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World cultural heritage of Christianity is enormous. It is varied and music is not an exception. It is interesting to observe attentively cultural process, an origin and influences of different styles of Christian music on each other. In this paper, we will talk about spirituals and Gospel music.
Afro-American tradition of church motets is extraordinarily interesting. It was engendered then, when black-skinned people, arriving on a continent in the holds of slave-holding courts, gradually began to adopt Christianity. The sources of Afro-American spirituals are spiritual hymns, brought to America by white migrants. The subjects of spirituals were made by biblical plots, which were adapted to the concrete terms of everyday life and way of Afro-American’s life and exposed to folklore treatment. They combine in itself the characteristic elements of African performance traditions (collective improvisation, characteristic rhytmics, special sounding, unusual chords, and special emotionality) with the stylistic lines of the American puritan hymns, arising up on another basis. Spirituals have a question-and-answer structure, expressed in the dialog of preacher with parishioners. Spirituals considerably influenced on an origin, forming and development of jazz. Thinking about Gospel music, we see that a Gospel is a musical genre, having the most direct attitude toward religion. It takes place from the south of the USA, where on services in protestant churches it was accepted to carry out motets in glory of Lord. A genre was formed not so long time ago.

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Formally, musical instruments for a Gospel music are not necessary: only human voice and nothing else. Later a church organ became accompaniment for motets. Now gospels are carried out and with participation of whole ensembles or orchestras.
Thus, summarizing above presented information we could conclude that there are some differences between two musical genres, but in the process of creation of these types of music an important role was played by co-operation of individual and collective creation. Besides, their form and purpose assist individual and collective expression simultaneously.

Reference
Cusic, D. (1990). The Sound of Light: A History of Gospel Music. Bowling Green State University Popular Press.