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November 30, 1984/The Maroon Tiger/Page 12A
Gospel Groups Meet To Compare Notes
By Robert Bolton
Staff Writer
For the past twelve years, black
gospel college choirs have come
to the city of Atlanta, during the
Thanksgiving holidays, to par
ticipate in the National Black
Gospel College Choir Workshop
(NBGCCW).
This year, the NBGCCW con
vened November 22-25 at the
Omni International Hotel and
the Georgia World Congress
Center. The events began with its
featured artists concert,
November 22 at 8:00 pm, with
Vanessa Bell Armstrong, Thomas,
Whitfield, Donald Vails & The
Atlanta Philharmonic Chorale,
The Showers of Blessings Gospel
Choir, and The Stewart Reese
Ensemble at the Georgia World
Congress Center. In addition to
the concert, students were af
forded the opportunity to learn
more about black gospel music
in the following seminars: Psy
chology of Music, Gospel
Phonetics, Vocal Techniques,
Corporate Fundraising, Gospel
Music Industry, What is Gospel
Music?, and The History &
Development of Gospel Music.
These seminars along with others
were taught by recording artists,
educators, and directors from all
over the country. 3,000 par
ticipants attended this workshop
to learn and share.
The NBGCCW has increased
tremendously since its begin
ning in 1972 with approximately
200 participants. Realizing the
importance of gospel music,
Rev. Cornelius Henderson, Rev.
Richard Hicks, and Rev. Frank
Horton organized the National
Black College Choir Festival as a
vehicle to bring together choirs
to sing praises unto the Lord.
The first festival had eight
choirs and consisted of only a
musical. This event was held at
Booker T. Washington High
School’s gymnasium. As time
progressed, the number of par
ticipants increased, thus, causing
the festival to move to various
locations throughout the city. By
1977, the festival had grown so
that it required assistance from
outside sources. This being the
case, Creative Gospel, Inc., an
Atlanta based non-profit
organization, was established to
sponsor the festival. At that time,
the festival’s name was changed
to the National Black Gospel
College Choir Workshop. This
change was necessary because
Creative Gospel, Inc. decided to
introduce seminars which allow
ed information to be transferred
about gospel music from a
textbook standpoint, as well as a
historical written view of gospel
music as an art. In addition to
these, the excellence of the
presentation of gospel music was
stressed in order to dismiss some
of the fallacies that have been
associated with gospel music.
Also, to bring credibility and to
improve the workshop’s quality,
Myrna Summers, Walter
Hawkins, Edwin Hawkins,
Donald Vails, and Mattie Moss
Clark and the Clark Sisters were
brought in as guest lecturers for
the various seminars.
While the NBGCCW has con
tinued to improve its quality, it
has also made all efforts to
establish itself throughout the
United States. This task was
assisted by the recording of the
workshop in 1974 by Nashboro
Records of Nashville, Tennessee
and by Philadelphia Inter
national in 1977. In addition to
these, a 30-minute documentary
entitled “A Lamp Unto My Feet”
was aired nationally on CBS in an
effort to familiarize those who
had not been introduced to the
workshop.
Over the years, the National
Black Gospel College Choir
Workshop has had an impact on
those it has reached. Its primary
goal is to present gospel musicas
more than lyrics, rhythm, and
tones. As the workshop con
tinues, the prime objective will
be to present gospel music with
understanding, perfection, and
with the annointing of the Holy
Ghost.
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Internationals/Mission of
North Avenue
Presbyterian Church
Cordially Invite You to
A Christmas Tea/Reception
Friday, December 7, 1984
at The Afro-American
Hall of Fame
(Morehouse College)
at At 5:00 pm
You're also invited to ”1 Christmas Storyr
in the Sanctuary on December 9
at 11:00 am -
Corner of North Avenue
and Peachtree Street.
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