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Transcription: [00:19:55]
{SPEAKER name="Speaker 1"}
These gentlemen here, they don't miss much. Let me tell you. I've been watching them now perform two or three times a day all week and they're very, very accurate, but they tend to get modest when they get up on a stage like this.

[00:20:09]
So, I would put money on it and my experience as an ethnomusicologist that within an oral culture, there is- there's many many performers do have perfect pitch. Another question and then I'm gonna have to let them go. I saw your's first.

[00:20:26]
{SILENCE}

[00:20:35]
Now, somebody has just brought up a very beautiful question. The question is but did not the established black church resist the development of gospel music and its integration into the worship service?

[00:20:48]
Yes, that is true and you're never going to believe why. When gospel music was started, the father of gospel music is known as a man named Thomas Dorsey. Thomas Dorsey is lived- Anybody ever heard of Thomas Dorsey? Few people!

[00:21:04]
Ok, now, bet I'm gonna get some more hands when I tell you this. How many of you heard of the song "Precious Lord"?

[00:21:11]
Ah-ha! Thomas Dorsey wrote "Precious Lord"! That's his song. He is considered to be the father of gospel music.

[00:21:18]
Now, when he started performing and there were those who performed before him, Thomas Dorsey used to play blues and jazz. He's played with Lionel Hampton. He used to play with Ma Rainey. Am I ringing any bells from anybody out there?

[00:21:33]
So when he was in those traditions, he brought that with him into the performance and writing of gospel music. So when preachers first heard this music and they heard it called gospel, some of them said, 'You can't sing gospel. You can only preach the gospel.'

[00:21:50]
And they associated with the world or sin. And they didn't want it brought it into the church, but the church eventually, as Dorsey said, saw that the black community loved this music