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Music in the Bible (Psalms)

A Brief Study On the Music that Can Be Found In the Psalms of the Bible. The Psalms were the hymnbook of the Old Testament Jews. Most of them were written by King David of Israel. Other people who wrote Psalms were Moses, Solomon, etc.

The Psalms are very poetic. They have a flow to them. You could put a metronome to them and recite them in time. In many Bibles a musical phrase will be written above the chapter. Example: Psalm 61 "To the chief musician upon Neginah, A psalm of David" Neginah, plural Neginoth , in the Bible, direction for the musical accompaniment of a psalm. Psalms 4, 6, 54, 55, 61, 67, 76. The actual sheet music doesn't exist today. But one can still put music to the psalms today. The method to follow is this. The commas and periods are rest marks. Shape your melody and chords to represent the emotions given by the words. Repeated phrases are found often in music today. They are for emphasis. Pay attention to phrases like "and all Israel cried". This is the call for more voices to join in.

Psalms Through the Years
Psalms have been used throughout history, including in Christian usage up to today. Eskew and McElrath summarize the use of the Psalms through history this way: ''From one standpoint the entire history of the hymn could be delineated according to its varying relationship to the Scriptures. Generally speaking, the line of evolution in that story, if it were retold, is from the actual singing of parts of the Bible (the psalms, for example) through the strict paraphrasing of extended passages and the dutiful use of biblical allusion, language and figures of speech to the free expression of scriptural thought and teaching in contemporary terms.'' (Harry Eskew and Hugh T. McElrath, Sing With Understanding (Broadman Press, 1980), p. 45.)

The Old Testament
The history of psalmody actually begins long before the Book of Psalms was ever written. The Israelites sang the Song of the Sea, Exodus 15:1—18, after crossing the Red Sea, and Craigie finds at least six other poetic texts embedded in the prose narrative of the Old Testament. (Peter C. Craigie, Psalms 1-50, Vol. XIX of Word Biblical Commentary (Word Books, 1983), p. 25.) Of course, many of these songs of the Israelites have been recorded in the Book of Psalms itself.

Still prior to the birth of the Christian church, the Book of Psalms became in effect the standard “hymnal” for the Jewish nation. On this point scholars are nearly unanimous. (Donald P. Hustad, Jubilate! (Hope, 1981), p. 83.)

Before the establishment of the Temple, King David appointed skilled singers and musicians to sing unto the Lord. The Bible makes no specific mention as to what songs were sung, except that they were “joyful songs.” (1 Chronicles 15:16) Perhaps 1 Chronicles 16:14 contains the most revealing detail of what was sung without specifying the Psalms. The passage says that David “appointed Levites to minister before the ark of the LORD, to make petition, to give thanks, and to praise the LORD, the God of Israel.’ This verse enumerates three types of expression: petition, thanks, and praise. Weiser distinguishes these same three types of expression in the book of Psalms. (Artur Weiser, The Psalms (Westminster Press, 1962), p. 52ff.) In 1 Chronicles 25, some of the men are set apart, it says, “for the ministry of prophesying, accompanied by harps, lyres and cymbals” (verse1).

The ministry of prophesying coincides with Weiser's subcategory of Wisdom and Didactic Psalms. No doubt songs similar to those in the book of Psalms were in use before the canonic book was compiled. One could assume that many of the songs sung in the Old Testament era eventually found their way into the Psalter.

In later years, at the dedication of the Temple, Scripture records that the Levites used the instruments “which King David had made for praising the LORD and which were used when he gave thanks, saying, “His love endures forever.” (2 Chronicles 7:6.) The expression “his love endures forever” is recorded in the first verse of both Psalm 118 and 136. The same words were sung years later at the rededication of the Temple, as recorded in Ezra 3:11. One may assume, then, that psalms, particularly those compiled in the canonic book, were used often by the Israelite priesthood.

Many scholars conclude that instrumental music was halted by the Babylonian captivity. When the Temple was destroyed by the Babylonians, very possibly all music was banned as a sign of national mourning. (Many historians have assumed this from historical records and also from Psalm 137:1-4.) After the Jews returned from Babylon and rebuilt the Temple, they again used music in worship. In later years much of the music of the Temple, or music similar to that of the Temple, was transferred to the synagogue. (Eric Werner, The Sacred Bridge (Columbia University Press, 1960), pp. 22-26.) Since music of the Temple consisted largely of psalm singing, (Winfred Douglas, Church Music in History and Practice (New York: Charles Scribners Son, 1957), pp. 13-19) the psalms were also used generously in the synagogue. So it is to this day. (A. Z. Idelsohn, Jewish Music in Its Historical Development (Schocken Books, 1967), pp. 3-336)

The New Testament
When the Church was born, singing to the Lord entered a new era. This section explores what place the Psalms had in the Church of the New Testament. Even there, the primacy of the Book of Psalms is clear.

Psalms, Hymns and Spiritual Songs
Psalms One may assume from James 5:13 and 1 Corinthians 14:15 that the New Testament church was fond of singing, in fact, of singing psalms. James tells his readers, “Is anyone happy? Let him sing songs of praise.” In the Greek, the command is psalleto, to sing psalms. Paul tells the Corinthians, “I will sing with my spirit, but I will also sing with my mind.” Again the word for “sing” here is psalo. Whether these are references to the actual book of Psalms or not is not important ultimately; that they are references to songs at least similar to the book of Psalms is the issue for this study.

The apostle Paul also referred to songs in the assembly of the church when he wrote to the Corinthians, “When you come together, everyone has a hymn…(I Cor. 14:26). The actual word used here is not “hymn,” but rather it is psalmon. Some have felt that this was an indication that the Corinthians opened their assemblies with a psalm, since psalmon begins a list here. Such an assumption may not be correct, but if that congregation did indeed open with a psalm, it would have been in agreement with the pattern for the synagogue service. (Werner, p. 22) Perhaps James 2:2 indicates that services of the early church were patterned after synagogue services. There James speaks of someone coming into their “assembly,” and the word used for “assembly” is synagogue.

The book of Psalms is quoted more frequently in the New Testament than any other Old Testament book. (H. B. Swete, An Introduction to the Old Testament in Greek, 2d rev. ed. (Harvard University Press, 1914), pp. 383,384) Jesus Him¬self quoted from the Psalms more than any other book of the Hebrew Scriptures. Briggs finds at least fourteen times when Jesus used the Psalms. (Charles Augustus Briggs and Emilie Grace Briggs, The Book of Psalms, Vol. 1, The International Critical Commentary (T & T Clark, 1907), introduction, pp. ci,cii).

Hymns Jesus and the apostles are recorded as singing only once, that being the hymn after the Last Supper. (Matt. 26:30 and Mark 14:26) Although it is called a hymn, almost all authorities agree that this was in fact the Great Hallel, Psalms 113-118, which was traditionally sung by the Jews after the Fourth Cup of Blessing in the Passover Meal. This being the case, the word “hymn” as used in the New Testament could be defined at least in some cases as a series of psalms linked together, or as a long psalm. Certainly this is at least a part of the definition.

After the Last Supper hymn, the next clear reference to hymn singing in the New Testament is found in Acts 16:25. Paul and Silas are in prison “praying and singing hymns.” In light of the definition of the hymn at the Last Supper. it is at least possible that Paul and Silas in fact sang several psalms. Hymn singing is again mentioned in Hebrews 2:12. There the writer quotes a psalm and says, “in the presence of the congregation I will sing your praises.” The actual term is hymneso se, “I will hymn thee”.

Songs Revelation 5:9 mentions a new song to be sung in the Great Throne Room. This verse contains the third word used to describe singing in the New Testament, the Greek word ode. The passage does not necessarily describe what was happening in the early Church, but rather what would happen at the end of the age. Events at the end of the age do not necessarily describe the actual singing of the early Church.

Psalms, Hymns and Spiritual Songs Having made mention of those three words which describe singing in the New Testament, it is well to move on to a discussion of Ephesians 5:19 and Colossians 3:16. These are the most familiar and most often-discussed verses about singing in the New Testament. They read this way: “Speak to one another with psalms, hymns and spiritual songs. Sing and make music in your heart to the Lord,. . (Eph. 5:19), and, Let the word of Christ dwell in you richly as you teach and counsel one another with all wisdom, and as you sing psalms, hymns and spiritual songs with gratitude in your hearts to God (Col. 3:16).

Both Ephesians and Colossians use all three terms of psalms, hymns, and spiritual songs. For the purpose of this study, the interest in this passage lies in Paul’s intended definition of these three terms.

The word PSALMS, psallo, originally meant to pluck, as in the string of a harp, hence, to sing to the accompaniment of a harp. And then to the making of music in general. Although this was not the original Hebrew title for what became known as the Book of Psalms, the title of “Psalms” came from the Greek translations of the Old Testament. Some have claimed that when Paul referred to psalms he was referring to new Christian compositions patterned after the Old Testament book, but most scholars agree that this term probably referred to the Old Testament book of Psalms itself. Without a doubt, the term psalms could mean the book of Psalms.

The word HYMNS, humnos, is a little more difficult to define. It seems that the emphasis of a hymn was not on musical accompaniment, as with the term but more on praise of God. (Joseph Henry Thayer, ed., Greek-English Lexicon of the New Testament (Grand Rapids: Zondervan, 1978), s.v. “humnos”, p. 637) This word could mean, as mentioned earlier, a series of psalms linked together, as in the Last Supper passage. Some scholars label as hymns the canonical Canticles or so-called “hymn fragments” of the New Testament. This is an interesting thought; however, since none of the “canticles” or “hymn fragments" of the New Testament actually claim to be music, it is difficult to be dogmatic on that definition. Some scholars have suggested that the term could be applied to poetry in general. Their suggestion would resolve the dilemma. There is some support for their view in that there is a strong relationship be¬tween poetry and music in Greece, and these letters were written to churches that no doubt had many converts who would be a part of Greek culture. Ambrose’s famous definition of a hymn sheds light on the post—apostolic view. He says that a hymn is a song containing praise of God. If you praise God, but without song, you do not have a hymn. If you praise anything which does not pertain to the glory of God, even if you sing it, you do not have a hymn. Hence, a hymn contains the three elements: song and praise of God [underline added]. (Werner, p. 207)

The term “hymn” at least could mean the book of Psalms.

The term SPIRITUAL SONGS is the most difficult of the three to define precisely. The Greek word is ode, and it is a generic word for “song.” In the New Testament ode is found only in the passages in Ephesians and Colossians and three times in the book of Revelation. (Revelation 5:9, 14:3, and 15:3) The Revelation passages are not very helpful in defining ode because in two of the three cases it is modified by the term anew,” “a new song.” In any case they are not very helpful because they are set in a future dispensation. The passages from Ephesians and Colossians are difficult because ode is modified by the term “spiritual” (spiritual songs). What does Paul mean when he specifies spiritual songs? Some have suggested that the word “spiritual” here refers to a song that is inspired by the Holy Spirit, in the sense that Scripture is inspired or God-breathed. Some have, in light of I Corinthians 14:15, seen this to mean outbursts of speaking in tongues, although that view is generally discounted by scholars. Could they be songs of the spiritual life? Could they be songs composed by spiritual men? Could they be freely composed hymns, inspired in the modern sense of being highly creative? Some have asserted that they might have been chants without words, melodies sung on just one syllable, called a melisma. The explanation that this author leans toward is that “song,” being a generic term, is qualified by the term ‘spiritual’ to clarify that the song is not to be just any pagan song, but a godly one. Possibly the term “spiritual songs” could also be referring to the Old Testament book of Psalms.

The Ephesian and Colossian congregations could possibly have used some kind of hymn book. Their being familiar with a common hymn book would explain some of the so-called hymn fragments which Paul uses elsewhere. Louis Benson believes that Paul used all three terms, “psalms, hymns and spiritual songs,” to connote an actual hymn book already being used by the churches. (Louis F. Benson, The Hymnody of the Christian Church (Richmond, Va: John Knox Press, 1956), p. 45-48) Such a hymnal would not be likely to be so well known so early, however. All three terms could as easily refer to the book of Psalms as they could to a common hymnal.

Jerome, in his “Commentary on the Epistle of Paul to the Ephesians,” assumes that all three terms refer to different aspects of the canonical Psalms. He states that those who sing hymns “declare the power and majesty of the Lord and continually praise his works and favors.” (Oliver Strunk, Source Readings in Music History (W..W. Norton & Co., 1950), p. 72) Hymns, then, according to Jerome, are Psalms of declarative worship. Spiritual songs, Jerome says, “properly affect the seat of ethos, so that we know what ought and what ought not be done.” (ibid) He claims that the psalm, use of which implies instrumental accompaniment, is directed toward the body, while the spiritual song is directed toward the mind. He concludes, “We ought, then, to sing and make melody and praise the Lord more with heart than with voice.” (p.72)

Other scholars more recently have also asserted that all three terms refer to the Psalms. Edward Robson documents well his view that “all three terms can only mean psalms, hymns, and spiritual songs of the Old Testament Book of Psalms.” (Edward J. Robson, “An Exposition of the Psalms, Hymns, and Spiritual Songs of Eph. 5:19 and Col. 3:16,” The Biblical Doctrine of Worship (n.p., The Reformed Presbyterian Church of North America, 1974), p. 197) He goes into great detail to prove this point by observing syntax and discussing use of the word “spiritual” in the context. He demonstrates that the syntax of “psalms and hymns and spiritual songs” is the same parallel structure as in Matthew 28:19, in which baptizing is in the name of the Father and Son and Holy Spirit. His claim is that psalms, hymns and spiritual songs are as much a three-in-one as the Trinity, and thus must mean the same thing: the Psalms.

Others have made some convincinq arguments that all three terms refer to the Book of Psalms. Frank Frazer points out that the command is for Christians to sing psalms, hymns and spiritual songs, not to make them. (Frank D. Frazer, “Psalms and Hymns and Spiritual Songs,” The Biblical Doctrine of Worship, p. 334) He feels that the Church should sing the old Psalms which are already written instead of creating new compositions.

Perhaps the best argument which would allow all three terms to mean the Book of Psalms is put forth by G. I. Williamson: …We are in the habit of using the terms “hymns” and “songs” for those compositions that are not Psalms. But Paul and the Christians at Ephesus and Colossae used these terms as the Bible itself uses them, namely, as a title for the various Psalms in the Old Testament Psalter. (G. I. Williamson, “The Singing of Psalms in Worship,” The Biblical Doctrine of Worship, p. 321)

Earlier he had explained: …For the fact is that all three of these terms are used in the Bible to designate various selections contained in the Old Testament Psalter. In the Greek version of the Old Testament familiar to the Ephesians and Colossians the entire Psalter is entitled “Psalms.” In sixty-seven of the titles within the book the word “psalm” is used. However, in six titles the word “hymn” is used, rather than the “psalm,” and in thirty— five the word “song," appears. Even more important, twelve titles use both “psalm” and “song,” and two have “psalm” and “hymn.” Psalm seventy-six is designated “psalm, hymn and song.” And at the end of the first seventy-two Psalms we read this, “the hymns of David the son of Jesse are ended.

This present study is not making some proscription to use only the Psalms in worship, as these Reformed scholars would do. It is, however, calling the church to a more scriptural balance. If new compositions are to be written, they should reflect a similar sentiment and balance as did the Old Testament Book of Psalms itself. In the next chapter, this balance of the primacy of worship will be established, and that is the end result of all of this argument.

The Early Church
In Jesus’ day, the Jews described their entire Bible in three words. It was called the Law, the Prophets and the Writings. (Briggs, p. xix) Jesus used these three terms in Luke 24:44. The Law, of course, was the Pentateuch and the books of history. The Prophets were the prophetic writings, both major prophets and minor. The Writings were the Psalms and other books of poetry. Jesus left out mentioning the Writings when He said that He had come not to abolish the Law and the Prophets but to fulfill them. Could it be that the Writings were not fulfilled?

The New Testament contains no section of poetry. Both Old and New Testaments have sections of history. Both have sections of prophecy. Only the Old Testament, though, has a section of poetry. The Psalms transcended the New Testament into the early church.

What happened to the Psalms after the canon was closed? Were second-century Christians bound to the Psalter? What did they sing? Benson gives his theory: These first Christians are described as in that state of spiritual elation out of which song springs as naturally as flowers blossom. And plainly they felt perfectly free to add new songs to the old, which the more gifted among them did from the beginning. (30) He goes on to say, To most students that early atmosphere seems to embody a spirituality of the creative sort, of expansion rather than compulsory restriction. It appears to have been a divine providence rather than a divine prescription that laid the Psalter ready to the Church s hand, and as though its contents rather than the urgency of its rubrics recommended its use to the first Christians.

After the close of the New Testament canon, however, the information on the singing of the Church is sparse. Delling explains that Philo writes that in addition to the Psalms early Christians created songs and hymns in various meters and melodies in traditional Hebrew styles. (Gerhard Delling, Worship in the New Testament, trans. Percy Scott (Philadelphia: Westminter Press, 1962),p. 85)

Some of the apocryphal writings contain new songs. The Acts of John supposedly has the hymn which Jesus and the apostles sang at the Last Supper. The Acts of Thomas contains several songs which begin to reflect some Gnostic theology. Clement of Alexandria wrote at least one formal hymn, and Ambrose wrote several intricate hymns. (Robert Payne, The Christian Centuries (New York: W.W. Norton, 1966), pp. 112-128) Other Christians, several of whom were martyred, are known to have written songs. Among them are Ignatius, Athenogenes, Hippolytus, and Nepos. (Benson 60) whether or not the apocryphal writings are genuine and whether any of these contain Gnostic thoughts is irrelevant for this chapter. The Christian community wrote some original compositions early in its history. This confirms Benson s thought that there was no early proscription against adding to the Psalter.

Werner states that the Church of the first millennium used to its best advantage the one book of the Old Testament that came to be the backbone of most liturgies, the Psalter. . . . Whoever evaluates psalmody and its part in daily life approaches the spirit of the Middle Ages.’ (128, 129)

He pursues his thought further, linking the association of the church with the Jewish synagogue and Temple practices. The single most noticeable common denominator between the Jewish and early Christian practice of worship is the Psalms. Apel also traces this early development. (Willi Apel, Gregorian Chant (Indiana University Press, 1973) pp. 33-83)

Not long after the Church began, however, heretics began to discover the power of these new compositions. The Gnostics began to gain popularity through their songs. The heretic Anus also began to write songs. He said, “Let me make a people’s songs and I care not who makes their laws.” (Williamson, p. 325)

John Chrysostom countered the heretics in his city by having the believers sing some popular songs with orthodox theology while marching in procession. (Benson, p. 67) This worked with some success for the church there.

Others, such as Augustine, reacted to these new compositions with suspicion and legalism. In A.D. 430, he testified, The Donatists make it a matter of reproach against us, that, in the Church, we sing with sobriety the divine songs. . . whereas they inflame the intoxication of their minds by singing psalms of human composition. (Williamson, p. 325)

In an effort to carefully preserve the orthodox faith, the Church began to limit all non-scriptural compositions. In fact, as early as A.D. 343, the Synod of Laodicea forbade “the singing of uninspired hymns in Church” (Williamson, 325) as it also forbade “the reading of uncanonical books of Scripture.” (ibid) The proscription was reaffirmed at the Council of Chalcedon in A.D. 451.

During these early centuries, the liturgies of the Church used what became known as Gregorian Chant. Willi Apel notes that the Psalms played a major role in the formation of this body of song: Not without justification has the Book of Psalms been called the most influential single source of texts in all music history. Indeed it is by far the most important textual source in Gregorian Chant. -Nearly all the chants of the Gregorian repertory have a psalmodic background, the main exceptions being the Antiphons, the Resonsories, and the Hymns. (Apel 87)

Evidently, the Church leaders thought that if no one wrote or read or sang anything that was not directly Scripture, they would eliminate doctrinal error in song.

As time went on this suspicion of any unscriptural composition faded, and composers moved away from writing only Psalm settings. What had begun in apparent freedom went through a period of control and suspicion, and then slowly returned to freedom again. The problem was that in the Church's loosening of restrictions on the songs of her services, she also loosened her grip on orthodox belief. These were the Dark Ages, and the Reformation grew out of this period.

The Reformation and Beyond
During the Reformation the Protestant Church broke away from the Catholic Church in Rome. With the new—found freedom from Roman control, a scramble began for a new authority, both in theology and in music. Each new group that began had its own view of music. By and large, the history of church music can be summarized by looking at a few of the major leaders who helped to shape Protestant thought. The present study now turns to examine some of these leaders.

Luther The most prominent figure of the early Reformation is Martin Luther. The Hussites had already re-invented the vernacular hymn before him. Luther also used and wrote vernacular hymns. He believed in the priesthood of all believers, and as such he wanted the congregation singing instead of spectating as the professional clergy sang for them. Luther had no reservations about adding to the Psalter and he actively sought to find new hymns which would be appropriate for his people. He wrote some of them himself. His choice was to call them “spiritual songs” (Benson 76) to distinguish them from the Latin Psalms and to reflect their inward direction.

Luther, however, was far from wanting to abandon the Psalms altogether. He said, “Let the entire Psalter, distributed into parts, remain in use at the morn¬ing and evening service,” (Benson, 76,77) and he was quite willing to have them sung in their then-customary Latin. Luther believed that when Paul used “psalms, hymns and spiritual songs" instead of just “psalms” he gave the Church permission to freely compose its own new songs. Benson says, he calls “the songs of holy writ to witness that patriarchs and prophets composed original hymns,” and therefore a modern reformer and his friends who do likewise should “not be looked upon as innovators” as following in the train of these ancient worthies. (78)

Calvin John Calvin was the next prominent figure to rise in the history of Church music. Unlike Luther, Calvin did not desire to reform the church; he desired to restore the primitive church as it had originally been. This difference in basic viewpoints created the difference in their attitude toward the Psalms. Calvin, being more conservative in his approach, concluded that the Old Testament Psalms were the only permissible source for church singing. Benson describes Calvin's thinking by summarizing Calvin’s preface of 1543 like this: First: To find songs not only pure but holy. Second: But none can write them save he who has received the power from God Himself. Third: “When we have searched all around, here and there, we shall find no songs better or more suitable than the Psalms of David which the Holy Spirit dictated and gave to him.” Fourth: “And therefore, when we sing them, we are as sure that God hath put words into our mouths as if lie Himself sang with us to exalt His glory.” (83)

Calvin differed from the Catholic Church in that he pre¬scribed that the congregation be encouraged to sing, and that he also prescribed that the Psalms be sung in the vernacular instead of in Latin. Calvin also avoided those Roman chants not directly based on the Psalms.

Calvin's idea of bringing the Psalms to the people was very far-reaching in congregational song. To begin with, it created the Metrical Psalm, a psalm set to vernacular poetry. Setting the Psalms to verse helped the Calvinists sing in meter. It also helped the Church move away from singing strict Scripture and move toward freedom of expression, even though it was not nearly as free as Luther’s concept of song. English Psalmody grew from this limited freedom of Calvin, and some two hundred years later the changes of Isaac Watts came from English Psalmody.

Watts The English psalm was already changing before the time of Isaac Watts. Writers had begun to feel more free to add personal applications and thoughts to the strict prose text of the Psalms. Sternhold and Hopkins completed The Whole Book of Psalms in 1562, and this psalter remained popular until Watts entered the scene.

Isaac Watts’ perspective on singing the Psalms was different than Calvin’s perspective. According to Benson, Watts “denied in general that we are under the call, either of God or of Christian prudence, to sing the Bible.” (Benson, 88) In fact, Watts believed that the church’s hymns should not simply be the Word of God, but should be the Church’s response to the Word. Secondly, Watts denied that the Book of Psalms was God’s intended hymn book for Christians. it was Jewish, not Christian, and some of the messages are far from New Covenant messages. So Watts set out, with his Psalms of David Imitated in the Language of the New Testament, and Apply’d to the Christian State and Worship, to remedy that flaw. Thirdly, Watts denied that the metrical psalm was the pure Word of God in the first place. If the Church is to sing Scripture only, then human versions of Scripture manipulated to rhyme and meter are not sufficient. Watts went about creating hymns, many of which were based on the Psalms but which reflected the joy and truths of the new creation in Christ.

Watts’s ideas were radical in the early eighteenth century, but before long they became widely accepted. Watts, as a Calvinist, seldom extended an invitation for salvation in his hymns. Later generations would soon change that as well.

Wesleys John and Charles Wesley represent the next major shift in Christian song. The Wesleys were Arminians, who, unlike the Calvinists, believed in the free will of man with regard to salvation. This theological position, coupled with freedom from strict Psalmody, helped to create the first “invitation” songs. The Wesleys approached music in much the same way as Luther had. They wanted people singing their songs more than they wanted to win the traditional Church’s approval. They, therefore, had little concern with singing Scriptural paraphrase, and even began to neglect the practice of listing a Scriptural reference at the head of a hymn. The Wesleys were out to shake the sleepy Church of England into revival, and the old forms which came from the Church were no longer adequate to carry the power of their call. Their cry was that a person was not a Christian just by being in the Church. That person must be in Christ, and the only way to have assurance of being in Christ was through personal experience. The Wesleys created music for the people. According to Hustad, the Wesleyan songs “covered every conceivable aspect of Christian devotional experience and may be said to be the progenitors of the modern gospel songs.” (Hustad 127)

The Wesleys' music accompanied England's Great Revival. In America, the Great Awakening and later revivals shared a similar kind of music as that of the Wesleys. Church music had taken another major step away from the Psalms and toward the gospel song.

Sankey and Bliss The latter half of the nineteenth century in America was the era of great mass evangelistic meetings. During that era, the gospel song became a popular vehicle for presenting the Good News about Jesus. Gospel songs were the next great step away from the Psalms. Many wrote and com¬piled gospel songs during this time, but the music of Ira Sankey and Phillip Bliss seems to have been a rallying point for the rest of evangelical Christian music.

Gospel songs are subjective songs emphasizing human experience and testimony. (Donald P. Elsworth, Christian Music in Contemporary Witness (Grand Rapids: Baker Book House, 1979), p. 93) They are usually directed to the unbeliever and press for a decision from him. Their music is consciously the simple, singable music of the world. Usually they have a refrain. The texts, far removed from any attempt to imitate the Psalms, basically are strongly evangelistic sermons set to rhyme.

Gospel songs were found to be quite effective in bringing about mass evangelism in the late nineteenth cen¬tury. Even today they are quite popular among evangelicals. They are seldom used strictly for mass evangelism anymore, for the edge of their effectiveness has long ago worn dull. Nonetheless, congregations who have become used to gospel songs still sing them, even as part of their worship on Sunday mornings.

Recent Trends More recent trends are perhaps too close to categorize yet, until history can put them into perspective. The trend seems to indicate that modern Christian music up through the 1970s has continued on the same path as the last century. Personal experience and evangelistic invitation have been the major themes. The music of John W. Peterson dominated the 1960s, and that of he and Ralph Carmichael dominated most of the 1970s. Almost all of the music of these two men was written in a popular, palatable style, full of testimonies and mild invitations. By the 1980s there seems to have been a heartening trend back to an emphasis on the Psalms and on music of worship, especially represented by the writing of Don Moen, Twila Paris, Michael W. Smith and others. The decade of the 1990s brought an even greater renewal of worship music, including touring “worship concerts” and many “worship” recordings by such groups as Sonic Flood and Delirious?. Martin Smith and Matt Redman from the UK, and Darlene Zschech from Australia joined US writers from Integrity and Vineyard churches to create intimate songs that were designed for the common use of both believers and seekers alike. Historians will have to see if these trends continue.

Summary
The Psalms in the Church have made a full swing. The Church began with free composition but heavy reliance on Scripture, almost solely the Psalms. It changed to an attitude of prohibition and control to sing only the Psalms and a few other texts. Luther advocated a whole new freedom from such limitations. Calvin preferred rather strict limitations to the use of metrical psalms only, but once he allowed the Scripture to become metered, human creativity was set loose. Watts applied the Psalms to the Christian state, and then went on to write free hymns. Wesley introduced the invitation song and more of an element of personal experience to the free hymn. Sankey and Bliss- then added the gospel song.

Benson summarizes the flow of Christian song this way: The era of “Psalms and Hymns” gradually merged into an era of “Hymns.” As the books labeled on their backs, “Psalms and Hymns” had replaced the Psalms in Meter, so the “Hymnal” came to replace the “Psalms and Hymns.” (92)

Benson made his observation early in this century. If he were to update it he might add: “hymns and spiritual songs” have now replaced the “Hymnal."

The history of Christian song could also be summarized this way: it began with psalms, hymns and spiritual songs, which were all Psalms or similar to the Psalms. Calvin limited the Church to using psalms only. Eventually Luther and Watts changed the Church to sing psalms and hymns. Finally evangelicals like Wesley came to use hymns and spiritual songs, then Sankey and Bliss used only spiritual songs. The trend away from psalms has continued to today.

A modern problem is that hymnal compilers, in an effort to have a “balanced” collection, are gathering material from Watts forward in time. What compilers consider “balance” is to have a nearly equal number of older hymns and of recent evangelistic spiritual songs. Psalms have been neglected. The Church would do well to return to the psalms, hymns and spiritual songs of its primitive days.

The Psalter is not the only proper source for Christian song. Surely within the Church there is room for original composition of any topic and of any style of music. If the Church is going to look for an objective standard for her song today, however, the most logical source would be the Old Testament Book of Psalms. Sadly enough, the Psalms have been almost totally neglected in modern evangelical hymnals. Even more sadly, the very spirit of the Psalms has been abandoned for pragmatism.

title: Music in the Bible (Psalms)


text: User talk:Iamsandeep

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Iamsandeep


text: Category:Poetry translation

title: Category:Poetry translation


text: Template:Wikiversity translation

title: Template:Wikiversity translation


text: Category:Free culture

title: Category:Free culture


text: Template:Wikiversity culture

title: Template:Wikiversity culture


text: Category:Quantum mechanics

title: Category:Quantum mechanics


text:
User:Cloudharbour

"Cloud"

title: User:Cloudharbour


text: Template:Free culture

title: Template:Free culture


text:
Talk:Threaded discussions with NavFrames

Is there a better demo page than Threaded discussions with NavFrames with subst/20070522105803? Most of the table of contents items do nothing when I click on them. I wonder if there is any way to have a table of contents that could open the navboxes. --JWSchmidt 00:38, 26 May 2007 (UTC)

--Hillgentleman|Talk 04:57, 26 May 2007 (UTC)
 * Indeed. I do not understand the javascript, and so I do not know if we can fix it. One possible solution would be to add a button for opening and closing all NavFrames at once; or we may just use another class whose default would be open. (Is there such a class?)  On meta, with my monobooks, the frames are always open (and they don't close).
 * In short, question to javascript experts: Is it possible to write the java script so that one click of the "expand" actually open all the subframes?

 * After looking at MediaWiki:Common.js I think is should be possible to make an "expand all" functionality. I think it would be easy to make an "expand all/collapse all" button that could be placed on pages. In this situation with the table of contents, it would be nice if a click on a link in the table of contents would expand just the collapsed box with the desired page section. I think there might be a possibility for a solution to this that would not involve an "expand all/collapse all" button.It seems like you could write a routine that would check to see if a user's click is on a failing link to a page section inside a collapsed box. If so, the box would be expanded and the user's view of the page would scroll to that section. --JWSchmidt 15:10, 26 May 2007 (UTC)

 * Is this an alternative to LiquidThreads? I'm no Javascript expert, but I can fiddle with it if that is the track this is on (or if someone explains what this is supposed to be. :) Historybuff 18:10, 29 May 2007 (UTC)

 * Historybuff, This is a model of a threaded discussion system. It is not related to the liquid thread program LiquidThreads. Our model is flexible enough to capture most features of liquidthread (perhaps sometimes with the aids of simple robots such as those by Michael Billington for Colloquium feeds).  And it is purely wiki. I first wrote it to see how far the MediaWiki syntax could take us (i.e. I did it for the sake of doing it).  JWSchmidt also thought about it before.  It can be improved further, and there is at least one alternative.  I am using it on my talk page.  Anybody may choose to try her hands on it.
 * Expanding a NavFrame from the TOC is a useful feature in general, and not just for this learning project.Hillgentleman|Talk 18:23, 29 May 2007 (UTC)

Additional ParserFunctions
I'm wondering if the  #time:  parser function could be used to "break out" useful values from the to build a subpage structure. In my user space, I've started a Weekly journaling system that works from a crude queue to generate a daily page with the format User:CQ/2007/W21/3 :

Weekly Schema:

FULLPAGENAME
 * /2007 current YEAR from #time:Y
 * /W21 current ISO 8601 WEEK number (1-53) from #time:"W"W
 * /N current ISO 8601 DAY of the week (1-7) from #time:N
 * /H (optional) current HOUR of the day (00-23) from #time:H
 * etc... using #time:i, #time:s or even #time:U

The subpages automatically link up as they go (at least in the User: namespace). This schema seems to be working OK for keeping a personal or group journal, but I don't know if or how it could help with threaded discussions. I just think it's some cool functionality worth mentioning. CQ 20:45, 30 May 2007 (UTC)

 * CQ, Do you mean ? Hillgentleman|Talk 21:22, 30 May 2007 (UTC)

 * The actual date (of the example) was 23 May 2007 which can also be identified as Year:2007 Week:21 Day:3 or ISO 8601-styled 2007/W21/3 (Wednesday [day 3] of the 21st week of 2007). Note that If higher-level pages exist, they are automatically linked from lower-level pages.

 * Today's date yielded by or  is more human readable, but as a subpage structure, one may need to go in a "big endien" style from largest reference (2007) to smallest (the current day) with each reference being "unique" in the subpage structure. For hourly, minute-by-minute or even second-by-second tracking, it might be desirable to do that within a "daily" subpage.

 * If the group would rather do things in months (rather than weeks) and then days, they can use something like 2007/05/23 to format a subpage tree. In that case, a "queue" (to produce a link for "today") would look like yielding . That way you get a "folder-looking" structure that can expand, collapse, append and navigate in logical ways. Using numeric identifiers for Months or Weeks helps when calculating time spans and concurrency (last year, next month, etc.), but daynames and monthnames can be used too.

 * Sorry if this is unclear or irrelevant. I'm not good at explaining things. CQ 23:07, 30 May 2007 (UTC)

 * Oh yeah.. The point is that you can break any one or group of values out of using the parser function #time: and its parameters to create subpages and links to them "on the fly". -- CQ 23:17, 30 May 2007 (UTC)


text: User talk:Anirudh.kuthiala

title: User talk:Anirudh.kuthiala


text:
Filmmaking Basics/3D Storyboard/The SBTDS movie

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Turn you 2D storyboards into high quality storyboards with FrameForge 3D Studio free demo version
 * style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

{| border=0 cellspacing=0 cellpadding=5
 * bgcolor=Cornsilk | [[Image:Helena Lundvall Thumbnail tinycc.png|200px]]
 * bgcolor=Cornsilk |

Convert your thumbnail storyboard

 * You have completed your thumbnail storyboards.

 * Now you are ready to convert your thumbnail storyboard into a 3D storyboard.

 * bgcolor=Cornsilk | [[Image:Kasturika storyboard page.png|200px]]
 * }

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Getting started with FrameForge 3D Studio
 * style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

3D Storyboarding with FrameForge 3D Studio free demo version

 * For now, just drag two actors onto the movie set and begin filming them.

 * Later, you can download the movie set file at from the FrameForge community forum or you can go to the instructions for creating a movie set in FrameForge 3D Studio free demo version. (If you have problems downloading the movie set, I can email you a copy.)

 * When you think that you are pretty good with FrameForge 3D Studio, go look at the storyboards of Gare Cline.

 * Also, you can try the free DAZ Studio with NOT free digital puppets for Poser.

 * }

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 55%; background-color: LightYellow; border: 1px solid Gray; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" rowspan="1" |

Our Goals

 * Storyboards

 * These storyboard images are important. Here is what we will do with these images

 * Turn the storyboards into an animatic
 * 1. First you create the storyboards with FrameForge 3D Studio and send me the project file.

 * 2. Later, the pictures from FrameForge 3D Studio free demo version will be put into an editing program.  Therefore, these storyboards are useful.

 * 3. Before you do this, you must record the dialog (the actor's words).  Then the dialog is also put into the editing program.

 * 4. The music must also be selected (or created) and put into the editing program.

 * 5. From these three elements, a movie of STILL images (not animated images) will be created.  This movie is NOT an animated movie.  This movie is only a movie of the still images.

 * style="width: 45%; background-color: cornsilk; border: 1px solid Gray; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 100px;" rowspan="1" |

What is an animatic?

 * A movie of storyboards
 * This movie of the still images (which is called an "animatic") is very useful. Even though it is very simple, it helps us look at the timing for the final movie.

 * For simple movies, this is not important. But for complex movies, the animatic is very important.

 * The animatic tells us if the movie will be good or if the movie will be bad BEFORE we film the movie. This is very important.

 * Therefore, the pictures that you create with FrameForge 3D Studio free demo version must be very good pictures.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" You need to practice with FrameForge 3D Studio
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * Look at a simple example of a storyboard created with FrameForge 3D Studio free demo version.

 * }


text:
File:Kasturika storyboard page.png

Used with the WikiU Film School Lesson on how to create thumbnail storyboards

title: File:Kasturika storyboard page.png


text: Category:Unanswered questions

title: Category:Unanswered questions


text:
BCP/Ajuga reptans

Ajuga reptans

title: BCP/Ajuga reptans


text:
BCP/Amelanchier canadensis

Amelanchier canadensis

title: BCP/Amelanchier canadensis


text:
BCP/Aquilegia x hybrida

Aquilegia x hybrida

title: BCP/Aquilegia x hybrida


text:
BCP/Barbarea vulgaris

Barbarea vulgaris

title: BCP/Barbarea vulgaris


text:
BCP/Banksia attenuata

Banksia attenuata

title: BCP/Banksia attenuata


title: File:GraduationDay1.png


title: File:GraduationDay2.png


title: File:GraduationDay3.png


text:
GarageBand/Graduation Day - Music Cue 1

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 60%; background-color: #ffe; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;"  |

Overview

 * I need a single note
 * You have learned that a single note can be used to create a musical sound effect that creates a mood.

 * Your instructor (that's me!) is creating a film score for the Super 16mm motion picture short called "Graduation Day".  I need your help"

 * I need a sound effect that indicated that the hero has to go to use the toilet.

 * How can you do this with just one simple chord.

 * Here is the sound I currently am using. It needs to be faint but it also needs to be uncomfortable.  Please help :

[[Media:GD Music Cue 1.ogg|GD Music Cue 1.ogg]]

 * style="width: 40%; background-color: Lavender; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 200px;" rowspan="2" |

"Graduation Day"
This is a 5-minute motion picture which is currently in post production (2007-05-26)
 * Super 16mm motion picture short

"I got to pee!"

Musical Cue #1 - Discomfort
After a long day of filing, our hero need to find a toilet.
 * A simple one-note musical cue

You must make the audience aware that he feels discomfort.

How can you do this with a single musical chord?

 * style="width: 60%; background-color: BlanchedAlmond; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;"  |
 * style="width: 60%; background-color: BlanchedAlmond; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;"  |

Software

 * Apple's GarageBand plus the sounds of a symphony orchestra
 * I am creating this film score using GarageBand and Jam Pack:Symphony Orchestra.

 * Next week, I will be getting MUTO's Symphonic Instrument which has additional musical instruments for GarageBand.

 * Using just this combination, I need a GarageBand project file which creates the feeling of mild discomfort. Currently, I am using a violin trill cord.  I need a better cord but I don't know how to do this.

 * Can you help me? Robert Elliott 12:18, 26 May 2007 (UTC)

 * }

{| cellpadding="20" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 100%; background-color: LemonChiffon; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" rowspan="2" |

The next lesson

 * In your next lesson, you must create musical sounds with rhythms.
 * Sound of Joy - Rhythm [[Image:Crystal Clear app kcmdf.png|16px]]

 * }

title: GarageBand/Graduation Day - Music Cue 1


text:
GarageBand/Graduation Day - Music Cue 2

{| cellpadding="10" cellspacing="5" style="width: 99%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 60%; background-color: #ffe; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;"  |

Overview

 * I need a simple melody to play in the background.
 * You have learned that simple melody can tell an entire story.

 * Your instructor (that's me!) is creating a film score for the Super 16mm motion picture short called "Graduation Day".  I need your help"

 * I need a simple melody that explains the motives and background of the villian.

 * Here is the sound I currently am using. It does not sound like a Catholic Mass.  Please help :

[[Media:GD Music Cue 2.ogg|GD Music Cue 2.ogg]]

 * style="width: 40%; background-color: Lavender; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 200px;" rowspan="2" |

"Graduation Day"
This is a 5-minute motion picture which is currently in post production (2007-05-26)
 * Super 16mm motion picture short

Musical Cue #2 - A young choir boy
The villian is thinking about his childhood as an abused choir boy.
 * A simple melody musical cue

Can you create a melody which tells us that he was abused as a child?

 * style="width: 60%; background-color: BlanchedAlmond; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;"  |
 * style="width: 60%; background-color: BlanchedAlmond; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;"  |

Software

 * Apple's GarageBand plus the sounds of a symphony orchestra
 * I am creating this film score using GarageBand and Jam Pack:Symphony Orchestra.

 * Next week, I will be getting MUTO's Symphonic Instrument which has additional musical instruments for GarageBand.

 * Using just this combination, I need a GarageBand project file which creates the feeling of mild discomfort. Currently, I am using a violin trill cord.  I need a better cord but I don't know how to do this.

 * Can you help me? Robert Elliott 12:18, 26 May 2007 (UTC)

 * }

{| cellpadding="20" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 100%; background-color: LemonChiffon; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" rowspan="2" |

The next page

 * Now that you know what you need for a film score, now I show you how to get it by butchering midi files inside of GarageBand.

By the way

 * I have another musical cue that I need for "Graduation Day". If you have not done so already, go to The first musical cue needed for "Graduation Day". [[Image:Crystal Clear action forward.png|24px]]

 * }

title: GarageBand/Graduation Day - Music Cue 2


text: Category:Wiki participants with committed identities


text: Category:Wiki participants

title: Category:Wiki participants


text:
Film Scoring/Butchering MIDI Files

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: BlanchedAlmond; border: 1px solid #777777; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;"  |

Lesson Summary - Why steal from midi?

 * Previously, you learn three things.

In the last three lessons, you learned that you can create a film score with :

 * 1. A single note (or two or three) that creates a mood.  Using a single note or chord, we create the sound of fear.

 * 2. A repeating rhythm that creates a mood.  Using a delicate repeating rhythm, we created the "sound of joy".

 * 3. A melody that creates a mood or can even tell a story.

 * The big question :

 * Where do we get great sounding notes, rhythms and melodies?

 * The most important answer :

 * We steal them from classical music midi files.

 * That is the purpose of this lesson. You want to learn to borrow from the greatest composers of all times.

 * style="width: 50%; background-color: Lavender; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 200px;" |

Why use classicial music?
There are two reasons why you want to use classical music.
 * Two reasons

 * 1. It is old.

Most music copyrighted before 1923 is public domain.

 * 2. It sounds like a film score

Most classical music sounds like a film score. For most movies, the traditional musical instruments for a film score are the instruments of the symphony orchestra. Many classical midi files use the instruments of the symphony orchestra.

It is a perfect match... almost. The only difference is classical music is designed to stand alone. We need music which is much simpler.

Therefore, all the cords, the rhythms and melodies of classical music are ideal for your film scores. We can easily steal them. No problem.

But then we have to thin the music to sound like a real film score. And even that is easy as you shall see.

 * }

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: Cornsilk; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

Stealing chords and rhythms

 * Where to find great chords, delicate rhythms and melodies?
 * Classical music has great chords and rhythms. The composers spent decades learning how to create the perfect chords.

 * Rather than decades, you have about ten minutes to find a really good sounding chord.

 * Listen to classical music and find a chord or note or delicate rhythm which has the right mood for your movie. Then rip it out of the midi file.

 * Also look for delicate rhythms. Lots of classical music has these in the background.  Great!

 * We all know great melodies from classical music. The pop quiz at the beginning of this course contains many tunes from classical music.

 * style="width: 50%; background-color: #ffffd0; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 400px;" |

Simplify, simplify, simplify!
When you are pulling apart a MIDI file to get a melody, you must simplify the melody.

 * 1) Locate great sounding midi files from classical music (before 1923).
 * 2) Isolate a single phrase, usually one to three seconds long.
 * 3) Isolate just one or two or three instruments from the entire score. You want the main melody without much else.
 * 4) Built the music sound effect from these few notes (or chords) by assigning the elements to different instruments of the symphony orchestra which create the emotion you are looking for. This will always be different from the original musical instruments.

The goal is to get a professional sound which is simple and pure.

Counter melodies

 * Here is the really great secret of borrowing from classical music. Classical music also contains counter melodies or background melodies that are not familiar.  Stealing these is more fun since they sound great, seem familiar, but are not known to most people.

 * }

{| cellpadding="20" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 100%; background-color: LemonChiffon; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" rowspan="2" |

The next page

 * To work with Midi files, we need to get them into GarageBand.

 * Importing Midi into GarageBand and symphony orchestra sounds [[Image:Crystal Clear action forward.png|24px]]

 * }

title: Film Scoring/Butchering MIDI Files


text:
Template:Mad Max:Lesson 4:TOC:Butching Midi

 * {| cellpadding="3" cellspacing="0" width="500px"

 * bgcolor="#eeeeff" style="border: 1px #cccccc solid;" |Page 2: Importing Beethoven into GarageBand
 * }

 * {| cellpadding="3" cellspacing="0" width="500px"

 * bgcolor="#eeeeff" style="border: 1px #cccccc solid;" |Page 3a: Importing Starwars into GarageBand
 * }

 * {| cellpadding="3" cellspacing="0" width="470px"

 * bgcolor="#eeddff" style="border: 1px #cccccc solid;" |Page 3b: Simplifying Starwars in GarageBand
 * }

 * {| cellpadding="3" cellspacing="0" width="470px"

 * bgcolor="#eeddff" style="border: 1px #cccccc solid;" |Page 3c: Modifying Starwars in GarageBand
 * }

 * {| cellpadding="3" cellspacing="0" width="500px"

 * bgcolor="#eeeeff" style="border: 1px #cccccc solid;" |Page 4: Creating more sounds from Midi files - 6 points
 * }

 * {| cellpadding="3" cellspacing="0" width="500px"

 * bgcolor="#eeeeff" style="border: 1px #cccccc solid;" |Page 5: Create a musical cue for the motion picture "Graduation Day" - #2 - 20 points
 * }
 * }


text: User talk:M42a

title: User talk:M42a


text:
User:CQ/2007/W21/6

26 May 2007 - Starting "A 24-hour clock" section at Generating dynamic content with MediaWiki

title: User:CQ/2007/W21/6


text:
User:CQ/2007/W21/4

24 May 2007 - I started Generating dynamic content with MediaWiki to talk about these sort of pages.

title: User:CQ/2007/W21/4


text:
User:CQ/2007/W21/5

25 May 2007 - Pretty idle today. Only an edit to E Pluribus Unix

title: User:CQ/2007/W21/5


text:
8:00 class/26 May 2007

This is an archive of Wikiversity current events from 26 May 2007. Note: Wikiversity passed 10,000 user accounts today. Other Special:Statistics: getting close to 3,000 "legitimate content pages" and 125,000 page edits.

Colloquium summary
Short summaries of active discussions at Colloquium.
 * The "-versity problem" - Does "wikiversity" imply college-level learning?
 * Javascript and collapsible boxes.

Internet Relay Chat topics of the day
Re-cap of topics discussed in #wikiversity-en.
 * Generating dynamic content with MediaWiki
 * Talk:Wiki Campus Radio
 * Template:QOTD
 * Icecast, Wiki Campus Radio, Sandbox Server,Topic:SQL.

Email discussions and blogs
Summaries of Email discussions and blogs with relevance to Wikiversity participants.
 * Updated Wikiversity hub

Recent changes
Today's trends in active editing efforts.
 * Conway's Game of Life
 * Simple Pendulum (AV)
 * Primary ESL - Body Parts
 * lessons in Introductory Ancient Greek Language
 * Bloom clock project/2007 part one
 * Lesson:Mad Max:Butchering midi files

title: 8:00 class/26 May 2007


text:
Biblical Studies (NT)

.

 THE NEW TESTAMENT  An Introductory Course

The Christian scriptures, known as The Bible, are divided into two major sections: the Old Testament, which pre-dates Christianity and is comprised of the Jewish scriptures, and the New Testament, written early in the Christian era.

This is an entry-level course designed for students who have little or no prior knowledge of the New Testament. The goals of the course are:
 * a) To provide a general introduction and overview of the New Testament, including its major characters, authors, themes, and background.
 * b) To lay the foundation for more specialized courses on individual New Testament books and specific topics within Christian theology.

Due to the diverse nature of Wikiversity's participants, every effort has been made to keep these lessons free of personal or sectarian bias. The lessons are not intended to be understood as religious or doctrinal statements, and students should draw their own conclusions with regard to the nature and integrity of the New Testament itself.

Introduction to the New Testament
LESSON 1
 * A Rich Tapestry - The Importance of Context - Unity in Diversity - The Bible as Literature - The Lessons - How to Grade Yourself - Abbreviations

Gospels I: Authorship and Historical Setting
LESSON 2
 * Introduction to the Gospels - Matthew - Mark - Luke - The Synoptic Problem - John - The Emphasis of Each Gospel - The Historical Setting

Gospels II: Jesus
LESSON 3
 * (A) JESUS' LIFE AND MINISTRY: The Birth of Jesus - Jesus’ Childhood - Phases of Jesus’ Ministry - Jesus’ Baptism - The Temptation - The Sermon on the Mount - The Transfiguration - The Triumphal Entry - The Olivet Discourse - The Last Supper - Jesus’ Trial and Crucifixion - The Resurrection - The Ascension
 * (B) WHO WAS JESUS?: The Word of God - Both Human and Divine - The Sacrificial Lamb

Gospels III: The Twelve Apostles
LESSON 4
 * Jesus Selects the Twelve - Peter - Andrew - James - John - Philip - Bartholomew (Nathanael) - Matthew (Levi) - Thomas - James, Son of Alphaeus - Simon the Zealot - Judas, Son of James - Judas Iscariot

Gospels IV: Other Important People
LESSON 5
 * Joseph - Mary, Mother of Jesus - The Wise Men from the East - King Herod the Great - King Herod Antipas - John the Baptist - Nicodemus - Mary Magdalene - Mary, Martha, and Lazarus - Pontius Pilate - The Pharisees and the Sadducees

Acts I: The Birth of the Church
LESSON 6
 * The Place of Acts in the New Testament - The Author - The Establishment of the Church - Matthias - The Coming of the Holy Spirit - Peter - Administration in the Early Church - Stephen - The Jewish Establishment - Philip - The Gospel Is Preached to Gentiles - The Roman Empire and Church Growth.

Acts II: The Ministry of Paul
LESSON 7
 * Paul Persecutes the Church - Paul’s Background - Paul’s Conversion - Paul Comes to Antioch - Paul’s First Missionary Journey - Rejected by His Own People - The Jerusalem Council - Paul’s Second Missionary Journey - Paul’s Third Missionary Journey - Paul Is Arrested - Caesarea - Paul Appeals to Caesar - Paul Goes to Rome - An "Unexcelled Missionary Statesman"

The Epistles of Paul: Saved by Grace
LESSON 8
 * (A) INTRODUCTION: What Is an Epistle? - Chronological Order of Paul's Epistles
 * (B) BACKGROUND: The Roman Empire - Romans - 1&2 Corinthians - Galatians - Ephesians - Philippians - Colossians - 1&2 Thessalonians - 1&2 Timothy - Titus - Philemon - Paul as Pastor
 * (C) THEOLOGY: Saved by Grace - Regeneration - Justification - Sanctification - Faith in Christ

The Epistle to the Hebrews: The Old Versus the New
LESSON 9
 * (A) BACKGROUND: Who Wrote Hebrews? - To Whom Was It Written? - The Jewish Community - Orthodox Jews and Christian Jews - The Judaizers - The Jewish Rebellion
 * (B) MAJOR THEMES: The Superiority of Christ and the New Covenant Over What Had Existed Before - The Mysterious Melchizedek - The Importance of Faith - Heroes of Faith

The Epistle of James: Faith and Action
LESSON 10
 * The Author – The Addressees – The Importance of Faith – Faith and Action – Examples of Faith in Action

The Epistles of Peter: Persecution and Heresy
LESSON 11
 * Authorship of 1 Peter - Authorship of 2 Peter - The Addressees - Location and Date of Writing - Nero Persecutes the Church - Peter’s Courage - Sylvanus - False Teachers - The Last Days

The Epistles of John: God Is Love
LESSON 12
 * The Author – The Addressees – An Eyewitness of Christ – The Rise of Gnosticism - The Spirit of Antichrist – God Is Love – Diotrephes and Demetrius

DLOMO THABO

The Epistle of Jude: Religious Hypocrisy
LESSON 13
 * Authorship - Addressees - False Teachers

Revelation I: Introduction
LESSON 14
 * A Dramatic Conclusion to the Bible Story - The Author - Date and Location - The Roman Empire and Religious Persecution - Major Characters - Ways of Interpreting Revelation - John’s Commission - Outline of Revelation

Revelation II: The Seven Asian Churches
LESSON 15
 * Jesus Speaks to the Churches - Ephesus - Smyrna - Pergamos - Thyatira - Sardis - Philadelphia - Laodicea

Revelation III: The Seven Seals
LESSON 16
 * The Lamb Takes the Scroll - The First Six Seals - 144,000 Israelites - The Seventh Seal

Revelation IV: The Seven Trumpets
LESSON 17
 * The First Six Trumpets - The Two Witnesses - The Seventh Trumpet - The Dragon, the Woman, and the Child - The Resurrection and the Rapture - Satan is Cast Down - The Archangel Michael - The Beast from the Sea - The Beast from the Land - The Abomination of Desolation - The Harvest

Revelation V: The Seven Bowls
LESSON 18
 * The Bowl Judgments - Babylon - The Battle of Armageddon - The Millennium - The Last Judgment - The New Jerusalem - The Supreme Riddle

In Conclusion...
IN CONCLUSION...
 * Congratulations! - What to Do Next? - What You Should Know about Published Works - The Importance of the Old Testament to the New - Never Stop Learning!

Other Resources

 * The Bible
 * The New Testament is full of quotes from and allusions to the Old Testament (Hebrew scriptures). For this and other reasons, it is helpful to have a version with a good cross-referencing system in the footnotes or margins. Note: translations vary from literal to paraphrase; choose according to preference and needs. There are also Bible software programs, and online Bibles which allow the user to read the Bible free of charge on screen, and also to search for specific words or passages (e.g. www.BibleGateway.com).

 * Courses in Wikiversity:
 * Gospel of John (type "Gospel of John" in the search box or click on this link ).
 * New Testament Greek

 * Articles in Wikipedia:
 * There are articles on just about every Biblical book and topic in Wikipedia, many of which are extremely useful. The reader should be warned, however, that they vary in quality and sometimes reflect the biases of their most recent editors.

 * Books:
 * Merrill C. Tenney, ed. Zondervan Pictorial Bible Dictionary. Zondervan, 1999. (Brief articles on just about everything in the Bible in alphabetical order.)
 * Merrill C. Tenney, ed. Zondervan Pictorial Encyclopedia of the Bible. (5 Vol.) Zondervan, 1975. (A larger version of the dictionary. More articles, and more in-depth.)
 * Merrill Unger, Gary Larson. The New Unger's Bible Handbook. Moody, 2005. (Overview of the whole Bible. Especially helpful for new students.)
 * F.L. Cross and E.A. Livingstone, eds. The Oxford Dictionary of the Christian Church. Oxford University Press, 2005. (People, movements, doctrines, history, etc.)
 * Carson, France, Motyer, & Wenham, eds. The New Bible Commentary. Intervarsity Press, 1994. (Chapter by chapter commentary on the whole Bible.)
 * Walter A. Elwell, ed. Topical Analysis of the Bible. Baker, 1991. (Biblical theology by topic.)
 * Bruce M. Metzger. The Text of the New Testament. Oxford University Press, 2005. (Issues and history of the Greek texts from which we get the New Testament.)
 * Leland Ryken. How to Read the Bible as Literature. Zondervan, 1984. (A literary, rather than theological, approach to the Bible.)
 * Werner Keller. The Bible as History. BN Publishing, 2008. (A fascinating examination of the Bible in the light of archeology.)
 * Barbara Friberg, Timothy Friberg, eds. Analytical Greek New Testament. Baker, 1981. (Use with an interlinear NT, such as the one listed below.)
 * Alfred Marshall. The NIV Interlinear Greek-English New Testament. Zondervan, 1976. (The Greek text and English translation side by side.)

Lessons at a Glance
Lesson 1. Introduction to the New Testament

Lesson 2. Gospels: Authorship & Historical Setting

Lesson 3. Gospels: Jesus

Lesson 4. Gospels: The Twelve Apostles

Lesson 5. Gospels: Other Important People

Lesson 6. Acts: Birth of the Church

Lesson 7. Acts: Ministry of Paul

Lesson 8. Epistles of Paul: Saved by Grace

Lesson 9. Epistle to the Hebrews: The Old Versus the New

Lesson 10. Epistle of James: Faith and Action

Lesson 11. Epistles of Peter: Persecution and Heresy

Lesson 12. Epistles of John: God Is Love

Lesson 13. Epistle of Jude: Religious Hypocrisy

Lesson 14. Revelation: Introduction

Lesson 15. Revelation: The Seven Asian Churches

Lesson 16. Revelation: The Seven Seals

Lesson 17. Revelation: The Seven Trumpets

Lesson 18. Revelation: The Seven Bowls

In Conclusion...

title: Biblical Studies (NT)


text:
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User:CQ/Top25 Images

Top25 Images according to This WikiChart:

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Wikiversity:Categories/2007/Week22

See What Remi's been up to... and Recent changes to the Category namespace

Issues with categories
Capitalization: Colloquium ...The convention is to use only initial caps, but there will be many exceptions and good reasons for making them. Somtimes, not establishing a convention will cause redundancy or confusion but will contribute to Wikiversities relaxed atmosphere.

A few examples:
 * Category:Computer science - Category:Computer Science
 * Category:Bloom Clock Project Plants - Category:Bloom clock project plants (Note: these were intentionally made redundant, for maintenance reasons. see the text on Category:Bloom clock project plants for details).
 * Category:Life Sciences - Category:Life sciences

Merging redundant categories
As SB_Johnny points out, there is a good reason for having both Category:Bloom Clock Project Plants and Category:Bloom clock project plants, and there may be other situations for some seemingly redundant categories such as Category:Schools and Category:Wikiversity schools. Please discuss plans for this week's category sweep at Wikiversity talk:Categories/2007/Week22.

..edit me..

MediaWiki category tools
NEXT WEEK

title: Wikiversity:Categories/2007/Week22


text:
Global Imbalances: The Best of All Possible Worlds

Since 2000, a number of economists have commented on the existence of a global imbalance in capital flows, these flows have manifested themselves in terms of a trade deficit between the United States and China, an allocation of Chinese growth toward capital related growth. The policy prescription that these writers have presented have been to boost domestic demand in China, with an aim to reducing the trade deficit.

This paper questions some of the underlying assumptions of this economic model and brings forth for consideration the possibility that given the constraints of the world economic system, that the state of current imbalance may be in fact the best of possible worlds.

The Chinese economy should be demand driven
First there is the assertion that the Chinese savings rate is too high and that China would be better off encouraging a boost in demand rather than a boost in capital spending.

 * Neglects the role of aging society ****

Chinese capital spending is too high

 * Neglects that China is a developing nation ***
 * Neglects that China's aging population ***

China should not be funding the United States

 * Neglects development of efficent markets in the United States ***
 * Neglects foreign policy benefits of funding the United States ***

This is not sustainable
In arguing that the Chinese economy is inbalanced often reference is made to the rule that anything that cannot continue indefinitely will not continue indefinitely.

Inflation
Productivity will cure inflation.


text:
Wikiversity:WikiProject

At the Wikipedia website there is a "WikiProject" pseudonamespace that places all content development projects inside the "Wikipedia:" namespace. At Wikipedia, all content development projects have page names that start with "Wikipedia:WikiProject". Rather than use a pseudonamespace for content development projects, Wikiversity uses the "School:" and "Topic:" namespaces. For details about content development projects at Wikipedia, see w:Wikipedia:WikiProject.

Namespaces
Namespaces are a feature of the MediaWiki software that is used to power the Wikiversity website. The Wikiversity website has a large number of webpages. Namespaces provide a system for organizing all these Wikiversity webpages that would be otherwise disorganized and hard to work with. Wikiversity namespaces allow webpages with related functions to be neatly separated into compartments. You can think of each namespace as a compartment that holds a large group of functionally related pages.

A wiki could function with all of its webpages in only one "namespace", but wiki participants have found that the extra organizational structure provided by a set of namespaces makes it easier to manage the many pages of a wiki. The practice of dividing a wiki's pages into more than one namespace began as a way to keep the intended content pages of a wiki separated from pages that that are "meta pages". "Meta pages" are concerned with the operation of the wiki itself and the process by which its participants create the intended content pages. At Wikiversity, all learning resources and actual educational content is on webpages in the main namespace. Each page in the main namespace has an associated page in the "Talk:" namespace where Wikiversity participants can discuss the contents of the main namespace page. The talk pages are "meta pages" that are not actual learning resources, rather, the content of "Talk:" pages is "meta level content". When Wikipedians discovered the value of sorting wiki pages into multiple namespaces (each namespace with a defined use) they continued this fragmentation and invented additional namespaces such as the "Template:", "Category:" and "Portal:" namespaces.

Project namespace
One of the "meta-level" namespaces is called the "project namespace". The name of this namespace (project) does not mean that every wiki collaboration ("project") has to be in the "project namespace". Think of the Wikiversity "project namespace" as pages that are relevant to the entire wiki project. There is one particular wiki editing project that is the concern of the Wikiversity "project namespace"; it is the Wikimedia project called "Wikiversity". The "project namespace" at Wikipedia is also called the "Wikipedia:" namespace and all of its pages have names that start with the prefix "Wikipedia:". At Wikiversity, the "project namespace" is called the "Wikiversity:" namespace. This page has the page name "WikiProject" and is a page in the "Wikiversity:" namespace. Like other pages in the "Wikiversity:" namespace, this page is concerned with how the entire Wikiversity project is organized.

Wikipedia puts its content development projects in their "project namespace", but Wikiversity does not use Wikipedia's clumsy "WikiProject" pseudomnamespace approach for forcing content development projects into a single namespace. Wikiversity allows content development projects for specific academic topics to exist in a special namespace that was invented at Wikiversity.

Special namespaces for content development
If you can accept the idea of having a new namespace specifically for content development projects, then you still might ask: why does Wikiversity have two namespaces for content development projects? The main reason that Wikiversity has both a "School:" namespace and a "Topic:" namespace is because wiki community members naturally create hierarchical systems to organize content development projects. At Wikipedia there are both "higher level" "WikiProject" pages such as WikiProject Science and "lower level" "WikiProject" pages such as WikiProject Molecular and Cellular Biology.

Wikiversity has both a "School:" and a "Topic:" namespace so that the "School:" namespace can be for a relatively small number of "higher level" content development pages that function to organize a larger number of "lower level" content development projects for narrow academic topic areas. Wikipedia has a relatively narrow mission: to produce encyclopedia articles. Wikipedia has a smaller range of possible main namespace content than does Wikiversity. Wikiversity should come to have many more content development projects than does Wikipedia. The hierarchical system of "School:" and "Topic:" pages will become increasingly useful as the number of Wikiversity content development projects continues to grow (see the list of "Topic:" pages).

Wikiversity currently has mostly school pages corresponding to university schools. In the future there will be many other types of Wikiversity schools that organize many kinds of content development projects in a large number of different ways. Ultimately, the Wikiversity "Topic:" namespace may become nearly as large as Wikipedia's main namespace. When Wikipedia's main namespace got too large, the "Portal:" namespace was invented. For the same reason that it makes sense to have the "Portal:" namespace to provide "directory" pages for the main namespace, it makes sense to have the "School:" namespace to provide "directory" pages for the "Topic:" namespace.

Summary
At Wikiversity, content development projects can be called "department", "center", "institute", "WikiProject", "content development project" or anything else that participants feel is a useful way to refer to a content development project. At Wikipedia, the content development projects ("WikiProjects") are all pages in the "Wikipedia:" namespace. At Wikiversity, the content development projects are mostly in the "Topic:" namespace while some "higher level" projects exist on the "School:" namespace and function to organize large groups of related "Topic:" pages.

title: Wikiversity:WikiProject


text: Category:Science fiction

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text: Category:Dynamics

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text: Category:Political science

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Template talk:Iterate

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title: Template talk:Iterate


text:
Bubble sort

The time necessary for a sort with BubbleSort increases in a quadratic fashion with the number of records. The algorithm works in place and stable. In the best case, when the data records are already sorted, the time increases in a linear fashion with the number of records.

Short Description
The main idea behind BubbleSort is to find the biggest key value and to move that record to the end of the list. This moving is done by comparing the key value of the actual record with the key value of the next record. If the key value of the next record is smaller, the two records are swapped; if the value is bigger, the candidate for having the biggest key value is from then on the next record.

The algorithm works with an outer and an inner loop. After the first repetition of the outer loop the record with the biggest key value is definitely on top of the list. When searching for the second biggest key value, it is not necessary to compare it with the last element, since we already know the result of such a compare; the number of repetitions of the inner loop is decreased by one with every repetition of the outer loop.

Since every record with the actually biggest key value is moved up, it is normally not just one record that moves upwards during a repetition of the outer loop. This is compared with the bubbles in a drink and that's where the algorithm got its name from.

Stability
If there are records with identical key values and they become neighbors during the sort, the upper record becomes the new candidate for having the biggest key value. If the algorithm is realized with a bigger- and not a bigger-or-same- clause, it is stable, because records with identical key value do not change their position relative to each other.

Timing
For an estimate of the runtime we visualize the number of compare operations. In the vertical direction we have the repetitions of the outer loop and in the horizontal direction the number of compare operations.

1 2  3  4  5  6  7  8  9 10   |   compares x x  x  x  x  x  x  x  x  -   |      9 x x  x  x  x  x  x  x  -  -   |      8 x x  x  x  x  x  x  -  -  -   |      7 x x  x  x  x  x  -  -  -  -   |      6 x x  x  x  x  -  -  -  -  -   |      5 x x  x  x  -  -  -  -  -  -   |      4 x x  x  -  -  -  -  -  -  -   |      3 x x  -  -  -  -  -  -  -  -   |      2 x -  -  -  -  -  -  -  -  -   |      1 - -  -  -  -  -  -  -  -  -   |      0

Half of the n*n matrix is filled except for the diagonal; that makes ½ n2 - n compares. Since we don't need the exact number but the rough behavior, we calculate the number of compare operations with

 * NC = ½ n2

Worst Case & Normal Case
In order to get the worst case concerning the swap operations, we assume that the list is sorted in reverse order. Then every compare operation is followed by a swap.

 * NS = ½ n2

Every compare- and swap-operation needs time. We evaluate the time for a complete sort with

 * TSort = ½ * C * n2 + ½ * S * n2

 * TSort = n2 * (½ C  + ½ * S)

 * TSort = B * n2

where B, C and S are constants and n the number of records to be sorted.

With an even distribution of the key values the calculation of the necessary number of steps becomes a bit complicated and the correct evaluation can be found here. It increases with ¼ n2. The time for a sort will be in average twice as fast as for the worst case. But the timing still follows the quadratic characteristic, only the actual value of B changes.

Termination: The loop terminates at j=i+1. At that point A[i]  A[i+1], A[i]  A[i+2], …, A[i]  A[n]. So, A[i] is the smallest element between A[i] through A[n]. QED

Theorem: BubbleSort correctly sorts the input array A.

Loop invariant for lines 1 through 4 is that A[i]  A[i+1].

Initialization: Starts with A[1].

Maintenance: After the iteration i=p, for some 1<pn, the above lemma for lines 2 through 4 guarantees that A[p] is the smallest element from A[p] through A[n]. So, A[p]  A[p+1].

Termination: The loop 1 through 4 terminates at i=n. At that point A[1]  A[2] . . .  A[n]. Hence, the correctness theorem is proved. QED

Complexity:    i=1n  j=i+1n 1 =  i=1n (n –i) = n2 – n(n+1)/2 = n2/2 – n/2 =  (n2)

Best Case
Now we come to the best case: the records are already sorted. Without any additions to the algorithm we still have the same number of compare operations, but no swaps. This information about "no swaps" can be used to speed up the sort when the records are sorted or nearly sorted. At the beginning of the outer loop we set a marker to NO_SWAPS_DONE. In the inner loop this value is set to SWAPS_DONE in case any records were swapped. At the end of the outer loop we check the value of this marker. If there were no swaps, the records are sorted and the algorithm can terminate. We have a best case behavior of

 * TBest = n * C

Nearly Sorted
Now we have a look at a nearly sorted situation by adding a new record at the end of the list; and the key value is the smallest of all records. The number of compare operations will still be

 * NC = ½ n2

and the number of swaps will be

 * NS = n

Compared with algorithms like InsertionSort the timewise behavior is pretty bad.

Example
In the list to be sorted are 10 records. A blue background indicates that there has to be a swap of data records. A green background indicates, that the upper record becomes the new candidate for the biggest key value.

First repetition of outer loop

Second repetition of outer loop

Third repetition of outer loop

Fourth repetition of outer loop

Fifth repetition of outer loop

Sixth repetition of outer loop

The algorithm terminates after this loop due to the fact that there were no swaps done.

title: Bubble sort


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User talk:Hillgentleman/base

/base| We are experimenting with Threaded discussion here. Please leave your message with the "reply" link above. Don't try to edit this page directly. |

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title: User talk:Hillgentleman/base


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User:Wisesage5001

I am currently studying Computer Science at Case Western Reserve University, Ohio, USA. I have a pretty thorough knowledge of Java. I am quite familiar with any Intro to Programming concepts and Data Structures, along with numerous sorting algorithms. I also have studied a number of math topics, including topics from Discrete Mathematics and through Calc 4 (That includes derivatives, integrals, multivariable calc, and differential equations).

So... If you have a programming related question, don't hesitate to ask. Either use the talk page, my recommended form, e-mail or, best of all, both! (There is a link in the toolbox thingie on the lower left for emailing a user). You will get a response, hopefully quickly.

title: User:Wisesage5001


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User:CQ/2007/21/7

27 May 2007 - Sunday - ISO 8601 says the is 21 - day 7. 27 May 2007

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User:CQ/2007/W20

Test page for journaling system

last week | next week

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BCP/Lamium purpureum

Lamium purpureum

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BCP/Narcissus

Narcissus

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BCP/Magnolia stellata

Magnolia stellata

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BCP/Symplocarpus foetidus

Symplocarpus foetidus

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BCP/Stellaria media

Stellaria media

title: BCP/Stellaria media


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Template:Queue/2007/W21/7

Testing: | |  |  |  |  |  |

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BCP/Syringa vulgaris

Syringa vulgaris

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BCP/Taraxacum officinale

Taraxacum officinale

title: BCP/Taraxacum officinale


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Vinca minor

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BCP/Saponaria officinalis

Saponaria officinalis

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User:CQ/2007/W21/7

27 May 2007 - Sunday - ISO 8601 says the CURRENTWEEK is 21 - day 7.

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User:CQ/2006/W45/5

10 November 2006

title: User:CQ/2006/W45/5


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Bloom clock project/2007 part one archive

This is the archive list for Bloom clock project/2007 part one. Plant listings which have not been recorded blooming for over one month are moved here. The bloom times are moved to the log pages (follow the "log page" link to see the full set of data for any particular plant).

C-D
Cardamine hirsuta (Hairy wintercress) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Cercis canadensis (Eastern Redbud) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Chionodoxa (Chionodoxa) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Citrus sinensis (Sweet Orange) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Claytonia virginica (Spring Beauty) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Cornus florida (Flowering Dogwood) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Cornus mas (Cornelian cherry) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Corylopsis spicata (Winter Hazel) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Crocus vernus (Crocus) Wikipedia | Commons | Wikibooks | Quiz page | Log page

E-F
 Erythronium americanum (Trout Lily) Wikipedia | Commons | Wikibooks | Quiz page | Log page (Archived)

Forsythia x intermedia (Garden Forsythia) Wikipedia | Commons | Wikibooks | Quiz page | Log page

G-H
Galanthus nivalis (Common Snowdrop) Wikipedia | Commons | Wikibooks | Quiz page | Log page (archived)

Hamamelis x intermedia (Hybrid Witch Hazel) Wikipedia | Commons | Wikibooks | Quiz page | Log page (Archived)

Helleborus foetidus (Stinking Hellebore) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Helleborus x hybridus (Hybrid Hellebore) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Helleborus niger (Christmas Rose) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Hyacinthoides non-scripta (Bluebell) Wikipedia | Commons | Wikibooks | Quiz page | Log page

M-N
Magnolia x soulangeana (Saucer Magnolia) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Magnolia stellata (Star Magnolia) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Malus (Crabapple) Wikipedia | Commons | Wikibooks | Quiz page | Log page
 * SBJ 12:05, 12 May 2007 (UTC)

Malus domestica (Apple) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Narcissus sp (Daffodil) Wikipedia | Commons | Wikibooks | Quiz page | Log page
 * SortaQuiet 03:48, 17 June 2007 (UTC)

O-P
Pieris japonica (Japanese Andromeda) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Prunus persica (Peach) Wikipedia | Commons | Wikibooks | Quiz page | Log page

Prunus 'Okame' (Okame Cherry) Wikipedia | Commons | Wikibooks | Quiz page | Log page

U-V
Vinca minor (Periwinkle) Wikipedia | Commons | Wikibooks | Quiz page | Log page


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Wikiversity:Categories/2007/Week23

Wikiversity category cleanup weekly worksheet

Recent changes to category namespace

Plans for Week 23
Things are really shaping up. This week, a request has been put in for dynamic page list functionality. This should improve the organization of things by creating alternate ways of displaying collections of pages that share categories, namespaces, templates and such. Once the extention is up and running, we'll need a Dynamic page list help page. We might also work on Help:Category some.

Exemplary work from new user User:Alorocaste who demonstrated an understanding of categorization "right off the bat".

MediaWiki category tools
NEXT WEEK

title: Wikiversity:Categories/2007/Week23


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User:JWSchmidt/Blog/27 May 2007

Back when I was working on a set of major portals for the content that was imported from Wikibooks, I went through the entire "School:" namespace, the entire "Topic:" topic namespace and most of the main namespace (see). I recently made a list of content development projects and I estimate that there are about 750 of them now. I am now working my way through the "Wikiversity:" namespace.

Wikiversity namespace
I'm interested in the idea of making the Main Page a useful resource for new visitors (see), so I need to become familiar with all of the Wikiversity pages that might be useful for new visitors. This task merges into the larger task of organizing all the pages that can be used for learning about Wikiversity at all levels (beginners, intermediate, advanced...see: Topic:Wikiversity). If we really believe in the power of learning projects, then maybe there should also be Wikiversity policy, a learning project about Wikiversity policies. I am very doubtful about pages such as Introduction Overhaul Taskforce existing in the "Wikiversity:" namespace. If we put the Main Page back in the main namespace then there would only need be The Division of Wikiversity Learning Resources and sub-projects in the "Topic:" namespace such as Introduction Overhaul Taskforce.

Strange loops
Wikipedia has always had a bias against discussing itself in the main Wikipedia namespace. "The topic of Wikipedia articles should always look outward, not inward at the Wikipedia itself." There is Wikipedia, but there is not really much that a conventional encyclopedia need say about Wikipedia. Of course, Wikipedia is not conventional, so editors are always finding ways to include things in Wikipedia that would never be found in a printed encyclopedia. In addition to the main article about Wikipedia, there are a few others such as History of Wikipedia, Wikipedia in culture, Criticism of Wikipedia and Wikipedia community.

Wikiversity as an object of study
One of the first things I did at Wikiversity was start learning projects about wiki itself. If Wikiversity is specialized for exploring how to use wiki technology to promote learning, then we cannot ignore the need to have learning resources that are about Wikiversity itself. If we allow main namspace learning projects about Wikiversity (example) then what should be the relationship between those main namespace pages and other pages about Wikiversity in the "Help:" and "Wikiversity:" namespaces?

Radical proposal
What if we had a general rule that says, "Make the "Wikiversity:" namespace as small as possible"? We started this process by putting WikiProjects in the "School:" and "Topic:" namespaces and not in the "Wikiversity:" namespace. Which other introspective pages about Wikiversity can take the form of learning projects in the main namespace? Should we have a strict definition of "Wikiversity:" namespace content restricting its pages to just policy pages?

Portal:Wikiversity
At Wikipedia, w:Portal:Wikipedia redirects to w:Wikipedia:Community Portal. At Wikiversity, Wikiversity:Community Portal was quickly created and within a few week it was bloated with a bunch of links copied from Wikipedia. Many of these links remain red (I just fixed the link for "Administrators") and the "Community Portal" page is seldom updated. Right now it has a huge chunk of white space right in the middle of the page.

The idea of a "community portal" seems to go back to 2004, some 3 years after the Wikipedia project started. Early versions of the page actually had a section called "New to Wikipedia?", but the page has degenerated into an amazingly over-complex mass that only an addicted Wikipedian could love. Reproducing that structure at the new Wikiversity website was another abomination, similar to what was done to the Wikiversity Main Page. Wikipedians who know nothing about Wikiversity trying to turn Wikiversity into some sort of Wikipedia clone.

I've long felt that the "Wikipedia:" namespace was a mysterious mess where I can always expect to find more pages that I never knew existed. Since I have started going through the "Wikiversity:" namespace I have the same feeling about it. If you want to create a page and do not know where to put, the default dumping ground seems to be the "Wikiversity:" namespace. To make sense of it all we can use Portal:Wikiversity, categories, and navigation boxes (example).

title: User:JWSchmidt/Blog/27 May 2007