Notice bibliographique
Résumé
For more than a quarter of a century, churches throughout the country have been inspired by the words and music of V Michael McKay. As a well-respected gospel music conductor, clinician, speaker, songwriter, and author, McKay has dedicated his life to a greater level of music ministry with a passion to meet the needs of the people in the contemporary Christian community. He stresses the importance of biblically-based text with a contemporary music idiom that encourages the congregation to participate fully in music throughout the service. McKay (b. 1952) is a two-time Dove Award winner and a 2000 inductee into the Gospel Hall of Fame. National artists such as Yolanda Adams, Tramaine Hawkins, Darryl Coley, and Albertina Walker have recorded his songs. His compositions, Redeemed Praise (#8), His Place (#10), and Decision (#63), first appeared in For the Living of These Days: Resources for Enriching Worship published in 1995 by Smyth & Helwys Publishing, Inc., Macon, GA. In addition to Decision (#388), four other compositions, Lamb (#179), Perfect Sacrifice (#229), Welcome To My Father Father's House (#340), and Koinonia (#579) can be found in the African American Heritage Hymnal published by GIA Publications. Koinonia also appears in Gather Comprehensive published by GIA Publications (#606), a hymnal and service book for Roman Catholic parishes in the United States since the Second Vatican Council, and in the most recently published Zion Still Sings: For Every Generation published by Abingdon Press (#89), a revision of Songs of Zion, a supplemental worship resource for African American congregations in the United Methodist Church. McKay was music director of Without Walls-Brookhollow Baptist Church in Houston, TX when he composed Koinonia (see Example 1). The Reverend Dr. Ralph D. West, Pastor/Founder called him late one Friday evening and asked him to write a composition for a group of college students who were meeting at the church the next morning. While he apologized for asking him to compose a song at the last minute, which was not an unusual request, he was confident the Michael would come through with just the right song, and that he did. The composition was so well received that he asked that it be taught and sung on the following Sunday morning for the fellowship period. The congregation was so moved by the text and the gesture of fellowship, so much so, that it continues to be sung there and in many churches across the nation today. I have used Koinonia in Australia, Canada, Brazil, in many church music workshops, and in college and university chapel services throughout the United States, and it never ceases to amaze me how people are brought together and led into an authentic fellowship experience in worship through music. Koinonia is a Greek word meaning fellowship. In an age of overwhelming praise and worship songs and endless vertical texts, to God and from God, it is refreshing and welcoming to hear congregations sing this simple, yet profound horizontal text while shaking hands, embracing, and singing to each other. The text is: Koinonia is usually sung in unison by the congregation and/or in three-parts with sopranos singing the top note of the treble voices, altos singing the middle note, and tenors singing the lowest note. On those wonderful occasions where there are basses present, I teach the part from the accompaniment. I suggest that the note in bass clef be occasionally played an octave lower and in octaves on the dotted quarter notes for a stronger and fuller accompaniment. A good tempo for Koinonia is the dotted quarter = ca. 66-69. The song is usually sung three or more times until community is created and the period of fellowship draws to a close. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».