to actually hear the music from previous centuries, sometimes even music from other decades. They have often relied primarily on the writings and percep­ tions of music critics, newspaper columnists, composers (some knowledge­ able but other not), and writers (often anonymous) of the time which they were researching. Gospel music is a relatively recent genre . Recordings of much of the early gospel music, while not in abundance, are, however, still available. In fact, the person who did more to advance the quality of gospel music than any other person, Thomas A. Dorsey, is still alive. It is unfortunate, however, t hat many of the great perforrnenrs of gospel rnusic--Rosetta Tharpe, Mahalia Jackson, Roberta Martin, Clara Ward, Alex Bradford, and other great singers have passed within the last decade. Each left behind a legacy of gospel music performances captured on 33 phonogr a ph r ecordings. Many of these r ecordings are s till available. Record s , when conside r ed in thi s s ense , could not have captured all of the essence of gospel singing style and ma nner of the pe rformers. Enough r ema ins, however, to determine something of th e performers' s t yl e a nd performing practices. These records, according to historian La wr e nce Levine , "can be seen as bearers and preservers . .. of folk traditions . 11 1 The traditions referred to by Levine were the local, regional styles of folk mu s ic that were markedly influenced by the introduction of th e phonograph and phonograph recordings. 2 Gospel music recordings r ema in the one medium by which researchers can objectively (in the best s ens e of the word) be exposed to the music of past years. This study focuses on the recordings of gospel music from 1942-1975 . A major purpose of this study was to develop a tool-analysis model, for style analysis of Black gospel music recordings. The model was to be designed for use by secondary music educators and their students. The content of this model was to be limited to include those concepts and to require those skills that should be taught in the general music, choral and theory class curricula. This chapter details the three stages of the development process and validation procedure of the Baker Black Gospel Analysis Hodel. The firs t part of the development process discusses the peculiar problem associated with the development of a model to analyze Black gospel music. The description of the actual lLevine, Black Culture a nd Black Consciousness, 23l p. . 2For a more complete discussion of this type of influence local music traditions, see Zora Neale Hurston "Negro Work Songs 11 W.P.A. Manuscripts, Florida File, Archive of Folk Song , pp. 3 1 _ 35 _ on 34 construc tion, and a discussion of the validation and revision pro­ cedures are also included. Construction of the Model Before decisions about the format and content of the model could be made, the researcher undertook a thorough and exhaustive hearing of as many gospel recordings, from earliest recorded gospel music to the present, as possible . This preliminary hearing of over 500 separate recordings helped to establish: (1) specific elements of style in gospel music before 1942 and through 1975; (2) the sound of the musical antecedents of the Dorsey gospel song; and (3) elements to be included in a mode l for style analysis. The musician who hears recordings of Black gospel music from 1942-1975 will recognize certain similarities between gospel and other related and non-related musical styles . Gospel music grew out of a type of musical syncretistic f usion of African, Western-European, and d 1 . 1 American musical styles an sty e traits . One of the mo re obvious African influences in gospel music is in the rhythm. Bruno Nettl identified the rhythmic element of African 2 music as its most highly developed element. Evidence of this rhythmic importance in African music was demonstrated in the "percussive quality of the instrumental sound." 3 In the Black gospel song, the piano was used both as a harmonic instruwent and as a percussive one. lRicks, "Some Aspects of the Religious Music," p. 8 . 2Bruno Nettl, Folk and Traditional Music tinents, 2nd ed ., (Englewood Cliffs, New Jersey: 1973), p. 145. 3Ibid., p . 130. of the Western Con Prentice-Hall, Inc . , 35 In addition, the strong rhythmic drive that is so evident in many gospel songs was a major force in making the performance of a skeletal sheet music arrangement into a full-fledged gospel song style. Rhythm, in terms of the percussive quality of the accompaniment or the strong rhythm drive, is an African derived element in gospel music. Richard Alan Waterman, e thnomusicologis t and music scholar, referred to another instance of musical syncretism in an article written about the gospel music sung in a Black church in Chicago during the early 1950 ' s.l Waterman attributed the blurring of the lines be tween sacred and secular music to the West African influence on the native music in other parts of Africa and in "every area of the Western hemisphere where considerable Negro populations exist." 2 He concluded that: in view of this geographical diS t ribution, that this trait of North American Negro music may be rela~ed to a_widespread musical attitude ultimately derived from West African musical tradition . In addition to African influences of gospel music, Western European elements were fused into the Black gospel style. Most notably, the harmony used in much of gospel music is centered around the chord progression I-Iv- v-v 7 -I (the II and VI chords were also incorporated in this pattern). A look at the chords used in what is perhaps the most famous Black gospel song ever written illustrates this point. lRichard Alan Waterman, " Gospel Hymns of a Negro Church," International Folk Music Journal 3 (March 1951): 88 . 2Ibid . 3Ibid. 36 Precious Lord, t ake my hand, l ead me on l e t me s t and , I 1 7 IV IV I am tired, I I am weak, I am worn. VI V7 (II7) 3 Through the storm, through th e night, l ead me on to the light, I I 7 IV Take my IV hand, 16 4 Precious Lord, lead me on. V7 I This progression is, without a doubt, West ern. Ricks concluded that chords found in th e Wes t e rn harmonic system were used in gospel music. Moreover, harmonic usage that was typically avoided in the Euroamerican hymn-song tradition was common in 1 . . . 1 The harmonic usage avoided in Euroameri· can gospe music singing. hymn-song tradition but found in the gospel style were : the use of six-four chords in series, incomplete chords due to the doubling of tones or the dropping-out of a voice, and supertonic harmony, without the seventh of the chord, as a substitute for subdominant harmony in the cadence. 2 Ricks illustrated each of these usages with passages from three of the ten gospel songs analyzed in his study. The American influence on Black gospel music began long before Black gospel developed into a separate and distinct style from White 1 . 3 gospe music . According to Tallmadge, the antiphonal and responsorial prac tices in White gospel began as early as the 1820's. These practices were found in the anthems, motets and secular pieces of early nineteenth- lRicks, " Some Aspects of the Religious Music," p. 303. 2Ibid., p. 312. espons n ntip onal Practice 11 3Tallmadge, "Th e R ori· al a d A · h pp. 233-234 . ' 37 1 century composers. By the 1850's, the practice appears in the secular songs of Lowell Mason, William Bradbury, Thomas Hastings, and others who anticipated but were not actually a part of the [White ] gospel move- ment." 2 However, certain polyphonic passages in these anthems, motets and secular songs during 1821-1850 were "suggestive of the rhythmic imitation which was to flourish during the gospel song period [1875 -1930] ." 3 The distinctly American influence of the responsorial and antiphonal practices in White gospel also began to appear in the singing of Negro spirituals, jubilees, and in the Dorsey gospel songs of the 1930's. 4 This f us ion of American music practice and Black gospel music material may well have been one of the most significant structural features of Black gospel music. 5 Hence, by the 1930's, Black gospel music contained elements and style traits that were African-, Western European-, and American­ derived. Any model to be used for analysis of Black gospel music would have to: (1) be able to distinguish these elements; (2) be modified to include the unique features of the Black gospel song (i.e., extra­ musical elements ); and (3) show the special characteristics that separate Black gospel music from other related and non-related musical styles. In addition to these elements of Black gospel identified in the 1Ibid ., P· 223. 2I bid., P· 229 . 3rbid . , p. 223, 4 Ibid. 5Ibid., p. 219. 38 lite r a tur e , the f ollowing e lements and style traits were identified as be ing present in Black gospel music from 1942-1975. Mediums: Vo cal Timbre : Instrumental Timbre : Texture : Dynamics: Tempo: Me ter: Density: Melodic Rhythms: Harmonic Rhythm: Tonality: Modulations: Cadences: Chord Progressions: Repetition: Free Forms: Religious Characterizations: Vocables: Voices, instruments Breathy, clear, raspy, lyrical, nas al vibrato, tremolo ' Nasal, breathy, strident, muted, vibrant, shrill Contrasting sections, monophonic, homo­ phonic, polyphonic Terraced, graduated, piano, forte Fast, slow, mixed, free Regular, irregular, syncopation, poly­ metric, hemiolic Polyrhythmic, homorhythmic Syllabic, melismatic One chord per measure, two chords per measure, three or more chords per measure Tonal, consonant, dissonant Many, few, gradual, sudden Full, half, deceptive Traditional, transitional , contemporary Wit~ C~ntrast--binary, ternar~ With Variation--extended chorus, strophic variation Through-composed Blessings, sorrows, trials trib 1 t · . . b . 1 . , u a ions , JOY, JU i ation, faith, hope, Father Mother, grace ' yes, Lord, well Many of these terms were also listed by other writers as basic 39 components of music and musical s t yle . The two mod e l s for identifying elements of musica l styl e that most influenced the present list were compil ed by James Standi fer a nd Jan LaRue . 1 Evaluation and Revision Evaluation sheets 2 with content items and a glossary of terms were sent t o a five member jury of exper ts in Black gospel music, ethnomus i cology, musicology, a nd music educa tion. Exp erts were identi- f i ed on the basis of the following criteria : (1) ( 2 ) (3) (4) Demonstrated expertise in Black gospel music . The expert mus t have been a gospe l mus i c performer or a teacher of gospel music , at any l evel, for three or more years . Nationally recognized authority and scholar in Black music, e thnomusico logy , musicolo gy , or music education. Consultant in Black music or a related genr e . Master t eacher of secondary school music , secondary music methods, or undergraduate level survey courses in Black music or related genres. J ury memb ers were required to meet two of the four criteria for selection as a participant in this study. The following jurors were selected and par ticipated in the evaluation of the analysis model. (1) Dr. Horace Clarence Boyer, AssiS t ant Professor o f Music , University of Massachusetts at Amherst. (Criteria 1, 2 , 3, 4) Dr . Boyer is a noted scholar who has written ex t ensive l y on Black gos pe l music. He is also a performer, consultant, and master teacher of Black gospel music. lstandifer, "Table of Expressive Musical Elements," in Black Music in Our Culture, ed . de Lerma, PP· 224-226; and LaRue , Guidelines fo r Style Analysis (New York : W.W . Norton & Company, Inc., 1970). 2A co py of these sheets appears in Appendix B. 40 (2) Dr. Dominique-Rene de Lerma, Professor of Music and Coordinator of Graduate Studies in Music, Morgan State University, Baltimore, Maryland. (Criteria 2, 3, 4). Dr. de Lerma is the author of 36 monographs, 65 articles in such distinguished publications as Q_ie Musik in Geschichte und Gegenwart, Acta Mozartiana, Black Perspectives in Music, and Ethnomusicology. A prolific scholar and musician, Dr. de Lerma is also a teacher of ethnomusicology, music history, and orcheS t ration. He is a consultant and frequent lecturer in Black music. (3) Dr. Bert Konowitz, Director of Music and Performing Arts, Rockville Centre Schools, Rockville Centre, New York . (Criteria 2, 3, 4). Dr . Konowitz is a nationally recognized author, 1 music educator and performer. He has taught jazz improvisation and music education courses at Columbia University Teachers College, at the University of Bridgeport, Bridgeport, Connecticut, and at numerous clinics, workshops and summer institutes throughout the country. (4) Dr. Shelley G. Davis, Associate Professor of Music, University of Maryland, College Park. (Criteria 2, 3, 4). Dr . Davis has written extensively on analysis of eighteenth­ century music. He is also co-author of Universals in Music,2 a textbook for the teaching of world music and various musical styles (including Black gospel) to undergraduate students . (5) Dr. Roger Folstrom, Professor of Music and Chairman of Music Education Division, University of Maryland, College Park. (Criteria 2, 4). Dr . Folstrom is a music ' educator, conductor, and co-author of 1Bert Konowitz, Music Improvisation as a Classroom Method (New York : Alfred Publishers, 1973) . 2shelley Davis and Karl Signell, eds. (College Park, Maryland: University of Maryland Student Supply Service, 1977). ' 41 Music Fundamentals: A Creative Activities Approach. 1 He is recognized a s an e x pe rt in junior high school music teaching. Dr. Fol s trom is also a master teacher of secondary general music and chora l methods. Items evaluated were accepted or rejected if three of the five jurors labeled an item as "inappropriate" for inclusion in the model. None of the items had to be eliminated on the basis of inappropriate r e sponses. Revisions, however, were made based on cogent and insightful comments and suggestions of the jury members. All terms are defined in the glossary in Appendix A.2 (See Table 1) A. Voices The category of medium was changed to reflect the prominence of the vocal performing forces. Instruments were included in a separate category . B. Vocal Devices 3 The former designation of vocal timbre was deleted due in part to the difficulty in defining the items included in this category . In its place, the vocal devices category was created, at the suggestion of one juror . This category included: nonharmonic tones, fill-in intervals, portamento , vibrato, terminal vibrato, tremolo, octave leap, substitute intervals, scat , moan, scream, explosive release, falsetto, worrying, Roger J. Folstrom and Floraine Nielson (Reading, Mass .: Addison-Wesley Publishers, 1969). Sources for definition of terms include: Willi Apel Harvard Dictionary of Music (Cambridge, Mass . : Harvard Unive;sity Press, 1962); Jack Sacher, ed ., Music A to Z (New York: Grosset & Dunlap, Inc., 1963); Leon Stein, Structure and Styl~ (Evanston, Ill.: Summy-Birchard Company, 1962); a nd Jan LaRue, Guidelines, cited above . Horace Clarence Boyer, "The Afro-American Vocal Tradition· An Introduction." Massachusetts Music News 25 (April 1977): pp . 34-38 . 42 bend, and lining out. C. Vocal Sty l e s This ca tegory was added. Included in this category were the following 1 h · 2 (3) styles: (1) doo-wah, (2) falsetto emp asis, spoken introductions/ interludes,3 (4) blues, (5) choral arrangement, (6) echo effects, (7) strong-beat phrasing, 4 (8) weak or off-beat phrasing , (9) jazz, (10) hymn-chora ls, and (11) responsorial. D. Instruments The following instruments were included: (1) piano, (2) organ, (3) guitar (acoustic and amplified), (4) drums, (5) strings (violin, viola, cello and bass), (6) woodwinds (flute, oboes, clarinet, bassoon), , xy op one, ( 7) brass (saxophone, trumpet, trombone, horn), (8) celesta (9) 1 h and (10) tambourine. E. Instrumental Devices This category included many of the devices used in vocal music, as well as devices peculiar to instrumental performance. Included in this category were: (1) bend, ( 2) glissando, (3) fill-in chords/ intervals, (4) vibrato, (5) worrying, (6) octave leap, (7) upper neioh-b boring tones, (8) lower neighboring tones, (9) passing tones, (10) tremolo (11) arpeggio, and (12) echo effects. F. Instrumental Styles e instrumental Thl · s category was expanded to include: (1) si'ngl • 1Keil, Urban Blues, p. 219 2Ibid. 3rbid., p. 217. 4Ibid. ' 43 accompaniment, (2) polished arrangements, (3) stride piano, (4) blues, (5) c l assical keyboard, (6) boogie-woogie, (7) jazz, (8) polarized pia no, (9) r esponsorial, and (10) heterophony. G. Texture Thick and thin textures were added to contrasting sections, mono- phonic, homophonic, and polyphonic. H. Dynamics The items in this category were expanded to include several potential gradations from soft (piano) to loud (forte), as suggested by a juror. I. Tempo Rubato was added to this category. J. Meter Asymmetrical was joined with irregular meter, at the suggestion of a juror, to describe more completely this type of meter. K. Density Mixed polyrhythms and homorhythms were added to this category at the suggestion of one juror. L. Melodic Rhythm No changes in this category were made. However, the terms "active" and "static, " although too difficult for the secondary school music student to detect without looking at the printed score, were left in the model . The decision to leave them in the model was based on the expec­ tation that some printed gospel songs might be available to the student , and, with the help of the score, active and static melodic rhythms could be detected . M. Harmonic Rhythm Labels of slow, moderate, and fast were added to describe the patterns 44 of one chord per measure, two different chords per measure, and three or more chords pe r measure, respectively . N. Contours The terms "direction" and " length" were excluded, and ascending, descending, level, undulating, saw-toothed, and wave form were substi­ tuted. Surface motion and background motion were no t included becaus e these Schenkerian concepts are not generally used at the secondary school level . 0. Motion This category was added at the suggeS t ion of a juror . The items in this section included : (1) disjunct, (2) conj unct, and (3) mixed. P. Range High and low designations for tessitura were added . Q. The heading of tessitura was eventually moved to this position and assigned this l e tter. In order to be consistent and not confuse the reader, this alphabet is included here but the t essitura is discussed in the next revision. R. Tonality Quartal, quintal, and modal harmonies were added at the suggestion of two jurors . Other items in this section include: (1) atonal, (2) tonal, (3) pentatonic, (4) consonant, and (5) dissonant. S . Modulations Few and many modulations appeared in th is section . The terms " gradual" and " sudden" were eliminated , s u ents Secondary school musi·c t d could not determine the function of cho rds in a modulatory chordal pattern . One jury member suggested an examination of the key centers that make up the modulation sequences . However , few secondary school 45 music s tudent s have the r equisite skills to manage s uch an examina tion. Consequently , no a dditions we r e ma de . T. Cadences No cha nges we r e made and full, half, and deceptive r ema ined. One juror s ugges t ed tha t chord prolongation (tonic i zation) of th e dominant be i nc luded . Howeve r, this concept is a rather sophisticated one and seconda r y school music s tudents do not have the skills to a ttempt such a t ask. U. Chord Pro gr es s ions Dia tonic , chroma tic , and modal progressions were added to traditional, tra ns itiona l, and contemporary, at the suggeS t ion of a juror. Vl. Repe tition with Contrast Binary and t e rnary were relabeled two-part and three-part song forms . Rondo remained unc hanged. V2 . Repetition with Variation Canonic imitation and fugal were deleted at the suggestion of a juror. Strophic variation was added to theme and variation and extended chorus. W. Free Forms No changes were made in this category. Through-compo s ed r emained. X. Religious Characterization The topic of death was added to th is section . Other topics included: (1) blessings, (2) sorrows, (3) trails, (4) tribulations, (5) joy, (6) jubilation, (7) faith, (8) hope, (9) Fa th er, (10) Mother, and (11) grace . This category replaced vocables. Items included under the heading were: (1) petitions' (2) commands' (3) questions ' (4) present s upport, 46 (5) vocables--my Lord,~,~• and oh. • See Table 1) Space for the inc lusion of a n unusual feature was provided ( The Second Revision The actual use of the model to analyze various gospe l songs revealed the need to s lightly refine the model. and de letions were made. , ions, The following changes addi· t· A. Voices Quartets , quint e ts, and space for other voices and combinations were a dd ed to this category . B. Vocal Devi ces Anticipation, growl, turn, off-beat phrasing, strong-beat phras ing, vocal stop and space for other devices were added to this category. C. Vocal Styles Inverted voicing , and lining out, were add ed. Choral arrangement and hymn-chorale were combined to form chorale. D. Instruments , pace Drum set, and congo and bongo drums, body percussion ands for other instruments were added. E. Instrumental Devices Terminal vibrato, echo effects, a nd space for other devices were added . F . Instrumental Styles Simple instrumental accompaniment was changed to simple chordal Polished arrangements were changed to elaborate arrange- accompaniment. ments . Keyboard styles was subdivided into boogie- woogie, blues, classical, jazz, polarized, responsorial, and syncopated chords. phony was deleted and space for other styles added. Hete ro - TABLE 1 ANALYSIS MODEL: FIRST REVISION BAKER' S BLACK GOSPEL AJ.'IALYS I S MOD EL I ndex )lo . : Source of 'R~e~c~o~r~d~,- ---- Art i st ( s): Record Tit~l-e-,------ - - Label and Number: _ ____ _ Date of Record i ng : ____ _ Elements Pr esen c Descr i pti on - Component s Voice (s) II ). 1. Sopr ano I z. Sop. Alco I 4. Alto n 5. Concra l co 6 . Tenor I 7 . Teno r II 8. Bari t one 9. Bass 10 . Group 11. Chorus 12. Ens emb le Voc:il Devices 1. Upper neighboring tones ..A- 2. Lo wer nei ghboring tone y- - J. Passing cones / ' 4. Fill- in . - intervals - -·· · s. Portamento ._r 6. Vibra to ~ a . Terminal vi bra t o - ~ b- Tremolo - 7 . Octave - l eap Jl 8 . Substitute i n t ervals - ··· - - _ __ __ - 9. Sca t : . ·. _- _.: 10. Moan -.iS1.,- 11. Scream?}, 12. Explosive Re- lease --f 13. False tto - 14 . worrying IJZA,47'" 15 - Bend 1 :i, 16- Lining out . .. . - : I , , Vocal Scyles 1. Doo-wah 2. Falsec to emphasis J. Spoken i ncroduccions /incer l udes 4 . Blues 5 . Choral a r rangement 6. Ec ho effec t s 7. St rong beat phr asing 8 . Weak or off-b eat ph- rasing 9 . J a zz 10. Hymn- c ho r ale 11. Responsorial Instrumend s) 1. Piano 2. Or gan J . Guita r a . accou- s cic b. amplified 4 . Drums 5. St rings a . violin b. vi ola c . cel lo d . bass 6 . Woodwi nds a . Flu t e b. Oboe C • - clarinet d. bassoon 7. Bras s a. Saxa- - phone b. crumpet C • trombone d . horn 8 . Celeste 9 . : fJ e,. ,.,,.f .C:::. ff a.f > --r . It- ,,fz. f.U;;;,fl' .3 · constant a .f b.,.,f •· ? -- - 4 7 TABLE 1-Continued Descrip t ion I Elements Present -Components RHYTHM Tempo l. ~as t 2. Slo" 3 . Mj.xed 4. Free 5. Rubato - - - ;iecer l. Regular 2. I r regular /Asymmetrical 3. Poly,netric 4 . Hemiolic 5. Synco- - pated Density L PolyrhytbmiC 2. Homo rhythmic 3 . Mixed - Melodic Rhythm l. Syllabic 2. Melismatic 3. Neumatic I 4. Ac tive 5 . Static Harmonic Rhythm l. Slow 2. Moderate 3. Fast MELODY Contours 1. Ascending 2. Descendi ng 3. Level 4. Undulating 5. Sa.,toothed 6. Wave - f orm - 2. Conjunct J . l. Disjunc t Mixed - Motion - High/low 1. Tess i tura a. 2. Wide - Range 3. Sarrow HARMONY Tonality 1. Atona l 2. Tonal 3. Modal 4, Quar t a l 5 . Qui ntal 6 . Pentatonic 7 . Consonant 8. Dissonant Modulations l. Few 2. ~ny 3. Gradual 4. Sudden - 1. Full 2. Half 3 . Dece?t ive - - Cadences Cho rd Progressions l. Dia ton i c 2 . Ch romat ic 3. '.'!odal 4. Traditional 5. Trans itional 6. Con- - t emporary - I9Bi Repetition •,tith 1. 1\lo-part song form 2. Three-part Contrast fo rm 3 . Rondo song Repe tit i on with l. Theme and Variation 2. Strophic Var i - Va r i ation a t ion 3. Extended Chorus Free forms 1. Th r ough- composed : 48 Components Religious Characterization Textual In terpolations l. 2. 3. 4. 5 . I TABLE I-Continued Descrip tion 1 . Blessings 2. Sorrows 3. Trials 4 , Tribulations 5. J oy 6. Jubila tion 7. : aith 8. Hope 9 . Father 10. Mother 11. Grac e 12. Dea t h 1. Pe tit ions 2. Commands 3. Questions 4 . Support 5. Vocables a. my Lord b. yes c . well d. oh UNUSUAL FEATURES 49 Elements Present 50 G. Tex ture Thick and thin tex tures were deleted and space for other t ex tures wer e included. H. Dynamics Space for other dynamics was added. Constant was relabel d 1 e evel. I. Tempo Mixed tempo and space for other tempos were added. J. Meter Space for other meters was added. K. Density Space for other densities was added . L. Melodic Rhythm Space for other rhythms was added. M. Harmonic Rhythms Space for other rhythms was added. N. Contours Undulating was included in wave form; space for other cot n ours was added. 0. Motion Space for other motions was added. P. Range Only narrow and wide were left unchanged. Q. Tessitura High, low, and moderate tessituras were added in this separate category. R. Tonality No changes were made. 51 S. Modulations Traits in this category were changed to some, few, and many . Gradual and sudden were deleted. T. Cadences (Final Cadences) No change in traits was made . The heading was refined to final cadences only. U. Chord Progressions No changes were made . Vl. Repetition with Contrast No changes were made . V2. Repetition with Variation Space for other forms was included . V3. Free Forms Space for other forms was included . Wl. Religious Characterizations Heaven, patience, optimism, and space for other character· . izations were added. W2. Textual interpolations The vocable _ooh, testimony, shout and space for other · t in erjections were added .. X. Congregational Responses This new category included shout, scream, unmetered clap ll ' ye , moan, chant, and space for other responses . Y. Personal Testimony This new category included witnessing, teS t ifying, and space for other items . 52 Z. Unique or Unusual Feature No changes were mad e in the heading of this ca t egory . (See Table 2 ) Final Revision Aft r working with the model, the last revisions needed to complete the mod e l were made. Syncopation was added to the vocal d . evices category . Th e models were duplicated and ready for use . (S ee Table 3) - V TABLE 2 ANALYSIS MODEL : SECO ND REVISION BAKER' s BLACK GOSPEL ANALYS rs :-!ODEL Ar tis c ( s ): Record Ti c~l-e-,------- Dace of Record : Index Number : - - - - - --­ Source: L.abel a nd Number: ___ _ ------ Components I Description Elements Pres enc Voica(s) l. Soprano r 2. Soprano II J. Alto r 4. Alco II 5. Contralto 6. Tenor I 7. Tenor II 8. Baritone 9. Bass 10. Qua r tet 11. Quintet 12. Group 13. Chorus 14. Ensemble 15. Other ocal Devices 1. Nonharmonic cones.: a. upper neigh- boring cones b. lower neighboring tones C • passing cones d. anticipation 2. Fill-in notes J . Portamenco 4 . Vi- bra co: a. terminal b. tremolo 5. Oc- cave leap 6. Subscicuce intervals 7 . Scat singing 8 . Moan 9. Growl / Scream 10. !!um 11. Explosive release 12. Falsetto 13 . Worrying 14 . Bend 15 . L.iniag ouc 16. Turn 17. Off-beat phrasing 18. Strong-beat phrasing 19. Vocal scops 20 . Other Vocal Styles I 1. D-p e.i .:> N f. µ 7 Jf g . ~ .. J . evel 4 . Ocher RHYTHM L Fast 2, Sl ow J . Mixed 4 . Ruba t o s. Free 6 . Ocher L Regular 2. I r regular /Asymmetrical J. Pol ymetric 4. Heau.olic 5. Syncopat i on 6. Other Polyr hythl!U.C 2. Homorhythmic J. Mixed 1. 4 . Other 2, Melisma tic L Syllab i c J. ~eumacic 4 . Acti ve 5. Stacie 6 . Ot her L Slow 2, Moderate J. Fast 4. Ocher ~ l. As c ending 2 . De scending J. Level 4 . Sawtoothed 5 . Wave fo r111 6 . Ot her l, Dis j unct 2. Co nj unct J. Mixed 4 . Ot her ____ _ l. Narrow 2. Wide l , a igh 2. Low J. Moder ate 1. Atonal 2. Tonal J . Modal 4 . Quarcal s. Quintal 6, Penta tonic 7. Cons onan t 8 . Dissonant l . Nona 2. Few J. Hany l , Full 2 , Half J. Dec ep t ive 1. Diatonic 2 . Chroma t ic J. Modal 4 . Tradi t ional 5. Transitional 6. Con- t emporary 54 I / Elemen~ ) P r .... c:, o ... - I - - - - - -- - - - - - - I - - TABLE 2- Cont i nu ed Descr i pcion Elemenc s Compo nenc s Pr esent ~ Repeci t i on 1. Two- part ,ong fo rm 2. Three-pare s o ng with Contrast f orm J. Ronco Repetit i on 1. Theme aod Variation 2. Strophic Vari- with ation J. Ex tended Chorus 4 . Other I Variacion Free Fo-rms 1. Through- composed 2 . Other ~ Rel i gious 1. Slessings 2 . Sorrows J. Trials Characcer i - 4 . Tribula t i ons 5 . J oy 6 . J ubilacion za t ion 7 . Fa i th 8 . Hope 9. Father 10. -,,o cher 11. Grace 1:. Death 13. Heaven 14. Pac i ence 15. Optimism 16. Other Textual 1. Pecit i ons 2 . Commands J . Questions Interpola- 4. Supporc l. Vocables a. my Lord tions b . well C • oh d . yes .. ooh 6. Tes ti- mony 7 . Shouts 8 . Other EXT!.A- MUSICAI. ELE.'1E:ITS Congregational 1. Shouts 2' Screams J . Unmecere.d Responses clap 4 . Yells 5 . ~oans 6 . Chants 7. Ot her - Per sonal 1. Witness in~ 2. Testify ing J. Other I Testimony 55 TABLE 3 ANALYSIS MODEL : FINAL REVISION 8AJC£R 'S BL.ACK COS PEL .-\..'/'ALYS IS ~!ODEL .-\rcisc(s): ilecord Tic'le:-c--, -------- ---- Da ce oi Record : Label a nd Number: _ ________ _ : nCex ::u..cber- : ___ - -_ -_ -_ -_ -_ -_ -_ -_ -_ -_ -_ -_ Sou r ce: ------- Componen t s Oescrf~ c:!on Voice(s) 1 1 Sopr.:1no 2. So pr ano r l 3. Al co t.: Al co II 5. Concr.il co 6 . Tenor [ 7 . Te no r rr 8 . 8a. r icone 9 . Bass 10 . Qua r tet 11. Quince c 12. Croup lJ . Chorus 14 . Ensemble LS . Oc he r I \'ocal Dev.ices ~onhannonic cones: a. upper neigh- Voc .:11 Styles / bo ring co nes b . lower neighbo r