Bob Darden - A Gospel Journey
[01/27/2010] Baylor Professor Bob Darden speaks with Gardner Campbell from Baylor's Academy for Teaching and Learning to introduce the Black Gospel Music Restoration Project. (27:55 )
Part One - Context and Commentary, Black Gospel Music
[02/22/2010] Context and commentary on Black Gospel music by Robert Darden, a professor at Baylor University, and Bob Marovich, a distinguished Black Gospel Music collector and author of the Black Gospel Music Blog, in conversation with Dr. Gardner Campbell, Director of the Academy for Teaching and Learning at Baylor University. (47:02 )
Purpose of the Project The purpose of this project is to identify, acquire, preserve, record and catalogue the most at-risk music from the black gospel music tradition. This collection will primarily contain 78s, 45s, LPs, and the various tape formats issued in the United States and abroad between the 1940s and the 1980s. Additionally, any ephemera that may be of use to scholars; including PR photos and press packets, taped interviews, informal photographs, tour books and programs, newspaper and magazine clippings, and sheet music; will also be acquired as it becomes available. The ultimate goal is to have a copy of every song released by every black gospel artist or group during that time period.
History and Impact The rich and soulful sounds from the "Golden Age of Gospel" are distinctly African American. They are the voices of men and women who loved to sing and raise their voices in praise. Black gospel groups moved from town-to-town to raise money to live daily, and then moved on to the next church. Along their journey, they found time to record their unique renditions and compositions. This fertile musical time period in American history is a cultural snapshot revealing the depth of a people, their community, and the influence they have had on the rest of American music. These recordings; containing valuable history and culture; are rapidly disappearing and must be preserved. This project is an ideal fit with Baylor and complements the university's Baptist heritage. Once completed, this digital audio archive will draw numerous researchers to Baylor University to listen to and research the "Golden Age of Gospel Music Archive." This archive will elevate the holdings of the already strong Crouch Fine Arts Library. The ultimate goal of the project is to preserve and store a digital copy of the audio long term, and to provide standards-based discovery tools through an online interface into a full catalog of materials, along with samples of all tracks from the audio archive. Most importantly, this beautifully sweet, vibrantly alive music will be preserved so all can enjoy, love, and learn from.
This project was made possible by men and women with a zeal for preserving history. When Charles Royce came across Robert Darden's New York Times article, he recognized the need to preserve this important piece of history and was impressed by Professor Darden's passion. In turn, his gift to Baylor University created the Charles M. Royce Black Gospel Music Restoration Project. In addition, the faithful support from Harold (BBA '51) and Dottie Riley of Austin continues to strengthen Baylor University's digitization efforts by equipping the Libraries with the Ray I. Riley Digitization Center, named in memory of Harold's father, and the Dottie S. Riley Conference Room. Their support has provided state-of-the-art equipment and facilities, allowing the University to enhance preservation of such materials.
To expand and increase this one-of-a-kind initiative, The Prichard Family Foundation established the Lev H. Prichard III Traditional Black Music Restoration Endowed Fund in 2009. Paying tribute to Lev Prichard III, the gift embodies Lev and Ella (BA '63) Prichard's love of cultural and educational ventures.
Copyright information As a result of the preservation work of the Black Gospel Music Restoration Project, these recordings are presented here free for personal, non-commercial use as a contribution to education and scholarship. Baylor University does not own the rights in this collection and therefore cannot grant or deny permission to distribute material in this collection. It is the user's obligation to determine and satisfy copyright or other use restrictions when publishing or otherwise distributing music from the BGMRP.
If you have any more information about the music available from the Black Gospel Music Restoration Project, or if you are the copyright owner and believe this collection has not properly attributed your work to you or has used it without permission, we want to hear from you. Please use the BGMRP Interest/Comment form to get in contact with the project staff, including your contact information and a link to the relevant content.