Reimagining Gospel

After using Richard Smallwood’s “It’s Working (Romans 8:28)” to reconstruct the sound world of a single gospel performance, this introductory chapter defines the broader historical, theoretical, and music-analytic contexts of the book, taking up each of its principal foci—Richard Smallwood, the vamp, and the Gospel Imagination. The first section offers a critical biographical sketch that positions Richard Smallwood in the gospel tradition. The second section outlines the centrality of the gospel choir to this musical tradition, and the particular importance of the vamp to choral expressions of contemporary gospel. The third section defines the Gospel Imagination, showing how gospel’s central conviction—that sound affords intimacy with the divine—motivates the intensive grammar of gospel songs, sermons, and prayers.

Analyzing Gospel

This article presents an analytical paradigm that employs the repetitive musical cycle known as “the vamp” to illuminate the interrelation of form, experience, and meaning in African American gospel music, focusing on music performed by gospel choirs with soloists. I argue that, more than just a ubiquitous musical procedure, the gospel vamp functions as a ritual technology, a resource many African American Christians use to experience with their bodies what they believe in their hearts. As they perform and perceive the gospel vamp's characteristic combination of repetition and escalation, these believers coproduce sonic environments that facilitate the communal experience of a given song's textual message. Through close readings of four canonical songs from the gospel choir repertoire—Kurt Carr's “For Every Mountain,” Brenda Joyce Moore's “Perfect Praise,” Richard Smallwood's “I Will Sing Praises,” and Thomas Whitfield's “I Shall Wear a Crown”—the article examines the phenomenological implications of gospel's communal orientation, outlines the relationship between musical syntax, musical experience, formal convention, and lyrical content in this genre, and suggests that analyzing gospel offers a way of studying how many black Christians come into contact with the invisible subjects of their belief.

Older People in a Community Gospel Choir: Musical Engagement and Social Connection

This research explores the role of community music in the lives of older Australians. This qualitative case study investigated the meanings and understandings ascribed by participants to their musical engagement in the South of the River Community Gospel Choir. This mixed a cappella SATB choir was formed in 2002 in Melbourne. The choir began with a repertoire of African-American Gospel music and South African Freedom Songs. With time their musical choices have transitioned to include more contemporary Australian composed works. The choir sings in diverse community settings such as high security prisons, palliative care, hospitals and the more common range of gigs such as community events, private events and folk festivals. Data were gathered from individual and focus group semi-structured interviews undertaken in 2016 with the members of the choir and with the Musical Director. Data were analysed using interpretative phenomenological analysis and reported under the themes of Musical engagement and Social connection, Performing and Outreach. The findings confirmed the pivotal musical and social importance of the Music Director; the importance of performance opportunities that support both socialising and community outreach; and the role of ensemble membership in fostering and maintaining understandings of self-worth and self-esteem.

The Lukan Beatitudes (Luke 6.20–26) in the Canonical Choir: A ‘Test Case’ for John Christopher Thomas’ Hermeneutical Proposal

John Christopher Thomas proposes the metaphor of a black gospel choir as a hermeneutical tool that will allow interpreters to hear the diverse voices of Scripture in both their solo melodies and their joined harmonies. This paper uses an analysis of Luke’s beatitudes and woes as a test case for Thomas’ metaphor.

Inclusion and participation in a multicultural gospel choir

Immigrants and particularly refugees are vulnerable in relation to health and social exclusion. This article asks how inclusion in a multicultural gospel choir in a Norwegian town can contribute to the well-being of immigrants. A case study including participatory observation and interviews with choir members forms the empirical basis for the analysis. The multicultural gospel choir gathers singers with very diverse backgrounds, who sing together in several languages in a welcoming social environment, where entry to participation is made easy both practically and socially. The narrative analysis focuses on four choir participants’ renditions of what the choir has meant to them. Within the broad framework of Antonovsky’s salutogenic theory, the relevance of health-promoting factors such as integration, social support, and inclusion is considered. In the analysis, social support and participation are identified as particularly important positive factors. A common theme in all four narratives is the importance of experiencing a sense of cultural participation in the choir. In other words, the choir members value the opportunity to contribute and be acknowledged as valuable participants in cultural interaction. The analysis presented here might serve as a reminder to see immigrants not only as representatives of their backgrounds, but as participants in the culture(s) continually being created here and now. The choir can function as an entry point to Norwegian society, and as a “family” in a vulnerable situation, but it is “not quite Norway.” In times of transition and uncertainty, however, the choir can provide quite an important arena for cultural participation, which in turn can strengthen participants in ways that may transfer to other arenas as well. This has policy and practical implications for preventive interventions, and points to a significant health potential in choirs and other community work where immigrants are included as equal contributors.