DOCSLIB.ORG

Music 3500: American Music This Final Exam Is Comprehensive —It Covers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music 3500: American Music This Final Exam Is Comprehensive —It Covers FINAL EXAM STUDY GUIDE Music 3500: American Music This final exam is comprehensive —it covers the entire course Exam Format: 70 questions (each question is worth 4 points), plus a 20-point essay question (these two things total a maximum of 300 possible points toward your final course grade total). The topic of the 20-point essay questions is: - What do you think the most important piece of American Music since 1900 is that we studied in class/in the textbook? Why? (This essay needs to be at least three paragraphs long) The format of the 70-question test will be: ...Matching ...Multiple Choice ...True/False (from text readings, class lectures, YouTube video links) General study recommendations: - Do the online quiz assignments for Chapters 1-9 (these must be completed by Monday Dec. 8) Know the definitions of Important Terms at the ends of Chapters 2-8 - Chapter 2 (textbook, pages 17-18) - Chapter 3 (textbook, pages 28-29) - Chapter 4 (textbook, page 39) - Chapter 5 (textbook, page 49) - Chapter 6 (textbook, pages 58-59) - Chapter 7 (textbook, pages 69-70) - Chapter 8 (textbook, page 81) Also, review the chronological order of music technologies at the end of Chapter 9 (textbook, page 83) Know which decade the following music technologies came from: 1920s: AM radio, electric microphone, 78-RPM records, movies with sound 1930s: Stereo (2-channel) recording and playback 1940s: FM radio, 33-RPM stereo LP records, commercial TV, reel-to-reel tape recording 1950s: electric guitar invented, 45-RPM singles, 1960s: 8-track tapes, cassette tapes 1970s: Apple personal computer, MIDI, Compact disc, 12-inch single 1980s: MTV, Internet/World Wide Web 1990s: DVDs, Amazon, Google, eBay 2000s: iPod, iTunes, iPhone, YouTube ----- Music Examples to Study: This is a selection of some of the important musical works we have covered this semester. They will be used as the basis for: - 10 multiple-choice "Listening Identification" questions (identify the name of the musician/composer of each of the 10 examples) - several sets of questions for matching a person/group to a musical work, or their style category, or to a brief description of them that includes their musical style and time era. Examples for Roots music "Delta" Blues Robert Johnson: "Cross Road Blues" (1936)—see lyrics Early "Country & Western" Music Jimmie Rodgers: "Blue Yodel No. 8--Muleskinner Blues" (1930)—see lyrics Traditional Folk Music Woody Guthrie: This Land is Your Land (1940) Gospel Music Mahalia Jackson: Move On Up A Little Higher (1948) Examples for Popular Music Ragtime piano music Scott Joplin: The Entertainer (1902) Jazz (2 of these are on the listening ID section) -Louis Armstrong: Hotter Than That (1927)—hot jazz (Dixieland) -Duke Ellington: It Don't Mean a Thing If It Ain't Got That Swing (1931)—big band "swing" -Charlie Parker and Dizzy Gillespie: Koko (1945)—bebop -Dave Brubeck Quartet: Take Five (1959)—cool jazz -Ornette Coleman: Free Jazz: A Collective Improvisation (1960)— free jazz -Kenny G: "Songbird" (1986)—smooth jazz Broadway Musicals (2 of these are on the listening ID section) -Kern and Hammerstein: "Ol' Man River" from Showboat (1927)—see lyrics -Leonard Bernstein: "Tonight (ensemble)" from West Side Story (1957) -James Rado: "Hair" from Hair (1967) -Stephen Sondheim: "Epiphany" from Sweeney Todd (1979) Tin Pan Alley/Easy Listening/Adult Contemporary -Bing Crosby: White Christmas (1942) -Barbra Streisand: The Way We Were (1974) -The Carpenters: Close To You (1970) -Frank Sinatra: New York, New York (1980) -Josh Grobin: You Raise Me Up (2003) Film Music: -Bernard Hermann: soundtrack to Psycho (1960) -John Williams: soundtrack "Theme" from Harry Potter series, films 1-3 (2001-04) -James Horner: "My Heart Will Go On And On" from Titanic (1997) Country & Western Music -Bob Wills and the Texas Playboys: New San Antonio Rose (1944)--"Western Swing" -Gene Autry: Rudolf the Red-Nosed Reindeer (1949) Country Music -Hank Williams, Sr.: Hey, Good Lookin' (1951) -Johnny Cash: I Walk The Line (1956) -Merle Haggard: "Okie From Muskogee" (1969) -Kenny Rogers: "The Gambler" (1978) -Garth Brooks: "Friends in Low Places" (1990) Urban Folk Music -Bob Dylan: "Blowin' in the Wind" (1962) -Richie Havens: "Handsome Johnny" (1966) R & B , Soul , Funk, Disco, Techno Music, and Electronic Dance Music (2 of these are on the listening ID section) -Ray Charles: "I Got a Woman" (1955)—'50s Soul music -Muddy Waters: "I Got My Mojo Workin'" (1956)—'50s R & B -James Brown: "Papa's Got a Brand New Bag" (1965)—'60s Soul music -Parliament-Funkadelic: "Do That Stuff" (1976)—Funk -The Village People: "YMCA" (1979)—disco -Whitney Houston: "Saving All My Love For You" (1985)—'80s R & B -Derrick May: "Strings of Life" (1987)—Techno -Beyoncé: "Single Ladies [Put a Ring On It]" (2008)—R&B Electronic Dance Music Rock styles -Bill Haley and His Comets: Rock Around the Clock (1954)— rockabilly -Bob Dylan: "Like a Rolling Stone" (1965)—folk-rock -The Beach Boys: "Good Vibrations" (1966)—psychedelic rock -Alice Cooper: "School's Out" (1972)—arena rock -Patti Smith: "Gloria" (1975)—punk rock -The Talking Heads: "Burning Down The House" (1983)—new wave -Metallica: "Master of Puppets" (1981)—heavy metal -Nirvana: "Smells Like Teen Spirit" (1991)—grunge Rap styles (1 of these is on the listening ID section) -Afrika Bambataa: "Planet Rock" (1984)—rap/electro-funk -N.W.A.: "Express Yourself" (1988)—gangsta rap -Public Enemy: "Fight The Power" (1989)—enlightenment rap -Outkast: "Hey Ya!" (2003)—southern hip-hop (Dirty South) Examples for Classical Art-Music (3 of these are on the listening ID section) Charles Ives: The Unanswered Question (1908)—experimental symphonic music Henry Cowell: The Banshee (1925)—experimental piano music John Cage: The Perilous Night [from Sonatas and Interludes for Prepared Piano] (1948)—prepared piano Edgard Varese: Poeme electronique (1958)—electronic music/musique concrete Philip Glass: "Floe" from Glassworks (1981)—minimalism Lisa Coons: Songs from the Wasteland (2007)—sound art (musical sculptures designed for music to be played on) .
Load more

Recommended publications
  • Mahalia Jackson (B
    Mahalia Jackson (b. 10/26/11, d. 1/27/72) was born Mahala Jackson in the Uptown neighborhood of New Orleans, Louisiana, and began singing at the Mount Mariah Baptist Church there at the age of 4. She grew up in a very poor household, which contained thirteen people and a dog in a three-room dwelling. Her stage name “Mahalia” stems from her childhood nickname “Halie”. In 1927, at the age of 16 she moved to Chicago, Illinois in the midst of the Great Migration. She intended to study nursing, but after joining a local church she became a member of the Johnson Gospel Singers. She performed with the group for a number of years. She then started working with Thomas A. Dorsey, the gospel composer of “Precious Lord, Take My Hand”, and the two performed around the U.S., which helped tremendously in cultivating a future audience for her. While she made some recordings in the 1930’s, her first major success came with “Move On Up A Little Higher” in 1947, which sold millions of copies and became the highest selling gospel single in history. Her career blossomed, and on October 4, 1950 she became the first gospel singer to perform at Carnegie Hall, and she did so to a racially integrated audience. Also in the 1950’s she became an international star, being especially popular in France and Norway. Back at home, she made her debut on The Ed Sullivan Show in 1956, and appeared with Duke Ellington and his Orchestra at the Newport Jazz Festival in 1958.
    [Show full text]
  • The Caravan Playlist 181 Friday, December 2, 2016 Hour 1 Artist
    The Caravan Playlist 181 Friday, December 2, 2016 Hour 1 Artist Track CD/Source Label Neil Young Comes a Time Comes a Time Reprise - c 1978 3 Penny Acre Cowbird Rag and Bone 2 Penny Acre - c 2013 Steve Gillette & Cindy Mangsen Cornstalk Pony Live at Leu Gardens Steve Gillette - c 2007 Nitty Gritty Dirt Band Falling Down Slow Dirt Silver and Gold BGO Records - C 1976 The Honey Dewdrops Hills of My Home Silver Lining The Honey Dewdrops - c 2012 3 Penny Acre Mackinaw Rag and Bone 2 Penny Acre - c 2013 Rick Adams Blue Just Looks Black No Cover At The Door Rick Adams - c 2013 Rick Adams No Cover At The Door No Cover At The Door Rick Adams - c 2013 John Wakefield Carolina in My Mind Live at The Alexandria Museum Red River Radio Recording John Wakefield No One Brings Me Down Like You Live at The Alexandria Museum Red River Radio Recording John Wakefield Hold Me Still Live at The Alexandria Museum Red River Radio Recording John Wakefield Back To Broke Live at The Alexandria Museum Red River Radio Recording John Wakefield Take it Real Slow Live at The Alexandria Museum Red River Radio Recording John Wakefield Baby, Baby, Baby Live at The Alexandria Museum Red River Radio Recording Hour 2 Artist Track Concert Source Buddy Flett Mississippi Sea Live at The Alexandria Museum Red River Radio Recording Buddy Flett Tenaha Live at The Alexandria Museum Red River Radio Recording Buddy Flett & Josh Hyde Ain't No More Cane On The Brazos Live at The Alexandria Museum Red River Radio Recording Josh Hyde & Buddy Flett Dark Side Live at The Alexandria Museum
    [Show full text]
  • The "Stars for Freedom" Rally
    National Park Service U.S. Department of the Interior Selma-to-Montgomery National Historic Trail The "Stars for Freedom" Rally March 24,1965 The "March to Montgomery" held the promise of fulfilling the hopes of many Americans who desired to witness the reality of freedom and liberty for all citizens. It was a movement which drew many luminaries of American society, including internationally-known performers and artists. In a drenching rain, on the fourth day, March 24th, carloads and busloads of participants joined the march as U.S. Highway 80 widened to four lanes, thus allowing a greater volume of participants than the court- imposed 300-person limitation when the roadway was narrower. There were many well-known celebrities among the more than 25,000 persons camped on the 36-acre grounds of the City of St. Jude, a Catholic social services complex which included a school, hospital, and other service facilities, located within the Washington Park neighborhood. This fourth campsite, situated on a rain-soaked playing field, held a flatbed trailer that served as a stage and a host of famous participants that provided the scene for an inspirational performance enjoyed by thousands on the dampened grounds. The event was organized and coordinated by the internationally acclaimed activist and screen star Harry Belafonte, on the evening of March 24, 1965. The night "the Stars" came out in Alabama Mr. Belafonte had been an acquaintance of Dr. Martin Luther King, Jr. since 1956. He later raised thousands of dollars in funding support for the Freedom Riders and to bailout many protesters incarcerated during the era, including Dr.
    [Show full text]
  • Aint Gonna Study War No More / Down by the Riverside
    The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote.
    [Show full text]
  • View the Program Book for How I Got Over
    A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead.
    [Show full text]
  • The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
    Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
    [Show full text]
  • Famous Song-"Precious Lord" Last Updated Saturday, 11 April 2009 15:40
    Famous Song-"Precious Lord" Last Updated Saturday, 11 April 2009 15:40 Thomas A. Dorsey In our last issue (3-28-09) this wonderful Story stated that the song’s author was Tommy Dorsey, a band leader in the 30’s and 40’s. Thanks to Holly Lake Ranch resident, Don Teems, we want to give you the rest of the story. It was Thomas A. Dorsey, a black musician, who was the real composer of Precious Lord and hundreds of other gospel hymns. W.C. THE BIRTH OF THE SONG ‘PRECIOUS LORD' ‘Precious Lord, take my hand, Lead me on, let me stand, I am tired, I am weak, I am worn, Through the storm, through the night, Lead me on to the light, Take my hand, Precious Lord, Lead me home.' When my way grows drear, Precious Lord, linger near, When my life is almost gone, Hear my cry, hear my call, Hold my hand lest I fall: Take my hand, Precious Lord, Lead me home. When the darkness appears And the night draws near, And the day is past and gone, At the river I stand, Guide my feet, hold my hand: 1 / 3 Famous Song-"Precious Lord" Last Updated Saturday, 11 April 2009 15:40 Take my hand, Precious Lord, Lead me home.' The Lord gave me these words and melody. He also healed my spirit. I learned that when we are in our deepest grief, when we feel farthest from God, this is when He is closest, and when we are most open to His restoring power.
    [Show full text]
  • The Real Frank Zappa Book Contents
    The Real Frank Zappa Book by Frank Zappa with Peter Occhiogrosso eVersion 3.0 - click for copyright info and scan notes THIS BOOK IS DEDICATED TO GAIL, THE KIDS, STEPHEN HAWKING AND KO-KO. F.Z. August 23, 1988 06:39:37 Contents INTRODUCTION -- Book? What Book? 1 How Weird Am I, Anyway? 2 There Goes the Neighborhood 3 An Alternative to College 4 Are We Having a Good Time Yet? 5 The Log Cabin 6 Send In the Clowns 7 Drool, Britannia 8 All About Music 9 A Chapter for My Dad 10 The One You've Been Waiting For 11 Sticks & Stones 12 America Drinks and Goes Marching 13 All About Schmucks 14 Marriage (as a Dada Concept) 15 "Porn Wars" 16 Church and State 17 Practical Conservatism 18 Failure 19 The Last Word Introduction Book? What Book? I don't want to write a book, but I'm going to do it anyway, because Peter Occhiogrosso is going to help me. He is a writer. He likes books -- he even reads them. I think it is good that books still exist, but they make me sleepy. The way we're going to do it is, Peter will come to California and spend a few weeks recording answers to 'fascinating questions,' then the tapes will be transcribed. Peter will edit them, put them on floppy discs, send them back to me, I will edit them again, and that result will be sent to Ann Patty at Poseidon Press, and she will make it come out to be 'A BOOK.' One of the reasons for doing this is the proliferation of stupid books (in several languages) which purport to be About Me .
    [Show full text]
  • Paper for B(&N
    International Journal of Humanities and Social Science Vol. 9 • No. 9 • September 2019 doi:10.30845/ijhss.v9n9p4 Biographies of Two African American Women in Religious Music: Clara Ward and Rosetta Tharpe Nana A. Amoah-Ramey Ph.D. Indiana University Department of African American and African Diaspora Studies College of Arts and Sciences Ballantine Hall 678 Bloomington IN, 47405, USA Abstract This paper‟s focus is to compare the lives, times and musical professions of two prominent African American women— Clara Ward and Rosetta Thorpe — in religious music. The study addresses the musical careers of both women and shows challenges that they worked hard to overcome, and how their relationship with other musicians and the public helped to steer their careers by making them important figures in African American gospel and religious music. In pursuing this objective, I relied on manuscripts, narratives, newspaper clippings, and published source materials. Results of the study points to commonalities or similarities between them. In particular, their lives go a long way to confirm the important contributions they made to religious music of their day and even today. Keywords: African American Gospel and Religious Music, Women, Gender, Liberation, Empowerment Overview This paper is structured as follows: It begins with a brief discussion of the historical background of gospel and sacred music. This is followed by an examination of the musical careers of Clara Ward and Rosetta Thorpe with particular attention to the challenges they faced and the strategies they employed to overcome such challenges; and by so doing becoming major figures performing this genre (gospel and sacred music) of music.
    [Show full text]
  • Annotated Bibliography of African American Carillon Music
    Revised February 3, 2021 Annotated Bibliography of African American Carillon Music by Tiffany Ng User’s Guide T his comprehensive annotated bibliography lists carillon scores by African American composers and/or based on African American music. While most of the items are published, a few are unpublished but in informal circulation, or are pending publication. Carillonneurs are invited to use this resource to identify music to perform and teach. Despite the length of this bibliography, there are currently only four published original carillon works by African American composers. The vast majority of items are arrangements by white composers, and most of these arrange- ments are of spirituals, pointing to an essentialization of African American music that omits major genres (ex. jazz, soul, and rhythm and blues, to name a few) and freezes musical development in the 19th century. These imbalances point to an ongoing need for the commissioning of original works by Black composers. This survey also indicates that there are only four original carillon works by Black women, all of which I helped com- mission. Furthermore, of the 74 carillon arrangements of works that can be attributed to specific composers, only 11 arrangements (15%) are of works originally composed or co-written by women—Katherine Stockwell Hazzard, Betty Jackson King, Florence Beatrice Price, and contemporary songwriters Beyoncé and Mary J. Blige. Carillonneurs seeking to commission composers are thus encouraged to explore the intersection of race and gender when identifying potential collaborators, and to ask colleagues of races and genders other than their own for outside referrals to composers who will diversify their collaborative relationships.
    [Show full text]
  • Parliament Gold Mp3, Flac, Wma
    Parliament Gold mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Gold Country: Europe Released: 2005 Style: P.Funk MP3 version RAR size: 1479 mb FLAC version RAR size: 1961 mb WMA version RAR size: 1108 mb Rating: 4.5 Votes: 622 Other Formats: DXD AA VQF ADX MP4 VOC WMA Tracklist 1-1 Up For The Down Stroke 5:08 1-2 Testify 3:54 1-3 All Your Goodies Are Gone 5:04 1-4 Chocolate City 5:37 1-5 Ride On 3:34 1-6 P. Funk (Wants To Get Funked Up) 7:40 1-7 Give Up The Funk (Tear The Roof Off The Sucker) 5:46 1-8 Mothership Connection (Star Child) 6:12 1-9 Handcuffs 4:00 1-10 Do That Stuff 4:48 1-11 Dr. Funkenstein 5:45 1-12 Funkin' For Fun 5:55 Dr. Funkentstein's Supergroovalistic-Prosifunkstication Medley: Let's Take It To The 1-13 5:06 Stage/Take Your Dead Ass Home (Say Som'n Nasty) (Live) 1-14 Fantasy Is Reality 5:55 2-1 Flash Light (12-inch Version) 10:45 2-2 Bop Gun (Endangered Species) 8:30 2-3 Funkentelechy 10:54 2-4 Mr. Wiggles 6:43 2-5 Aqua Boogie (A PsychoAlphaDiscoBetaBioAquaDoLoop) (12" Version) 9:23 2-6 Rumpofsteelskin 5:34 2-7 Party People (Single Edit) 4:46 2-8 Theme From The Black Hole 4:38 2-9 The Big Bang Theory 7:10 2-10 Agony Of DeFeet (Single Edit) 4:25 Companies, etc. Phonographic Copyright (p) – Island Def Jam Music Group Copyright (c) – Island Def Jam Music Group Record Company – UMG Recordings, Inc.
    [Show full text]
  • What Adolescent African American Males Say About the Visual Culture That Pervades Popular Music Videos
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 What African American Male Adolescents Say About Music Videos with Implications for Art Education Zerric Clinton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE, AND DANCE WHAT AFRICAN AMERICAN MALE ADOLESCENTS SAY ABOUT MUSIC VIDEOS WITH IMPLICATIONS FOR ART EDUCATION BY ZERRIC CLINTON A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree Doctor of Philosophy Degree Awarded: Spring Semester 2010 Copyright © 2010 Zerric Clinton All Rights Reserved The members of the committee approve the dissertation of Zerric Clinton defended on April 1, 2010. ___________________________ Tom Anderson Professor Directing Dissertation ___________________________ Martell Teasley University Representative ___________________________ Pat Villeneuve Committee Member ___________________________ Dave Gussak Committee Member Approved: ______________________________________________________ Dave Gussak, Chair, Department of Art Education _____________________________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre, and Dance The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGMENTS I give thanks to Almighty God who has kept me throughout this sometimes arduous phase of my life. I would like to thank all committee members: First, I have to thank my committee chair Dr. Tom Anderson who has kept me on track with his encouragement and unwavering belief that I could do this. Next, I would like to thank committee member Dr. Melanie Davenport who helped me to work through some major logistic issues early on. To Dr. Martell Teasley who has given me insights that only he could throughout this process.
    [Show full text]