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An Eternal Pitch examines the homiletic life and afterlife of
Bishop G. E. Patterson, the dynamic spiritual leader of the
Church of God in Christ from 2000 to 2007. Although Patterson died
in 2007, his voice remains a staple of radio and television
broadcast, and his sermons have taken on a life of their own
online, where myriad YouTube, Facebook, Instagram, and TikTok users
enact innovative forms of religious broadcasting. Their
preoccupation with Patterson’s “Afterliveness” punctuates the
significance of Patterson’s preoccupation with musical
repetition: across the decades of Patterson’s ministry, a set of
musical gestures recur as sonic channels, bringing an individual
sermon into contact with scripture’s eternal transmission.
An Eternal Pitch examines the homiletic life and afterlife of
Bishop G. E. Patterson, the dynamic spiritual leader of the
Church of God in Christ from 2000 to 2007. Although Patterson died
in 2007, his voice remains a staple of radio and television
broadcast, and his sermons have taken on a life of their own
online, where myriad YouTube, Facebook, Instagram, and TikTok users
enact innovative forms of religious broadcasting. Their
preoccupation with Patterson’s “Afterliveness” punctuates the
significance of Patterson’s preoccupation with musical
repetition: across the decades of Patterson’s ministry, a set of
musical gestures recur as sonic channels, bringing an individual
sermon into contact with scripture’s eternal transmission.
Between the first and last words of a black gospel song, musical
sound acquires spiritual power. During this unfolding, a variety of
techniques facilitate musical and physical transformation. The most
important of these is a repetitive musical cycle known by names
including the run, the drive, the special, and the vamp. Through
its combination of reiteration and intensification, the vamp turns
song lyrics into something more potent. While many musical
traditions use vamps to fill space, or occupy time in preparation
for another, more important event, in gospel, vamps are the main
event. Why is the vamp so central to the black gospel tradition?
What work-musical, cultural, and spiritual-does the gospel vamp do?
And what does the vamp reveal about the transformative power of
black gospel more broadly? This book explores the vamp's essential
place in black gospel song, arguing that these climactic musical
cycles turn worship services into transcendent events. A defining
feature of contemporary gospel, the vamp links individual
performances to their generic contexts. An exemplar of African
American musical practice, the vamp connects gospel songs to a
venerable lineage of black sacred expression. As it generates
emotive and physical intensity, the vamp helps believers access an
embodied experience of the invisible, moving between this world and
another in their musical practice of faith. The vamp, then, is a
musical, cultural, and religious interface, which gives vent to a
system of belief, performance, and reception that author Braxton D.
Shelley calls the Gospel Imagination. In the Gospel Imagination,
the vamp offers proof that musical sound can turn spiritual power
into a physical reality-a divine presence in human bodies.
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Exploring Christian Song (Hardcover)
M. Jennifer Bloxam, Andrew Shenton; Contributions by M. Jennifer Bloxam, Joshua Kalin Busman, Stephen A. Crist, …
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R3,836
Discovery Miles 38 360
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Ships in 10 - 15 working days
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This essay collection celebrates the richness of Christian musical
tradition across its two thousand year history and across the
globe. Opening with a consideration of the fourth-century
lamp-lighting hymn Phos hilaron and closing with reflections on
contemporary efforts of Ghanaian composers to create Christian
worship music in African idioms, the ten contributors engage with a
broad ecumenical array of sacred music. Topics encompass Roman
Catholic sacred music in medieval and Renaissance Europe, German
Lutheran song in the eighteenth century, English hymnody in
colonial America, Methodist hymnody adopted by Southern Baptists in
the nineteenth century, and Genevan psalmody adapted to respond to
the post-war tribulations of the Hungarian Reformed Church. The
scope of the volume is further diversified by the inclusion of
contemporary Christian topics that address the evangelical methods
of a unique Orthodox Christian composer's language, the shared aims
and methods of African-American preaching and gospel music, and the
affective didactic power of American evangelical "praise and
worship" music. New material on several key composers, including
Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach,
Zoltan Kodaly, and Arvo Part, appears within the book. Taken
together, these essays embrace a stimulating variety of
interdisciplinary analytical and methodological approaches, drawing
on cultural, literary critical, theological, ritual,
ethnographical, and media studies. The collection contributes to
discussions of spirituality in music and, in particular, to the
unifying aspects of Christian sacred music across time, space, and
faith traditions. This collection celebrates the fifteenth
anniversary of the Society for Christian Scholarship in Music.
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Exploring Christian Song (Paperback)
M. Jennifer Bloxam, Andrew Shenton; Contributions by M. Jennifer Bloxam, Joshua Kalin Busman, Stephen A. Crist, …
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R1,592
Discovery Miles 15 920
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Ships in 10 - 15 working days
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This essay collection celebrates the richness of Christian musical
tradition across its two thousand year history and across the
globe. Opening with a consideration of the fourth-century
lamp-lighting hymn Phos hilaron and closing with reflections on
contemporary efforts of Ghanaian composers to create Christian
worship music in African idioms, the ten contributors engage with a
broad ecumenical array of sacred music. Topics encompass Roman
Catholic sacred music in medieval and Renaissance Europe, German
Lutheran song in the eighteenth century, English hymnody in
colonial America, Methodist hymnody adopted by Southern Baptists in
the nineteenth century, and Genevan psalmody adapted to respond to
the post-war tribulations of the Hungarian Reformed Church. The
scope of the volume is further diversified by the inclusion of
contemporary Christian topics that address the evangelical methods
of a unique Orthodox Christian composer's language, the shared aims
and methods of African-American preaching and gospel music, and the
affective didactic power of American evangelical "praise and
worship" music. New material on several key composers, including
Jacob Obrecht, J.S. Bach, George Philipp Telemann, C.P.E. Bach,
Zoltan Kodaly, and Arvo Part, appears within the book. Taken
together, these essays embrace a stimulating variety of
interdisciplinary analytical and methodological approaches, drawing
on cultural, literary critical, theological, ritual,
ethnographical, and media studies. The collection contributes to
discussions of spirituality in music and, in particular, to the
unifying aspects of Christian sacred music across time, space, and
faith traditions. This collection celebrates the fifteenth
anniversary of the Society for Christian Scholarship in Music.
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