Holding to my faith: Performing belief in contemporary Black gospel music 'live' recording productions.

摘要

Live recording productions are currently one of the most popular means for transmitting contemporary Black gospel music in the United States and globally. As a result, gospel artists can become highly recognized around the world---in Europe, Asia, Africa and the United States---both through retail and Internet distribution. While featured artists on these recordings often become widely known, the significant role of producers, accompanying instrumentalists, background vocalists, engineers, and record label staff, among others who help to shape the final musical product, is rarely publicly acknowledged.;Focusing on data gathered from 2009-2010 during preproduction and production phases of three different live gospel recording sessions in Indianapolis, Indiana and one in Houston, Texas, this dissertation explores how a creative collective shapes live gospel music recordings, through the execution of such tasks as selecting repertoire, recording personnel and performance venue, arranging songs, establishing production budgets, and rehearsing as well as negotiating the actual recording session itself. This dissertation will also shed light on shared Christian beliefs and ideals symbolized in the behavior and discourse of those involved in this dynamic production process, which frames these recordings as sacred events. Without the demonstrated knowledge of African American religious tradition that this supporting cast brings to live recording productions, the desired quality of the final product is in jeopardy. This research will ultimately illustrate how a creative collective mediates and transforms live recording productions through the articulation of its religious identity.