A Short History of Gospel Music

When considering the history of a style of music, as well as other creative works such as art, architecture and literature, it is important that the reader understands that a new style or genre does not just happen one day, or begin with one new work by one new composer, author or artist.

New styles evolve, and usually are the result of merging several older styles together in order to fill a need or bridge a gap that has opened due to progress outside the art. And understand this as well: most changes are not welcome at first, but over time become accepted and welcome.

Such is the case with Gospel Music.

A history of Gospel Music is, in part, a history of the African American people. As slaves worked in the fields and homes of their owners, they passed the time and passed the message of hope and salvation through the singing of Spirituals. They also were exposed to the music of their owners, as they were required to worship in the white churches. The style of music they encountered there was much different than the more emotional, creative songs they sang among themselves.

Most slaves were unable to read and write. As a result, many of their songs were sung in a style called "Call and Response," where a song leader would sing a line and it would be echoed back to him or her by the rest of the group. Even today this technique is used in Gospel Music. It was an effective tool for teaching new songs and for helping the workers to memorize Scripture.

After the end of slavery, as Southern blacks made their way to all sections of the country, they brought their own special style of music with them.

The early 1900s saw many social and artistic changes as a result of this migration. One man, Thomas A. Dorsey, was a musician who loved the rhythms of secular jazz music and the sounds of blues chords and instrumentals, and wanted to combine those flavors with sacred lyrics. This was not something that traditional churches had experienced before, and they did not welcome Mr. Dorsey or his music with open arms. This served to make him even more determined, because he believed that his music could touch people's hearts and souls in a powerful way. He published copies of songs he had written and sent them out to singers and churches across America. In time, his music was endorsed by singers and congregations alike. Today, Thomas A. Dorsey is remembered as "The Father of Contemporary Gospel Music."

Gospel continued to gain acceptance and popularity in several ways. During the 1940s, several singing groups and quartets were formed and became very popular. This continued during the 1950s, as instruments such as piano and organ were added, as was the concept of the concert tour. These groups would travel around to churches and camp meetings to bring their Gospel message in word and song.

As the recording industry began to grow, record producers saw that there was a market for this style of music. Several Gospel groups, such as the Mighty Clouds of Joy and the Clara Ward Singers became quite well known. Some solo singers gained popularity as a result of first being a part of a quartet. Sam Cooke started with the group Soul Stirrers, and went on to have a career as a solo singer. He is remembered for his rich voice and his emotional connection to his audience.

Another great Gospel solo artist was Mahalia Jackson.

A young Mahalia moved to Chicago from her native New Orleans to find work and was soon discovered as a singing talent.

In 1929, at the age of 18, Mahalia met Thomas A Dorsey, who gave her career advice. They began a professional association that lasted for fourteen years, touring the country to give Gospel Music concerts. One of his best-known songs, "Take My Hand, Precious Lord," became her signature song.

Mahalia decided early in her career to sing only sacred music, and continued to turn down offers to sing secular songs that might have made her more famous and wealthy. She was known as the "Queen of Gospel Music," and was the first Gospel singer to perform at New York's prestigious Carnegie Hall, her rich contralto filling the room.

She was invited to sing at President John F. Kennedy's inauguration in 1961, and, again in Washington, she sang just before her friend Dr. Martin Luther King delivered his famed "I Have a Dream" speech. She sang "Take My Hand, Precious Lord" five years later at his funeral.

The singers mentored by the great Mahalia Jackson, and others, have continued her work to the present day. Her protégé Aretha Franklin, has carried on her title as the "Queen of Gospel Music."

The genre continues to evolve as new artists add their own touches. Artists such as Andrae Crouch, Shirley Cesar, BeBe and CeCe Winans, Yolanda Adams and Kirk Franklin have brought Gospel to where it is today - in the mainstream of American music, both in and out of the church. It is truly an American art form, at once a legacy and a living testament to the people who helped shape it.