In this ambitious book on southern gospel music, Douglas Harrison reexamines the music's historical emergence and its function as a modern cultural phenomenon. Rather than seeing the music as a single rhetoric focusing on the afterlife as compensation for worldly sacrifice, Harrison presents southern gospel as a network of interconnected messages that evangelical Christians use to make individual sense of both Protestant theological doctrines and their own lived experiences. Harrison explores how listeners and consumers of southern gospel integrate its lyrics and music into their own religious experience, building up individual--and potentially subversive--meanings beneath a surface of evangelical consensus._x000B__x000B_Reassessing the contributions of such figures as Aldine Kieffer, James D. Vaughan, and Bill and Gloria Gaither, Then Sings My Soul traces an alternative history of southern gospel in the twentieth century, one that emphasizes the music's interaction with broader shifts in American life beyond the narrow confines of southern gospel's borders. Harrison's discussion includes the qgay-gospel paradoxq--the experience of non-heterosexuals in gospel music--as emblematic of fundamentalism's conflict with the postmodern world.For popular views of technology in turnaof~the-century American music, see Finson, Voices That Are Gone, 146a56. ... Of his most famous composition, he said, aActually, I was dreaming of flying away from that cotton field when I wrote a#39;Ia#39; ll Fly Awaya#39;. ... All references to shape-note songbooks and sheet music here and elsewhere refer to holdings at the Center for Popular Music at Middle Tennessee anbsp;...
|Title||:||Then Sings My Soul|
|Publisher||:||University of Illinois Press - 2012-04-18|