By Teresa L. Reed
Traditionally, west eu tradition has drawn precise divisions among the secular and the sacred in song. Liturgical tune belongs in church, now not on pop radio, and artists who fuse the 2 are accountable of sacrilege. within the West-African worldview, even if, either song and the divine permeate each conceivable a part of life―so a lot in order that ideas like sacred and secular have been solely international to African slaves arriving within the colonies. The Western effect on African american citizens finally ended in extra polarization among those musical kinds, and black musicians who grew up making a song in church have been usually lamented as hellbound after they came upon well known luck. Even those artists, besides the fact that, by no means thoroughly left at the back of their West-African musical ancestry. Reed's exploration of this pattern in African American tune connects the paintings of state-of-the-art artists to their West-African ancestry―a culture that over two-hundred years of Western impact couldn't thoroughly stamp out.
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Additional info for The Holy Profane: Religion in Black Popular Music
The Holy Profane: Religion in Black Popular Music by Teresa L. Reed