African American Music
By 1945, nearly everyone in the African American community had heard gospel music (2). At this time, gospel music was a sacred folk music with origins in field hollers, work songs, slave songs, Baptist lining hymns, and Negro spirituals. These songs that influenced gospel music were adapted and reworked into expressions of praise and thanks of the community. Although the harmonies were similar to those of the blues or hymns in that they shared the same simplicity, the rhythm was much different. The rhythms often times had the music with its unique accents, the speech, walk, and laughter which brought along with it synchronized movements. (2) The gospel piano style was based on the rhythm section concept, where the middle of the piano was used to support the singers. This area supported the singers by doubling the vocal line in harmony. The bottom, left corner of the piano was used as a bass fiddle while the upper right hand portion played the counter melodies, taking the place of a trumpet or flute. It was the right hand corner that filled in the material during the rhythmic breaks. Often times the text of the gospel songs portrayed meanings of the Trinity, blessings, thanks and lamentations. The singers used the voices to com
They often their money in their shoes or undergarments. When attending a tent show back home in Greenville, she met the acquaintance of an eight-year-old boy named John Sellers. At this point, Mahalia was among the best known names in the black society. White folks owned the bars and grocery stores of the neighborhood. (2)Working along side of Mahalia and also deserving much recognition is Mildred Falls, Mahalia's pianist and organist. When Mahalia was in eight grade, she began to look for work outside of her aunt's chores and got a job as a laundress. DuBois, told her that she had better stop hollering and insisted that she would have a better appeal with the white people, who would better understand her singing. Mahalia traveled abroad from Europe to the Middle East, Egypt, Lebanon, Syria and finally Israel, the Holy Land. (5) A friend of Mahalia's, Stern Terkel, took on a position working at the CBS radio show in 1954, when Mahalia learned that the show needed a staff writer. He played the recording of "I'm Goin to Tell God All About It" on his 78 record. Police rarely ever showed respect towards anyone of color. Mildred have Mahalia the latitude she needed along with the freedom to adlib new lyrics, break time and alter the melodies in the heat of building the meaning of the song. King enriched Mahalia and encouraged her to become more politically involved and make her voice be heard. Gospel songs and spirituals were considered serious and sacred music for the black church congregation. Some people claim that since Gospel and folk songs didn't take a lot of long studying, then they were ashamed by them.
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Acceptance Essays
