
Contents
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37.1 Origins and Primary Characteristics 37.1 Origins and Primary Characteristics
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37.2 Selected Thematic Typologies 37.2 Selected Thematic Typologies
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37.2.1 Spirituals 37.2.1 Spirituals
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37.2.2 Blues 37.2.2 Blues
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37.2.3 Ragtime 37.2.3 Ragtime
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37.2.4 Jazz 37.2.4 Jazz
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37.2.5 Gospel Music 37.2.5 Gospel Music
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37.2.6 Rhythm & Blues and Rock ‘n’ Roll 37.2.6 Rhythm & Blues and Rock ‘n’ Roll
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37.2.7 Hip-Hop 37.2.7 Hip-Hop
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37.2.8 Classical, Integrated Tradition 37.2.8 Classical, Integrated Tradition
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37.3 Impact 37.3 Impact
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37.4 Significant Scholarship 37.4 Significant Scholarship
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37.4.1 Anthologies, Surveys, Introductory Texts 37.4.1 Anthologies, Surveys, Introductory Texts
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37.4.2 The Spirituals 37.4.2 The Spirituals
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37.4.3 Blues 37.4.3 Blues
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37.4.4 Gospel 37.4.4 Gospel
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37.4.5 Worship and Theomusicology 37.4.5 Worship and Theomusicology
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Bibliography Bibliography
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37 Sacred and Secular in African American Music
Get accessCheryl A. Kirk-Duggan, Ph.D., is Professor of Religion at Shaw University Divinity School in Raleigh, North Carolina, U.S.A. Her areas of expertise and interests include theology; justice; womanist and feminist studies; the Bible and culture; violence and religion; grief and trauma; music; ethics; humor; faith, spirituality, and health; women’s religious and leadership experience; pedagogy; rage, grief, and transformation; gender theory; sexuality; and popular media as praxeology for constructive and narrative theology. Among her recent publications and works in progress are Baptized Rage, Transformed Grief: I Got Through So Can You (Wipf and Stock, 2017); Hosea (co-author with Valerie Bridgeman; Wisdom Commentary Series; Liturgical Press, in progress); Embodied Ecstasy: A Womanist Systematic Theology of Relationality (in progress).
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Published:03 February 2014
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Abstract
Music, a source of motivation, well-being, entertainment, and survival in diverse lives of African Americans, has afforded them experiences of signifying their humanity amidst horrific oppression, while engaging in creativity, worship, and rituals of celebration. Rooted within African traditions, where sacred and secular are one, some African American musical genres are more fluid, engaging a tension between how people label and use music. This music shares common traditions and attributes. Using themes of poetry, praise, power, protest, philosophy, and politics, this analysis of African American sacred and secular music: (1) introduces the socio-historical, cultural, cosmological origins and terminology of this music; (2) examines selected musical typologies, from antebellum Spirituals to hip-hop and contemporary classical African American music that foregrounds tenets of so-called sacred and secular music; (3) explores a religious/spiritual impact of these cultural artifacts; and (4) concludes with a literature review of scholarship regarding African American sacred and secular music.
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