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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Father Campbell served as the pastor of Camp Baskervill in Pawleys Island, SC (Georgetown County). Camp Baskervill developed summer camps for at-risk youth and was instrumental in bringing together...
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Father Campbell served as the pastor of Camp Baskervill in Pawleys Island, SC (Georgetown County). Camp Baskervill developed summer camps for at-risk youth and was instrumental in bringing together...
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Audio transcripts for Father Tony Campbell. This interview took place on August 23, 1991.
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Ahrens, Pat All Male Chorus of Blacksburg Arnold, Mac Ayers, Sara Basket, Nancy Baylor, Amos Bellow, Roger Bennett, Mary Jane Benson, JD Blackwell, Richard Boggs, Horatio Manning Bollack, James Booker...
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Audio transcripts for: Hear My Prayer, Lord Master, I Know You Can When That Great Crowd Shall Gather You Can't Hide
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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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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.*
Audio
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.
Audio
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.
Audio
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.
