This thesis embodies the first systematic historical research of Black gospel music as a tradition in Britain, calling attention to the serious gap in knowledge so far concerning its growth amongst African Caribbean Pentecostals in Britain. Although it maintains that an underlying theme is the significance of Africa as the original birthplace of African descendants in Britain, the Caribbean and America; it opposes a one-size-fits-all universal historical account of Black gospel music, suggesting that historical knowledge so far is based on historical interpretations of the development of religious music amongst African ancestors in America. It makes the claim that African Caribbean Pentecostalism, in particular its worship practices, nurtured the musical talent of the youth in its congregations who were destined to advance Black gospel music as a tradition in Britain. Using first-hand accounts of African Caribbean Pentecostals of the post-war years in Britain, it identifies three main sources as retainers of “historical facts” representative of objects of the past that can help towards a new approach to history and heritage.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:607320 |
| Date | January 2014 |
| Creators | McKenzie, Dulcie A. Dixon |
| Publisher | University of Birmingham |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.bham.ac.uk//id/eprint/5200/ |
Page generated in 0.0022 seconds