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The early jubilee quartets featured close harmonies, formal arrangements and a "flatfooted" style of singing that emphasized restrained musical expression and technique derived from
Western musical traditions. Early quartets reinforced their respectable image by adopting uniforms that a university
215:(formally known as the Happyland Jubilee Singers) that had begun singing in the conventional jubilee style went further, creating the more improvisational and fervent style of quartet singing known as "hard Gospel". That new style largely eclipsed jubilee singing by the 1950s.
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In time, however, the popularity of the jubilee style spread from the universities to black churches, where quartets, singing before audiences with a tradition of enthusiastic response, began to absorb much of the energy and freedom of
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and others in their repertoire. The Gates and other jubilee quartets gained nationwide popularity through radio broadcasts, records and touring in the 1930s and 1940s.
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144:. The members of the original Fisk Jubilee Quartet (1909–1916) were Alfred G. King (first bass), James A. Myers (second tenor), Noah W. Ryder (second bass), and
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254:"Shall We Gather at the River", a collection of black gospel music, including jubilee quartets; made available for public by the State Archives of Florida
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were popular
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and gradually began including gospel standards written by
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232:"At Fisk University, A Tradition of Spirituals"
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