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"Jackson, Mahalia"
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Preserving Sacred Space: Mahalia Jackson's Transnational Song Labor During the Era of Decolonization
American performance traditions and music industry trends have historically denigrated religious practices and spaces that African descended people considered sacred or worthy of regard. This legacy of sacrilege is an extension of colonialism wherein the cultural traditions of those conquered are marked primitive, strange, or laughable. Mahalia Jackson resisted such colonial systems of meaning through her discursive song and narratives incorporating both sacred and vernacular Black American traditions across the United States of America and Europe. It was her European success in the early 1950s that boosted her domestic career and distinguished her from peers with equal or greater talent. This critical hearing of her performance, together with a brief archeology of the term \"gospel,\" reveals how Jackson's decolonial song labor disrupted structures that had previously excluded the African descended practices and people, and Negro women in particular, from the realm of the sacred.
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The Dent Medal
[...]articles in American Music Review and The Musical Quarterly led to the ambitious and ground-breaking monograph Mahalia Jackson and the Black Gospel Field (Oxford University Press, 2019). The book received the Otto Kinkeldey Award from the American Musicological Society for the outstanding book in musicology by a senior scholar, the Society’s highest honour; the Woody Guthrie Award for the most outstanding book on popular music from the US branch of the International Association for the Study of Popular Music; the Award for Excellence for the best history book in the category of historical research in blues, soul, gospel or R&B from the Association for Recorded Sound Collections; and was selected as a CHOICE Outstanding Academic Title. The musical materials of this period, in particular the Ars Antiqua motet, are exceptionally complex in their material and compositional aspects, and Bradley has contributed exceptionally to an understanding of the relationship between surviving pieces and the attendant processes of production, composition, and adaptation.
Journal Article
Harmonies of Hope: The Impact of Gospel Music on the Civil Rights Movement and the African American Church
African American cultural and spiritual life has been anchored by gospel music, which has been a potent motivator for social change and a unifying force inside the church. In the face of systematic oppression, gospel music, which has its roots in African musical traditions, spirituals, and hymns, emerged as a manifestation of faith, fortitude, and hope. Gospel music gave the African American church a sense of belonging and spiritual renewal while offering comfort and fortitude in the face of racial injustice, segregation, and slavery. Gospel music went beyond its ecclesiastical confines to become a driving force in the struggle for justice and equality during the Civil Rights Movement in the middle of the 20th century. Gospel and spiritual songs like \"We Shall Overcome\" and \"Oh Freedom\" were transformed into movement anthems, giving demonstrations, marches, and rallies a feeling of unanimity and heavenly inspiration. Because of its ability to evoke bravery and unity, leaders such as Martin Luther King Jr. frequently incorporated gospel music into their speeches and gatherings. This study examines, through secondary data analysis, how gospel music serves as a transforming instrument for social activity and a spiritual pillar inside the African American church. The study shows how gospel music represented the African American experience and actively influenced the course of civil rights in the US by looking at its historical foundations, cultural significance, and long-lasting influence.
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Notes For Notes
Composer Christopher Rouse (1949-2019) bequeathed his entire collection of music manuscripts to The Juilliard School, where he was a member of the composition faculty from 1997 until his death. The collection includes 139 holograph scores and 72 published scores by Rouse, essays, program notes, and concert reviews by the composer, correspondence (including letters from composers John Adams, Chester Biscardi, Aaron Copland, Lukas Foss, John Harbison, Lou Harrison, Alan Hovhaness, Per Norgard, George Rochberg, Poul Ruders, William Schuman, Augusta Read Thomas, and Charles Wuorinen), personal and business documents, juvenilia, and photographs. A complete finding aid will be available in the months ahead.
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“My Soul is Satisfied”: Amazing Grace, At Last
Notable for being Franklin’s first gospel album, Amazing Grace generated extra buzz for being recorded live over the course of two nights (13–14 January 1972) at New Temple Missionary Baptist Church in Los Angeles with the backing of the Southern California Community Choir, founded in 1969 by the kingpin of black gospel Reverend James Cleveland. The give-and-take of process and product emerges from footage ranging from musicians tuning up, rehearsal flubs and in-performance do-overs, camera operators hustling into position during performances, and Cleveland playfully admonishing the audience to deliver when the tape recorder and camera are rolling, to mesmerizing moments that can make the viewer forget that they are watching a film. The documentary includes eleven of these, which can be sorted into three categories: venerable Christian hymns (“Precious Memories,” “What A Friend We Have in Jesus,” “Never Grow Old,” and “Amazing Grace”); black gospel standards (“Take My Hand, Precious Lord,” “Let Us Go Back to the Old Landmark,” “How I Got Over,” “Oh Mary, Don’t You Weep,” and “Climbing Higher Mountains”); and recent pop hits (Marvin Gaye’s “Wholy Holy,” with Franklin singing from the piano, and Carole King’s “You’ve Got a Friend”). Beginning Night Two, Franklin’s performance of “Oh Mary, Don’t You Weep,” kicked off by the choir’s tramping chant, is directly modeled on the famous 1958 double-sided single by the Caravans with Inez Andrews on lead.
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