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608 Journal of the American Musicological Society Demonstration of the uniqueness, and therefore the utility, of each musical example might have been assisted by the inclusion of composition and/or performance dates. In chapter 1, for example, Shelley analyzes multiple gospel songs—including Walter Hawkins’s “Marvelous” and Judith McAllister’s “High Praise”—to illustrate the practice of “tuning up” in gospel perfor- mance. Many of these analyses, however, do not include specific dates or reveal the broader historical and cultural contexts in which the songs were composed and performed. A careful periodization and historical contextuali- zation could have provided insight into the nuanced ways in which each gos- pel composer/performer approached the vamp. Additionally, in the third chapter’s discussion of the centrality of words in creating transcendence in gospel music, consideration of the broader theological context of the Word of Faith movement—a theological movement that places heavy emphasis on the spiritual primacy of words—would undoubtedly have bolstered Shelley’s argument. Sociologist Milmon Harrison’s seminal text on the Word of Faith movement, Righteous Riches, would have proved a valuable resource in artic- ulating the extent to which this popular theological movement has influenced the way Black churchgoers understand the power of words. These considerations aside,
Journal of the American Musicological Society – University of California Press
Published: Dec 1, 2022
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