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100   $a19940725h19941992  uy             0
101 0 $aeng
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181   $ctxt
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183   $acr
200 14$aThe rise of gospel blues$b[electronic resource] $ethe music of Thomas Andrew Dorsey in the urban church /$fMichael W. Harris
210   $aNew York ;$aOxford $cOxford University Press$d1994, c1992
215   $a1 online resource (630 p.)
300   $aDescription based upon print version of record.
311   $a0-19-506376-7 
311   $a0-19-509057-8 
320   $aIncludes bibliographical references (p. 273-316) and index.
327   $aCover Page; Title Page; Copyright Page; Dedication; Acknowledgments; Contents; List of Music Examples; Introduction; 1 Religion and Blackness in Rural Georgia: 1899-1908; 2 Music, Literacy, and Society in Atlanta: 1910-1916; 3 Blues-From "Lowdown" to "Jass": 1921-1923; 4 Blues-From "Jass" to "Lowdown": 1924-1928; 5 Old-Line Religion and Musicians: 1920-1930; 6 Old-Line Religion and Urban Migrants: 1920-1930; 7 Preachers and Bluesmen: 1928-1931; 8 The Emergence of Gospel Blues: 1931-1932; 9 Giving the Gospel a Blues Voice: 1932; 10 A Place for Gospel Blues in Old-Line Religion: 1932-1937
327   $aNotes Bibliography; Index
330   $aMost observers believe that gospel music has been sung in African-American churches since their organization in the late 1800's. Yet nothing could be further from the truth, as Michael W. Harris's history of gospel blues reveals. Tracing the rise of gospel blues as seen through the career of its founding figure, Thomas Andrew Dorsey, Harris tells the story of the most prominent person in the advent of gospel blues. Also known as ""Georgia Tom,"" Dorsey had considerable success in the 1920's as a pianist, composer, and arranger for prominent blues singes including Ma Rainey. In the 1930's he became
606   $aGospel music$xHistory and criticism
615  0$aGospel music$xHistory and criticism.
676   $a782.25
700   $aHarris$b Michael W$066777
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906   $aBOOK
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996   $aThe rise of gospel blues$93806134
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