Rise of Gospel Blues The Music of Thomas Andrew Dorsey in the Urban Church
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Thomas A. Dorsey, also known as `Georgia Tom', had considerable success in the 1920's as a pianist, composer, and arranger for prominent blues singers including Ma Rainey. In the late 1930s, Dorsey became involved in African-American old-line Protestant churches, where his background in the blues greatly influenced his composing and singing. At first these `respectable' Chicago churches rejected this new form, partially because of the unseemly reputation blues performance had, butmore because of the excitement that gospel blues produced in the church congregation. A controversy developed between two conflicting visions; one segment idealized an institution that nurtured a distinct African-American religion and culture, the other saw the church as a means by which AfricanAmericans would assimilate into American Christianity and the dominant Anglo-American culture. However, by the end of the 1930s the former group prevailed by the power of the music. From that time on, gospel blues became a major force in African-American churches and religion.
List price: $39.99
Copyright year: 1992
Publisher: Oxford University Press, Incorporated
Publication date: 6/23/1994
Size: 5.35" wide x 8.03" long x 0.67" tall
|List of Music Examples|
|Religion and Blackness in Rural Georgia: 1899-1908|
|Music, Literacy, and Society in Atlanta: 1910-1916|
|Blues--From "Lowdown" to "Jass": 1921-1923|
|Blues--From "Jass" to "Lowdown": 1924-1928|
|Old-Line Religion and Musicians: 1920-1930|
|Old-Line Religion and Urban Migrants: 1920-1930|
|Preachers and Bluesmen: 1928-1931|
|The Emergence of Gospel Blues: 1931-1932|
|Giving the Gospel a Blues Voice: 1932|
|A Place for Gospel Blues in Old-Line Religion: 1932-1937|