Black British Gospel Music
From the Windrush Generation to Black Lives Matter
Herausgeber: McKenzie, Dulcie A. Dixon; Ingalls, Monique M.; Muir, Pauline E.
Black British Gospel Music
From the Windrush Generation to Black Lives Matter
Herausgeber: McKenzie, Dulcie A. Dixon; Ingalls, Monique M.; Muir, Pauline E.
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Black British Gospel Music is a dynamic and multifaceted musical practice, a diasporic river rooted in the experiences of Black British Christian communities.
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Black British Gospel Music is a dynamic and multifaceted musical practice, a diasporic river rooted in the experiences of Black British Christian communities.
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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Routledge
- Seitenzahl: 264
- Erscheinungstermin: 4. Juni 2024
- Englisch
- Abmessung: 240mm x 161mm x 19mm
- Gewicht: 564g
- ISBN-13: 9781032145853
- ISBN-10: 1032145854
- Artikelnr.: 70149472
- Herstellerkennzeichnung
- Books on Demand GmbH
- In de Tarpen 42
- 22848 Norderstedt
- info@bod.de
- 040 53433511
- Verlag: Routledge
- Seitenzahl: 264
- Erscheinungstermin: 4. Juni 2024
- Englisch
- Abmessung: 240mm x 161mm x 19mm
- Gewicht: 564g
- ISBN-13: 9781032145853
- ISBN-10: 1032145854
- Artikelnr.: 70149472
- Herstellerkennzeichnung
- Books on Demand GmbH
- In de Tarpen 42
- 22848 Norderstedt
- info@bod.de
- 040 53433511
Dulcie Dixon McKenzie is the Director of the Centre for Black Theology at the Queen's Foundation for Ecumenical Theological Education, Birmingham, UK. She achieved her PhD at the University of Birmingham and has published in the area of Black British gospel music and church history. She is a multiple award-winning pioneer of Black British gospel music Radio, including a lifetime achievement award. Pauline Muir is a lecturer in Arts Management at Goldsmiths College, University of London. Awarded a PhD from Birkbeck College, University of London interrogating congregation music within UK Black majority Churches, her research interests are in the intricate interplay between 'race', identity, congregational music and the Black British Gospel industry. Monique M. Ingalls is Associate Professor of Music and Church Music Graduate Program Director at Baylor University in Waco, Texas, USA. She is the author and editor of several books on congregational music-making and serves as series editor of Routledge's Congregational Music Studies Book Series.
Introduction: Rivers of Babylon: Contextualizing Black British Gospel Music
Pauline Muir, Dulcie Dixon McKenzie, and Monique M. Ingalls
1 Look Where God has Brought Us! Remembering the Religious Foundations of
Black British Gospel Music
Dulcie Dixon McKenzie
2 'Gifts and Talents': Sacred and secular musical performance at a suburban
British Pentecostal church
Natalie Hyacinth
3 Just Like Church, Not Like Church, or Better Than Church? Community
Gospel Choirs as Lived Religion and Convivial Spiritual Practice in the
Contemporary United Kingdom
Monique M. Ingalls
4 Black British Gospel Music: A Perspective from A Reluctant Choir Director
Geraldine Latty Luce
5 Black British Gospel-Pop Crossover: 'Gospel Codes' in the Music of
Stormzy and Mica Paris
Matthew Williams
6 The 'sacred' and 'secular' interplay within gospel grime performance
Samson Tosin Onafuye
7 Don't shoot the Messi(nJ)ah: Charting the growth of the Gospel in Great
British Grime music
Monique Charles
8 The Jamaican Bible Remix: A theomusicological praxis for bridging the gap
between Black Liberation Theology and Contemporary Gospel Music in Britain
Robert Beckford
9 Black British Gospel Music and the Question of Belief (in God)
Alexander Douglas
10 Decolonising Congregational Music
Pauline Muir
11 Black British Gospel Music Past, Present, and Future: Final Reflections
from the Editors
Dulcie Dixon McKenzie, Pauline Muir, and Monique M. Ingalls
Afterword: We Need Black Power, Lord! Reflections on Black British Gospel
Music
William Ackah
Pauline Muir, Dulcie Dixon McKenzie, and Monique M. Ingalls
1 Look Where God has Brought Us! Remembering the Religious Foundations of
Black British Gospel Music
Dulcie Dixon McKenzie
2 'Gifts and Talents': Sacred and secular musical performance at a suburban
British Pentecostal church
Natalie Hyacinth
3 Just Like Church, Not Like Church, or Better Than Church? Community
Gospel Choirs as Lived Religion and Convivial Spiritual Practice in the
Contemporary United Kingdom
Monique M. Ingalls
4 Black British Gospel Music: A Perspective from A Reluctant Choir Director
Geraldine Latty Luce
5 Black British Gospel-Pop Crossover: 'Gospel Codes' in the Music of
Stormzy and Mica Paris
Matthew Williams
6 The 'sacred' and 'secular' interplay within gospel grime performance
Samson Tosin Onafuye
7 Don't shoot the Messi(nJ)ah: Charting the growth of the Gospel in Great
British Grime music
Monique Charles
8 The Jamaican Bible Remix: A theomusicological praxis for bridging the gap
between Black Liberation Theology and Contemporary Gospel Music in Britain
Robert Beckford
9 Black British Gospel Music and the Question of Belief (in God)
Alexander Douglas
10 Decolonising Congregational Music
Pauline Muir
11 Black British Gospel Music Past, Present, and Future: Final Reflections
from the Editors
Dulcie Dixon McKenzie, Pauline Muir, and Monique M. Ingalls
Afterword: We Need Black Power, Lord! Reflections on Black British Gospel
Music
William Ackah
Introduction: Rivers of Babylon: Contextualizing Black British Gospel Music
Pauline Muir, Dulcie Dixon McKenzie, and Monique M. Ingalls
1 Look Where God has Brought Us! Remembering the Religious Foundations of
Black British Gospel Music
Dulcie Dixon McKenzie
2 'Gifts and Talents': Sacred and secular musical performance at a suburban
British Pentecostal church
Natalie Hyacinth
3 Just Like Church, Not Like Church, or Better Than Church? Community
Gospel Choirs as Lived Religion and Convivial Spiritual Practice in the
Contemporary United Kingdom
Monique M. Ingalls
4 Black British Gospel Music: A Perspective from A Reluctant Choir Director
Geraldine Latty Luce
5 Black British Gospel-Pop Crossover: 'Gospel Codes' in the Music of
Stormzy and Mica Paris
Matthew Williams
6 The 'sacred' and 'secular' interplay within gospel grime performance
Samson Tosin Onafuye
7 Don't shoot the Messi(nJ)ah: Charting the growth of the Gospel in Great
British Grime music
Monique Charles
8 The Jamaican Bible Remix: A theomusicological praxis for bridging the gap
between Black Liberation Theology and Contemporary Gospel Music in Britain
Robert Beckford
9 Black British Gospel Music and the Question of Belief (in God)
Alexander Douglas
10 Decolonising Congregational Music
Pauline Muir
11 Black British Gospel Music Past, Present, and Future: Final Reflections
from the Editors
Dulcie Dixon McKenzie, Pauline Muir, and Monique M. Ingalls
Afterword: We Need Black Power, Lord! Reflections on Black British Gospel
Music
William Ackah
Pauline Muir, Dulcie Dixon McKenzie, and Monique M. Ingalls
1 Look Where God has Brought Us! Remembering the Religious Foundations of
Black British Gospel Music
Dulcie Dixon McKenzie
2 'Gifts and Talents': Sacred and secular musical performance at a suburban
British Pentecostal church
Natalie Hyacinth
3 Just Like Church, Not Like Church, or Better Than Church? Community
Gospel Choirs as Lived Religion and Convivial Spiritual Practice in the
Contemporary United Kingdom
Monique M. Ingalls
4 Black British Gospel Music: A Perspective from A Reluctant Choir Director
Geraldine Latty Luce
5 Black British Gospel-Pop Crossover: 'Gospel Codes' in the Music of
Stormzy and Mica Paris
Matthew Williams
6 The 'sacred' and 'secular' interplay within gospel grime performance
Samson Tosin Onafuye
7 Don't shoot the Messi(nJ)ah: Charting the growth of the Gospel in Great
British Grime music
Monique Charles
8 The Jamaican Bible Remix: A theomusicological praxis for bridging the gap
between Black Liberation Theology and Contemporary Gospel Music in Britain
Robert Beckford
9 Black British Gospel Music and the Question of Belief (in God)
Alexander Douglas
10 Decolonising Congregational Music
Pauline Muir
11 Black British Gospel Music Past, Present, and Future: Final Reflections
from the Editors
Dulcie Dixon McKenzie, Pauline Muir, and Monique M. Ingalls
Afterword: We Need Black Power, Lord! Reflections on Black British Gospel
Music
William Ackah