TH THE THEOLOGY OF BLACK MUSIC: from Spirituals to Hip Hop Gordon-Conwell Theological Seminary Spring 2018 Thursdays, 6:30 PM 9:00 PM

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1 TH THE THEOLOGY OF BLACK MUSIC: from Spirituals to Hip Hop Gordon-Conwell Theological Seminary Spring 2018 Thursdays, 6:30 PM 9:00 PM Rev. Emmett G. Price III, Ph.D. Office: 349 Academic Center Phone: eprice@gordonconwell.edu Office Hours: Thursdays 4:00 6:00 PM and by appointment Course Description Black Music is a complex system of musical expressions that flows from the African continent through the channels of an ever-increasing Diaspora. Within the United States, Black Music has spanned from the moans, groans, cries and guttural utterances of the first displaced Africans to expressions of justice, liberty and equality in all subsequent formulations. Scholars, musicians and historians have all analyzed the rich social commentary, political critique, economic commentary and cultural expressions found within the music. Often missing from the discussion and analysis is the revelation of a theology of Black Music. This course will explore the expressions of Black Music through a theological and biblical frame availing a unique opportunity to unveil a theology of Black Music. Students will explore a variety of timeless and monumental recordings in order to chronicle and discern expressions and explorations of theology within and surrounding the music. Course Textbooks Cone, James. The Spirituals and the Blues. Maryknoll, NY: Orbis Books, 1992 Jones, LeRoi. Blues People: Negro Music in White America. New York, NY: Harper Perennial, 1999 Price, Emmett. The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide. Lanham, MD: Scarecrow Press, 2013 Reed, Teresa. Holy Profane: Religion in Black Popular Music. Lexington, KY: University of Kentucky Press, 2004 Thurman, Howard. Deep River and The Negro Spiritual Speaks Life and Death. Richmond, IN: Friends United Press,

2 Course Objectives The student who successfully completes this course should be able: 1. To understand the vital importance of theological reflection of historical and cultural moments of the past. 2. To develop a working knowledge of the lasting importance of Black Music as antagonist, reflection and communal experience of social, political, economic, cultural and spiritual expression. 3. To effectively read, understand, learn from and engage texts involving the Black Musical Experience and the fruit of Black Culture. 4. To have a deeper appreciation for theology as it relates to preparation for ministry in the context of the local church, the global church, and the broader contemporary culture. 5. To understand the importance of engaging culture with a theological lens. Course Requirements Assigned Readings assigned readings are prerequisite for each lecture. Although not all of the reading will be covered in the lecture, the lecture will be based on the fact that students have already accomplished the assigned reading. Howard Thurman Reflection In 4-pages (more is fine, less is not) share your thoughts, reflections and/ or analysis on Deep River and The Negro Spiritual Speaks of Life and Death. What is Howard Thurman s main point(s)? What is his revelation on the role of God within the Negro Spiritual via your reading of the text? Are there any moments in this text where you are challenged beyond your comfort zone? Please submit a hard-copy (in class) using 12 pt. font (Times New Roman) with 1-inch margins, double space and free of any glaring grammatical spelling errors. James Cone Reflection In 4-pages (more is fine, less is not) share your thoughts, reflections and/ or analysis on The Spirituals and the Blues. What is James Cone s main point(s)? How does he directly challenge Thurman? How does Cone process a Liberation narrative within his theologizing of the spirituals and the blues? Are there any moments in this text where you are challenged beyond your comfort zone? Please submit a hard-copy (in class) using 12 pt. font (Times New Roman) with 1-inch margins, double space and free of any glaring grammatical spelling errors. LeRoi Jones Reflection In 4-pages (more is fine, less is not) share your thoughts, reflections and/ or analysis on Blues People. According to Jones, who are the blues people? Do you agree with Jones thesis that the history of Black American s can be traced through a study of their music? Do you discern an explicit/ implicit theology of Black Music within this text? Are there any moments in this text where you are challenged beyond your comfort zone? Please submit a hard-copy (in class) using 12 pt. font (Times New Roman) with 1-inch margins, double space and free of any glaring grammatical spelling errors. 2

3 Teresa Reed Reflection In 4-pages (more is fine, less is not) share your thoughts, reflections and/or analysis on Holy Profane. According to Reed, what is Holy Profane? Is the presence of religion synonymous to the presence of theology? How do you distinguish between sacred and secular? Are there any moments in this text where you are challenged beyond your comfort zone? Please submit a hard-copy (in class) using 12 pt. font (Times New Roman) with 1-inch margins, double space and free of any glaring grammatical spelling errors. Emmett Price Reflection In 4-pages (more is fine, less is not) share your thoughts, reflections and/ or analysis on The Black Church and Hip Hop Culture. Are there pieces within the collection that stand out more/ less than others, why? Is there, perhaps, a continuity/ discontinuity of thoughts, perspectives, opinions that flow throughout all of the pieces within the collection. Are there any moments within the collection where you are challenged beyond your comfort zone? Please submit a hard-copy (in class) using 12 pt. font (Times New Roman) with 1-inch margins, double space and free of any glaring grammatical spelling errors. Final Research Paper each student will compose a 10-page (more is fine, less is not) research paper. Based on your academic or ministerial interest, select a topic of inquiry that you will research for the duration of the course. Your research should be based on the general themes presented in the course as well as be connected to the overall subject matter. During the first couple of weeks of class we will discuss possible topics and/ or areas of engagement. More information will be provided during the course. Warning on Plagiarism: Helpful guidelines on plagiarism can be found here: This document has the official recognition of the Gordon-Conwell faculty and provides very helpful tools to guide you as you prepare for your assignments. If a student is caught plagiarizing, the student will receive the consequences of this act according to the process established by the seminary. Grading Policy Student grades will be determined as follows: Attendance/ Class Participation 5% Book Reflection Papers (5) 50% Final Paper 45% 3

4 The following letter grades and their achievement equivalents are used by the instructor to reflect a student s performance in the course: Grade Achievement Quality Points A Work of exceptional quality 4.00 A B B Work of commendable quality 3.00 B C C Work of acceptable but minimal quality 2.00 C D D Substandard and barely passing work 1.00 D F 62-below Failure 0.00 After all the requirements of the course have been completed, the instructor will use the following rubric for the assignment of grades, based on the overall performance of the class. The grades assigned will represent the instructor s interpretation of the following standard: A = Outstanding mastery of the subject excellence is evident in preparation and participation in class sessions; unusual ability to retain, analyze and synthesize the material; a positive attitude; consistent productive contributions both within and beyond the classroom. B = Superior mastery of the subject sincere effort in preparation and participation in class sessions; mastery of the essential aspects of the material; a positive attitude; mostly consistent in making productive contributions both within and beyond the classroom. C = Basic mastery of the subject inconsistent effort in preparation and participation in class sessions; engagement with the material but difficulty in grasping some of its aspects; positive attitude; occasional contributions both within and beyond the classroom. D = Inadequate mastery of the subject. F = Failure course must be repeated. 4

5 Course Schedule WEEK 1 (February 1, 2018) Topics for Discussion: Introduction to the Class The African Diaspora and its many expressions via Sound Theologizing about Music WEEK 2 (February 8, 2018) Thurman Deep River and The Negro Spiritual Speaks Life and Death Cone Spirituals and Blues Slave Expressions and the Musical Soundtrack Music as Social Expression during Reconstruction Theologizing about the musical response(s) to the sins of racism, prejudice and discrimination WEEK 3 (February 15, 2018) Thurman Deep River and The Negro Spiritual Speaks Life and Death Cone Spirituals and Blues Distinguishing the Spiritual (in its many forms) and the Blues Theologizing the Blues WEEK 4 (February 22, 2018) READING WEEK Take a breath and spend time catching up and getting ahead on assigned reading. Work on your forthcoming reflection assignment due next week. Begin reading LeRoi Jones Blues People WEEK 5 (March 1, 2018) Reflection on Howard Thurman s Deep River and The Negro Spiritual Speaks Life and Death due in class Jones Blues People The problem of the sacred vs. secular dichotomy An ever expanding repertoire (Classical & Concert sounds, hymnody and early Gospel) Theologizing Black Hymnody and Gospel 5

6 WEEK 6 (March 8, 2018) Reflection on James Cone s Spirituals and Blues due in class Jones Blues People 20 th Century Tensions (social, political, economic, cultural, racial & spiritual) The impact and influence of the Negro Renaissance Theologizing Jazz WEEK 7 (March 15, 2018) Jones Blues People The Text of Jazz An alternative musical reading of the Civil Rights Movement Theologizing Freedom Music across the genres of the Civil Rights Movement WEEK 8 (March 22, 2018) Reflection on LeRoi Jone s Blues People due in class Reed Holy Profane Where did Rock & Roll and Rhythm & Blues really come from? The Economic Cooptation of a Theological Framework Theologizing Soul Music WEEK 9 (March 29, 2018) READING WEEK Take a breath and spend time catching up and getting ahead on assigned reading. Work on your forthcoming reflection assignment due next week. Spend the bulk of your time, though, working on your research paper! 6

7 WEEK 10 (April 5, 2018) Reed Holy Profane Challenging the Narratives of Disco, Funk and other alternative sounds Reimaging the racialized landscape of Black Music Theologizing Post-Soul Music WEEK 11 (April 12, 2018) Reflection on Teresa Reed s Holy Profane due in class Price The Black Church and Hip Hop Culture The Rap on Rap Discerning the Holy in Holy Hip Hop Theologizing Rap and Hip Hop Culture WEEK 12 (April 19, 2018) Price The Black Church and Hip Hop Culture Neo-Soul and Post Rap Idioms What the Church could learn from Hip Hop Culture Theologizing Neo-Soul WEEK 13 (April 26, 2018) Price The Black Church and Hip Hop Culture Theologizing Black Music as World Music WEEK 14 (May 3, 2018) Reflection on Dr. Price s The Black Church and Hip Hop Culture due in class Final Research Paper Due 7

8 Highly Recommended Additional Reading: Banfield, William C. Cultural Codes: Makings of a Black Music. Philosophy. Lanham, MD: Scarecrow Press, 2009 Brooks, Tilford. America s Black Musical Heritage. New Jersey: Prentice Hall, 1984 Burnim, Mellonee V., and Portia K. Maultsby. African American Music: An introduction. New York, NY: Routledge, 2006 Caldwell, Hansonia L. African American Music: A Chronology Culver City, CA: IKORO Communications, African American Music, Spirituals: The Fundamental Communal Music of Black Americans. Culver City, CA: Ikoro Communications, 2003 Cuney-Hare, Maud. Negro Musicians and Their Music. New York, NY: Da Capo Press, 1974 [1936] de Lerma, Dominique-René. Black Music in Our Culture: curricular ideas on the subjects, materials and problems. Kent, OH: Kent State University Press, 1970 Floyd, Jr., Samuel A. The Power of Black Music: Interpreting Its History from Africa To the United States. New York, NY: Oxford University Press, 1995 Haskins, James. Black Music in America: A History through its People. New York, NY: Thomas Y. Crowell, 1987 Haydon, Geoffrey, and Dennis Marks. Repercussions: a Celebration of African-American Music. London: Century Publishing, 1985 Kebede, Ashenafi. Roots of Black Music: the vocal, instrumental, and dance heritage of Africa and Black America. Englewood Cliffs, NJ: Prentice-Hall, 1982 Locke, Alain. The Negro and His Music - - Negro Art Past and Present. New York, NY: Arno Press and New York Times, 1969 Lovell, Jr., John. Black Song: The Forge and the Flame. New York: Paragon House Publishers, 1972 Maultsby, Portia. Africanisms in African-American Music in Joseph E.Holloway (ed.) Africanisms in American Culture. Bloomington, IN: Indiana University Press, 1991, p Nketia, J.H. Kwabena. The Study of African and Afro-American Music in The Black Perspective in Music, Vol. 1, No. 1 (Spring 1973), p Petrie, Gavin (editor). Black Music. London and New York: Hamlyn,

9 Roach, Hildred. Black America s Music: Past and Present. 2 nd edition. Malabar, FL:Krieger Publishing Co., 1992 Rublowski, John. Black Music in America. Basic Books, 1971 Southern, Eileen. The Music of Black Americans: A History. 3 rd Edition. New York: W.W. Norton & Company, 1997 [1983, 1971] Stewart, Earl L. African-American Music: An Introduction. New York, NY: Schirmer Books, 1998 Tudor, Dean. Black Music. Littleton: Libraries Unlimited, 1979 Wilson, Olly. The Significance of the Relationship between Afro-American Music and West African Music in The Black Perspective in Music, Vol. 2, No. 1 (Spring 1974), p Highly Recommended Additional Viewing: Eyes on the Prize: America s Civil Rights Years , Henry Hampton, Director, DVD, 2010 I ll Make Me a World [6 videocassettes]. Alexandria, VA: PBS Video, 1999 Repercussions: a Celebration of African-American Music. Tryin To Get Home: A History of African American Song. Performed by Kerrigan Black. Berkeley, CA: Heebie Jeebie Music, 1993 Highly Recommended Additional Listening: Art Songs by Black American Composers. Ann Arbor, MI: University of Michigan Records, 1981 CBS Records Black Composers Series. New York, NY: College Music Society, 1986 Every Tone a Testimony: An Folkways African American Aural History. Washington, DC: Smithsonian Folkways Recordings, Say it Loud!: A Celebration of Black Music. Los Angeles, CA: Rhino Records, 2001 The Long Road to Freedom: An Anthology of Black Music. New York: Buddha Records, 2001 Voices of the Civil Rights Movement: Black American Freedom Songs, Washington, DC: Smithsonian Folkways,