- Andrae Crouch
- Bishop Paul Morton
- Bubba Johnson
- Canton Spirituals
- Carlton Pearson
- Charles Johnson and The Revivers
- Christopher Gray
- Clarence Fountain
- Clark Sisters
- Cogic Int Mass Choir
- Colorado Mass Choir
- Damon Little
- Darrell McFadden
- Deborah Barnes
- Debra Snipes and The Angels
- Dorothy Norwood
- Dottie Peoples
- Doug Williams
- Eddie Bradford
- Evelyn Tursetine
- F C Barnes
- Garth Brooks
- Howard Slim Hunt
- Inez Andrews
- James Bignon
- James Cleveland
- Joe Pace
- John P Kee
- Jonathan Butler
- Joyful Sounds
- Kirk Franklin
- Kurt Carr
- Lawrence Mathews
- Lee Williams
- Lizz Wright
- Luther Barnes
- Michael Boykin and the Mighty Voices
- Mighty Clouds Of Joy
- Mississippi Mass Choir
- Norman Hutchins
- Otis Clay
- Peggy Scott Adams
- Rance Allen
- Rev Cheairs and The Songbirds
- Rev Timothy Wright
- Shirley Caesar
- Soul Stirrers
- Sounds Of Blackness
- The Gospel Imperials
- The Gospel Keynotes
- The Murrills
- The Orig Blind Boys
- The Voices Supreme
- The Williams Bros
- The Williams Singers
- The Winstons
- Tommy Ellison
- Tony and The Magnificent
- Trin-i-tee
- Twila Paris
- Tye Tribbett
- Walter Hawkins
- Williams Bros
- Willie Neil Johnson
- X Unknown Artist
Gospel MIDI Files
Gospel music in general is characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a Christian nature. Subgenres include contemporary gospel, urban contemporary gospel (sometimes referred to as “black gospel”), Southern gospel, and modern gospel music (now more commonly known as praise and worship music or contemporary Christian music). Several forms of gospel music utilize choirs, use piano or Hammond organ, drums, bass guitar and, increasingly, electric guitar. In comparison with hymns, which are generally of a statelier measure, the gospel song is expected to have a refrain and often a more syncopated rhythm.
Many attempts have been made to describe the style of late 19th and early 20th century gospel songs in general. Christ-Janer, et al. said “the music was tuneful and easy to grasp . . . rudimentary harmonies . . . use of the chorus . . . varied metric schemes . . . motor rhythms were characteristic. . . . The device of letting the lower parts echo rhythmically a motive announced by the sopranos became a mannerism . . .”
Patrick and Sydnor emphasize the notion that gospel music is “sentimental”, quoting Sankey as saying, “Before I sing I must feel”, and they call attention to the comparison of the original version of Rowley’s “I Will Sing the Wondrous Story” with Sankey’s version. Gold said, “Essentially the gospel songs are songs of testimony, persuasion, religious exhortation, or warning. Usually the chorus or refrain technique is found.”
This excerpt is from http://en.wikipedia.org/wiki/Gospel_music