DIACHRONIC STUDY OF THE EVOLUTION OF GOSPELYPSO IN TRINIDAD AND TOBAGO
A 1995 Thesis by Rochelle Livingstone - Lewis
Chapter 6
SUMMARY AND CONCLUSIONS
continued from Chapter 5
No discussion of this nature would be complete unless some mention is made about Merriam's theory of the uses and functions of music. For a long time ethnomusicologists have done studies without making a distinction between the uses and the functions of music. Such lack of distinction has led to gross ambiguity and oversight of many relevant factors. According to Merriam's theory, separation of the uses from the functions of music is absolutely necessary. Through observation of the uses of music, the student gains direct insight into factual knowledge about that particular musical form. However in analyzing the functions of music, the student seeks to increase factual knowledge indirectly. Functions apply to the reasons for its use and the broader purpose which it serves. He has gone on to suggest some functions which are common to all music.
The following are the functions given by Merriam;
1.The function of aesthetic enjoyment
2.The function of entertainment
3.The function of communication
4.The function of symbolic representation
5.The function of physical response
6.The function of enforcing conformity to social norms
7.The function of validation of social institution and religious rituals
8.The function of contribution to the continuity and stability of the artform
9.The function of the contribution to the integration of society
[Merriam: 1964. 223]
For greater understanding of the artform, we shall examine these functions as they relate to Gospelypso. First and foremost, we must analyze the use of Gospelypso. Gospelypso is the medium used whereby Christians can communicate the gospel to primarily Trinidadians, but secondarily to anyone who would listen. In keeping with this idea, Gospelypso is used in mostly evangelistic type meetings, (meetings geared towards spreading the gospel). However in recent years, Gospelypso has seen a revolution in its purpose. Primarily, Gospelypso was composed for Non-Christians, hence the reason for its preoccupation with "Salvation"- the "Rite of Passage" into Christianity. A reason for this may very well be that Gospelypso was not accepted by the Christian community, therefore they did not need to communicate to the Christians. It is normal, that in any time period there would be those who would be "ahead of their time", and as such, songs with a variation of the theme may still be found. However, essentially the theme of salvation was the primary theme.
The revolution which has come about now reflects on the fact that Gospelypso has, to a certain extent, become accepted by the Christians. Since they have already experienced salvation, it is somewhat redundant to keep harping on that theme. Therefore, we have seen an increase in the themes which are discussed in the Gospelypso. Such themes include; explanation of what Gospelypso is, The defeat of Satan, The Correct behaviour for a Christian Woman, Angels, Heaven, Working for Jesus, The Bible, and The truths about the Gospel of Jesus Christ. To what extent are Merriam's theories be applicable to Gospelypsoes? It is when we consider these functions, that the real value of the artform is underscored for us. Merriam has suggested that music serves to enforce conformity to social norms. With respect to this music, we can say that it enforces conformity to religious norms. It beckons for one to adhere to the principles laid down in the Bible. All of the functions suggested by Merriam can apply to Gospelypso.
However, the functions which apply to the communication of the gospel seem to come to the forefront, yet we must be careful not to negate the fact that music can operate between two polarities, the ideological and the sensory. Gospelypso has embrace both aspects. There is a sensory side to the music, meaning that the music appeals to the senses. The music must not be deemed sensual, as sensual according to the Oxford dictionary, is “fleshy or carnal”. This idea of carnality has been a major consideration in the acceptance or non acceptance of the artform. Nevertheless, the music does evoke a response. The Gospelypsonians are hoping that it will. It is a music which seeks to affect both side of the polarity continuum. At many gospel concerts where Gospelypso is performed, the member of the audience who is unfamiliar with the performance practices of the artform, and who are outside of the Christian community, may find that the response of the congregation differs very slightly from the audience at a calypso tent. When the lyrics call for laughter they will laugh, when it calls for a specific physical response, such as the stamping of the feet, as it does in the song "Jump for Jesus" or "Mash Satan", they will do that also. When the lyrics call for an introspective look at oneself, the gospelypsonian hopes that the individual will do this also.
At the present moment, there is no such institution as the Gospelypso tent. Whereas Gospelypso is a subset of calypso, it has maintained its peculiarities in that it has chosen to exclude some aspects which are common to calypso from its performance practices. "The Tent is atmosphere, and the atmosphere is one of 'laisser faire' or heckling. Calypsonians evolved their own brand of dress. The crucial link between the audience and Calypsonian is the MC, [Master of Ceremonies]. He puts the audience in the proper frame of mind with a blend of verbal acrobatics, jokes and heckling". [Warner; 1982, 7]. Using this description to form a comparison between the calypso tent and the Gospelypso competition, we can observe several similarities and differences. The fact that the stress is more on the ideological that the sensory is enough to explain the exclusions. The actions which are performed in keeping with the sensory are kept to a minimum, and includes the heckling and the brand of dress. Nevertheless the Master of Ceremonies is still the link between the audience and the performers. His task is one of introducing the artist, "stalling", giving jokes in the intervals, and announcing the winners.
Using the theoretical concepts put forward by theorists of various disciplines, including Ethnomusicology, Religion, Folklore and Anthropology, a framework was set for the study of Gospelypso.
As we have seen, Gospelypso is a subset of Calypso, which in itself continues to go through its evolutionary stages, as does Gospelypso.
We have been able to examine various facets of the artform including the social history which prompted its evolution, how it is used and how it functions in society, the competition and the repertoires. An effort has been made towards an understanding of the trends of society which have concluded in its acceptance on the one hand and its non acceptance on the other.
Gospelypso can and should be used as a dominant symbol in the community; a symbol of culture and a symbol of religion. Like calypso, it will continue to brave the storms of people’s opinions, firmly anchored in the strength of a people and their culture.
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