Music that explores themes of Christian belief and biblical history, and is popular among black and whites alike. Their renditions may differ significantly, in keeping with the cultural/stylistic traits of blues and old-time coun¬try/bluegrass, respectively. Early African American spirituals, church hymnody, and blues formed the basis for the rise of gospel music in the 1930s. Sacred music has many stylistic variations – 3 and 4 part harmony, shape-note, common meter hymn choir, call-and-response, and praise house are all a part of gospel’s foundation.
Content is provided by McKissick Museum, University of South Carolina.
For further information about any of the artists featured on Digital Traditions, send your questions and comments to hallagan@mailbox.sc.edu.
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Friday evening service at Bethlehem Baptist Church to begin the Williamsburg County Black Heritage Festival. The Festival was held the weekend of July 26-28, 1991 in Kingstree, SC.
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Friday evening service at Bethlehem Baptist Church to begin the Williamsburg County Black Heritage Festival. The Festival was held the weekend of July 26-28, 1991 in Kingstree, SC.
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One of the services of a week-long tent revival in 1988 in McCormick, SC (McCormick County). The evangelist is Charles Booker Jr. of Johnston, SC (Edgefield County).
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One of the services of a week-long tent revival in 1988 in McCormick, SC (McCormick County). The evangelist is Charles Booker Jr. of Johnston, SC (Edgefield County)
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Lead by Thomas S. Latimer. From the recording "I'll Sing His Praise." A vast majority of the audio is unintelligible due to the quality of the recording
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One of the choirs that sang in the Sunday afternoon “Gospel Extravaganza” portion of the Williamsburg County Black Heritage Festival in Kingstree, SC. Audio (View Transcript)
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Produced by the Jackson Brothers and digitally mastered by Eric Rogers for Blackbyrd Records. The Jackson Brothers are Leroy Gilliard, Elliot Goodlett, Walter Thompson, Sr., Roosevelt Baker, Oscar...
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Song excerpt from Bill Pinkney and the Original Drifters Anthology
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The songs were recorded live, with no microphones in order to enhance a listener’s transportation by the old-style, traditional slave spirituals praising God even though times were dark.
