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The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries, by Anna Maria Busse Berger

The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries,... 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, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of the American Musicological Society University of California Press

The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries, by Anna Maria Busse Berger

Journal of the American Musicological Society , Volume 75 (3): 7 – Dec 1, 2022

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Publisher
University of California Press
Copyright
© 2022 by the American Musicological Society. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.
ISSN
0003-0139
eISSN
1547-3848
DOI
10.1525/jams.2022.75.3.608
Publisher site
See Article on Publisher Site

Abstract

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

Journal of the American Musicological SocietyUniversity of California Press

Published: Dec 1, 2022

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