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This project explores the meaning of reconciliation to the Father through the sacrifice of Christ. At its fundamental level, the gospel contains the most radical example of reconciliation, where the offended is the party to reestablish contact. Vertical reconciliation is to be the precursor to horizontal reconciliation. The problem is that the body of Christ is far too divided. This division takes on a number of forms within the church, none of which is biblical. As the capstone project of an M.A. in Music and Worship degree, the purpose of the study is twofold. The first is to examine how the call to be ministers of reconciliation is to govern the Christian's daily behavior. The second is to consider the role of music in this calling. The method of this study is a Worship Program Recital, or a Lecture Recital, with an emphasis in conducting. In order to relate biblically to God, men and women must appreciate His character, while acknowledging the standard required to know Him. The gospel is the framework for life, and ACCESS RESTORED is one lens through which to understand and apply it.

Margaret Pleasant Douroux (b. 1941) of Los Angeles, California is one of the most influential African American female gospel music composers of the twentieth century. She has penned classic hymns and gospel songs such as "I'm Glad," "We're Blest," "God is Not Dead," and "Rivers of Joy". Her compositions "Give Me a Clean Heart," "He Decided to Die," and "If It Had Not Been for the Lord on My Side" have become standards in the African American Church and have been sung by congregations and choirs for decades. However, in the roster of composers who have contributed to the genre of gospel music, she has often been overlooked. Many of her compositions appear in hymnals and songbooks and have been professionally recorded by gospel and secular artists alike. Margaret Douroux' body of work has often transcended cultural boundaries of style, genre, race, denomination, and doctrine. To examine the influence of this living composer who has contributed greatly to the musical and spiritual richness within the African American church community, the qualitative descriptive study approach is used to gain understanding of the life, music and influence of Margaret Pleasant Douroux and her importance to the history of African American Gospel music. As a result, this study distinguishes Douroux as an emblematic contributor in African American gospel music and makes her worthy of recognition and celebration amongst the genre's greatest contributors.

Music has been used for millennia to worship God. Today the words worship and music are almost interchangeable in American Evangelical churches. Christian music has become a growing genre with its own radio stations, billboard charts and awards, and recording artists who exclusively sing Christian songs. Church music has also changed drastically in the past century. The musical portion of a church service used to consist of hymns led by a choir and music director who is accompanied by a piano or organ. Now many churches have a worship leader who plans and leads the musical portion of the church service. The contemporary service consists of a full praise band performing Contemporary Christian music with added lighting effects, video, and amplification through a sound system. These changes, both in popular Christian music and in church worship music, are intrinsically linked. The Christian music industry and church worship music have become interconnected--as the industry continues to change with its surrounding culture, church music changes with it. This thesis will explore the history of contemporary Christian music and its connection with the church.

The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the `Southern' gospel music distinction. The quartet sound was the most popular form of music during the Golden Age of Gospel, a period in which there was significant growth of public consumption of Black gospel music, which was an explosion of black gospel culture, hence the term `gospel boom.' The gospel boom period was from 1940 to 1960, right after the Great Depression, a period that also included World War II, and right before the Civil Rights Movement became a nationwide movement. This work will evaluate the quartet sound during the 1940's, 50's, and 60's, which will provide a different definition for gospel music during that era. Using five black southern gospel quartets--The Dixie Hummingbirds, The Fairfield Four, The Golden Gate Quartet, The Soul Stirrers, and The Swan Silvertones--to define what southern black gospel music is, its components, and to identify important cultural elements of the music.

Translated from English and edited by Lawrence, with assistance from Jack Osteen. In the modern Haida orthography. 24 hymns and three scriptural passages. iv + 30 pp. Citation: Ketchikan: Society for the Preservation of Haida Language and Literature.

The "View now" link directs to the finding aid only. Please email wvrhcref@mail.wvu.edu or call 304-293-3536 for more information about accessing collection A&M 3179 Carolyn Reyer, Musician, Papers, 1959-1982. Printed programs of musical presentations, letters, contracts, and musical scores related to the career of Morgantown resident Carolyn Reyer, who gained prominence as a mezzo-soprano and folk musician.