The Responsorial and Antiphonal Practice in Gospel Song

Abstract

he gospel song and its stylistic peculiarities found its origin and development in the United States. Though a certain sentimentality and subjectivism in text, together with certain musical characteristics common to gospel songs, appeared in the tune books of Lowell Mason, Thomas Hastings, William Batchelder Bradbury, and others during the first half of the nineteenth century (Ellinwood 1953:105), the great upsurge of gospel songs did not begin until after 1870 and might conveniently be dated from the English tour of Dwight Lyman Moody and Ira David Sankey in 1873 (McCutchan 1937:277-78). R. G. McCutchan writes of the gospel songs:

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