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African America Gospel gained a lot of popularity during the 19th and 20th centuries. With the popularity, came a lot of controversies. The controversies were a result of the different sacred musical styles that were ever deemed to be too much worldly to the individuals who believe in going to church. This brought different about different debates in society. It was believed that the Africa America style of music was not in line with the appropriate and did not relate to contemporary gospel music. These debates have made their way into the making of music in the 21st century, and to what extent has this taken place (Kay & Cartledge, 2018). As it turns out, the style of religious music has impacted the way music is deemed to be appropriate or not.
For millions of people, gospel songs have been a strong source of comfort and inspiration. Gospel, which evolved from old African American traditional music and religious hymns, influenced a range of 20th-century American music genres, including Soul and Blues. For this to be possible, there were various individuals who played an important role in attaining the change. Hence, to grasp the relevance and transformation of Christianity in Africa, it is necessary to have a faith which pays attention to various context of people’s lives (Kay & Cartledge, 2018). It provides ground for the debates to be conducted and provide the necessary needed information to back the claims that the African African gospel was not appropriate.
Additionally, having individuals such as Georgia Tom, who introduced Jazz and Blues to gospel music, created strong grounds for the debates. Blues and Jazz were referred to and were secular, hence bringing the gospel into them was seen as inappropriate. Georgia Tom, began his musical career as a blues musician before becoming renowned as the founder of black gospel music. After being a performing artist for two years, he quit music but had already made an impact in the Africa American gospel music industry. Dorsey would create a gospel song that incorporated both blues and jazz elements. It is because gospel music was supported to be sacred as it incorporated the aspect of spirituality and worship. Praise and Worship are merely one facet of a larger worship experience (Kay & Cartledge, 2018). The term can be used as both a noun and a verb. Praise and Worship is a musical genre that is characterized by soft rock and popular instrumentation.
I do not think that it is possible for gospel music can go too far stylistically. Music is a form of art and with time it changes and evolves. Having concepts such as soul and jazz in the gospel is a good indicator of how African American gospel has changed. This is seen in the different African American church’s conditions at the start of the twenty-first century is strikingly similar to its situation at the start of the twentieth century. Looking back on a century of degradation, humiliation, victories, and exaltation, the African American church is at a key historical crossroads. Therefore, gospel music has a long history of being fraught with controversy. The critic was attempting to call into doubt both the integrity and the manner of the musical worship on this occasion, hence there is no way gospel music can go too far stylistically.
Reference
Kay, W. K., & Cartledge, M. J. (2018). Faith in African Lived Christianity: Bridging Anthropological and Theological Perspectives. Boston.
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