From the traditional sound of "Go Tell It on the Mountain" to the contemporary style of Kirk Franklin, Black Gospel Christmas music conveys a sense of wonder and passion for the Christmas season and the birth of our Savior.
Mahalia Jackson, a pivotal figure in gospel music.
Black gospel Christmas songs reflect the deep personal connection enslaved people had with the Christmas story.
The Roots of Gospel Christmas Music
The true roots of African American gospel music lie in the American South of the 19th century.
Spirituals emerged when slaves held informal gatherings together and improvised folk songs.
Read also: Experience Fad's Fine African Cuisine
With echoes of biblical stories and the teachings of Jesus Christ, spirituals told the harrowing story of American slavery with call-and-response counterpoint and freeform rhythm.
Baylor Emeritus Professor and founder of Baylor’s Black Gospel Music Preservation Program, Robert (Bob) F. Darden said that slaves had a more intimate understanding of the nativity story because they identified with the conditions into which Christ was born.
"The spirituals reflect a people who believe they're in the middle of the Bible story.
“The enslaved poets who wrote those spirituals believed that the events depicted in the New Testament were happening in real-time and in a neighboring town or state - not in the distant past across the ocean,” said Darden.
African American gospel music saw a dramatic shift in the late 19th century following the abolishment of slavery, due in large part to the rise of free and open Christian churches that served black congregations.
Read also: The Story Behind Cachapas
Spirituals took on new musical forms and developed more energetic, up-tempo sounds - early notes of rhythm and blues.
The Fisk Jubilee Singers, cultural ambassadors of Negro spirituals.
The Influence of Pentecostal Churches
Pentecostal churches, in particular, embraced music as integral to their expression of faith.
They adopted the belief of The Bible’s Psalm 150: “Let everything that breathes praise the Lord.”
Choirs introduced organs, tambourines and string and brass instruments into their services, and music was woven directly into preachers’ sermons.
Read also: Techniques of African Jewellery
"Swing Low, Sweet Chariot," performed by Fisk Jubilee Singers between 1915 and 1920.
Written by Wallace Willis; recorded by the Fisk Jubilee Singers.
Music album Fisk Jubilee Singers Vol.
The Great Migration and the Rise of Gospel in Chicago
As African Americans migrated from rural southern towns to northern urban cities, their musical stylings and forms of worship followed.
Chicago became an epicenter for gospel music shortly after the turn of the century.
Gospel artists and composers collaborated with secular musicians who played piano, guitar and brass instruments.
Thomas A. Dorsey, along with fellow gospel artist Theodore Frye, organized the first modern gospel chorus at Ebenezer Baptist Church.
They then launched the National Convention of Gospel Choirs and Choruses.
Performers included Mahalia Jackson, Roberta Martin and even Sister Rosetta Tharpe.
Each of them became immensely popular artists in the region as a result.
Gospel Music Publishing Houses
Chicago also became home to nearly a dozen gospel music publishing houses.
The Emergence of Rhythm and Blues
Alongside gospel’s rise in popularity was the emergence of rhythm and blues (R&B).
Much like Chicago gospel’s sound, R&B reflects the migration of African Americans to northern cities and their influence on each other’s music.
The genre, which was largely formed in the 1940s, includes sounds of boogie woogie, swing, jazz and blues.
The genre not only reflects a quickly growing musical culture but also a changing, post-World War II America.
The issue of segregation was growing in awareness and legislative action, and R&B followed suit.
The name itself was controversial: “R&B” was a general marketing term that denoted “African American music,” and it was created to replace the term “race records.”
These efforts were done to appeal more strategically to white audiences.
These social and artistic forces combined to create the foundation of rock and roll, embodied by a single performer: Elvis Presley.
His 1954 hit single “That’s All Right,” recorded at Sun Records by Sam Phillips, officially established the genre that changed the face of music.
Evolution of Rock Music in 3 minutes
"Go Tell It on the Mountain": A Timeless Spiritual
The best-known African American Christmas song is probably "Go Tell it on the Mountain," which became popular with white audiences many decades ago.
But many other traditional African American Christmas songs deserve the same notice.
In the tapestry of Christmas carols, few resonate with the soul-stirring power and historical significance of “Go, Tell It On the Mountain.”
This African-American spiritual, immortalized by John Wesley Work Jr. and the Fisk Jubilee Singers, transcends mere melody to become a testament to resilience, faith, and the enduring spirit of hope.
“Singing ‘Go Tell It on the Mountain,’ reflects the heart-language of the enslaved, and invites us to join in solidarity with all creation as we live out God’s liberating kingdom here on earth,” said Stephen M. Newby.
The Origins of "Go Tell It on the Mountain"
The earliest known publication of the song is attributed to John Wesley Work, Jr. (1871-1925).
The earliest printed version of "Go Tell" appeared in Thomas P.
"Go Tell It on the Mountain" references the Annunciation to the Shepherds described in the Gospel of Luke, hence the alternate title of "While shepherds kept their watching".
The exact origin of this song is unknown, although it appears to have originated on the South Carolina coastal island of Saint Helena, according to music historians.
John Wesley Work Jr.’s Mission
Born into a world where African-American spirituals were a lifeline of faith and expression, John Wesley Work Jr., a Nashville native and son of a church choir director, was captivated by these soulful songs.
Despite his academic pursuits leading him to earn a Master’s in Latin and teach ancient Latin and Greek, Work’s heart remained tethered to music.
He became a pivotal figure in preserving these spirituals, which were primarily conveyed through oral tradition.
Work’s first significant contribution, “New Jubilee Songs as Sung by the Fisk Jubilee Singers,” included “Go, Tell It on the Mountain,” a song that encapsulates the jubilant announcement of Jesus Christ’s birth.
His efforts ensured that these songs, once confined to the memories of those who suffered and hoped under slavery, found a permanent place in the annals of American music.
Sheet music for "Go Tell It on the Mountain".
Fisk Jubilee Singers: Carrying the Torch of Negro Spirituals
The Fisk Jubilee Singers, named after the Biblical year of jubilee, were more than a choir; they were pioneers in a new era of musical and cultural significance.
