The PBS documentary, "Amen: Music of the Black Church," is more than just a performance film. It digs into the intricate fabric of African American sacred songs in order to demonstrate its historical relevance, cultural impact, and timeless spiritual message. Dr. Raymond Wise leads the Indiana University African American Choral Ensemble in a spectacular concert that serves as the foundation for the documentary's exploration. The film effectively combines live music and fascinating narratives. Dr. Wise, who serves as both conductor and guide, provides historical background for the many musical forms played. We see the progression of Black church music, from its African roots to the modern sounds of praise and worship. This documentary emphasizes …show more content…
The magnificent voices, rhythmic energy, and emotional delivery all combine to create a very impactful experience. The documentary portrays the infectious energy of a live church service when music transcends entertainment and serves as an outlet for spiritual connection. "Amen" does not shy away from addressing the Black church's modern difficulties. However, the emphasis remains on the timeless power of religion and song. The film includes interviews with influential individuals who discuss the role of the Black church in their lives. These personal experiences reinforce the documentary's essential message: Black church music is much more than simply music; it is a lifeline, an expression of identity, and a foundation for a brighter future. The documentary's impact is further enhanced by its production value. The camerawork effectively captures the excitement of the performance, while the incorporation of historical evidence adds historical context. The sound design is very impressive, ensuring that the force and nuance of the song are authentically portrayed. "Amen: Music of the Black Church" makes a significant contribution to the cultural
Rachel M. Harper’s The Myth of Music intentionally weaves together 1960s era jazz music and a poor African American family via metaphor and allusion to show a deep familiar bond between father and daughter.
Cleophus J. LaRue in I Believe I’ll Testify makes it clear that great preaching comes from somewhere, it also must go somewhere, so preachers need to use the most artful language to send the Word on its journey. There is always purpose in life in black preaching says LaRue. Some of the greatest preaching in America happens on Sundays. The articulation and cadence of the black preacher often arise and causes people to feel something deep down inside their souls. The heart of black preaching has been deeply entrenched in our society and is a staple in the life blood of the traditional black family and community. Many a congregation has been stirred to conviction, repentance, and action by the powerful voice of the African american preacher. In I Believe I’ll Testify, LaRue seeks to explain the designing characteristics that exist in black preaching and how it has become a tooled force in the twenty-first century African American community. Using stories and antidotes and his own experiences, LaRue describes what actually makes for good preaching and gives insightful advice in the art of preaching that many seminarians do not learn from seminary. This book is an informative and well written book and could benefit pastors, former pastors, and anyone interested in the art of good black preaching.
The book, The Spirituals and the Blues, by James H. Cone, illustrates how the slave spirituals and the blues reflected the struggle for black survival under the harsh reality of slavery and segregation. The spirituals are historical songs which speak out about the rupture of black lives in a religious sense, telling us about people in a land of bondage, and what they did to stay united and somehow fight back. The blues are somewhat different from in the spirituals in that they depict the secular aspect of black life during times of oppression and the capacity to survive. James H. Cone’s portrayal of how the spirituals and the blues aided blacks through times of hardship and adversity has very few flaws and informs the reader greatly about the importance of music in the lives of African-Americans. The author aims to both examine the spirituals and blues as cultural expressions of black people and to reflect on both the theological and sociological implications of these songs.
This paper elaborates on the diverse contributions peoples of African descent have made to the pluralistic religious landscape of America and replicates various passages from our textbook. It focuses on the personal narratives of non-religious to religious leaders—exemplifying their influence on the African American religious movement during slavery and the reconstruction of America. Each section represents different historical periods, regional variations, and non-Christian expressions of African-American religion.
According to Albert Murray, the African-American musical tradition is “fundamentally stoical yet affirmative in spirit” (Star 3). Through the medium of the blues, African-Americans expressed a resilience of spirit which refused to be crippled by either poverty or racism. It is through music that the energies and dexterities of black American life are sounded and expressed (39). For the black culture in this country, the music of Basie or Ellington expressed a “wideawake, forward-tending” rhythm that one can not only dance to but live by (Star 39).
Nathanial Hawthorne besieged with his ancestral ties to the Salem Witch Trials and his loathe for a Puritan society, lead him to create an allegory of a young man’s quest and his struggle between good and evil. Hawthorne wrote figuratively about Puritanical ideals, beliefs and social appearance in Young Goodman Brown. Also, the short story is centered on New England’s history, mostly inspired by Puritan beliefs.
African American religious music is the foundation of all contemporary forms of so called “black music.” African American religious music has been a fundamental part of the black experience in this country. This common staple of the African American experience can be traced back to the cruel system of slavery. It then evolved into what we refer to today as gospel music. The goal of this paper is to answer three main questions. What are the origins of African American religious music? How did this musical expression develop into a secular form of music? What is the future of African American religious music? These questions will be answered through factual research of African American traditions, artists, and various other sources.
African-American music is a vibrant art form that describes the difficult lives of African American people. This can be proven by examining slave music, which shows its listeners how the slaves felt when they were working, and gives us insight into the problems of slavery; the blues, which expresses the significant connection with American history, discusses what the American spirit looks like and teaches a great deal from the stories it tells; and hip-hop, which started on the streets and includes topics such as misogyny, sex, and black-on-black violence to reveal the reactions to the circumstances faced by modern African Americans. First is about the effect of slave music on American history and African American music. The slave music’s
Contemporary, as well as older, Gospel music originated from the “Spirituals.” The spirituals, also known as the “Negro Spirituals or African-American folk songs,” were religious songs sung by the African Americans slaves in Southern America. The spirituals spawned from teachings of Christianity from slave owners, the church and even hymns. The songs were usually about love, hope, peace, oppression, freedom and even used as a secret code. The African American slaves would sing while working so much so that slave o...
Music nurtured the African American tradition and their struggle towards equality in the same century.... ... middle of paper ... ... Greensboro, N.C.: Morgan Reynolds Pub. Carter, D. (2009).
The development of Black Theology in the United was one that shocked the nation as a whole. While in slavery, Blacks had to sneak and hold church services. This was partly because Whites felt that Blacks were not able to be accepted into heaven, and they believed that once one as a Christian they could no longer be enslaved. So to appease their conscience they would not allow Blacks to take part in theology. Due to these issues Black Theology soon originated within the United States.
Breckenridge, Stan L. (2003). "The 'Path African American music for everyone. Second Edition. Iowa: Kendall-Hunt Publications, Inc. Enotes.
Powell, A. (2007). The Music of African Americans and its Impact on the American Culture in the 1960’s and the 1970’s. Miller African Centered Academy, 1. Retrieved from http://www.chatham.edu/pti/curriculum/units/2007/Powell.pdf
Small, Christopher. Music of the Common Tongue: Survival and Celebration in African American Music. Hanover, NH: U of New England, 1998. Print
Music has played a role in society since the dawn of man. Said to be the beginning of communication in early civilization, music and dance have influenced how we think, act and treat members of our own society. Song and dance is used in rites of passage ceremonies such as births, weddings and funerals throughout the world. Jamaican and Yoruba cultures have made many contributions to our society. The uses of this music as a vehicle for political issues, values, and beliefs have been used by many musicians from different cultures. I intend to discuss the Contribution of these two contemporary cultures music and their effect on society.