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...

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Détails bibliographiques
Auteur principal: Andemicael, Awet (Auteur)
Type de support: Électronique Article
Langue:Anglais
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Publié: Brill 2016
Dans: Pneuma
Année: 2016, Volume: 38, Numéro: 4, Pages: 394-410
Classifications IxTheo:KAH Époque moderne
KAJ Époque contemporaine
KBQ Amérique du Nord
KDG Église libre
RD Hymnologie
Sujets non-standardisés:B black Gospel music Sanctified Church Charles Mason holiness and worldliness instrumental music dance Holy Spirit sacred and secular
Accès en ligne: Volltext (Verlag)
Description
Résumé: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.
ISSN:1570-0747
Contient:In: Pneuma
Persistent identifiers:DOI: 10.1163/15700747-03804003