Title: The Blood Still Works
Artist: Triumphant Worship Center Gospel Choir (Fairfield, California)
Culture of Origin: Traditional Gospel Music
Instrumentation: Piano, Choir, Soloist, Drums
Context in musical structure affects the performance outcome in many different ways. Things such as available technology, aesthetic values, and performer-audience interactions play in to the context of music (Wade, 2013). The listening example that I chose for this week's blog post is of traditional black gospel music- one of my favorite genres in which to be a part of a live performance. I have had the opportunity to experience this genre in-person about a handful of times in my life and each time has been one of the most musically energetic and enlivening experiences! Context plays a huge part in one's experience with this type of music, though. There is a great deal of interaction between the audience and performers. The two groups feed off of one another. The interactions between performers also have a great impact on the final product. Lastly, a great deal of the musical energy comes from the relaxed movement of the performers and listeners. If this music was taken out of context and performed in a concert hall with a choir of musicians standing still and a hall full of silent listeners, the effect would certainly not be the same.
Wade, B.C. (2013). Thinking musically: Experiencing music, expressing culture. New York: Oxford University Press.
I like the song you picked for this week, it is a good example of context in musical structure. Gospel music to me seems to be a great example of what Wade talks about in her Intra-ensemble section of chapter 5. (Wade, 2013) The interaction between the audience and the ensemble is very important in this type of music and you make a good point when you say that both groups feed off of the energy of the other. Gospel music also often has a call and response aspect to it that encourages participation of both the performers and the audience. You're also right about some of the performance aspects that are appropriate and encouraged in Gospel music where the singers and audience are encouraged to dance and move with the music, in the context of traditional European art music this would not be appropriate but it is absolutely vital to an authentic performance in the Gospel genre.
Wade, B.C. (2013). Thinking musically: Experiencing music, expressing culture. New York: Oxford University Press.
Amanda, I like that you mentioned the importance of remembering context. Music is most effective when experienced in the most suitable setting. I played in a praise band with a few friends when I was in high school. We played at some local churches. One member prepared us to perform at his Presbyterian church by explaining that Presbyterians believe clapping is inappropriate in church, so we shouldn't expect the response we typically got in our home church. Since then I have enjoyed a variety of religious services and am always intrigued by the different responses to music. I'm also fascinated by the way some artists adapt songs to fit the aesthetic preferences of different church audiences.
Friend of God https://www.youtube.com/watch?v=lcxKRsn-hGc https://www.youtube.com/watch?v=UI0cgUKMqRs
I Can Only Imagine https://www.youtube.com/watch?v=N_lrrq_opng https://www.youtube.com/watch?v=-s8HMmvN-Jc
I agree with the comments above. The context of this music is in direct relation to the religion practiced in the church. Very High Energy and Exciting. Praise music in other religions can be so different. For example, you would hear religious music in a catholic mass, but not the level of energy of crowd interaction that this shows. Thank you for the great example.
Hi Amanda,
ReplyDeleteI like the song you picked for this week, it is a good example of context in musical structure. Gospel music to me seems to be a great example of what Wade talks about in her Intra-ensemble section of chapter 5. (Wade, 2013) The interaction between the audience and the ensemble is very important in this type of music and you make a good point when you say that both groups feed off of the energy of the other. Gospel music also often has a call and response aspect to it that encourages participation of both the performers and the audience. You're also right about some of the performance aspects that are appropriate and encouraged in Gospel music where the singers and audience are encouraged to dance and move with the music, in the context of traditional European art music this would not be appropriate but it is absolutely vital to an authentic performance in the Gospel genre.
Wade, B.C. (2013). Thinking musically: Experiencing music, expressing culture. New York: Oxford University Press.
Amanda, I like that you mentioned the importance of remembering context. Music is most effective when experienced in the most suitable setting. I played in a praise band with a few friends when I was in high school. We played at some local churches. One member prepared us to perform at his Presbyterian church by explaining that Presbyterians believe clapping is inappropriate in church, so we shouldn't expect the response we typically got in our home church. Since then I have enjoyed a variety of religious services and am always intrigued by the different responses to music. I'm also fascinated by the way some artists adapt songs to fit the aesthetic preferences of different church audiences.
ReplyDeleteFriend of God
https://www.youtube.com/watch?v=lcxKRsn-hGc
https://www.youtube.com/watch?v=UI0cgUKMqRs
I Can Only Imagine
https://www.youtube.com/watch?v=N_lrrq_opng
https://www.youtube.com/watch?v=-s8HMmvN-Jc
Hi Amanda,
ReplyDeleteI agree with the comments above. The context of this music is in direct relation to the religion practiced in the church. Very High Energy and Exciting. Praise music in other religions can be so different. For example, you would hear religious music in a catholic mass, but not the level of energy of crowd interaction that this shows. Thank you for the great example.
Ed