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gospelová hudba

Premeny spirituálov v súčasnosti

& · · Musicologica 2/2012

The authors of the contribution deal with new approaches to the performance of traditional Afro-American spirituals. The basic differences between the older and more recent sacred music of Afro-American realm which they endeavour to reveal reside in the relation between traditional spirituals and gospel music. Two spirituals are chosen, studied and analyzed in their new versions: Amazing Grace and No More Auction Block. An individual approach of the artists (Chris Tomlin: Amazing Grace, Katka Sliacka: Song for Noemi) is taken into consideration, and on the basis of the given criteria their relation to the original is assessed. The adaptation of the original material of spirituals ranges from restoration, conservation of the original melody and preservation of authenticity to various innovative transformations of the original. Identified significant features, transformations, and new elements demonstrate the expansion and popularity of spirituals not only in America but also in Europe.

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Segmentácia trhu v cirkevnej hudbe ako dôsledok separácie sakrálneho a profánneho prostredia

· · Hudobná systematika, Musicologica 1/2008, Rock pop jazz

The process of separation of sacral and profane music in the Czech Republic and Slovakia was different from other countries because of the Communist system, which promoted atheism in the years 1948 through 1989. New religious media, concerts and festivals, publishers and agencies with a focus on the sacral music began to shape their activities after 1989. Nevertheless, during the totalitarian regime, about 40 albums were secretly issued, recorded in the illegal studios, which later represented marketing potential for a developed market after 1989. A gospel music band Radostné srdce (Joyful Heart) proves success of samizdat: the CD Vianočné koledy (Christmas Carols), issued in 1990, immediately after the revolution, sold 90 000 copies. Although the sacral and profane scene has an independent music industry, the only single identifier, which separates the sacral music from the profane music is the lyrics, the expression and the social function of music. All other styles and genres used in the current Christian music (gospel music) are consistent with the profane scene. About 240 albums of the Slovak contemporary Christian music were issued during the period 1989 – 2009.

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