african american religious music Essay

The author starts out by describing the harsh situation slaves were put in and how the black experience in America is a history of servitude and resistance, of survival in the land of death. The spirituals are the historical songs which tell us what the slaves did to hold themselves together and to fight back against their oppressors. In both Africa and America, music was directly related to daily life and was an expression of the community’s view of the world and its existence in it. The central theological concept, which is the prime religious factor, in the black spirituals is the divine liberation of the oppressed from slavery. Further, the theological assumption of black slave religion as expressed in the spirituals was that slavery contradicts God, and therefore, God will liberate black people. This factor came from the fact that many blacks believed in Jesus, and therefore, believed that He could save them from the oppression of slavery because of his death and resurrection. The fact that the theme of divine liberation was present in the slave songs is supported by three main assertions: the biblical literalism of the blacks forced them to accept the white viewpoints that implied God’s approval of slavery, the black songs were derived from white meeting songs and reflected the "white" meaning of divine liberation as freeing one from sin (not slavery), and that the spirituals do not contain "clear references to the desire for freedom". The extent of

Gospel music emerged during the twentieth century following the Great Migration of African American towards the north. Influenced by blues gospel music is a religious genre. Gospel music is used during religious practices, ceremonial purposes, pleasure and entertainment. During the Great Migration, two denominations followed by African Americans, Black Baptist and Methodists. The congregations were small and they utilized storefronts for worship. Smaller congregations allowed them to connect with their pastor and have better understanding of the sermon provided. Others preferred larger congregations that used an emotive style of worship known as the shouting churches, they were highly energized. (Burnim & Maultsby, 2015)

The roots of modern american rock and roll music, are firmly planted in Africa. As the native Africans were torn apart from their family’s and brought to the new world their lives were immediately and drastically changed forever. Finding themselves immersed in a completely new environment with a foreign culture, they thankfully persevered and carried on with their own traditions and most importantly to this paper, musical ones. Most American slaves originated from Western and Central Africa. The West Africans carried a musical tradition rich with long melody lines, complicated rhythms (poly rhythmics) and stringed instruments CITATION. The West Africans music was also strongly integrated into their everyday lives. Songs were preformed for religious ceremonies and dances and music was often a

Spirituals, a religious folk song of American origin, particularly associated with African-American Protestants of the southern United States. The African-American spiritual, characterized by syncopation, polyrhythmic structure, and the pentatonic scale of five whole tones, is, above all, a deeply emotional song. Spirituals are really the most characteristic product of the race genius as yet in America. But the very elements which make them uniquely expressive of the Negro make them at the same time deeply representative of the soil that produced them. Spirituals were long thought to be the only original folk music of the United States, and research into its origin centered mainly on the nature and extent of its African

The songs were developed to reduce the level of boredom and increase production, these songs created a sense of familiarity and togetherness among workers. The African American work songs were created during the slave era in the seventeenth century; many had their origin in traditions of Africa and were sung to remind them of home or ordered by their masters to boost morale and keep slaves working. They have also been seen as means of endurance, expressing of anger and frustration via verbal signals. Some aspects like call and response were said to be rooted in African tradition, where a leader could sing a verse and be repeated by the greater mass. This eventually led to spirituality development which acted as a basis for Christianity leading to modern day gospels and blues.

American Gospel music is founded in the African American church. It has a deep culture in America. It is used as an outlet for people who have been oppressed, beaten down, and persecuted. Gospel music acts as a source of inspiration for those who had all but given up. It speaks of the various trials and struggles they’ve undergone, and how they were able to overcome. Is also used as a form of praise and worship, giving thanks to the Lord. The term “gospel” means “the good news.” Gospel music is used to tell the good news of the salvation people have received from the Lord, rescuing them from all of the trials and struggles of the world. Gospel music has been influenced by genres such as jazz and blues. It is a combination of many different forms of music, producing a new and unique type of sound.

For centuries, Gospel music has influenced and promoted African-American social, moral and ethical values, playing an imperative role in modelling their past and future. Originating from the hardships of slavery and the strength of Christian worship, Gospel music has adapted to musical tastes through the development of a number of sub-genres, while retaining its moral and spiritual framework. Throughout its musical history, Gospel music has had a profound and predominant influence on its devotees and followers. During the turbulent years of the American Civil Rights Movement, Gospel music played a vital role in building the foundations of stability and

In chapter ten, author Bruno Nettle takes the reader to the town of Browning, Montana, where he is about to witness a modern Native American ceremony. As he observes, he notices that only one-half of the people there are actual Native Americans. The rest are are white tourists and innocent observers just like himself. Eventually, somewhere around eighteen singing groups appear from different tribes and reservations. They will be summoning the dancers into what is known as the grand entry. Nettle notices that the overall style of the music remains the same among all of the different groups, or `drums.' People are able to interact by taking pictures, video and tape recording what goes on. In that

Native American music has many different musical styles. Within every Native American tribe there is a variety of musical styles and instruments. In response to the research that I have conducted, there are three main musical styles that are going to be my point of focus. The Sioux Grass Dance, the Zuni Lullaby, and the Iroquois Quiver Dance are the principal methods which contribute to Native American music.      

Negro spirituals was a “genre” of music introduced by African American slaves in response to their lives and treatment by the white race. It gave many slaves the voice of opposition that they never had and allowed them to subliminally speak against their masters without fear of consequences. Said to have originated from slaves who were “Unable to read the Bible for themselves and skeptical of their masters’ interpretation of it…” (Raboteau). These songs were “… the message of the Christian gospel… translated… into

Music and religion are often intertwined, whether it be religious chanting or hymns used to worship. However, in the case of Islam, the relationship between religion and music is more strained, as Islamic law strictly forbids listening to music. However, there is a very strong religious debate on what constitutes music as diversion and what is acceptable to use in worship and religious purposes. There are two concepts in Islam which are relevant to this conversation: sama and ghina. The ghina is the simpler of the two, referring to music and performance associated with secular art music; this is normally banished. Ghina is the only genre which is referred to as “music”. The sama, on the other hand, is more complex. Sama, which literally means “listening” and thus, includes the music being listened to (as well as dance as performed by mystic societies) is more complex. The abundance of writings about the sama is chiefly due to the debate surrounding the legality of music and dance from a legal, mystical, and religious perspective. Some elements of music have been categorized as acceptable sama by religious authorities, including Koran cantillation, singing of unaccompanied hymns, old Bedouin songs, and simple functional folk songs used to mark events in a community or individual’s life, thus considering them to be “non-music”.

Although artists do not create certain music to cure diseases or to make scientific or technological discoveries, music is one thing society can never live without. To both artists and their listeners, music provides an indispensible beauty that helps fulfill lives, and connect to nature. Music expresses the human condition in the purest way and affects everyone at a personal level. Plato, a well-known classical Greek philosopher once said, “If you want to measure the spiritual depth of society, make sure to mark its music.” Generally performer collaborate songs to represent the popular pop culture, and social issues, and wish for their society as well as their current era. For instance, controversial issues such as sex, violence, racism

Spirituals were not only “sung to keep spirits up” (Thompson 9), but were used as coded messages to give directions for where to go or how to proceed to freedom in the North. The slave owners believed that the slaves were happy because they sang church songs and they praised God but little did they know, that the slaves were secretly communicating. For instance, during the Underground Railroad, songs like “Follow the Drinkin’ Gourd,’ ‘Wade in the Water,’ and ‘Swing Low, Sweet Chariot,’ all directly refer to secret code about using the Underground Railroad.” As many as 100,000 slaves escaped by means of this method (Thompson 9).

Eileen Southern’s The Music of Black Americans: A History she examines the influence that African Americans had in the holiness churches in music and worship. She initially starts with the landing of the first Africans to the colonies and she creates a phenomenal conversation of the musicians in the new world. She details the progression in the gospel, classical, jazz, rap, blues and the contributions they made.

The time between 1485 and 1660 marked a period of new beginnings for the people living in England; this time is known as the Renaissance. In England, the people were challenging their past beliefs; where before the Renaissance, England thrived basing their lives, government, and music off of God and his principles alone. During these one-hundred and seventy-five years, the English people started questioning their original principles about religion and established a yearning for information and proof based off of science instead of God. This desire caused many changes to form in England. The Renaissance period quickly became known as the rebirth of knowledge named by the change from God’s knowledge to the knowledge of man. The Renaissance