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1 The Colonial Era Music in the Colonies Music in the Colonies 17th Century Music primarily vocal music Organized to the needs of the meeting house or (church), home, and community Meetinghouse provided a religious guidance and social diversion Music in the Colonies 18th Century More variety of music Fine arts was cultivated Instruments for home use Music and dance schools Professional teachers Primary Source of Information Blacks had to adjust to a new home and the traumatic experience of slavery The colonial newspaper » Source for information about slave musicians » Listed slaves for sale or hire » Slaves’ musical skills » Runaway listings Congregational Singing: Psalmody and Hymnody Singing in the meetinghouse • Black separated from whites (BW, BM) Hymn lining Congregational Singing: Psalmody and Hymnody Psalm singing in the community • Black servants sang with their masters on special occasions • Psalm singing at wedding ceremony or funeral 2 Congregational Singing: Psalmody and Hymnody The Reform Movement • Singing psalms without instrumental accompaniment or musical notations led to undesirable practices. • Forgotten tunes, incorrect pitch • “Common Way” verses “Regular Singing” The Growth of Hymnody The Great Awakening • Demand for livelier music in worship service • Hymns that employed religious poems instead of scriptural psalms. • Dr. Isaac Watts Religious Instruction and Psalmody Patterns of Slavery in the North and South • Quakers were more interested in the plight of Black men and women. • Slaves being regarded as part of the family in the north. • In the South masters had more control over their slaves. Religious Instruction and Psalmody Conversion and Religious Instruction in the North • Colonial clergymen were concerned with converting the heathen (African American and Native American) of the New World to a Christian. Religious Instruction and Psalmody Missionary Activity in the South • Like the North, the South was concerned with the souls of slaves. • Hesitations to grant slaves with religious institute and baptism. • The idea that slaves who were received into the church would automatically receive freedom. • Slave conspiracies and uprising Recreational Music Holiday Celebrations • North and South observed New Year’s Day, Easter, Pentecost, Whitsunday, Election day, Militia, and Christmas • Militia day (military day) » Salves could only play instruments 3 Recreational Music Social Diversion of the Colonists • Whites and black participated in social activities together. » House raisings, maple sugarings, cornhuskings, ect. » Dancing and singing Recreational Music Slave dance musicians • In north black musicians provided much of the dance music for colonists. • Slaves played in some of the dance schools. • In south slaves played for their masters at balls, assemblies, and special entertainments. Recreational Music Social Singing .
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folk roots of the music.
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The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
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are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
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rect when, recalling the composite quality of this music, he describes it as
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reached across cultural boundaries and were influenced by the music of people
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Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
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4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
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as complex as the multilayered relationships between the South and the rest of
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Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
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across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
197198199200201202.docx
197
198
199
200
201
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145
146
147
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randymdrake
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4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
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Broadside.
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Atlanta:
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He use the melody of the verse as an instrumental introduction,
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http://en.wik ...
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Folk music part 1
This document provides an overview of the history and development of folk music in America. It discusses how folk music originated from British ballads and songs brought over by immigrants. These songs were passed down orally through generations living in isolation in the Appalachian Mountains. Scholars like Francis Child began collecting and documenting these ballads in the late 1800s. In the early 1900s, collectors like Cecil Sharp traveled to Appalachia seeking "authentic" folk music still using old British tunes. Their field collections helped popularize folk music again but were also subject to cultural biases. The document examines debates around what constituted "authentic" versus commercialized folk music in America.
Old Way of Singing: Its Origins and Development
The Old Way of Singing originated in the Church of England as a style of congregational singing without musical direction. It was characterized by a slow tempo, weakened rhythm, added or inserted pitches, and unexplained dissonances. The Protestant Reformation contributed to its development by using familiar folk tunes and discouraging professional music in worship. Over time, the Old Way diverged from its original folk origins and took on characteristics like "lining out" tunes line by line and adding ornamental notes. It eventually became unacceptable to many and was replaced by more artistically composed music, though some traditions still use forms of the Old Way today.
Ch 6 black churches and nationhood
This chapter discusses the history and development of African American religion from slavery through the 20th century. It covers how slaves retained elements of their West African spiritual beliefs and blended them with Christianity. Over time, African Americans established their own denominations and religious movements as they sought autonomy and identity separate from white churches. The chapter also examines the growth of black Pentecostalism and the rise of black nationalist religious movements in the 20th century that embraced black identity.
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4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
197198199200201202.docx
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198
199
200
201
202
145
146
147
148
149
150
243
244
randymdrake
randymdrake
randymdrake
randymdrake
245
randymdrake
246
randymdrake
247
248
4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
197198199200201202.docx
197
198
199
200
201
202
145
146
147
148
149
150
243
244
randymdrake
randymdrake
randymdrake
randymdrake
245
randymdrake
246
randymdrake
247
248
4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
Justin crocker
Through Native American music, one can understand their history and culture pre-colonization. Music served important spiritual and practical roles, and gender roles were reflected. During assimilation in the 1800s-1900s, some Natives blended styles while others resisted. Today, music expresses identity and past pain while raising awareness of issues. Artists like A Tribe Called Red preserve culture through modern genres. Overall, Native music sheds light on their distinct worldviews and ongoing contributions to American culture.
Harlem Renaissance Music CP
During the early 20th century, many African Americans migrated north in what was known as the Great Migration. This was partly due to seeking escape from oppression in the south as well as job opportunities from northern industrialization. This migration led to the rise of blues music and the Harlem Renaissance, where genres like jazz flourished. Major performers who influenced music during this time included Louis Armstrong, Billie Holiday, and artists who performed at the famous Cotton Club in Harlem. Rent parties also provided opportunities for musicians to perform and help tenants pay rent. The new forms of African American music helped change perceptions and gave greater respect and opportunities to the community during this period.
Music Archives Quiz 2008
The document provides information on various music archives and collections located around the United States. It describes the locations and holdings of archives such as the American Folk Life Center at the Library of Congress, American Jazz Museum in St. Louis, Indiana University Archives of Traditional Music, jazz collections at UCLA, African American sheet music collection at Brown University, Louisiana State Museum jazz collection, Hutchins Library special collections at Berea College, Stanford University Archive of Recorded Sound, University of Mississippi Blues Archives, UCLA Music Library Archive of Popular Music, and collections at MTSU Center for Popular Music. The archives contain materials like recordings, instruments, photographs, sheet music, manuscripts, and books.
Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant
This document summarizes key aspects of medieval music traditions including Gregorian chant, the development of Christian worship music, and prominent composer Hildegard of Bingen. Chant was the dominant sacred music, consisting of single melodic lines sung in Latin. Over time, churches developed elaborate structures with strong acoustics for musical performances. Hildegard composed chant and sequences incorporating her visions and established a prominent role for women. Her musical dramas depicted spiritual struggles through allegorical virtues and devils. Medieval music helped instruct worshippers and project sacred texts in elaborate sacred spaces.
Chapter 5
Chapter 5: St. Louis Blues”: Race Records and Hillbilly Music, 1920s and 1930s—through The Country Blues, Charley Patton, Popular Music and the Great Depression
Jazz history 04
Jazz originated in New Orleans in the late 19th century as a fusion of African, European, and Caribbean musical influences. New Orleans was a diverse port city with a distinct culture that allowed slaves to retain elements of their culture, contributing to the development of jazz. Early jazz combined elements of marching band music and dance music into an improvised polyphonic style. Important early jazz musicians like Buddy Bolden and Jelly Roll Morton helped establish jazz in New Orleans before it spread to other cities during the Great Migration. The first jazz recordings in 1917 by the Original Dixieland Jazz Band helped popularize the genre on a national level.
Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant
This document provides an overview of music in the medieval period, including the development of Gregorian chant, the importance of monasteries in preserving culture, and key figures like Hildegard of Bingen. Chant was the dominant sacred music, consisting of single, unaccompanied melodic lines. It was transmitted orally until the development of musical notation starting in the 10th century. The church modes provided the basic scales used in both sacred and secular music during this time. Individual composers like Hildegard composed works for the church as well as morality plays integrating music.
Music Appreciation Topic II: Music of the Middle Ages and the Renaissance
During the Middle Ages from around 450-1400 AD, the Roman Catholic Church was the dominant cultural and political institution in Europe. Gregorian chant, consisting of sacred Latin texts sung without instruments, was the official music of the church. Monks and nuns spent hours each day singing Gregorian chants. Notable composers included Hildegard of Bingen, a German nun, visionary, and the first known female composer. Secular music was performed by traveling minstrels and at royal courts, where troubadours wrote songs about courtly love ideals. A variety of instruments were used in both sacred and secular medieval music.
Chapter 6
This document provides an overview of swing music and culture during the Swing Era of 1935-1945. It discusses the origins and development of swing music out of jazz, and the rise of big bands led by bandleaders like Benny Goodman, Tommy Dorsey, Duke Ellington, Count Basie, and Glenn Miller. It describes how swing music appealed to a wide audience and was promoted through radio and recordings. Key figures and styles within the swing genre are profiled, including Fletcher Henderson, Benny Goodman, Duke Ellington, Count Basie, Glenn Miller, jazz singers, and the incorporation of swing into country music. Specific songs are analyzed to illustrate different styles within the era.
Negro Spiritual Music
Negro spirituals were songs created by enslaved Africans in the 16th-19th centuries to express their deep spirituality and hope for freedom despite hardship. The songs had characteristics like simple melodies that repeated, slow tempos, and emotional lyrics. They became popular in the 1860s when the Fisk Jubilee Singers performed them. Important figures who helped spread the genre included composer Harry T. Burleigh and singer Roland Hayes in the late 19th/early 20th century. The spirituals provided hope and strength to endure difficult conditions of slavery.
Mus 1240 week 3 fall14 notes
This document provides an overview of the development of pop music before the 1950s, focusing on race records, hillbilly music, and their evolution into rhythm & blues and country music. It discusses key artists like Louis Jordan and how their music helped popularize southern-derived genres. It also examines the impact of technological changes like magnetic tape and the rise of the recording industry after World War 2.
Mus 1240 Week 15 Fall 2014 notes
This document discusses the psychedelic movement of the 1960s. It explores how psychedelia encouraged new ways of experiencing the world through Eastern religion, radical philosophy, and drug use like LSD and marijuana. Two pivotal bands in the psychedelic era were the Beatles and the Beach Boys. The Beach Boys' song "Good Vibrations" was pioneering in its unconventional form and studio experimentation. It helped establish San Francisco as a hub of psychedelic culture centered around bands like the Grateful Dead, whose improvisational jam style captured the psychedelic experience.
Module 3Country and Western MusicThe Folk Origins of Cou.docx
Module 3
Country and Western Music
The Folk Origins of Country Music
Social, racial and religious elements that comprise country music
• The labor conditions in the South and the ethnic diversity. Isolation
• City vs. rural life. Contrast
• Differences in the urban development of North and South
• Infrastructure of nineteen-century southern society. “Blue bloods”
Poor whites supremacy myths:
• The white’s natural supremacy to blacks.
• Machismo o macho (Latino term), a condition of male strength and virility
Fundamentalist Christianity:
• Shaped and control all other attitudes in the South
• Second Awakening, or Great Revival
• Contradictory behavior or dual moralism
• “Gift of gab”
How Country Music
Reflects Rural Characteristics
• Topics in country music.
• Inner conflicts= Success
• Plain language vs. elegant poetics
• “White blues”
• South’s increasing urbanization of the 1920s.
The Tradition of British and American Balladry
Ballads:
Child ballads.
• Structure of the British ballads.
• Topics
• Key
Broadside.
• Songsters
• Topic
A distinctive trait of American Ballads
Ethnic Influences of the
Anglo-American Music Tradition
• Cultural interchange that distinguishes southern music.
• Blacks and Anglo-American ballads. Differences.
Instruments in the Early Country Music
Anglo-Celtic and Anglo-American
Fiddles
The Guitar
The Banjo
The Mandolin
Urban Influence on
Pre-commercial Country Music
• The process of change due to contact with the commercial products of urban culture.
• Repertoire borrowed from sacred songs.
• City musical styles mixed with country
• Indicatives of the Anglo-American cultural dominance.
• Sense of conservatism. Isolationism.
• Christianity
Early Commercialization of
Country Music
Radio gave popular local entertainers a new medium for reaching their
audience.
Atlanta:
WSB the first radio station in the south.
First country recording stars:
Fiddlin’ John Carson, Reverend Andy Jenkins, and Gid Tanner
Ralph Peer
Early recording expeditions to the South conducted by Ralph Peer
The country and “race” music records: the record industry’s efforts to appeal to various regional and ethnic groups.
“Fiddlin’” John Carson: The first commercial country recording artist. “Little Old Log Cabin in the Line” sold over 500,000 copies
Hillbilly: A term used for people who dwell in rural
Hillbilly music: A label for what is now known as country music.
Rube costumes: Dress in straw hats and ragged clothes
Producer, engineer, and talent scout
Listening of “Little Old Log Cabin in the Line”
Lyric: A typical minstrel fare:
Sung by a blackface character, it is nostalgic and sentimental, in a formal, church-delivered manner and does not act out the lyric or display emotion in his rendering
He plays the melody in his fiddle as he sings.
He use the melody of the verse as an instrumental introduction,
as an interlude between verses and as ending
http://en.wik ...
Black Gospel Music Powerpoint
The document discusses the origins and dimensions of West African music traditions, how those traditions were impacted and transformed by the slave trade and African diaspora, and the development of African American musical genres like gospel, blues, and soul. It provides historical context on West African ethnic groups and villages, the circumstances of the slave trade, and influential early African American musical artists and styles that blended West African influences with Western and Christian traditions.
Similar to 1The Colonial EraMusic in the ColoniesMusic in the.docx (20)
Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant
Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant
Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant
Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant
Music Appreciation Topic II: Music of the Middle Ages and the Renaissance
Music Appreciation Topic II: Music of the Middle Ages and the Renaissance
Module 3Country and Western MusicThe Folk Origins of Cou.docx
Module 3Country and Western MusicThe Folk Origins of Cou.docx
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Kritsonis, A. (2004/2005). Comparison of change theories.
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(1) 1-7. URL:
http://qiroadmap.org/?wpfb_dl=12
Suter, E., Goldman, J., Martimianakis, T., Chatalalsingh, C., Dematteo, D. J., & Reeves, S. (2013). The use of systems and organizational theories in the interprofessional field: Findings from a scoping review.
Journal of Interprofessional Care, 27
(1), 57-64. doi:10.3109/13561820.2012.739670 URL:
https://lopes.idm.oclc.org/login?url=http://search.ebscohost.com.lopes.idm.oclc.org/login.aspx?direct=true&db=a9h&AN=84423842&site=ehost-live&scope=site
Narayana, E. A. (1992). Bureaucratization of non-governmental organizations: An analysis of employees' perceptions and attitudes.
Public Administration and Development, 12
(2), 123-137. URL:
https://lopes.idm.oclc.org/login?url=http://search.proquest.com.lopes.idm.oclc.org/docview/194674953?accountid=7374
Klemsdal, L. (2013). From bureaucracy to learning organization: Critical minimum specification design as space for sensemaking.
Systemic Practice & Action Research
,
26
(1), 39-52. doi:10.1007/s11213-012-9267-3 URL:
https://lopes.idm.oclc.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=84739308&site=ehost-live&scope=site
Unit 2
Q 1:
What are three payment structures used in the health care industry across the care continuum? How are they similar? How are they different? Is there a single problem that transverses all three of the identified payment structures? Explain.
Q 2:
Identify a significant problem with one of the three payment structures used in the health care industry across the care continuum (from DQ 1) and propose a solution from one of the other two payment structures.
Resources
.
I need 10-12 slides Presentation with detailed speaker notes. Instru.docx
I need 10-12 slides Presentation with detailed speaker notes. Instruction is given below. It is a Religion Class. No Plagiarism Please. Due in 24 hours.
Wk 3 - Christianity Presentation
Create
a 10- to 12-slide presentation comparing
2
of the following branches of Christianity:
Catholic
Orthodox
Protestant
Include
a brief history of the 2 religious traditions and a comparison of their approaches to the Bible. Some concepts to include are:
Examples of art
Central symbols of the faith
Rituals and core beliefs
Ethics role in the faith
You might consider visiting one or more of these churches in person or exploring church websites to add to your own experiences.
.
I N N O V A T I O N N E T W O R K , I N C . www.innone.docx
I N N O V A T I O N N E T W O R K , I N C .
www.innonet.org • [email protected]
L o g i c M o d e l W o r k b o o k
I N N O V A T I O N N E T W O R K , I N C .
www.innonet.org • [email protected]
L o g i c M o d e l W o r k b o o k
T a b l e o f C o n t e n t s
P a g e
Introduction - How to Use this Workbook .....................................................................2
Before You Begin .................................................................................................................3
Developing a Logic Model .................................................................................................4
Purposes of a Logic Model ............................................................................................... 5
The Logic Model’s Role in Evaluation ............................................................................ 6
Logic Model Components – Step by Step ....................................................................... 6
Problem Statement: What problem does your program address? ......................... 6
Goal: What is the overall purpose of your program? .............................................. 7
Rationale and Assumptions: What are some implicit underlying dynamics? ....8
Resources: What do you have to work with? ......................................................... 9
Activities: What will you do with your resources? ................................................ 11
Outputs: What are the tangible products of your activities? ................................. 13
Outcomes: What changes do you expect to occur as a result of your work?.......... 14
Outcomes Chain ....................................................................................... 16
Outcomes vs. Outputs ............................................................................. 17
Logic Model Review ...........................................................................................................18
Appendix A: Logic Model Template
Appendix B: Worksheet: Developing an Outcomes Chain
Logic Model Workbook
Page 2
I N N O V A T I O N N E T W O R K , I N C .
www.innonet.org • [email protected]
I n t r o d u c t i o n - H o w t o U s e t h i s W o r k b o o k
Welcome to Innovation Network’s Logic Model Workbook. A logic model is a commonly-used
tool to clarify and depict a program within an organization. You may have heard it described as
a logical framework, theory of change, or program matrix—but the purpose is usually the same:
to graphically depict your program, initiative, project or even the sum total of all of your
organization’s work. It also serves as a
foundation for program planning and
evaluation.
This workbook is a do-it-yourself guide to
the concepts and use of the logic model. It
describes the steps necessary for you to
create logic models fo.
I like to tie my learning to Biblical Principles. On Virtuous Le.docx
I like to tie my learning to Biblical Principles. On Virtuous Leadership, I think about what leader in the Bible do I know that stands out as a virtuous leader. Although there are many, one that stands out to me is Nehemiah. Nehemiah's brother and others said that they had been to Jerusalem and the Wall has been broken down, and the gates were burned. Nehemiah listened and took this news personally as if he was the wounded party. In other words, it broke his heart to hear this news.
He then took personal responsibility, prayed, and asked God to forgive him and his people for not obeying his commands. Then he took personal action, and at great danger to himself, he appeared before the King sad - remember that no King wants a sad cupbearer. When the King saw how sad Nehemiah was, he asked him why, and Nehemiah explained the state of his city walls and asked permission to go and fix them. He went and fixed the walls. He got involved in the work as a servant leader and getting the people what they needed. They had a city again with walls and a gate, and most importantly, they had protection!
We can see in this story that a servant leader is someone who takes personal responsibility for what has gone wrong and sets out to fix it, but not only does he/she fix the problem, the servant leader gets involved in the work and works alongside his workers to get the job done right. By doing so, the servant leader demonstrates his care for his workers and organization.
Share a story of a servant leader either in the Bible or someone you know.
.
I just want one paragraph.!!C.W.Mills described ‘sociological im.docx
I just want one paragraph.!!
C.W.Mills described ‘sociological imagination’ as an ability to understand “the intersection of one's own biography and other biographies with history and the present social structure you find yourself and others in.” In short, it is the ability to understand the private in public terms. Essentially, Mills is describing an ability to discern patterns in social events and view personal experiences in light of those patterns. To highlight that, he uses two terms – “the personal troubles of milieu” and “the public issues of social structure.” ‘Troubles’ happen to us as individuals, and are a private matter of individual choices and biography. ‘Issues’ are public matters that transcend the individual, and have to do with societal structures and processes.
Here is the Question!!!
1- For this discussion, I want you to select one of the following health/medical issues, and offer a thoughtful reflection on it as both a hypothetical ‘personal trouble’ and a ‘public issue.’
- ADHD; obesity; eating disorder; infertility; Alzheimer’s disease; COVID.
.
i just need serious help answering the question. I have answered mos.docx
i just need serious help answering the question. I have answered most of them but the following posted questions are giving me problem.
# 1.1
(1 pts.) In the textbook case, what information led Dr. Tobin to conclude that Shaun Boyden's sexual attraction to children was not a passing fancy? '
A) the fact that he reported having the urges since adolescence
B) the fact that his wife was unaware of his problem
C) the fact that he was never caught in the past
D) the fact that he had a relatively normal sexual development
# 1.2
(1 pts.) Charlie has opted to have psychosurgery performed in order to change his pedophilic patterns. Which of the following procedures will Charlie have done?
A) prefrontal lobotomy
B) hypothalamotomy
C) castration
D) vasectomy
# 1.3
(1 pts.) Dr. Walters is instructing Harry to imagine that he has just "flashed" his genitals at an unsuspecting woman on the street. After the woman responds in horror, Harry is to imagine that all of his closest friends jump out of a nearby alley and start laughing at him. Dr. Walters is using the technique known as
A) systematic desensitization.
B) cognitive restructuring.
C) covert conditioning.
D) behavior modification.
# 1.4
(1 pts.) Who is most likely to be the target of a frotteurist's desires?
A) a person from work
B) a life-long friend
C) a shopper at the mall
D) a close relative
# 1.9
(1 pts.) Based on the information presented in the textbook case, Shaun Boyden might be considered a ______ since he had a normal history of sexual development and interests.
A) child rapist
B) preference molester
C) situational molester
D) generalized molester
# 1.12
(1 pts.) Joe becomes sexually aroused when he views sexually explicit photographs. He also gets really turned on when his lover undresses in front of him. Joe's behavior might be described as
A) fetishistic.
B) frotteuristic.
C) voyeuristic.
D) normal.
# 1.21
(1 pts.) John gets nauseous when he thinks about having sexual intercourse and he actively avoids the sexual advances of others. John might be diagnosed as having
A) male erectile disorder.
B) sexual aversion disorder.
C) dyspareunia.
D) inhibited male orgasm disorder.
# 1.27
(1 pts.) Five-year-old Timmy has older sisters who dress him up occasionally and call him "Timbelina" since they really wanted a little sister instead of a little brother. If this pattern continues it is possible that Tim might develop
A) sexual masochism.
B) sexual sadism.
C) pedophilia.
D) transvestic fetishism.
# 1.29
(1 pts.) Carol is extremely interested in sex but does not experience the vaginal changes that ordinarily precede sexual intercourse. Carol may have
A) sexual aversion disorder.
B) hypoactive sexual desire disorder.
C) inhibited female orgasm disorder.
D) female sexual arousal disorder.
# 1.32
(1 pts.) John is in a p.
I Headnotes and indexes are copyrighted and may not be duplica.docx
I Headnotes and indexes are copyrighted and may not be duplicated by photocopying, printing.
I or other means without the express permission of the publishers. 1 -800-351-0917
43 Fla. L. Weekly S512 SUPREME COURT OF FLORIDA
Committee later submitted a revised proposal in response to comments. While we
generally approve the Committee's revisions, the revised proposal would have allowed
twenty days[ ratherthan ten, to serve a reply brief. In order to maintain consistency with
otherprovisions in rule 9.146(g)(3)(B), we haverevised the Committee's proposal such
that parties are allowed twenty days to respond after the last initial brief, and ten days
to respond after the last answer brief.
3Wehave revised the Committee's proposal to refer specifically to requirements for
electronic service in Rule ofJudicial Administration 2.516(b).
"See CoastalDev. ofN. Fla.,Inc. v. City ofJacksonville Beach, 788 So. 2d 204,205
footnotes.
(a) Florida Supreme Court.
(111887-present: Fenelonv. State. 594 So. 2d 292 (Fla. 1992).
{211846-1886: Livingston v. L 'Engle, 22 Fla. 427 (1886).
J ±' C-fl&LL/fl 1
n.3(Fla.20CII); Fla. Power &Light Co. v.CityofDania,76l So.2d 1089,1094 (Fla.
2000) ("No statewide criterion exists at this time."); see also Broward Cty. v. G.B. V.
Intern., Ltd.
Anstead,J.)
, 787 So. 2d 838, 849-53 (Fla. 2001) (Pariente, J., dissenting, joined by
(LEWIS, J., concurring in part and dissenting in part.) I dissent
because there is no need to amend the rule with regard to joinder on
appeal. This amendment is likely to generate more confusion than
clarity. I concur with the remainder ofthe amendments.
! * * *
I ■
! ..■■■■
Rules of Appellate Procedure—Amendment—Uniform Citation
System
IN RE: AMENDMENTS TO FLORIDA RULE OF APPELLATE PROCEDURE
9.800. Supreme Court of Florida. Case No. SC17-999. October 25,2018. Original
Proceeding—Florida Rules of Appellate Procedure. Counsel: Courtney Rebecca
Brewer, Ch lir, Appellate CourtRules Committee, Tallahassee, Kristin A. Norse, Past
Chair, App sllate Court Rules Committee, Tampa; and Joshua E. Doyle, Executive
Director, and Heather Savage Telfer, Staff Liaison, The Florida Bar, Tallahassee, for
Petitioner.
(PER CUjRIAM.) This matter is before the Court for consideration of
proposed, amendments to Florida Rule ofAppellate Procedure 9.800
(Uniforn
Fla. Cons t.
TheFlorida Bar's Appellate CourtRules Committee (Committee)
proposes
uniform
proposal
Citation System). We havejurisdiction. See art. V, § 2(a),
amendments to rule 9.800 to substantially update the
citation formats provided in that rule. The Committee's
to amend the rule was first presented to the Court in the
Commirt 5e' s regular-cycle report ofproposed rule amendments in In
re Amendments to the Florida Rules ofAppellate Procedure—2017
Regular-Cycle Report, No. SC17-152 (Fla. report filed Jan. 31,
2017).' The Court, on its own motion, entered an order directing that
the proposed amendments to rule 9.800 be .
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- 2. » Listed slaves for sale or hire » Slaves’ musical skills » Runaway listings Congregational Singing: Psalmody and Hymnody • Black separated from whites (BW, BM) Congregational Singing: Psalmody and Hymnody • Black servants sang with their masters on special occasions • Psalm singing at wedding ceremony or funeral 2 Congregational Singing: Psalmody and Hymnody • Singing psalms without instrumental accompaniment or musical notations led to undesirable practices. • Forgotten tunes, incorrect pitch • “Common Way” verses “Regular Singing”
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