1. Gospel Music Day 5

2. Gospel and West African Musical Traditions Gospel Music became its own unique genre of music thanks in large part to the influences of West African musical traditions, four of which are discussed below. Call and Response: The interaction between a speaker and listeners in which the speaker’s statements ('calls') are answered by the listeners ('responses'). The responses may take many forms, including sung words, shouts, claps, and other sounds. The same lyrics may also be repeated over and over again. Group Singing: When multiple people sing at the same time. This type of performance was very common in West African religious tradition, but not very common in white American Christian religious tradition in the 18th and 19th centuries. White Christian services of the time typically had no choir, and any singing done was a capella (without instrumental accompaniment), usually by a soloist. Musical Instruments: Musical instruments, often homemade and based on West African instruments (such as the Djembe drum, the Kora, a stringed instrument similar to a harp or guitar, and the Thumb piano). White Christian services of the time typically had no instruments. Complex Rhythms and/or Movement: Complex rhythms (multiple layers of percussion) were a part of West African music. In Gospel, this can be found with multiple percussion instruments (drums, tambourine, piano) playing different rhythms or different voices singing different rhythms.

3. Song Comparison #1: Gospel-Inspired Pop "(He Is) Wonderful” (1959), by Sam Cooke and the Soul Stirrers “Loveable” (1956), originally released under the name "Dale Cook."(He Is) WonderfulLoveable Instrumentation: List the instruments in the order you hear them Mood: Romantic, sad, urgent, angry, contemplative, etc. Tempo: Fast, slow, mid-tempo, etc. Lyrics: Easily understood? What is the writer trying to convey? What kind of picture do they paint? Is there a clear story or narrative? African Music Influence Call and response? Group singing? Complex rhythms? Rhythmic instruments? Other Things You Notice: List any other similarities or differences you hear

4. Song Comparison #1 "(He Is) Wonderful” (1959), by Sam Cooke and the Soul Stirrers “Loveable” (1956), originally released under the name "Dale Cook."(He Is) WonderfulLoveable 1.In the first comparison, can you tell that the song is almost identical and the vocalist is actually the same person? 2.Sam Cooke was one of many artists to make the transition from Gospel singer to Pop singer. He changed his name to “Dale Cook” when he recorded “Lovable” in 1956. Why do you think Cooke changed his name when he recorded “Loveable?” Why might fans of Gospel music be offended by changing a song about God (“Him”) to a song about a woman (“her”)? 3.Does the song work equally well in each version? Can the difference between a Gospel song and a Pop song be as simple as just changing the words? 4.Overall, how did Gospel music influence the song “Loveable”?

5. Song Comparison #2: Vocal Quartets The Jordanaires, “Dig a Little Deeper” (1950) Elvis Presley with the Jordanaires, "Too Much" (1957)Dig a Little DeeperToo Much Instrumentation: List the instruments in the order you hear them Mood: Romantic, sad, urgent, angry, contemplative, etc. Tempo: Fast, slow, mid-tempo, etc. Lyrics: Easily understood? What is the writer trying to convey? What kind of picture do they paint? Is there a clear story or narrative? African Music Influence Call and response? Group singing? Complex rhythms? Rhythmic instruments? Other Things You Notice: List any other similarities or differences you hear

6. Song Comparison #2: Vocal Quartets The Jordanaires, “Dig a Little Deeper” (1950) Elvis Presley with the Jordanaires, "Too Much" (1957)Dig a Little DeeperToo Much 1.What does the second comparison have in common with the first? Who are the singers singing about in each song? 2.Why do you think the complex vocal harmonies of Gospel songs such as “Dig a Little Deeper” worked well in Pop music? What overall effect do they have on the listener? 3.What do the rhythms of a song like "Too Much" seem to borrow from Gospel? 4.How do you imagine Elvis Presley, who was white, learned to master the vocal stylings of African-American Gospel artists? 5.Overall, how did Gospel music influence the song “Too Much”?

7. Song Comparison #3: Gospel and Rock and Roll Sister Rosetta Tharpe, "Didn't It Rain" (1964) Little Richard, "Tutti Frutti" (1957) Sister Rosetta Tharpe, "Didn't It Rain" Little Richard, "Tutti Frutti" Instrumentation: List the instruments in the order you hear them Mood: Romantic, sad, urgent, angry, contemplative, etc. Tempo: Fast, slow, mid-tempo, etc. Lyrics: Easily understood? What is the writer trying to convey? What kind of picture do they paint? Is there a clear story or narrative? African Music Influence Call and response? Group singing? Complex rhythms? Rhythmic instruments? Other Things You Notice: List any other similarities or differences you hear

8. Song Comparison #3 Sister Rosetta Tharpe, "Didn't It Rain" (1964) Little Richard, "Tutti Frutti" (1957) Sister Rosetta Tharpe, "Didn't It Rain" Little Richard, "Tutti Frutti" 1.How similar are the vocal stylings of "Didn't It Rain" and "Tutti Frutti"? 2.Why might white audiences be receptive to music that was influenced by the music of the African-American church? 3.Would it matter whether they were even aware of this influence when listening to popular music? 4.Overall, how did Gospel music influence the song “Tutti Frutti”?

9. Classwork/Homework Identify a particular song, artist, or style of music you enjoy listening to that might, in some way, have been influenced by Gospel music. Identify at least two specific elements of Gospel music that have influenced the song, artist, or genre you have identified.