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Overview

Around 1968, at the close of the golden age of gospel, music approaches applied new stylistic labels to gospel such as urban contemporary gospel, holy hip-hop, hip-hop gospel, or just contemporary gospel, to name a few. Many continue to use these labels to describe gospel music from the late 1960s to the present day. As gospel music's boundaries concerning its stylistic labels continue to expand, notable differences in music characteristics and performance practices contribute to gospel music's broad appeal at this juncture.

Be ready to:

List important events and artists' accomplishments that contributed to the contemporary gospel.

Recall specific performers/composers and their songs that engendered the transition between the golden age of gospel and contemporary gospel.

Identify contemporary gospel songs that borrow music elements from secular songs, specifically how they incorporate music characteristics and performance practices similar to those found in soul, funk, and disco music.

Explain the use of many stylistic labels as applied to contemporary gospel music.

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References

Listening Guide: "Oh Happy Day" Performed by The Edwin Hawkins Singers (1969)

"Oh Happy Day"♫ Performed by The Edwin Hawkins Singers
Introduction	Instrumental introduction, which includes piano, bass, drums, bongos, and congas	[00:00-00:20] 00:20
Verse 1	A woman soloist (alto voice) enters singing the title lyrics "Oh Happy Day." A choir accompanies the soloist by singing in an imitational call-and-response manner. The choir practically sings the same lyrics introduced by the soloist.	[00:21-00:51] 00:30
Verse 1	Same as above	[00:51-01:19] 00:28
Chorus	This time the choir begins with the call, while the soloist gives a lyrical imitational response as well as a few improvised extemporaneous lyrics such as "my Lord," "good God," and "all yeah."	[01:19-1:52] 00:33
Verse 1	Same as previous Verse 1	[01:52-02:21] 00:29
Chorus	Same as the previous chorus	[02:21-02:54] 00:34
Vamp	Here, the soloist calls with the title lyrics repeating them, while the choir responds with the same lyrics each time. This pattern is repeated three times at mezzo piano. Then, at 03:06, the soloist sings an octave higher at mezzo-forte, and the choir responds with the same lyrics at forte. Eventually, the soloist begins to improvise with extemporaneous lyrics until the end of this section. At 03:12, the choir adds handclapping.	[02:54-04:16] 01:24
Verse 1	Same as previous Verse 1	[04:16-04:37] 00:21
Coda	The choir sings the call, while the soloist gives a lyrical imitational response as well as a few improvised extemporaneous lyrics such as "my Lord," "good God," "all yeah."	[04:37-05:05] 00:28

Yolanda Adams

There is a sound that comes from gospel music that doesn't come from anything else. It is a sound of peace. It is a sound of, I'm going to make it through all of this.

Whitney Houston

I'm an old-fashioned girl. And I love gospel. I like things that lift me up, inspire me.