American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
An Analysis Of Figurative Language In Taylor Swift S Song LyricsMonica Franklin
The document provides an analysis of figurative language in Taylor Swift's song lyrics. It analyzes two songs, "Red" and "22", from her album Red. The analysis found the following figurative languages: simile, metaphor, hyperbole, paradox, and personification. For example, in "22" the lyrics use simile to compare dressing up like hipsters, hyperbole to exaggerate something as "miserable and magical", and paradox to describe feeling multiple emotions at once. The analysis suggests the overall lyrics convey themes of conflict, heartbreak, and betrayal in relationships.
This document provides an overview of the course MUS 12: Teaching Music in the Elementary Grades. It includes definitions of music, the objectives of teaching music, and a brief history of music. The history section describes the influences of Greek and Roman music on early Christian music and the development of Gregorian chant under Pope Gregory in the 6th century AD. The document aims to help students understand concepts of music, recognize the importance of teaching objectives, and learn some music history.
This presentation by Dr. Marilyn Brouette is for the International Music Education conference in Baku Azerbaijan in July 2018. The topic is language and literacy in the Kodaly Music Classroom. American folk songs are source material to demonstrate music and language literacy strategies.
This document provides an overview of a music professional project to compose an electronic theme-based album influenced by Justin Bieber. The project observes key composition elements including musical grammar, logic, and rhetoric. Traditional Indian instruments like tumbi, harmonium, and tabla are used to provide beats for the two genres incorporated across the album's seven tracks. The composition process involves establishing beats, designing melody/harmony, and implementing fundamentals before finalizing the song structure and production schedule. The goal is to create an enjoyable and unique album that also expresses the composer's message to listeners.
This music teaching guide outlines a lesson on two types of composed vocal Filipino music - nationalistic songs and love songs. It introduces four representative compositions: Marangal na Dalit ng Katagalugan by Julio Nakpil and Lupang Hinirang by Julian Felipe as examples of nationalistic songs, and Nasaan Ka Irog? by Nicanor Abelardo and Gaano Ko Ikaw Kamahal by Ernani Cuenco as examples of love songs. The lesson aims to analyze how the musical elements in these songs express patriotism or love, and how they reflect Philippine history, culture and society. Students will participate in activities like musical charades and complete charts to analyze
1. The document describes the musical characteristics of representative selections from Cordillera, Mindoro, Palawan, and the Visayas in relation to their geography and culture. It provides details on the vocal and instrumental music forms for each region, including descriptions, examples, and cultural significance.
2. Musical genres like hudhud, ambahan, and lantege are discussed in detail. The document also examines the musical instruments commonly used in each region and how they are linked to nature and language.
3. Key characteristics of the music across the regions include the influence of oral tradition and nature sounds, as well as their important roles in rituals, celebrations, and daily life.
An Analysis Of Figurative Language In Taylor Swift S Song LyricsMonica Franklin
The document provides an analysis of figurative language in Taylor Swift's song lyrics. It analyzes two songs, "Red" and "22", from her album Red. The analysis found the following figurative languages: simile, metaphor, hyperbole, paradox, and personification. For example, in "22" the lyrics use simile to compare dressing up like hipsters, hyperbole to exaggerate something as "miserable and magical", and paradox to describe feeling multiple emotions at once. The analysis suggests the overall lyrics convey themes of conflict, heartbreak, and betrayal in relationships.
This document provides an overview of the course MUS 12: Teaching Music in the Elementary Grades. It includes definitions of music, the objectives of teaching music, and a brief history of music. The history section describes the influences of Greek and Roman music on early Christian music and the development of Gregorian chant under Pope Gregory in the 6th century AD. The document aims to help students understand concepts of music, recognize the importance of teaching objectives, and learn some music history.
This presentation by Dr. Marilyn Brouette is for the International Music Education conference in Baku Azerbaijan in July 2018. The topic is language and literacy in the Kodaly Music Classroom. American folk songs are source material to demonstrate music and language literacy strategies.
This document provides an overview of a music professional project to compose an electronic theme-based album influenced by Justin Bieber. The project observes key composition elements including musical grammar, logic, and rhetoric. Traditional Indian instruments like tumbi, harmonium, and tabla are used to provide beats for the two genres incorporated across the album's seven tracks. The composition process involves establishing beats, designing melody/harmony, and implementing fundamentals before finalizing the song structure and production schedule. The goal is to create an enjoyable and unique album that also expresses the composer's message to listeners.
This music teaching guide outlines a lesson on two types of composed vocal Filipino music - nationalistic songs and love songs. It introduces four representative compositions: Marangal na Dalit ng Katagalugan by Julio Nakpil and Lupang Hinirang by Julian Felipe as examples of nationalistic songs, and Nasaan Ka Irog? by Nicanor Abelardo and Gaano Ko Ikaw Kamahal by Ernani Cuenco as examples of love songs. The lesson aims to analyze how the musical elements in these songs express patriotism or love, and how they reflect Philippine history, culture and society. Students will participate in activities like musical charades and complete charts to analyze
1. The document describes the musical characteristics of representative selections from Cordillera, Mindoro, Palawan, and the Visayas in relation to their geography and culture. It provides details on the vocal and instrumental music forms for each region, including descriptions, examples, and cultural significance.
2. Musical genres like hudhud, ambahan, and lantege are discussed in detail. The document also examines the musical instruments commonly used in each region and how they are linked to nature and language.
3. Key characteristics of the music across the regions include the influence of oral tradition and nature sounds, as well as their important roles in rituals, celebrations, and daily life.
The document provides information about the musical characteristics of four regions in the Philippines - Cordillera, Mindoro, Palawan, and Visayas - and how their music relates to the local geography and culture. It describes the types of vocal music found in each region, including genres like badiw, ambahan, and lantege. The document also notes that Cordillera music has melismatic and free meter styles while Visayan music was influenced by Spanish colonial tradition and shows rich diversity across its islands.
1) The document analyzes four songs by the Hong Kong band Beyond: "大地", "真的愛你", "海闊天空", and "光輝歲月". It discusses the tempo, dynamics, atmosphere, and other musical elements of each song.
2) It provides background information on Beyond, including their formation, early releases, popularity in the late 1980s and 1990s, and the death of lead singer Wong Ka Kui in 1993.
3) It includes comments from students who learned about Beyond through this project, praising the band's musical style and meaningful messages.
Experiences in music - northwestern presentationiknowithink
This course on experiences in music will explore diverse musical genres and styles from around the world. Students will develop skills in analyzing, performing, and creating music, as well as broadening their historical and cultural understanding of music. The goal is to equip students with the necessary knowledge and skills to become lifelong, passionate consumers and thinkers about music.
The document outlines a music learning module that focuses on selected vocal music from Mindanao. It includes an overview, objectives, content on different vocal music genres, activities like guided listening and group performances, assessment rubrics, and resources. The module aims to teach students to analyze Mindanao vocal music and understand its sociocultural influences through activities like musical mapping and applying appropriate singing style.
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q1-Q2)LiGhT ArOhL
This document provides an overview of a music learning module about the music of the Cordillera region in the Philippines. It discusses the vocal and instrumental music traditions of the Cordillera people, including hudhud chanted poetry and various bamboo instruments. It also addresses the cultural contexts and social functions of Cordillera music. The module aims to help students analyze and perform examples of indigenous Philippine music and understand how music relates to local histories and cultures.
This document provides an overview of a music learning module about the music of the Cordillera region of Luzon, Philippines. It discusses the vocal and instrumental music traditions of the Cordillera people, including hudhud chanted poetry and various bamboo instruments. It also covers the cultural contexts and social functions of Cordillera music. The module aims to help students analyze and perform examples of indigenous Philippine music and understand how music relates to local histories and cultures.
This document provides biographical and educational information about Philip Rice. It includes:
- His education background including degrees from Michigan State University and Westminster Choir College as well as awards and honors received.
- His composition and publishing experience including commissioned works and published pieces.
- His teaching experience at Michigan State University and Westminster Choir College teaching music theory and composition courses.
- His professional experience including work with various choirs and presentations given at conferences.
This document discusses using social music making to expand music education beyond traditional ensembles. It proposes teaching units focused on call-and-response, blues, music from the Great Depression era, and analyzing national anthems. These units aim to authentically engage more students in music making through activities like drum circles, sing-alongs, and composing rhythmic pieces. The goal is for all students to experience music both individually and together in a musical community. Assessment examples include performing blues songs, composing rhythmic works, and analyzing different approaches to the national anthem.
This document provides an overview of a music module that teaches students about the traditional music of the Cordillera region in the Philippines. The module is 2 hours long and covers vocal and instrumental music styles, the cultural contexts of different ethnic groups in Cordillera, and the social functions of Cordillera music. Students will listen to audio examples, analyze musical elements, perform songs and create their own instruments. The goal is for students to understand how Cordillera peoples express themselves musically and correlate their music to local history and culture.
This document provides an overview of a music learning module about the music of the Cordillera region in the Philippines. The module is 2 hours long and aims to help students discover how the Cordillerans express themselves through vocal and instrumental music, and how their music is connected to history, traditions, and beliefs. Students will analyze examples of Cordillera music, learn about different musical elements and styles, and participate in a culminating group performance of Cordillera-inspired music. The document provides detailed objectives, content outlines, activities, assessments and resources on the traditional music of the Cordillera ethnic groups.
This document provides an overview of two music learning modules focused on the traditional music of the Philippines. The first module discusses the music of the Cordillera region, including vocal and instrumental styles as well as the cultural context and social functions of the music. Some of the instruments discussed include bamboo flutes, percussion, and gongs. The second module covers the music of the Lowlands of Luzon, particularly liturgical and devotional music influenced by Spanish colonization, including songs, dances and the bamboo organ. The modules include objectives, topics, resources such as readings and recordings, activities for students, and assessment rubrics.
Nhemamusasa From ShonaThe Girl From Ipanemamueve.docxvannagoforth
Nhemamusasa From Shona
The Girl From Ipanema
mueve la cintura mulata lyrics
La Maria Chuchena
Patria Borinquena
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail ...
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q3-Q4)LiGhT ArOhL
This document provides teaching materials for a lesson on Philippine vocal music. The lesson introduces students to two genres: nationalistic songs and love songs. It discusses four compositions as examples: "Marangal na Dalit ng Katagalugan" by Julio Nakpil, "Lupang Hinirang" by Julian Felipe, "Nasaan Ka Irog?" by Nicanor Abelardo, and "Gaano Ko Ikaw Kamahal" by Ernani Cuenco. Students will analyze the musical elements, cultural context, and social functions of the songs. They will also perform one of the songs as a group, incorporating singing and dance. The lesson aims to help students understand how these musical
Action song / How to teach kids new songIstek Schools
This document discusses using action songs in English language classrooms. It outlines the benefits of action songs for language development in children and proposes that songs can be used to promote a stress-free learning environment. Specific benefits include allowing self-expression, encouraging participation, and developing skills like listening, attention, and following directions. The document also provides guidelines for teachers to select age-appropriate songs aligned with learning objectives and to design related activities like guessing, matching words, and acting out the songs.
The document discusses a musical event the author attended where they played classical music with jazz influences. While the author was familiar with some of the classical pieces, they did not know what the specific playlist would be. The Englewinds group performed the classical music but added their own jazz stylings, making the music refreshing and spontaneous rather than what the author expected from a classical music event.
F rom th e C h a p la inFINAL PASSAGES¥’T’7r 7rAzt.docxgreg1eden90113
F rom th e C h a p la in
FINAL PASSAGES
"¥’"T’7r 7rAzt music do you want played
t X / and sung at your funerali The
V V question startled us at first.
A group of friends were discussing mu
sic appropriate for particular life occa
sions: birthdays, anniversaries, achieve
ments, celebrations of homecoming,
retirement. Then came the question
about music and the end of life. In one
sense, the question is quite familiar to
musicians who are called upon to plan funerals and memorial
services. To paraphrase a famous hymn, “What language shall
we borrow” to mark the final passage of human life? What shall
confer dignity and final meaning that
also echoes the faith of a community
assembled to give thanks for a life re
cently completed?
Some in the group thought immedi
ately of songs of triumph, others of
gratitude, others of rest and serenity.
One of us desired the final chorale of
Bach’s St. John Passion sung by a choir.
The hymn “Love Divine, All Loves Ex
celling” seemed sufficient to another.
Still others spoke of using Palestrina’s
“Sicut Cervus,” Vaughan Williams’s
“O How Amiable,” Howells’s “Hymnus Paradisi,” or Lauridsen’s
“O Magnum Mysterium.” One of the organists chose Messiaen’s
“Celestial Banquet.” Obviously, many diverse convictions, musi
cal and theological, were at play in our conversation.
If we had not been professional church musicians, the choices
might have been very different. There would be the deceased’s
favorite hymns. Many of us have played or sung the requested
“The Old Rugged Cross” or “I Come to the Garden Alone.”
More recently, some have requested popular contemporary
praise songs, or secular love songs from certain periods of the
person’s life. However wide the range of responses, our question
prompts reflection about how and why music is related to grief
and joy, gratitude and sorrow on the occasion of saying farewell
to life itself. Apart from ritual songs such as the Kol Nidre, or
chanted prayers from a Requiem Mass, what hymns, songs, or
instrumental music reaches to the emotional depths required by
the passage from life to death?
It is common these days to hear people talk about the “sound
track” of their lives. For them music serves like a film score, ex
pressing significant memories while supplying a narrative of
what is experienced over time: childhood, family, friendships,
loves gained and lost, as well as remembered moods of particular
times and places. While nostalgia sometimes rules, my experi
ence tells me that we need music that expresses emotions that ac
company life passages through time. “Time like an ever rolling
stream, bears all who live away . . . ” sings the familiar hymn.
Discussions of personal choices of music to mark the end of
life reveal a set of tensions: between expressing an individual’s
life and proclaiming the community’s faith in the face of human
mortality. Consider what it means to come to final measures of
a great piece of mus.
This document discusses whether music can be considered a language. It provides evidence that music exhibits the nine main characteristics of language, including having a mode of communication through musical notes, semantics through conveying meaning, and cultural transmission through different styles across countries. The document also analyzes how musical notation shares similarities with linguistic structure and categories. Overall, it argues that music qualifies as a language, especially when considering its written form and ability to communicate and share information between musicians globally.
1) The document outlines a lesson plan on vocal music of the Romantic period. It includes objectives, materials, procedures and an assignment.
2) Key aspects of the lesson include discussing the art song, opera, and how music reflected poetry and emotions during this period.
3) Students will be divided into groups to perform and express emotions through an OPM romantic song, which will be evaluated based on a rubric assessing harmony, timing, blend, performance and overall impact.
This document provides teaching guides for a music module on Nationalistic Songs and Love Songs in the Philippines. The module is targeted at Grade 7 students and will take 2 hours. It will introduce students to compositions by Filipino artists in these two genres, including Marangal na Dalit ng Katagalugan by Julio Nakpil, Lupang Hinirang by Julian Felipe, Nasaan Ka Irog? by Nicanor Abelardo, and Gaano Ko Ikaw Kamahal by Ernani Cuenco. Students will analyze the musical elements, cultural context, and social functions of the songs. The module involves activities like a musical charades game and creating a group song and dance performance.
The document summarizes a textbook called "Rural Property Valuation" published by the Appraisal Institute. It discusses how the textbook provides essential guidance for appraising rural properties, covering topics unique to valuing agricultural land, ranches, timberland, and other rural uses. The textbook is said to be an important resource for students and practitioners to understand rural markets and issues. It contains 19 chapters covering key appraisal topics from a rural perspective, and provides up-to-date information on valuation of rural properties in the United States.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
The document provides information about the musical characteristics of four regions in the Philippines - Cordillera, Mindoro, Palawan, and Visayas - and how their music relates to the local geography and culture. It describes the types of vocal music found in each region, including genres like badiw, ambahan, and lantege. The document also notes that Cordillera music has melismatic and free meter styles while Visayan music was influenced by Spanish colonial tradition and shows rich diversity across its islands.
1) The document analyzes four songs by the Hong Kong band Beyond: "大地", "真的愛你", "海闊天空", and "光輝歲月". It discusses the tempo, dynamics, atmosphere, and other musical elements of each song.
2) It provides background information on Beyond, including their formation, early releases, popularity in the late 1980s and 1990s, and the death of lead singer Wong Ka Kui in 1993.
3) It includes comments from students who learned about Beyond through this project, praising the band's musical style and meaningful messages.
Experiences in music - northwestern presentationiknowithink
This course on experiences in music will explore diverse musical genres and styles from around the world. Students will develop skills in analyzing, performing, and creating music, as well as broadening their historical and cultural understanding of music. The goal is to equip students with the necessary knowledge and skills to become lifelong, passionate consumers and thinkers about music.
The document outlines a music learning module that focuses on selected vocal music from Mindanao. It includes an overview, objectives, content on different vocal music genres, activities like guided listening and group performances, assessment rubrics, and resources. The module aims to teach students to analyze Mindanao vocal music and understand its sociocultural influences through activities like musical mapping and applying appropriate singing style.
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q1-Q2)LiGhT ArOhL
This document provides an overview of a music learning module about the music of the Cordillera region in the Philippines. It discusses the vocal and instrumental music traditions of the Cordillera people, including hudhud chanted poetry and various bamboo instruments. It also addresses the cultural contexts and social functions of Cordillera music. The module aims to help students analyze and perform examples of indigenous Philippine music and understand how music relates to local histories and cultures.
This document provides an overview of a music learning module about the music of the Cordillera region of Luzon, Philippines. It discusses the vocal and instrumental music traditions of the Cordillera people, including hudhud chanted poetry and various bamboo instruments. It also covers the cultural contexts and social functions of Cordillera music. The module aims to help students analyze and perform examples of indigenous Philippine music and understand how music relates to local histories and cultures.
This document provides biographical and educational information about Philip Rice. It includes:
- His education background including degrees from Michigan State University and Westminster Choir College as well as awards and honors received.
- His composition and publishing experience including commissioned works and published pieces.
- His teaching experience at Michigan State University and Westminster Choir College teaching music theory and composition courses.
- His professional experience including work with various choirs and presentations given at conferences.
This document discusses using social music making to expand music education beyond traditional ensembles. It proposes teaching units focused on call-and-response, blues, music from the Great Depression era, and analyzing national anthems. These units aim to authentically engage more students in music making through activities like drum circles, sing-alongs, and composing rhythmic pieces. The goal is for all students to experience music both individually and together in a musical community. Assessment examples include performing blues songs, composing rhythmic works, and analyzing different approaches to the national anthem.
This document provides an overview of a music module that teaches students about the traditional music of the Cordillera region in the Philippines. The module is 2 hours long and covers vocal and instrumental music styles, the cultural contexts of different ethnic groups in Cordillera, and the social functions of Cordillera music. Students will listen to audio examples, analyze musical elements, perform songs and create their own instruments. The goal is for students to understand how Cordillera peoples express themselves musically and correlate their music to local history and culture.
This document provides an overview of a music learning module about the music of the Cordillera region in the Philippines. The module is 2 hours long and aims to help students discover how the Cordillerans express themselves through vocal and instrumental music, and how their music is connected to history, traditions, and beliefs. Students will analyze examples of Cordillera music, learn about different musical elements and styles, and participate in a culminating group performance of Cordillera-inspired music. The document provides detailed objectives, content outlines, activities, assessments and resources on the traditional music of the Cordillera ethnic groups.
This document provides an overview of two music learning modules focused on the traditional music of the Philippines. The first module discusses the music of the Cordillera region, including vocal and instrumental styles as well as the cultural context and social functions of the music. Some of the instruments discussed include bamboo flutes, percussion, and gongs. The second module covers the music of the Lowlands of Luzon, particularly liturgical and devotional music influenced by Spanish colonization, including songs, dances and the bamboo organ. The modules include objectives, topics, resources such as readings and recordings, activities for students, and assessment rubrics.
Nhemamusasa From ShonaThe Girl From Ipanemamueve.docxvannagoforth
Nhemamusasa From Shona
The Girl From Ipanema
mueve la cintura mulata lyrics
La Maria Chuchena
Patria Borinquena
CHAPTER 1 •
Thinking about Music
if you can speak you can sing; if you can walk you can dance.
(Zimbabwean Shona proverb)
People make music meaningful and useful in their lives. That statement
encapsulates much of what ethnomusicologists are interested in and
offers a framing perspective for many ways of thinking both about peo-
ple and about music all over the world. In this chapter I shall explore
each word in the statement with two purposes in mind: to suggest new
ways you might think about music that you regularly hear, and to begin
to expand your musical horizon. I shall also begin by speaking briefly
about the dissemination of music and the ways it is taught and learned,
because what you think about music has been influenced by how you
have learned it.
PEOPLE
Music Makers. Who makes music in our familiar world? Music mak-
ers are individuals and groups, adults and children, female and male,
amateurs and professionals. They are people who make music only for
themselves, such as shower singers or secretly-sing-along-with-the-
radio types, and they are performers, people who make music pur-
posefully for others. They are people who make music because they are
required to and people who do so simply from desire. Some music mak-
ers study seriously, while others are content to make music however
they can, without special effort.
To think about music makers globally, you might ask whether music
makers are regarded in any particular way in a particular place. At one
end of a spectrum, some societies expect people who make music to
1
2 = THINKING MUSICALLY
be specialists, born into the role or endowed with a special capacity.
At the other end of that spectrum, in some societies it is assumed that
the practice of music is a human capacity and that all people will
express themselves musically as a normal part of life. Particularly in
situations where orality is a viable mode for transmission of knowl-
edge (teaching by sounding), being a musician-or reciter, as in figure
1.1-is an option for visually impaired individuals. in figure 1.1 a
sighted sheikh, in company with two blind reciters, participates in a
performance of Qur'anic recitation in Egypt. There, where the aurality
of the tradition (learning by hearing) has been culturally affirmed,
becoming a reciter -has been a potential profession for blind men.
Through a long period of premodem Japanese history, blind players
of shamisen and koto (Fig. 1.2) held a governmentally sanctioned
monopology on performing and teaching of orally transmitted reper-
tories for their instruments.
FIGURE 1.1 Egyptian reciter. Multiple reciters of the Qur' an, accompanied by
friends and relatives, participate in a performance at a gathering in Egypt-possibly
the opening of a conference. That the illustrious Sheikh Mustafa Ismail ...
K TO 12 GRADE 7 LEARNING MODULE IN MUSIC (Q3-Q4)LiGhT ArOhL
This document provides teaching materials for a lesson on Philippine vocal music. The lesson introduces students to two genres: nationalistic songs and love songs. It discusses four compositions as examples: "Marangal na Dalit ng Katagalugan" by Julio Nakpil, "Lupang Hinirang" by Julian Felipe, "Nasaan Ka Irog?" by Nicanor Abelardo, and "Gaano Ko Ikaw Kamahal" by Ernani Cuenco. Students will analyze the musical elements, cultural context, and social functions of the songs. They will also perform one of the songs as a group, incorporating singing and dance. The lesson aims to help students understand how these musical
Action song / How to teach kids new songIstek Schools
This document discusses using action songs in English language classrooms. It outlines the benefits of action songs for language development in children and proposes that songs can be used to promote a stress-free learning environment. Specific benefits include allowing self-expression, encouraging participation, and developing skills like listening, attention, and following directions. The document also provides guidelines for teachers to select age-appropriate songs aligned with learning objectives and to design related activities like guessing, matching words, and acting out the songs.
The document discusses a musical event the author attended where they played classical music with jazz influences. While the author was familiar with some of the classical pieces, they did not know what the specific playlist would be. The Englewinds group performed the classical music but added their own jazz stylings, making the music refreshing and spontaneous rather than what the author expected from a classical music event.
F rom th e C h a p la inFINAL PASSAGES¥’T’7r 7rAzt.docxgreg1eden90113
F rom th e C h a p la in
FINAL PASSAGES
"¥’"T’7r 7rAzt music do you want played
t X / and sung at your funerali The
V V question startled us at first.
A group of friends were discussing mu
sic appropriate for particular life occa
sions: birthdays, anniversaries, achieve
ments, celebrations of homecoming,
retirement. Then came the question
about music and the end of life. In one
sense, the question is quite familiar to
musicians who are called upon to plan funerals and memorial
services. To paraphrase a famous hymn, “What language shall
we borrow” to mark the final passage of human life? What shall
confer dignity and final meaning that
also echoes the faith of a community
assembled to give thanks for a life re
cently completed?
Some in the group thought immedi
ately of songs of triumph, others of
gratitude, others of rest and serenity.
One of us desired the final chorale of
Bach’s St. John Passion sung by a choir.
The hymn “Love Divine, All Loves Ex
celling” seemed sufficient to another.
Still others spoke of using Palestrina’s
“Sicut Cervus,” Vaughan Williams’s
“O How Amiable,” Howells’s “Hymnus Paradisi,” or Lauridsen’s
“O Magnum Mysterium.” One of the organists chose Messiaen’s
“Celestial Banquet.” Obviously, many diverse convictions, musi
cal and theological, were at play in our conversation.
If we had not been professional church musicians, the choices
might have been very different. There would be the deceased’s
favorite hymns. Many of us have played or sung the requested
“The Old Rugged Cross” or “I Come to the Garden Alone.”
More recently, some have requested popular contemporary
praise songs, or secular love songs from certain periods of the
person’s life. However wide the range of responses, our question
prompts reflection about how and why music is related to grief
and joy, gratitude and sorrow on the occasion of saying farewell
to life itself. Apart from ritual songs such as the Kol Nidre, or
chanted prayers from a Requiem Mass, what hymns, songs, or
instrumental music reaches to the emotional depths required by
the passage from life to death?
It is common these days to hear people talk about the “sound
track” of their lives. For them music serves like a film score, ex
pressing significant memories while supplying a narrative of
what is experienced over time: childhood, family, friendships,
loves gained and lost, as well as remembered moods of particular
times and places. While nostalgia sometimes rules, my experi
ence tells me that we need music that expresses emotions that ac
company life passages through time. “Time like an ever rolling
stream, bears all who live away . . . ” sings the familiar hymn.
Discussions of personal choices of music to mark the end of
life reveal a set of tensions: between expressing an individual’s
life and proclaiming the community’s faith in the face of human
mortality. Consider what it means to come to final measures of
a great piece of mus.
This document discusses whether music can be considered a language. It provides evidence that music exhibits the nine main characteristics of language, including having a mode of communication through musical notes, semantics through conveying meaning, and cultural transmission through different styles across countries. The document also analyzes how musical notation shares similarities with linguistic structure and categories. Overall, it argues that music qualifies as a language, especially when considering its written form and ability to communicate and share information between musicians globally.
1) The document outlines a lesson plan on vocal music of the Romantic period. It includes objectives, materials, procedures and an assignment.
2) Key aspects of the lesson include discussing the art song, opera, and how music reflected poetry and emotions during this period.
3) Students will be divided into groups to perform and express emotions through an OPM romantic song, which will be evaluated based on a rubric assessing harmony, timing, blend, performance and overall impact.
This document provides teaching guides for a music module on Nationalistic Songs and Love Songs in the Philippines. The module is targeted at Grade 7 students and will take 2 hours. It will introduce students to compositions by Filipino artists in these two genres, including Marangal na Dalit ng Katagalugan by Julio Nakpil, Lupang Hinirang by Julian Felipe, Nasaan Ka Irog? by Nicanor Abelardo, and Gaano Ko Ikaw Kamahal by Ernani Cuenco. Students will analyze the musical elements, cultural context, and social functions of the songs. The module involves activities like a musical charades game and creating a group song and dance performance.
The document summarizes a textbook called "Rural Property Valuation" published by the Appraisal Institute. It discusses how the textbook provides essential guidance for appraising rural properties, covering topics unique to valuing agricultural land, ranches, timberland, and other rural uses. The textbook is said to be an important resource for students and practitioners to understand rural markets and issues. It contains 19 chapters covering key appraisal topics from a rural perspective, and provides up-to-date information on valuation of rural properties in the United States.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
Receptor Discordance in Breast Carcinoma During the Course of Life
Definition:
Receptor discordance refers to changes in the status of hormone receptors (estrogen receptor ERα, progesterone receptor PgR, and HER2) in breast cancer tumors over time or between primary and metastatic sites.
Causes:
Tumor Evolution:
Genetic and epigenetic changes during tumor progression can lead to alterations in receptor status.
Treatment Effects:
Therapies, especially endocrine and targeted therapies, can selectively pressure tumor cells, causing shifts in receptor expression.
Heterogeneity:
Inherent heterogeneity within the tumor can result in subpopulations of cells with different receptor statuses.
Impact on Treatment:
Therapeutic Resistance:
Loss of ERα or PgR can lead to resistance to endocrine therapies.
HER2 discordance affects the efficacy of HER2-targeted treatments.
Treatment Adjustment:
Regular reassessment of receptor status may be necessary to adjust treatment strategies appropriately.
Clinical Implications:
Prognosis:
Receptor discordance is often associated with a poorer prognosis.
Biopsies:
Obtaining biopsies from metastatic sites is crucial for accurate receptor status assessment and effective treatment planning.
Monitoring:
Continuous monitoring of receptor status throughout the disease course can guide personalized therapy adjustments.
Understanding and managing receptor discordance is essential for optimizing treatment outcomes and improving the prognosis for breast cancer patients.
Can Traditional Chinese Medicine Treat Blocked Fallopian Tubes.pptxFFragrant
There are many traditional Chinese medicine therapies to treat blocked fallopian tubes. And herbal medicine Fuyan Pill is one of the more effective choices.
Dr. Tan's Balance Method.pdf (From Academy of Oriental Medicine at Austin)GeorgeKieling1
Home
Organization
Academy of Oriental Medicine at Austin
Academy of Oriental Medicine at Austin
Academy of Oriental Medicine at Austin
About AOMA: The Academy of Oriental Medicine at Austin offers a masters-level graduate program in acupuncture and Oriental medicine, preparing its students for careers as skilled, professional practitioners. AOMA is known for its internationally recognized faculty, award-winning student clinical internship program, and herbal medicine program. Since its founding in 1993, AOMA has grown rapidly in size and reputation, drawing students from around the nation and faculty from around the world. AOMA also conducts more than 20,000 patient visits annually in its student and professional clinics. AOMA collaborates with Western healthcare institutions including the Seton Family of Hospitals, and gives back to the community through partnerships with nonprofit organizations and by providing free and reduced price treatments to people who cannot afford them. The Academy of Oriental Medicine at Austin is located at 2700 West Anderson Lane. AOMA also serves patients and retail customers at its south Austin location, 4701 West Gate Blvd. For more information see www.aoma.edu or call 512-492-303434.
- Video recording of this lecture in English language: https://youtu.be/RvdYsTzgQq8
- Video recording of this lecture in Arabic language: https://youtu.be/ECILGWtgZko
- Link to download the book free: https://nephrotube.blogspot.com/p/nephrotube-nephrology-books.html
- Link to NephroTube website: www.NephroTube.com
- Link to NephroTube social media accounts: https://nephrotube.blogspot.com/p/join-nephrotube-on-social-media.html
Osvaldo Bernardo Muchanga-GASTROINTESTINAL INFECTIONS AND GASTRITIS-2024.pdfOsvaldo Bernardo Muchanga
GASTROINTESTINAL INFECTIONS AND GASTRITIS
Osvaldo Bernardo Muchanga
Gastrointestinal Infections
GASTROINTESTINAL INFECTIONS result from the ingestion of pathogens that cause infections at the level of this tract, generally being transmitted by food, water and hands contaminated by microorganisms such as E. coli, Salmonella, Shigella, Vibrio cholerae, Campylobacter, Staphylococcus, Rotavirus among others that are generally contained in feces, thus configuring a FECAL-ORAL type of transmission.
Among the factors that lead to the occurrence of gastrointestinal infections are the hygienic and sanitary deficiencies that characterize our markets and other places where raw or cooked food is sold, poor environmental sanitation in communities, deficiencies in water treatment (or in the process of its plumbing), risky hygienic-sanitary habits (not washing hands after major and/or minor needs), among others.
These are generally consequences (signs and symptoms) resulting from gastrointestinal infections: diarrhea, vomiting, fever and malaise, among others.
The treatment consists of replacing lost liquids and electrolytes (drinking drinking water and other recommended liquids, including consumption of juicy fruits such as papayas, apples, pears, among others that contain water in their composition).
To prevent this, it is necessary to promote health education, improve the hygienic-sanitary conditions of markets and communities in general as a way of promoting, preserving and prolonging PUBLIC HEALTH.
Gastritis and Gastric Health
Gastric Health is one of the most relevant concerns in human health, with gastrointestinal infections being among the main illnesses that affect humans.
Among gastric problems, we have GASTRITIS AND GASTRIC ULCERS as the main public health problems. Gastritis and gastric ulcers normally result from inflammation and corrosion of the walls of the stomach (gastric mucosa) and are generally associated (caused) by the bacterium Helicobacter pylor, which, according to the literature, this bacterium settles on these walls (of the stomach) and starts to release urease that ends up altering the normal pH of the stomach (acid), which leads to inflammation and corrosion of the mucous membranes and consequent gastritis or ulcers, respectively.
In addition to bacterial infections, gastritis and gastric ulcers are associated with several factors, with emphasis on prolonged fasting, chemical substances including drugs, alcohol, foods with strong seasonings including chilli, which ends up causing inflammation of the stomach walls and/or corrosion. of the same, resulting in the appearance of wounds and consequent gastritis or ulcers, respectively.
Among patients with gastritis and/or ulcers, one of the dilemmas is associated with the foods to consume in order to minimize the sensation of pain and discomfort.
Nano-gold for Cancer Therapy chemistry investigatory projectSIVAVINAYAKPK
chemistry investigatory project
The development of nanogold-based cancer therapy could revolutionize oncology by providing a more targeted, less invasive treatment option. This project contributes to the growing body of research aimed at harnessing nanotechnology for medical applications, paving the way for future clinical trials and potential commercial applications.
Cancer remains one of the leading causes of death worldwide, prompting the need for innovative treatment methods. Nanotechnology offers promising new approaches, including the use of gold nanoparticles (nanogold) for targeted cancer therapy. Nanogold particles possess unique physical and chemical properties that make them suitable for drug delivery, imaging, and photothermal therapy.
Spontaneous Bacterial Peritonitis - Pathogenesis , Clinical Features & Manage...Jim Jacob Roy
In this presentation , SBP ( spontaneous bacterial peritonitis ) , which is a common complication in patients with cirrhosis and ascites is described in detail.
The reference for this presentation is Sleisenger and Fordtran's Gastrointestinal and Liver Disease Textbook ( 11th edition ).
Fexofenadine is sold under the brand name Allegra.
It is a selective peripheral H1 blocker. It is classified as a second-generation antihistamine because it is less able to pass the blood–brain barrier and causes lesser sedation, as compared to first-generation antihistamines.
It is on the World Health Organization's List of Essential Medicines. Fexofenadine has been manufactured in generic form since 2011.
Applications of NMR in Protein Structure Prediction.pptxAnagha R Anil
This presentation explores the pivotal role of Nuclear Magnetic Resonance (NMR) spectroscopy in predicting protein structures. It delves into the methodologies, advancements, and applications of NMR in determining the three-dimensional configurations of proteins, which is crucial for understanding their function and interactions.
Storyboard on Skin- Innovative Learning (M-pharm) 2nd sem. (Cosmetics)MuskanShingari
Skin is the largest organ of the human body, serving crucial functions that include protection, sensation, regulation, and synthesis. Structurally, it consists of three main layers: the epidermis, dermis, and hypodermis (subcutaneous layer).
1. **Epidermis**: The outermost layer primarily composed of epithelial cells called keratinocytes. It provides a protective barrier against environmental factors, pathogens, and UV radiation.
2. **Dermis**: Located beneath the epidermis, the dermis contains connective tissue, blood vessels, hair follicles, and sweat glands. It plays a vital role in supporting and nourishing the epidermis, regulating body temperature, and housing sensory receptors for touch, pressure, temperature, and pain.
3. **Hypodermis**: Also known as the subcutaneous layer, it consists of fat and connective tissue that anchors the skin to underlying structures like muscles and bones. It provides insulation, cushioning, and energy storage.
Skin performs essential functions such as regulating body temperature through sweat production and blood flow control, synthesizing vitamin D when exposed to sunlight, and serving as a sensory interface with the external environment.
Maintaining skin health is crucial for overall well-being, involving proper hygiene, hydration, protection from sun exposure, and avoiding harmful substances. Skin conditions and diseases range from minor irritations to chronic disorders, emphasizing the importance of regular care and medical attention when needed.
The biomechanics of running involves the study of the mechanical principles underlying running movements. It includes the analysis of the running gait cycle, which consists of the stance phase (foot contact to push-off) and the swing phase (foot lift-off to next contact). Key aspects include kinematics (joint angles and movements, stride length and frequency) and kinetics (forces involved in running, including ground reaction and muscle forces). Understanding these factors helps in improving running performance, optimizing technique, and preventing injuries.
1. American Journal of Multidisciplinary Research & Development (AJMRD)
Volume 03, Issue 11 (November - 2021), PP 45-53
ISSN: 2360-821X
www.ajmrd.com
Multidisciplinary Journal www.ajmrd.com Page | 45
Research Paper Open Access
Singing the Songs: Towards Elder S.K. Ampiah’s Lyrical Intent
Mark Millas Coffie
Department of Music Education, University of Education, Winneba, Ghana
Abstract: It is truistic that every songwriter has an intent and purpose for composing any particular song.
Unfortunately, there are some occasions where the users distort the songwriter's intent. Songs of Elder
S.K. Ampiah, an iconic songwriter of Ghanaian Christian music, are no exception to the above
phenomenon. It appears that the lyrics of some of his popular gospel songs have been distorted by
Ghanaian gospel artistes, church singers, and the general populace. This paper, therefore, investigates
and documents Elder S.K. Ampiah's lyrical intent of his selected popular gospel songs and postulates
reasons for his choice of lyrics. Using interview, document, and audio review for data collection, a textual
analysis of Elder S.K. Ampiah's selected popular gospel songs revealed that the distortion of his song
lyrics usually does not alter the theme of the lyrics. However, it sometimes does not transmit or
communicate the songwriter’s intent to the listener, ultimately defeating the song's purpose. This paper,
therefore, recommends that recording artists and singers should as much as possible investigate and keep
to the intent of the songwriter to ameliorate the problem of “lyrical distortion”.
Keywords: Elder S.K. Ampiah, distortion, song lyrics, songwriter's intent, gospel music
I. INTRODUCTION
Music has long been an effective way to communicate to people, and the lyrics of songs play a
significant role in delivering this communication (Adinkrah, 2008; Ransom, 2015). Ransom further posited that
one could increase well-being by mindfully listening to meaning-filled lyrics bolstered by music's ability to
influence emotion. Also, music, especially songs, has been a powerful strategy for sharing history across
generations. Music can be experienced as culture, language, emotion, communication, performance, religion,
self-expression, and a discipline to gain mastery (Nyland & Acker, 2012; Trehub et al., 2015). Regardless of the
many functions of music, one fundamental function is to communicate (Chen, 2020; Corke, 2002; Cross, 2009;
Miell et al., 2005).
Firdaus (2013) postulated that every song has its message in examining topical themes used in song
lyrics. The appeal and effectiveness of the song to the listener depend on the lyrics. Similarly, Russo and
Thompson (2004) noted that songs involve a complex and robust connection between melody and lyrics, in that
melody and lyrics are often coordinated for overall emotional meaning. It is essential to acknowledge this study
because the message contained in a song lyric can be delivered depending on how the writer puts the words in
the lyrics. Music and lyrics have been a part of every society, from Gregorian chants used to memorize and
communicate religious passages and psalms to protest songs of the civil rights movement (Apel, 1958; Levitin,
2006; Rodnitzky, 1969).
It is quite common for words to have a different or broader lexical meaning in song than in speech.
(Turpin & Stebbins, 2010, p. 8) acknowledged that songs, like poetry, may have multiple competing lexical
meanings. Here, it is necessary to distinguish the meanings intended by the composer (which may be multiple
and intentional) and those constructed by listeners interpreting the song. Song lyrics are, indeed, an integral part
of vocal music because they express the composer's intent. The importance of lyrics makes it necessary for
composers to reflect on the choice of words for their composition. Some composers pray to receive inspiration
from God for their song lyrics. For some, they carefully choose their lyrics to address particular issues or send
particular messages; hence, when the song’s lyrics are distorted or sung the wrong way, the purpose for which
the song was composed is defeated. It is, therefore, unfair if the lyrics are wrongly represented.
It is generally believed that music is life, and song, a verbal branch of music, naturally can address
different aspects of life. Songs entertain, heal, educate, inform, evoke emotions, among other functions (Firdaus,
2013; Gayen et al., 2021; Juslin, 2001, 2013; Ransom, 2015). Inarguably, language is vital in the above-listed
functions; and singing the correct lyrics is vital. Moreover, in a religious setting, lyrics sometimes function as a
means for the proclamation of the gospel and the rudiments of moral life besides the usual rubrics of Western
missiology (Asuquo, 2000).
2. Singing the Songs: Towards Elder S.K. Ampiah’s Lyrical Intent
Multidisciplinary Journal www.ajmrd.com Page | 46
A burgeoning literature on Ghanaian songs usually focuses on textual themes and linguistic semantics
(Acquah et al., 2015; Adinkrah, 2008; Agyekum et al., 2020; Amuah & Wuaku, 2019; van der Geest & Asante-
Darko, 1982). Furthermore, choral and highlife songs become the object of interest in the above research. Few
studies have focused on the text of Ghanaian songs (Maclean, 2018; Maclean & Acquah, 2020); however, they
also focused on choral art music compositions. Research on the lyrics of gospel songs is yet to gain attention in
Ghanaian music scholarship. It is common knowledge that many Ghanaian gospel songs are considered folk
songs because the composers are not known. Most of these songs are lyrically rendered differently by different
performers; besides, there are no written documents to justify the correct lyrics. The performers of these songs
usually do not always look out for the original lyrics; hence, they learn and sing whatever they hear at church or
on the airwaves, be it right or wrong. However, this lyrical disparity alters the original meaning and purpose of
the song, which sometimes causes biblical errors. Interestingly, every song has its structure, meaning, and
aesthetics.
It is truistic that every songwriter or composer has an intent and purpose for composing any particular
song. Unfortunately, there are some occasions where the users distort the songwriter's intent. For instance, the
last phrase of the lyrics of one of the popular Ghanaian gospel songs, Onyame, Wo na yɛbɛ som Wo (God, You
are the one we will worship). Some say yɛbɛ som Wo daa daa (we will worship you forever), others also say
abɔfo som Wo daa daa (angels worship you forever). This disparity, however, creates some form of confusion
among singers and listeners. Moreover, as stated earlier, composers of some of these songs are usually
unknown, and besides, there is no written document to justify the correct lyrics.
It is worth noting that the songs of Elder S.K. Ampiah, an iconic songwriter of Ghanaian Christian
music, are no exception to the above phenomenon. A preliminary investigation reveals that some of his popular
gospel songs are lyrically distorted. It is also quite surprising that his popular gospel songs are considered
anonymous composers (Coffie, 2020). Despite Elder S.K. Ampiah’s iconicity in Ghanaian Christian music, few
attempts have been made to investigate his lyrical intent. For instance, in an interview on Citi TV in 2020, Elder
S.K. Ampiah lamented how gospel artists and the general populace have wrongly sung his song lyrics. These
lyrical distortions usually do not transmit a complete and meaningful message to the listener (Amuah, 2012;
Coffie, 2020). Given the above, the study investigates and documents Elder S.K. Ampiah's lyrical intent of his
selected popular gospel songs and also postulates reasons for his choice of lyrics to ameliorate the problem of
lyrical distortion. This study defines lyrical distortion as misrepresenting the songwriter or composer's lyrical
intent, while lyrics are the words underlying a melody. Also, see Coffie (2020) for more biographical
information on Elder S.K. Ampiah.
II. METHOD
The study adopted a descriptive research design, where a description of lexical-pragmatic strategies
from selected Elder S.K. Ampiah's Christian song lyrics were done. This design was suitable for this study
because the researcher mainly relied on textual analysis. Textual analysis is a type of qualitative research in
which a researcher interprets documents to give voice and meaning to an assessment topic (Bowen, 2009).
Therefore, interviews, documents, and audio reviews were employed for data collection. Six popular gospel
songs of Elder S.K. Ampiah, which have been distorted lyrically, were selected using the purposive sampling
technique. Purposive sampling is a technique where a researcher can use cases with the required information
concerning the study's objectives (Palinkas et al., 2015). Next, the sampled songs were transcribed musically
and textually. Also, for illustration, the selected songs were transcribed in the key of F major. The transcriptions
became the basis for textual analyses of the songs to show how the lyrics have been distorted. Finally, the
findings were contrasted to the view of Elder S.K. Ampiah, the songwriter. Notice that the lyrics of the selected
songs are in the Akan language1
.
3. Singing the Songs: Towards Elder S.K. Ampiah’s Lyrical Intent
Multidisciplinary Journal www.ajmrd.com Page | 47
III. RESULTS AND DISCUSSION
3.1 Selected Popular Gospel Songs of Elder S.K. Ampiah
Fig. 1.
3.2 Nipa Nyinaa Rehwehwɛ Wo – Song Text
Text English Translation
Nipa nyinaa rehwehwɛ Wo Humanity is in search of you
Agyenkwa Yesu Jesus, the saviour
Adeboneyɛfo retwɛn Wo Sinners await you
Ayarefo refrɛ Wo The sick are calling you
Wiase hia Wo nkwagye The world needs your salvation
Nipa nyinaa rehwehwɛ Wo Humanity is in search of you
Wɔ rehwehwɛ Wo They are in search of you
Agyenkwa Yesu Jesus, the saviour
Wɔ rehwehwɛ Wo They are in search of you
Agyenkwa Yesu Jesus, the saviour
ɔbonsam resɛi wiase, Satan is destroying the world
Nipa nyinaa rehwehwɛ Wo Humanity is in search of you
As shown in figure 1 above, the theme of the song's lyrics is: humanity is searching for Jesus Christ
because Satan is destroying the world. Therefore, the only solution or saviour to the teeming problems of the
world is Jesus Christ. It is also not quite surprising that the first and last lines of the song’s lyrics entrench this
message. It is worth noting that the songwriter in lines three and four of the lyrics enumerates the category of
people searching for the salvation of Jesus Christ, such as the sinners and the sick. Furthermore, the songwriter
informs that the sinners are waiting for Jesus’ salvation while the sick are calling Jesus for deliverance or
healing. Unfortunately, the information in line four of the song’s lyrics has been distorted among the Ghanaian
Christian fraternity as intended by the songwriter. Presently, line four of the song’s lyrics inform that the sick
are waiting2
instead of calling. Soul Winners, a popular Ghanaian gospel group, first recorded and released this
song, distorting the lyrics in 2003, prevalent until today. It is a truism that this distortion of the songwriter’s
intent is inconsequential and does not alter the meaning of the theme. However, the songwriter's intent to
4. Singing the Songs: Towards Elder S.K. Ampiah’s Lyrical Intent
Multidisciplinary Journal www.ajmrd.com Page | 48
communicate to the listener about the sick calling on Jesus for deliverance or healing is absent. According to
Elder S.K. Ampiah, the songwriter, it is quite usual for a person in need to call for assistance than to wait for
assistance. However, this view of the songwriter encourages the afflicted listener to call on Jesus for salvation
instead of waiting.
Fig. 2.
3.3 Onyame Yɛ Nyame Kɛse – Song Text
Text English Translation
Onyame yɛ Nyame kɛse God is a great God
Sɛ wo tweren’a, w’anim renguase da You will not be disgraced when you lean on Him
Halleluyah, Onyame yɛ Nyame kɛse Halleluia, God is a great God
The song in figure 2 above employs relatively fewer lyrics; it is inarguably one of the most popular
Ghanaian Christian worship songs with different renditions by Several gospel musicians. The theme of the
song’s lyrics is: God is Great; hence you will not be disgraced or disappointed when you lean or depend on Him.
In the first line of the song’s lyrics, the songwriter communicates to the listener that God is a great God.
However, it has been distorted and sung among the Ghanaian Christian fraternity as God is good3
, God is great.
This distortion could be attributed to the mixture of two linguistic traditions (Twi and Fante). It is also worth
noting that the songwriter wrote the song’s lyrics in the Twi language, where the word, yɛ, has multiple
meanings such as (is, good, do); however, yɛ (is) was the songwriter’s intent. It appears that over time, the song
users began to sing ye, meaning (good) in the Fante language instead of yɛ (is) in the Twi language. This little
twist in the song’s lyrics distorted the songwriter’s intent. So, presently, the first line of the song’s lyrics
communicates to the listener that Onyame ye, Nyame kɛse (God is good, God is great) instead of Onyame yɛ
Nyame kɛse (God is a great God) as intended by the songwriter. It is worth noting that the distortion of the
song’s lyrics, similar to the song in figure 1, is inconsequential and does not alter the meaning of the theme.
Elder S.K. Ampiah also acknowledged that the distortion of the first line of the song’s lyrics is not a bad idea;
just that was not his intent.
5. Singing the Songs: Towards Elder S.K. Ampiah’s Lyrical Intent
Multidisciplinary Journal www.ajmrd.com Page | 49
Fig. 3.
3.4 Mmo Yesu Mmo – Song Text
Text English Translation
Momma yɛn ma Yesu mmo, Let us congratulate Jesus
Na w’ayɛ ade kɛse ama yɛn For He has done great things for us
ɔde ne mogya atɔ yɛn He has purchased us with His blood
w’ama ye nyankwa enniewie He has given us eternal life
Momma yɛn maYesu mmo Let us congratulate Jesus
Na w’ayɛ ade kɛse ama yɛn For He has done great things for us
Mmo Yesu mmo, mmoYesu mmo Well done, Jesus, Well done, Jesus
Mmo Yesu mmo, Yesu yɛ ma w’ammo Well done, Jesus; we congratulate you, Jesus
The song in figure 3 above is one of Ghana's most popular gospel praise songs, and it is usually sung
during Christian gatherings. The theme of the song’s lyrics is: Jesus Christ is worthy of our congratulations or
praises for the great things He has done. The songwriter further gives reasons why Jesus Christ is worthy of our
praise, such as purchasing us with His blood and giving us eternal life. In this song, the lyrics were not
necessarily distorted compared to figures 1 and 2. However, the third and fourth lines of the lyrics are omitted in
how the song is sung in Ghana4
. The omission inadvertently has a grave consequence on the theme of the song’s
lyrics, which does not communicate a complete and meaningful message to the listener as the songwriter
intended. Elder S.K. Ampiah explaining his intent of the song, narrates: Jesus Christ purchased us with His
blood and gave us eternal life, which is why we praise Him. It is also quite unusual for people to share their
memorable moments without outlining the reasons for them. It is against this background that the songwriter’s
lyrical intent is very appropriate.
Fig. 4.
6. Singing the Songs: Towards Elder S.K. Ampiah’s Lyrical Intent
Multidisciplinary Journal www.ajmrd.com Page | 50
3.5 JewfoWɔn Hen Song Text
Text English Translation
Mon bra nbɛhwɛ No, ɔyɛ Yesu Come and see Him, He is Jesus
Yesu Kristo de ɔy’ɔsahen As for Jesus Christ, He is a Warrior
Mon bra nbɛhwɛ No, Jewfo wɔn Hen Come and see Him, King of the Jews
Ne din ne Yesu, ɔy’ɔsahen His name is Jesus, He is a Warrior
The song in figure 4 above also employs relatively fewer lyrics; however, it is inarguably one of the
most distorted song lyrics of the songwriter among the Christian fraternity in Ghana. In the theme of the song’s
lyrics, the songwriter proclaims Jesus Christ as a Warrior and King of the Jews and makes a clarion call for
everyone to have an encounter with Him. In the first line of the song’s lyrics, the songwriter makes a clarion call
for everyone to come and see (have an encounter with) Jesus. Presently, in the lyrics, Jesus has been substituted
with Warrior5
. In the second line of the song’s lyrics, the songwriter describes Jesus Christ as a Warrior;
however, presently, the song’s lyrics only mentions Jesus’ name and does not describe who He is. In the third
line of the song’s lyrics, the songwriter repeats the clarion call and proclaims Jesus Christ as the King of the
Jews. The phrase King of the Jews presently has been substituted with King of Kings. It is worth noting that the
fourth line of the song’s lyrics, as intended by the songwriter, has not changed, except that singers usually use
Jesus instead of Yesu in the Akan language. Examining the above song lyrics, it is obvious that the distortion did
not alter the meaning of the theme. However, the song’s lyrics in lines one and two as sung presently are quite
redundant because no new information was introduced. Elder S.K. Ampiah contends that the sense of the
chronological description of Jesus Christ as a Warrior and King of the Jews, which is his intent, has been altered
in present times.
Fig. 5.
3.6 M’agyenkwa Pa Song Text
Text English Translation
Mede W’ayeyi rebrɛ wo I bring you praise
M’agyenkwa pa, m’agyenkwa pa My saviour, my saviour
W’anhwɛ me bɔne ne me ɛndi You did not deal with me according to my sins
W’ama’dekyep’ato me You have given me a new day
Mede W’ayeyi rebrɛ wo I bring you praise
M’agyenkwa pa, m’agyenkwa pa My saviour, my saviour
The song in figure 5 above is one of the popular worship songs among the Ghanaian Christian
fraternity. In the theme of the song lyrics, the songwriter praises his saviour for not punishing him according to
his sins. Furthermore, the songwriter also expresses his gratitude for waking up to a new day. In the fourth line
of the song’s lyrics, the songwriter communicates to the listener how his saviour (God) did not punish him
according to his sins, showing how merciful God has been to him. Unfortunately, as in the lyrics, the word sins
has been replaced with mistakes or errors6
presently. A rendition of this song by Vine Praise, a Ghanaian gospel
group, is an example of the lyrical distortion. As indicated earlier in the song’s lyrics, the substitution of sins for
mistakes may sound inconsequential; however, the songwriter was emphatic and intentional in his choice of
words. It is worth noting that not every mistake is a sin; thus, sin and mistake cannot mean the same. Everybody
is liable to mistakes as humans, which may not necessarily be considered sins as Elder S.K. Ampiah informs.
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Notice that the biblical quotation: He has not dealt with us according to our sins, nor punished us according to
our iniquities (Psalm 103:10) inspired the songwriter in this song’s lyrics; therefore, substituting the word sins
for mistakes may cause a biblical error.
Fig. 6.
3.7 Yesu Ne Wu
Text English Translation
Yesu ne wu no na w’ama menya nkwa The death of Jesus has given me life
Ne perakro mu na me nya m’ayaresa By His stripes, I am healed
Ne Mogya no na wa hohro me bone His blood has watched my sin
Yesu ne wun’agye me kraa The death of Jesus has redeemed me forever
Mede mɛ ma na mmo As for me, I congratulate Him
Mmo mmo mmo, mmo mmo mmo mmo Well done, well done, well done, well done, well
done, well done, well done
Yesu Kristo mmo mmo mmo Well done, Jesus, well done, well done
Mede me ma na mmo As for me, I congratulate Him
The song in figure 6 above is a popular Ghanaian Pentecostal praise song. It is also one of the many
songs of Elder S.K. Ampiah, which the composer is considered anonymous. The theme of this song’s lyrics is
quite similar to that of figure 3, where the songwriter praises Jesus Christ and gives reasons why Jesus deserves
his praise. In the first line of the song’s lyrics, the phrase: the death of Jesus is substituted with the blood of
Jesus7
. Also, in the fourth line of the song’s lyrics, instead of the blood of Jesus has redeemed me forever, it is
presently sung the blood of Jesus has redeemed me as exemplified in the fourth album of Kofi Abraham, a
renowned Ghanaian gospel musician. It is worth noting that the word forever is absent from how the song is
sung presently. Similar to the song lyrics discussed above, the distortion of this song’s lyrics does not alter the
theme. However, the songwriter’s intent about the chronology of events that culminate in his absolute
redemption by the death of Jesus Christ, such as being wounded and shedding blood, is obviously missing in
how the song is sung presently.
IV. CONCLUSION
In Ghana, it has become a common practice where church praise and worship singers learn and sing
certain portions of existing songs, record, and release for public consumption. Once such a song is released, the
listeners assume that as a complete song and sing likewise. As a result, many popular Ghanaian gospel songs
have lyrical discrepancies. However, for this study's gamut, I focused on the selected popular gospel songs of
Elder S.K. Ampiah. The findings of this study confirmed that the lyrics of Elder S.K. Ampiah’s popular gospel
songs have been distorted over the years by recording artists. This distortion is partly due to the oral tradition of
song transmission from one generation to another. In addition, recording artists perceive the songs as folk
(anonymous composers); therefore, they do not follow due diligence to learn the songwriter’s intent.
Surprisingly, these distortions, more often than not, do not alter the theme of the lyrics; however, they
sometimes cause biblical errors. Furthermore, the songwriter's intent is also defeated, and sometimes the song
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lyrics do not transmit and communicate a complete meaningful message to the listener. I, therefore, recommend
that recording artists and singers should as much as possible investigate and keep to the intent of the songwriter
to ameliorate the problem of lyrical distortion.
Notes
1
One of the linguistic traditions of Ghana
2
URL link to the distorted song lyricshttps://youtu.be/IArqcveMvTo?t=1002
3
URL link to the distorted song lyrics https://youtu.be/Nw3saufSE3g
4
URL link to the distorted song lyrics https://youtu.be/G33mx2wvfrw?t=83
5
URL link to the distorted song lyrics https://youtu.be/8JmHdhHmRDc?t=4081
6
URL link to the distorted song lyrics https://youtu.be/pHqBejs-71w
7
URL link to the distorted song lyrics https://youtu.be/o3CN9mH6xlw
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