African Gospel Songs

The shift from spirituals to Gospel is evident in the recordings of African American religious songs recorded in the 1930s and 1940s. The Holloway High School Quartet of Murfreesboro, Tennessee, recorded by John W. Work, III in 1941, provides an example of a traditional spiritual arranged for four-part harmony in "Old ship of Zion," The same group in the same recording session demonstrated the sound of Gospel, as they sang an updated version of an old spiritual, "Daniel saw the stone."

Thomas Dorsey teamed up with vocalist Mahalia Jackson (1912 - 1972) who, like him, had been exposed during her formative years to the Baptist church and the sounds of blues artists like Bessie Smith (through an aunt's record collection). Together, Dorsey and Jackson bypassed the establishment and took their new Christian sound to the street corners of Chicago and elsewhere around the country. Jackson sang Dorsey's songs while the composer hawked copies of his sheet music.

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Although singers like Aretha Franklin had introduced Gospel style songs to the pop charts with songs like "Think" in 1968, church-centric Gospel music began to cross over into the mainstream following the release in 1969 of the recording of "O Happy Day" by the Edwin Hawkins Singers, a mixed-gender Gospel chorus based in the San Francisco Bay area. The song, which was based on a mid-eighteenth century English hymn sold more than a million copies in two months (well above average for a Gospel recording) and earned its composer, Edwin Hawkins (born 1943) his first of four Grammy Awards.

Since Hawkins, other artists have emerged, taking Gospel music well beyond the black church. Today's Gospel songs are more harmonically complex than their traditional counterparts. Prominent names in the contemporary Gospel field include Andrae Crouch, Take 6, The New York Community Choir and the Cultural Heritage Choir.

These days, Gospel songs are performed as solos or by small or large ensembles, and by men and women of all ages. Both blacks and whites sing the repertoire and the instrumentation possibilities are limitless, ranging from synthesizers and drums to full symphony orchestras. Hear, for example, Marion Williams's 1992 recording of "Amazing Grace,"

Much of modern South African gospel rails against ills such as violent crime. And, as Netshivhambe said, South Africans, influenced by decades of gross inequality in their society, love a good protest.

In this article, we will explore the power of African gospel music at funerals and how it brought and continues to bring communities together, offer healing, and create a lasting legacy for those who have passed on.

We hope that our expertly curated list of tracks and our guide on choosing African gospel music for funerals will help you create a fitting tribute that truly reflects your loved one's character and spirit.

African Gospel music for funerals is a musical genre or group of songs that are sung at funerals in African communities. These songs are typically religious in nature, and they seek to provide comfort, hope, and inspiration to those who are grieving.

Some popular African Gospel songs for funerals include ""Imela (Live) (ft. Enitan Adaba)" by Nathaniel Bassey, "Akekho Ofana No Jesu" by Vokalensemble singer Hohes C, and "Ukhozi FM Gospel Mix" by Ntokozo Mbambo.

African Gospel music for funerals is unique because it is specifically designed to provide comfort and hope to those who are grieving. The songs typically have a slow, mournful tempo, and they feature powerful vocals and uplifting lyrics.

Hope opens with a rousing program of South African freedom songs, before the repertoire echoes down through time to the USA, with beautiful renditions of the protest music of the Civil Rights Movement, including works by legendary artists James Brown, Sam Cooke, Stevie Wonder and the one-and-only Aretha Franklin.

Formed to celebrate the unique and inspirational power of African Gospel music, Soweto Gospel Choir draws on the best talent from the many churches in and around Soweto. The choir is dedicated to sharing the joy of faith through music with audiences around the world and has received critical acclaim and audience adoration for their powerful renditions of African American spirituals, gospel and folk music.

Trending African Gospel Song... "Wo Ye Mame" meaning You're good to me ?? Yes!! He is a good God, enjoy... I'm a gospel artist and I wish to be followed, it mean a lot to me. God bless you for your support ??

In recent years, gospel music in Africa has seen immense growth and has gained popularity around the world. The emergence of new gospel artists in Africa has played a significant role in promoting talent, creativity, and diversity in the genre. With this in mind, we have compiled a list of top 10 African gospel artists in 2023 to discover.

Sonnie Badu is a Ghanaian gospel singer, songwriter, worship leader, and pastor. He is the founder of the Rockhill Church in Atlanta, Georgia, and has won multiple awards including the Gospel Music Awards of the United Kingdom, Africa Gospel Music Awards, and the Ghana Music Awards.

In conclusion, African gospel music has experienced tremendous growth and this growth is reflected in the success and popularity of the artists on this list. These top 10 African gospel artists in 2023 showcase the diversity, talent, and creativity that can be found within the genre and are worth discovering.

Music is one of the most dominant forms of entertainment. It is also used to praise God. This form of music is known as gospel. Most of these songs are usually uploaded to a website so that they can reach most people worldwide. The videos of the songs can be viewed online by people worldwide. Gospel videos are uploaded to YouTube like any other video! The more popular the video, the higher the number of views. The most viewed African gospel music videos on YouTube include:

This video was produced in February. The video, uploaded to YouTube on March 11, 2013, was produced by the Ambassadors of Christ in Rwanda and has 245,159 views and is still counting. With a clean flow of the songs that match the beats, the song is just perfect.

This gospel video was produced by JanetOtieno Shusho is a Swahili video uploaded on September 1, 2013 and garnered widespread attention by 199,697 views on YouTube. With the high quality of the performance based on the background voices and the appropriate location of the action, this video just amazes the viewers. The video has a great number of likes, indicating its popularity, which lies in its brilliance.

This African gospel music video produced by J-Nosh was given a warm welcome by YouTube viewers on April 18, 2012 when it was uploaded. With views approaching nearly 190,000 and still growing, this is a great gospel video.

Black gospel music, often called gospel music or gospel, is the traditional music of the Black diaspora in the United States. It is rooted in the conversion of enslaved Africans to Christianity, both during and after the trans-atlantic slave trade, starting with work songs sung in the fields and, later, with religious songs sung in various church settings, later classified as Negro Spirituals (which shaped much of traditional Black gospel).

The modern iteration of the genre, contemporary gospel, emerged in the late 1970s as a fusion of the traditional genre with the musical stylings of the era in secular Black music, which resulted in popularizing a whole new generation of artists and songs, expanding the larger genre's reach.

Also a popular form of commercial music, Black gospel was revolutionized in the 1930s by Thomas Dorsey, the "father of gospel music," who is credited with composing more than 1,000 gospel songs, including "Take My Hand, Precious Lord" and "Peace in the Valley." Dorsey also created the first gospel choir and sold millions of copies of his recordings nationwide.[2] The Pilgrim Baptist Church in Chicago, Dorsey's home church, is currently in development as the National Museum of Gospel Music.

Some of this communication (including work songs sung in the fields) was used to organize, including plans for retaliation against their enslavers and for escape. This eventually led to the banning of drums in many parts of colonial America, as well as other instruments related to West African patrimony.

As such, most Black churches relied on hand- clapping and foot-stomping as rhythmic accompaniment. West African dance and ring shout traditions developed among early Black Christians into shouting, in which fast-paced gospel music is accompanied by equally rapid (often frenzied) dancing. (In its modern form, this is also known as a "praise break".) This, along with the repetition and "call and response" elements familiar to West African music, helped to engender an ecstatic, trance-like state and to strengthen communal bonds. These elements also enabled illiterate members the opportunity to participate.[3][4]

In 1867, a compendium of slave songs titled Slaves Songs of the United States was issued by a group of Northern abolitionists. It is also the first such collection of African-American music of any kind, and included a number of early Black gospel songs, including "Down in the River to Pray" (then titled "The Good Old Way").[citation needed]

An early reference to the term "gospel song" appeared in Philip Bliss' 1874 songbook, Gospel Songs. A Choice Collection of Hymns and Tunes, describing songs that were easy to grasp and more easily singable than the traditional church hymns, not unlike Watts' works from a century prior. This latter tradition was used in the context of the growing revival/camp meeting tradition, a form of worship familiar to Black Christians, who had often been forced to meet in large outdoor spaces due to racism and other concerns.

This increasingly interracial tradition would eventually morph into the larger Pentecostal movement, which began in a markedly interracial fashion in Los Angeles and helped Black gospel expand nationwide across racial boundaries. Sister Rosetta Tharpe would emerge from the Black Pentecostal tradition as the first notable gospel recording artist. Arizona Dranes, the first-recorded gospel pianist, came from similar roots during this period and helped introduce ragtime stylings to the genre. 17dc91bb1f