Singing Through Struggle: Music as a Mode of Cultural Exchange in African American Border City Churches After Emancipation, 1862-1890

This project investigates how religious music, invested with symbolic and cultural meaning, provided African Americans in border city churches with a way to negotiate conflict, assert individual values, and establish a collective identity in the post- emancipation era. In order to focus on the encounter between former slaves and free Blacks, the dissertation examines black churches that received large numbers of southern migrants during and after the Civil War. Primarily a work of history, the study also employs insights and conceptual frameworks from other disciplines including anthropology and ritual studies, African American studies, aesthetic theory, and musicology. It is a work of historical reconstruction in the tradition of scholarship that some have called "lived religion." Chapter 1 introduces the dissertation topic and explains how it contributes to scholarship. Chapter 2 examines social and religious conditions African Americans faced in Baltimore, MD, Philadelphia, PA, and Washington, DC to show why the Black Church played a key role in African Americans' adjustment to post-emancipation life. Chapter 3 compares religious slave music and free black church music to identify differences and continuities between them, as well as their functions in religious settings. Chapters 4, 5, and 6 present case studies on Bethel African Methodist Episcopal Church (Baltimore), Zoar Methodist Episcopal Church (Philadelphia), and St. Luke’s Protestant Episcopal Church (Washington, DC), respectively. Informed by fresh archival materials, the dissertation shows how each congregation used its musical life to uphold values like education and community, to come to terms with a shared experience, and to confront or avert authority when cultural priorities were threatened. By arguing over musical choices or performance practices, or agreeing on mutually appealing musical forms like the gospel songs of the Sunday school movement, African Americans forged lively faith communities and distinctive cultures in otherwise adverse environments. The study concludes that religious music was a crucial form of African American discourse and expression in the post-emancipation era. In the Black Church, it nurtured an atmosphere of exchange, gave structure and voice to conflict, helped create a public sphere, and upheld the values of black people.

The church in Corea by Mark Napier Trollope, Bp. of Korea

http://www.archive.org/details/churchincorea00troluoft

Wanted - Leaders! : a study of Negro development / Theodore DuBose Bratton.

http://www.archive.org/details/wantedleadersstu00bratrich

The Union Mission hymnal, with which is incorporated "Hymns for Heart and Life" / edited by Fredk. C. Spurr ; the harmonies of the non-copyright pieces revised by Henry C. Banister.

http://www.archive.org/details/theunionmissiony00spuruoft

Computational Properties of SNAFU

Sensor applications in Sensoria [1] are expressed using STEP (Sensorium Task Execution Plan). SNAFU (Sensor-Net Applications as Functional Units) serves as a high-level sensor-programming language, which is compiled into STEP. In SNAFU’s current form, its differences with STEP are relatively minor, as they are limited to shorthands and macros not available in STEP. We show that, however restrictive it may seem, SNAFU has in fact universal power; technically, it is a Turing-complete language, i.e., any Turing program can be written in SNAFU (though not always conveniently). Although STEP may be allowed to have universal power, as a low-level language not directly available to Sensorium users, SNAFU programmers may use this power for malicious purposes or inadvertently introduce errors with destructive consequences. In future developments of SNAFU, we plan to introduce restrictions and highlevel features with safety guards, such as those provided by a type system, which will make SNAFU programming safer.