Holiness and Worldliness
What was truly distinctive about the black Gospel music style of the Sanctified Church was its extensive use of musical instruments previously associated with “the world.” Yet, this fact presents a theological conundrum. The very churches that were so enthusiastically “embracing” the Gospel style we...
Κύριος συγγραφέας: | |
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Τύπος μέσου: | Ηλεκτρονική πηγή Άρθρο |
Γλώσσα: | Αγγλικά |
Έλεγχος διαθεσιμότητας: | HBZ Gateway |
Journals Online & Print: | |
Fernleihe: | Fernleihe für die Fachinformationsdienste |
Έκδοση: |
Brill
2016
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Στο/Στη: |
Pneuma
Έτος: 2016, Τόμος: 38, Τεύχος: 4, Σελίδες: 394-410 |
Σημειογραφίες IxTheo: | KAH Εκκλησιαστική Ιστορία 1648-1913, Νεότερη Εποχή NBG Πνευματολογία, Άγιο Πνεύμα RD Υμνολογία |
Άλλες λέξεις-κλειδιά: | B
black Gospel music
Sanctified Church
Charles Mason
holiness and worldliness
instrumental music
dance
Holy Spirit
sacred and secular
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Διαθέσιμο Online: |
Volltext (Verlag) |
Σύνοψη: | What was truly distinctive about the black Gospel music style of the Sanctified Church was its extensive use of musical instruments previously associated with “the world.” Yet, this fact presents a theological conundrum. The very churches that were so enthusiastically “embracing” the Gospel style were, at the same time, ardently emphasizing strict moral living and the repudiation of all things carnal. In this article, I suggest lines of theological reasoning that may have informed early black Holiness and pentecostal Christians in their widespread liturgical use of the Gospel style. Drawing on primary source material from COGIC founding Bishop Charles Mason, I expand Lawrence Levine’s model of the relationship between early black Sanctified churches and the secular black musical world and argue that a more nuanced conception of the Christ-world relation than is generally assumed may have undergirded Sanctified development of early Gospel music. |
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ISSN: | 1570-0747 |
Περιλαμβάνει: | In: Pneuma
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Persistent identifiers: | DOI: 10.1163/15700747-03804003 |