DOCSLIB.ORG

The-Black-Female-Composer-DEI-Grant-Application.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The-Black-Female-Composer-DEI-Grant-Application.Pdf For CoFA/APDI Committee Use: Received:____________ Action:______________ Amount:_____________ COLLEGE OF FINE ARTS TEXAS CHRISTIAN UNIVERSITY Arts Programming & Diversity, Equity, & Inclusion Initiative Programming Grants Applicant Name: James D. Rodriguez Position: Assistant Professor Department/School: School of Music Other Participants: Christine Lamprea & William Gibbons Position: Lecturer in Cello & Associate Professor of Musicology/Associate Dean Department/School: School of Music Project Title: The Black Female Composer Project Abstract: (less than 150 words) This project seeks funding from the DEI Committee to present a recital of works by prominent Black female composers. Participants will include Dr. Gwendolyn Alfred (soprano) from Texas Southern University, Dr. Artina McCain (piano) from the University of Memphis, Christine Lamprea (cello), Dr. James Rodriguez (baritone), and narration by Dr. William Gibbons. Featured composers include Florence Price, Margaret Bonds, Dorothy Rudd Moore, Betty Jackson King, Jaqueline Hairston, Tania Leon, and Undine Smith Moore. Amount Requested: $ 1000.00 Project Date(s)*: April 5, 2019 *Funding is awarded on a fiscal year basis. Authorizations: School Director/ Department Chair: _______________________________________________ List previous College of Fine Arts, Arts Programming & Diversity, Equity, & Inclusion Initiative Programming Grants received within the past three (3) years: Dates Title Dates Title Dates Title 2. Have final reports of previous grants been submitted? [ ] Yes [ ] No [ ] Project still in progress 3. If you have or expect funding from additional sources for this project, indicate the following: Source Amount $ Notes Source Amount $ Notes Source Amount $ Notes Application for the Arts Programming & Diversity, Equity, & Inclusion Initiative Grant College of Fine Arts Project Title: The Black Female Composer Applicant Name/Position: Dr. James D. Rodriguez, Assistant Professor Department/School: School of Music 1. Project Abstract This project seeks funding from the DEI Committee to present a recital of works by prominent Black female composers. Participants will include Dr. Gwendolyn Alfred (soprano) from Texas Southern University, Dr. Artina McCain (piano) from the University of Memphis, Christine Lamprea (cello), Dr. James Rodriguez (baritone), and narration by Dr. William Gibbons. Featured composers include Florence Price, Margaret Bonds, Dorothy Rudd Moore, Betty Jackson King, JaQueline Hairston, Tania Leon, and Undine Smith Moore. 2. Project Description During the November 26, 2018, DEI meeting, Ms. Kristen Queen (Interim Director of the School of Music) presented information on a study that she and Dr. Blessinger had conducted regarding the programming diversity at the TCU School of Music. One of the most underrepresented areas was that of female composers of color. Dr. McCain has been a longtime advocate for the programming of works by black composers, having created the Black Composers Concert Series through the Austin Chamber Music Center (Austin, TX). In 2017 and 2018, she invited me to perform on these concerts, and we earned an Austin Critics Table Award (June 2018) for our presentation of “Black Composer Concert: The Black Female Composer.” In November 2018, we were selected to present at the TEXOMA NATS (National Association of Teachers of Singing) Regional Conference at Baylor University. We were joined by our colleague, Dr. Alfred, and introduced participants to a number of songs by prominent female composers. Future presentations will be given at Texas Southern University, the University of Tennessee, and Montclair State University during the 2019-2020 academic year. The program that we have selected includes a diverse group of pieces that would be of interest and accessible to any of our students, from beginner to advanced. As part of the presentation, we will share a bit of history on each composer and her music. 3. Audience Served The recital is tentatively scheduled for Friday, April 5, 7 PM in PepsiCo Recital Hall. The target audience is the TCU School of Music students; attendance to the event would count towards recital attendance credit, which is reQuired of all undergraduate students. 4. University or Community Partners Although this event is geared toward music students, we will extend an invitation to the general public, as well as to students in the Women and Gender and African American and Africana Studies. 5. Budget and Budget Narrative I am reQuesting a $1000 honorarium ($500 each) for Dr. McCain and Dr. Alfred. Presents Dr. Gwendolyn Alfred, soprano Dr. James D. Rodriguez, baritone Professor Christine Lamprea, cello Dr. Artina McCain, collaborative pianist Dr. William Gibbons, introduction April 5, 2019 7:00 PM PepsiCo Recital Hall Program A White Rose Florence Price Night (1887 – 1953) Song to the Dark Virgin Theology Betty Jackson King In the Spring Time (1928 – 1994) Tumbao Tania Leon (b. 1943) Negro Speaks of Rivers Margaret Bonds (1913 – 1972) On Consciousness Streams Jacqueline Hairston Thou Alone Canst Inspire (b. 1938) On Consciousness Streams The Season of Remembrance Four Encore Songs Florence Price Tobacco A flea and a fly Tom’s Father Open Road Troubled Water Margaret Bonds Weary Blues Dorothy Rudd Moore (b. 1940) Love Let the Wind Cry…How I Adore Thee Undine Smith Moore (1904 – 1989) .
Load more

Recommended publications
  • Liner Notes Watch and Pray: Spirituals and Art Songs by African American Women Composers, Koch International, 3-7247-2H1, 2000
    Liner Notes Watch and Pray: Spirituals and Art Songs by African American Women Composers, Koch International, 3-7247-2H1, 2000 American Music, by definition, is the result of a particular fusion of many musical cultures. This recording presents an important strand in this complicated tapestry—the blending of African American spiritual songs with the art music of Europe. The origin of the spiritual is still a matter of debate. However, it is generally agreed that it evolved out of the collective folk experiences of the slave. The compositional process relied on the oral tradition, passing these songs from one person to another, generation to generation. We will perhaps never know exactly what they sounded like, nor are we ever likely to precisely trace their evolution. Thus it is probable that the body of music we now associate with the spiritual bears only partial resemblance to the folk original. Spiritual arrangements, as a second evolutionary stage, came into being as early as the middle of the nineteenth century and played an important role in spreading the music and texts far beyond their original folk context. The songs presented here provide a glimpse into a third important development—the reclamation and synthesis of the folksong by African American art music composers. As the African American experience changed, so did its music. By the first half of this century, a small number of African Americans had gained access to conservatories and universities here and abroad. This resulted in the appearance of dramatic new voices on the American musical scene. These African American pioneer composers elected not to abandon their cultural heritage but to transform it with their new musical skills and perspective.
    [Show full text]
  • Margaret Bonds (1913-1972), Composer Three Dream Portraits
    21M.410 / 21M.515 Vocal Repertoire and Performance Spring 2005 PROGRAM NOTES Edward Boatner (1898-1981), arranger Didn’t My Lord Deliver Daniel? When I Get Home Edward Hammon Boatner was born on November 13, 1898 in New Orleans, Louisiana to the family of an itinerant minister. Boatner’s father, Dr. Daniel Webster Boatner traveled frequently from church to church, and thus provided his son an introduction to rural church singing. Edward Boatner received his musical education at Western University in Kansas, the Boston Conservatory, New England Conservatory, the Longy School of Music, and the Chicago College of Music. In his lifetime, Boatner arranged and published more than 200 spirituals, with written works including Story of the Spiritual: Thirty Spirituals and Their Origins, and the spiritual musicals, The Man of Nazareth and The Origin of the Spirituals. His arrangements have been recorded by Roland Hayes, Marian Anderson, Paul Robeson, Leontyne Price and Nelson Eddy. Boatner achieved acclaim as a singer and also served as music director of the National Baptist Convention (1925-1933), as music director at Samuel Huston College in Austin and as Dean of Music at Wiley College. He also operated a studio in New York City where he trained choral groups, gave private voice and piano instruction, and trained actors. An avid writer, Boatner published books on music theory and composition. Writings include The Damaging Results of Racism, Black Humor, Great Achievements in Black and White and the novel One Drop of Blood (New York Public Library, Digital Library Collections). Edward Boatner died in New York in 1981, leaving a legacy of developing the concert spiritual genre in which elements of folk song and art song are blended.
    [Show full text]
  • Deep Rivers: Selected Songs of Florence Price and Margaret Bonds Penelope Peters
    Document generated on 09/30/2021 11:35 p.m. Canadian University Music Review Revue de musique des universités canadiennes Deep Rivers: Selected Songs of Florence Price and Margaret Bonds Penelope Peters Voices of Women: Essays in Honour of Violet Archer Article abstract Voix de femmes : mélanges offerts à Violet Archer This essay examines the songs of two African-American women, Florence Price Volume 16, Number 1, 1995 (1888–1953) and Margaret Bonds (1913–72), who embarked upon their compositional studies and careers only a couple of generations after the URI: https://id.erudit.org/iderudit/1014417ar emancipation. Both discovered in the poetry of Langston Hughes (1902–67) the DOI: https://doi.org/10.7202/1014417ar means for reconciling the musical traditions of their African-American heritage with those of their European training. Through detailed analysis of the textual and musical symbolism in Price's Song to a Dark Virgin and Bonds's The See table of contents Negro Speaks of Rivers and Three Dream Portraits, the author demonstrates the influence of spirituals ("plantation songs"), blues, and jazz and reveals how these African-American idioms are integrated with the melodic and harmonic Publisher(s) idioms from the early twentieth-century European tradition. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Peters, P. (1995). Deep Rivers: Selected Songs of Florence Price and Margaret Bonds. Canadian University Music Review / Revue de musique des universités canadiennes, 16(1), 74–95. https://doi.org/10.7202/1014417ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law.
    [Show full text]
  • African American Song Recital Project BU CFA SOM Departments of Voice and Collaborative Piano April 2021
    African American Song Recital Project BU CFA SOM Departments of Voice and Collaborative Piano April 2021 Program Notes – Shiela Kibbe Art songs by African American composers and composers of the African diaspora are rich and diverse in poetic heritage, harmonic language, and compositional style. This project has introduced pianists and singers to a catalogue of repertoire that is immensely rewarding to performers as well as listeners. Although African American composers have set texts by many authors and poets, they have been especially drawn to the words of African American writers. Three of the most influential African American poets were Paul Dunbar, James Weldon Johnson, and Langston Hughes. Paul Laurence Dunbar (1872-1906) was the first African American poet to gain national recognition. Born to parents who were freed slaves in Kentucky, Dunbar’s writing often referred to their stories of plantation life. He published poems in Standard English as well as in dialect; his poetry using dialect attracted the most attention. The H. Leslie Adams song Sence You Went Away is a beautiful example of the softened diction used in Dunbar’s dialect poetry. James Weldon Johnson (1871-1938) penned the words to Lift Every Voice and Sing in 1900. Set to music by his brother Rosamund, this glorious song became commonly known as the Negro National Anthem, and is sung today in churches, at sporting events, and as part of the Black Lives Matter movement. Johnson was the First African American to pass the bar exam in Florida, and spent his professional life as an educator, a lawyer, the US Consul to Venezuela, and an officer in the National Association for the Advancement of Colored People (NAACP).
    [Show full text]
  • The Life and Solo Vocal Works of Margaret Allison Bonds (1913-1972) Alethea N
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 The Life and Solo Vocal Works of Margaret Allison Bonds (1913-1972) Alethea N. Kilgore Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE LIFE AND SOLO VOCAL WORKS OF MARGARET ALLISON BONDS (1913-1972) By ALETHEA N. KILGORE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2013 Copyright © 2013 Alethea N. Kilgore All Rights Reserved Alethea N. Kilgore defended this treatise on September 20, 2013. The members of the supervisory committee were: Wanda Brister Rachwal Professor Directing Treatise Matthew Shaftel University Representative Timothy Hoekman Committee Member Marcía Porter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to the music and memory of Margaret Allison Bonds. iii ACKNOWLEDGEMENTS I would first like to acknowledge the faculty of the Florida State University College of Music, including the committee members who presided over this treatise: Dr. Wanda Brister Rachwal, Dr. Timothy Hoekman, Dr. Marcía Porter, and Dr. Matthew Shaftel. I would also like to thank Dr. Louise Toppin, Director of the Vocal Department of University of North Carolina at Chapel Hill for assisting me in this research by providing manuscripts of Bonds’s solo vocal works. She graciously invited me to serve as a lecturer and performer at A Symposium of Celebration: Margaret Allison Bonds (1913-1972) and the Women of Chicago on March 2-3, 2013.
    [Show full text]
  • The Ballad of the Brown King & Selected Songs
    MARGARET BONDS The Ballad of the Brown King & Selected Songs Laquita Mitchell • Noah Stewart Lucia Bradford • Ashley Jackson The Dessoff Choirs & Orchestra Malcolm J. Merriweather MARGARET BONDS (1913–1972) The Ballad of the Brown King & Selected Songs The Ballad of the Brown King (1960) 23.34 Libretto by Langston Hughes (1902–1967) Laquita Mitchell soprano (4,6,9) Lucia Bradford mezzo-soprano (9) Noah Stewart tenor (1,4,6) 1 Of the Three Wise Men 3.31 2 They Brought Fine Gifts 2.33 3 Sing Alleluia 0.46 4 Mary Had a Little Baby 2.45 5 Now When Jesus Was Born 2.09 6 Could He Have Been an Ethiope? 4.53 7 Oh, Sing of the King Who Was Tall and Brown 4.12 8 That Was a Christmas Long Ago 1.24 9 Alleluia 2.41 The Dessoff Choirs & Orchestra Malcolm J. Merriweather conductor 10 To a Brown Girl Dead (1956) 2.06 Text by Countee Cullen (1903–1946) 11 Winter Moon (1936) 1.15 Text by Langston Hughes Three Dream Portraits (1959) 7.00 Texts by Langston Hughes 12 Minstrel Man 2.20 13 Dream Variation 2.38 14 I, Too 2.02 Malcolm J. Merriweather baritone Ashley Jackson harp he lives and works of black female composers is an area of involved with local cultural organizations. From 1950-1958, T research that has only recently begun to receive the Bonds served as the chair of a concert series at the Community critical attention it has long deserved. Through the study Church of New York.
    [Show full text]
  • Montgomery Variations
    NASHVILLE SYMPHONY YOUNG PEOPLE’S CONCERTS MONTGOMERY VARIATIONS GRADES 3-4 CONCERTCONCERT PROGRAMPROGRAM YOUNG PEOPLE’S CONCERTS MONTGOMERY VA R I AT I O N S Thursday, January 23, 10:15 AM Friday, January 24, 10:15 & 11:45 AM Concert Program Jessie Montgomery | Starburst Nashville School of the Arts Choir | "Elijah Rock" arr. Moses Hogan Adolphus Hailstork | Movements 1 and 3 from Spirituals for Orchestra W.C. Handy | ”St. Louis Blues” Florence Price | Movement 4 "Finale" from Symphony No. 1 in E Minor Margaret Bonds | Movements 1, 3 and 4 from Montgomery Variations William Grant Still | Animato from Afro-American Symphony 3 LESSON #3:#3: MARGARET BONDS AND MLK STANDARDS Music • 3-4.GM.R1.A Demonstrate and explain how selected music connects to and is infl uenced by specifi c interests, experiences, purposes, or contexts (such as how music listening is infl uenced by interests, experience, context, etc.). • 3-4.GM.CN2.A Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and/or daily life (such as understanding the science of sound and the connection between fractions and rhythm values). English Language Arts • 3-4.SL.CC.1 Prepare for collaborative discussions on 3rd and 4th grade level topics and texts; engage eff ectively with varied partners, building on others’ ideas and expressing one’s own ideas clearly. Social Studies • 4.07 Contrast how the principles set forth in the Declaration of Independence clashed with treatment of diff erent groups including: women, slaves, and American Indians. • 4.21 Compare and contrast the characteristics of slave life in plantations, cities, and other farms.
    [Show full text]
  • Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 10-17-2017 Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography" (2017). Faculty Publications: School of Music. 66. http://digitalcommons.unl.edu/musicfacpub/66 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 10/17/2017 Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. The documents are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012; rev. version, 2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases.
    [Show full text]
  • Guide to the Helen Walker Hill Collection
    Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Helen Walker Hill Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COL L EGE CHICAG, 0 CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Helen Walker-Hill Collection, 1887-2012 EXTENT Papers: 41 boxes, 25.1 linear feet COLLECTION SUMMARY The Helen Walker-Hill Collection is composed of musical compositions by black women composers throughout the United States and England. This collection was compiled by pianist and musicologist, Dr. Helen Walker-Hill. PROCESSING INFORMATION The Helen Walker-Hill Collection was processed with funding provided through a Preservation and Access Grant from the National Endowment for the Humanities. The collection was processed by and this finding aid was created by Margaret Gonsalves in 2006. Additional acquisitions donated in 2008 and 2012 were processed by Laurie Lee Moses in 2014. BIOGRAPHICAL NOTE Helen Siemens Walker-Hill was born in Winnipeg, Manitoba, Canada, on May 26, 1936 to George and Margaret (Toews) Siemens. Walker-Hill received her early musical training from her mother, Margaret Siemens, and continued piano studies with Emma Endres Kountz in Toledo, Ohio. In 1957 she received a Bachelor of Art degree in Spanish, German, and French languages and literature from the University of Toledo, Ohio. Walker-Hill was a certified secondary teacher in the state of Ohio. From 1957–1958 she was a Fulbright fellow, studied with Nadia Boulanger, and received a Diplome from École Normale de Musique in Paris in 1958.
    [Show full text]
  • The Art Songs and Folk Arrangements of Jacqueline B. Hairston Proposed for Presentation at the 2018 National NATS Conference, Las Vegas, Nevada
    The Art Songs and Folk Arrangements of Jacqueline B. Hairston Proposed for Presentation at the 2018 National NATS Conference, Las Vegas, Nevada Presenters: Dr. Kimberley Davis, Soprano and Dr. Lois Leventhal, Collaborative Pianist (Ret.) The University of Southern Mississippi The Art Songs and Folk Arrangements of Jacqueline B. Hairston is a sub-lecture recital program based on my soon to be published book/anthology/CD – And So We Sing: the Arrangements of Spirituals by Jacqueline Butler Hairston (CD, Songs of the Soul and Spirit: The Spiritual Arrangements of Jacqueline B. Hairston). It is from my broader program on the compositions of African American female composers – The Arts Songs and Arrangements (Spirituals) of 20th Century African American Female Composers: Florence Price, Margaret Bonds, Camille Lucie Nickerson, Undine Smith Moore, Jacqueline Butler Hairston, Rosephanye Dunn Powell, Dorothy Rudd Moore, Diane White, Lela McLin, and Betty Jackson King. The book, of two volumes, focuses on the performance practice of Hairston’s arrangements of spirituals and original art songs, respectively. It is rare that we, as artists, have the opportunity to work closely with a composer to gain their perspective of their work. Having had this opportunity since 2003, I feel it important and necessary to bring this presentation of performance practice to the artists and teachers of the broader NATS community, and to the world. The lecture performance addresses the musical elements of form, rhythm, melody, harmony, and all important to song—the poetry. The main body of my research consists of four main components: 1) general classifications of music; 2) the origins of the spiritual and the evolution of music by African Americans with its subsequent major forms; 3) a biographical sketch of the selected composers; and 4) the study of the song literature of each composer, which culminates in a list of distinctive characteristics that serve to assist a listener in distinguishing one composer from the other.
    [Show full text]
  • London Festival of American Music Presents the UK Premiere of As One
    London Festival of American Music presents the UK premiere of As One, a chamber opera about the journey of a transgender woman by Laura Kaminsky, Mark Campbell and Kimberly Reed Wednesday 15, Friday 17 & Saturday 18 September 2021, 19:30 The 8th London Festival of American Music The Warehouse, Waterloo, London As One Music and Concept by Laura Kaminsky Libretto by Mark Campbell and Kimberly Reed Film by Kimberly Reed Simon Wallfisch Hannah before, baritone Arlene Rolph Hannah after, mezzo-soprano Benjamin Davis director Odaline de la Martinez conductor Jarry Glavin dancer, choreographer Lontano String Quartet “As One forces you to think, simultaneously challenging preconceptions and inspiring empathy.” The New York Times “Its universality is key to As One’s becoming the hottest new American opera of recent years. It challenges us to ponder questions of authenticity, identity, compassion and self-love. And it does so without preachiness.” The Chicago Tribune This year’s London Festival of American Music is headlined by the UK premiere of As One, a critically-acclaimed chamber opera by Laura Kaminsky, Mark Campbell and Kimberly Reed. As One has had close to 50 productions across the US and abroad since its premiere in 2014 and, according to OPERA America, has become the most produced contemporary opera in North America. Laura Kaminsky conceived of As One after reading an article in The New York Times about a transgender man in New Jersey and realized she wanted to create an opera about a transgender individual seeking their truth. In researching source material for the story, she saw Kimberly Reed’s award-winning documentary, Prodigal Sons and reached out to the filmmaker to collaborate with the storytelling and to create an original film that would create the visual landscape for the opera.
    [Show full text]
  • Margaret Bonds
    Margaret Bonds Mar-gret Bonds “Women are expected to be wives, mothers, and do all the nasty rd Born: March 3 , 1913, Chicago, Illinois things in the community (Oh, I do them). And if a woman is cursed th Died: April 26 , 1972, Los Angeles, California with having talent too, then she keeps apologizing for it. Period of Music: Modern Era It really is a curse, in a way, because instead of working 12 hours a day like other women, you work 24.” — Margaret Bonds Biography: Margaret Bonds was a prolific composer in the American Concert Spiritual tradition. She was also a famous pianist who performed all over the country. Born on March 3rd in 1923, Margaret grew up in a very musical household. Her father was a doctor and her mother was an organist. Her home functioned as a salon of sorts where many famous black musicians, writers, and thinkers would gather including Will Marion Cook and Florence Price. Early on, Margaret showed much promise on the piano. In high school, she took lessons with the famous composer and pianist Florence Price. While learning piano, she also studied composition. Bonds fell in love with composing and later studied at Northwestern University, getting a Bachelor and Master’s degree in Music. She also studied both piano and composition at Juilliard. Margaret began gaining recognition for her amazing compositions early on. She won the Wanamaker prize, a composition award, for her piece Sea Ghost in 1932. The next year, she was the first African American person to appear as a soloist with the Chicago Symphony.
    [Show full text]