text:
User talk:Sahit87

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Human Legacy Course
Hello Sahit87! I am very excited that you are interested in my Human Legacy Course. We are going to be starting a new course here, and I need to know immediately whether you are going to commit to this course or not. Please know that this is a college course, and there is going to be a good amount of work, thus I need to know if you will be in this for the long-run. You must be a member of WiZiQ in order to participate in this course, which is completely free and takes about 30 seconds. So, sign up on WiZiQ and then I will send you a link to the orientation session. If for any reason, you cannot make it to this orientation, please let me know immediately. Again, I am very sorry that I am being a bit hasty here, however, this is a new school year and I need to see who is staying with the course and who is not. If you have any questions whatsoever about anything that I have talked about or something that may be bugging you, please post them on my talk page. I am looking forward to seeing you and I hope that you can be apart of this great course! --MrABlair23 00:22, 6 October 2011 (UTC)

title: User talk:Sahit87


text:
User talk:Janetsky~enwikiversity

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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Janetsky. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Janetsky~enwikiversity that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:39, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:12, 19 April 2015 (UTC)

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title: User talk:Janetsky~enwikiversity


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User talk:Kurt.kincaid

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Signing your name
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title: User talk:Kurt.kincaid


text:
User:Egm6321.f10.team2.oztekin/hw3

Given
$$\displaystyle a(x)=\sin x^{3}$$ $$\displaystyle b(x)=\cos x$$ $$\displaystyle c(y)=\exp(2y)$$

Find
1. Find an N1-ODE of the form (1) p.13-2 that is either exact or can be made exact by IFM. (See R3.1)
 * {| style="width:100%" border="0"

(3.3.1)
 * $$ \displaystyle \underbrace{\bar b(x,y) c(y)}_{\displaystyle\color{blue}{N(x,y)}} \, y' + \underbrace{a(x) \bar c(x,y)}_{\displaystyle \color{blue}{M(x,y)}}=0 $$
 *
 *
 * }

2. Find the first integral

$$\phi(x,y)=k $$

Solution
1. From definitions Eq. (2) p.13-2 and (1) p.13-3,

 * {| style="width:100%" border="0"

 * $$ \displaystyle \bar{b} \left( x\right) = \int\limits_ – ^{x}{{b} \left( s\right)}ds = \int\limits_ – ^{x}{cos(s)}ds = sin x $$
 * $$ \displaystyle \bar{b} \left( x\right) = \int\limits_ – ^{x}{{b} \left( s\right)}ds = \int\limits_ – ^{x}{cos(s)}ds = sin x $$

(3.3.2)
 *
 * }

 * {| style="width:100%" border="0"

(3.3.3)
 * $$ \displaystyle \bar{c} \left( y\right) = \int\limits_ – ^{y}{{c} \left( s\right)}ds = \int\limits_ – ^{y}{e^{2s}} ds = \frac{1}{2}e^{2y} $$
 *
 *
 * }

Let substituting $$\displaystyle a(x),\bar{b}(x), \bar{c}(y), c(y) $$ into Eq. 3.3.1, we have

 * {| style="width:100%" border="0"

(3.3.4)
 * $$ sin (x) e^{2y} y' + sin(x^{3}) \frac{1}{2} e^{2y} = 0 $$
 *
 *
 * }

We can cancel Eq. 3.3.4 by $$ \displaystyle e^{2y} $$, then

 * {| style="width:100%" border="0"

(3.3.5)
 * $$ sin (x)y' + \frac{1}{2} sin(x^{3})  = 0 $$
 *
 *
 * }

i. First exactness condition,

$$\displaystyle N(x,y)y' + M(x,y) = 0$$

with

 * {| style="width:100%" border="0"

$$\displaystyle M(x) = \frac{1}{2} sin(x^{3}) $$

(3.3.6)
 *
 * }

and

 * {| style="width:100%" border="0"

$$\displaystyle N(x) = sin (x) $$

(3.3.7)
 *
 * }

so it satisfies the first condition.

ii. Second exactness condition

 * {| style="width:100%" border="0"

$$\displaystyle M_{y} (x,y)= \frac{\partial M }{\partial y} = 0 $$ (3.3.8)
 *
 * }
 * {| style="width:100%" border="0"

(3.3.9) so
 * $$\displaystyle N_{x} (x,y)= \frac{\partial N }{\partial x} = cos(x) $$
 *
 *
 * }

$$\displaystyle M_{y}(x,y) \ne N_{x}(x,y) $$ Therefore, Eq (3.3.5) is not exact.

iii. Finding an integrating factor h(x,y) such that the following exact N1-ODE:

 * {| style="width:100%" border="0"

(3.3.10)
 * $$h(x)\left[\underbrace{sin(x)}_{N(x,y)}{y}'+\underbrace{\frac{1}{2}sin({{x}^{3}})}_{M(x,y)}\right]=0$$
 *
 *
 * }

satisfies the condition (2) p,11-2 :

 * {| style="width:100%" border="0"

(3.3.11)
 * $$\displaystyle \frac{h_{x}}{h}= -\frac{1}{N}(N_{x}-M_{y})=: n(x)$$
 *

 *

 * }

then

Substituting $$\displaystyle N$$, $$\displaystyle N_{x}$$, and  $$\displaystyle M_{y}$$  into  Eq (3.2.11)

 * {| style="width:100%" border="0"

(3.3.12)
 * $$\displaystyle n(x)= -\frac {1}{sin x}[cos x - 0]$$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.3.13) Changing the variable of function,
 * $$\displaystyle n(x)= -\frac {cos x}{sin x} $$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.3.14)
 * $$\displaystyle n(s)= -\frac {cos (s)}{sin (s)} $$
 *

 *

 * }

Definition from $$\displaystyle h(x)$$

 * {| style="width:100%" border="0"

(3.3.15) Substituting $$\displaystyle n(s) $$ into Eq (2.18.10)
 * $$\displaystyle h(x) = exp \left[\int^x n(s)ds + k \right]$$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.3.16)
 * $$\displaystyle h(x) = exp \left[\int^x (-\frac {cos (s)}{sin (s)})ds + k \right]$$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.3.17)
 * $$\displaystyle h(x) = exp \left[-ln(sin (x))+ k \right]$$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.3.18)
 * $$\displaystyle h(x) = \frac{1}{sin x} $$
 *

 *

 * }

Now, we can find exact N1-ODE because we have the integrating factor h(x),

 * {| style="width:100%" border="0"

(3.3.19)
 * $$ \displaystyle \underbrace {(hN)}_{\displaystyle \color{blue}{\bar N}} \, y' + \underbrace{(hM)}_{\displaystyle \color{blue}{\bar M}}=0 $$
 *

 *

 * }

So then

 * {| style="width:100%" border="0"

(3.3.20)
 * $$\left[\underbrace{\frac {1}{sin x}sin(x)}_{\bar N(x,y)} \, y' +\underbrace{\frac {1}{sin x}\frac{1}{2}sin({{x}^{3}})}_{\bar M(x,y)}\right]=0$$
 *

 *

 * }

If we rearrange and rewrite it, we will have

 * {| style="width:100%" border="0"

(3.3.21)
 * $$\left[\underbrace{1}_{\bar N(x,y)} \, y' +\underbrace{\frac{sin (x^3)}{2 sin (x)}}_{\bar M(x,y)}\right]=0$$
 *

 *

 * }

iv. If we test second exactness condition for Eq. 3.3.

 * {| style="width:100%" border="0"

$$\displaystyle \bar M_{y} (x,y)= \frac{\partial \bar M }{\partial y} = 0 $$ (3.3.22)
 *

 * }
 * {| style="width:100%" border="0"

(3.3.23) so
 * $$\displaystyle \bar N_{x} (x,y)= \frac{\partial \bar N }{\partial x} = 0 $$
 *

 *

 * }

$$\displaystyle \bar M_{y}(x,y) = \bar N_{x}(x,y) $$ Therefore, Eq (3.3.) is exact.

2. To find $$\displaystyle\phi(x,y)=k $$, we need to use the exact N1-ODE we have found in Eq. 3.3

From Eq. (2) p. 8-5 and (1) p. 8-6 respectively,
 * {| style="width:100%" border="0"

(3.3.24)
 * $$\bar M(x,y)=\frac{\partial \phi{(x,y)}}{\partial {x}}=:\phi_{x}{(x,y)}$$
 *

 *

 * }

 * {| style="width:100%" border="0"

(3.3.25)
 * $$\bar N(x,y)=\frac{\partial \phi{(x,y)}}{\partial {y}}=:\phi_{y}{(x,y)}$$
 *

 *

 * }

If we integrate Eq. 3.3.24 and Eq. 3.3.25 with respect to x, y, respectively, we will get

 * {| style="width:100%" border="0"

 * $$\int \phi_{x}{(x,y)}dx = \phi {(x,y)} = \int \bar M(x,y) dx + k(y)$$
 * $$\int \phi_{x}{(x,y)}dx = \phi {(x,y)} = \int \bar M(x,y) dx + k(y)$$

(3.3.26)
 *

 * }

 * {| style="width:100%" border="0"

 * $$\,\int \phi_{y}{(x,y)}dy = \phi {(x,y)} = \int \bar N(x,y) dy + k(x)$$
 * $$\,\int \phi_{y}{(x,y)}dy = \phi {(x,y)} = \int \bar N(x,y) dy + k(x)$$

(3.3.27)
 *

 * }

If we differentiate Eq. 3.3. with respect to y, we will have

 * {| style="width:100%" border="0"

 * $$\displaystyle \frac{\partial \phi{(x,y)}}{\partial {y}} = \frac{d ( \int \bar M(x,y) dx) }{dy} + k'(y)$$
 * $$\displaystyle \frac{\partial \phi{(x,y)}}{\partial {y}} = \frac{d ( \int \bar M(x,y) dx) }{dy} + k'(y)$$

(3.3.28)
 *

 * }

 * {| style="width:100%" border="0"

 * $$ \displaystyle \bar N(x,y) = 0 + k'(y)$$
 * $$ \displaystyle \bar N(x,y) = 0 + k'(y)$$

(3.3.29)
 *

 * }

 * {| style="width:100%" border="0"

 * $$ \displaystyle 1 = k'(y)$$
 * $$ \displaystyle 1 = k'(y)$$

(3.3.30)
 *

 * }

Integrate Eq. 3.3.30 with respect to y,

 * {| style="width:100%" border="0"

 * $$ \displaystyle y + c = k(y)$$
 * $$ \displaystyle y + c = k(y)$$

(3.3.31)
 *

 * }

Substituting Eq. 3.3.31 into Eq. 3.3.26 to get $$\displaystyle\phi(x,y)$$

 * {| style="width:100%" border="0"

(3.3.32)
 * $$\phi ( x,y )=\int{\bar M\left( x,y \right)dx + y + c}$$
 *

 *

 * }

As a result,

 * {| style="width:100%" border="0"

(3.3.33)
 * $$\phi ( x,y )=\int{\frac{sin (x^3)}{2 sin (x)}dx + y = k}$$
 *

 *

 * }

Given

 * {| style="width:100%" border="0"

$$\displaystyle \left( \frac {1}{3}x^3+d_1\right)\left(y^4\right)y' + (5x^3+2)\left(\frac {1}{5}y^5+ sinx + d_2\right) = 0$$ (3.2.1)
 *

 * }

Find
Show that the Equation (3.2.1) is exact or not. If it is not, can it be made exact by using the IFM? Find the IFM h(x,y).

Solution
1. First exactness condition,

$$\displaystyle N(x,y)y' + M(x,y) = 0$$

with

 * {| style="width:100%" border="0"

$$\displaystyle M(x,y) = (5x^3+2)\left(\frac {1}{5}y^5+ sinx + d_2\right)$$

(3.2.2)
 *

 * }

and

 * {| style="width:100%" border="0"

$$\displaystyle N(x,y) = \left( \frac {1}{3}x^3+d_1\right)\left(y^4\right)$$

(3.2.3)
 *

 * }

so it satisfies the first condition.

2. Second exactness condition

 * {| style="width:100%" border="0"

$$\displaystyle M_{y} (x,y)= a(x).c(y)= (5x^3+2) (y^4) $$ (3.2.4)
 *

 * }
 * {| style="width:100%" border="0"

(3.2.5) so
 * $$\displaystyle N_{x} (x,y)= b(x).c(y)= (x^2) (y^4) $$
 *

 *

 * }

$$\displaystyle M_{y}(x,y) \ne N_{x}(x,y) $$ Therefore, Eq (3.2.1) is not exact.

3. Finding an integrating factor h(x,y) such that the following exact N1-ODE:

 * {| style="width:100%" border="0"

(3.2.5)
 * $$ \displaystyle h(x,y) \left[\underbrace{\bar b(x,y) c(y)}_{\displaystyle\color{blue}{N(x,y)}} \, y' + \underbrace{a(x) \bar c(x,y)}_{\displaystyle \color{blue}{M(x,y)}}\right]=0 $$
 *

 *

 * }

satisfies the condition (2) p,11-2 :

 * {| style="width:100%" border="0"

(3.2.6)
 * $$\displaystyle \frac{h_{x}}{h}= -\frac{1}{N}(N_{x}-M_{y})=: n(x)$$
 *

 *

 * }

that an integrating factor h(x) can be found to render it exact, only if $$ \displaystyle k_1(y)=d_1 $$ (constant)

then

Substituting $$\displaystyle N$$ Eq (3.2.3), $$\displaystyle N_{x}$$  Eq (3.2.5),  and  $$\displaystyle M_{y}$$  Eq (3.2.4)  into  Eq (3.2.6)

 * {| style="width:100%" border="0"

(3.2.7)
 * $$\displaystyle n(x)= -\frac {1}{\bar b(x)\cancel{c(y)}}\left[ b(x)\cancel{c(y)}-a(x)\cancel{c(y)}\right] = -\frac {1}{\frac{1}{3} x^3}[x^2-(5x^3+2)]$$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.2.8) Changing the variable of function,
 * $$\displaystyle n(x)= 3(\frac{2}{x^3}-\frac{1}{x}+5) $$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.2.9)
 * $$\displaystyle n(s)= 3(\frac{2}{s^3}-\frac{1}{s}+5)$$
 *

 *

 * }

Definition from $$\displaystyle h(x)$$

 * {| style="width:100%" border="0"

(3.2.10) Substituting $$\displaystyle n(s) $$ into Eq (2.18.10)
 * $$\displaystyle h(x) = exp \left[\int^x n(s)ds + k \right]$$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.2.11)
 * $$\displaystyle h(x) = exp \left[3 \int^x (\frac{2}{s^3}-\frac{1}{s}+5)ds + k \right]$$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.2.12)
 * $$\displaystyle h(x) = exp \left[-\frac{3}{x^2}-3ln(x)+15x+ k \right]$$
 *

 *

 * }
 * {| style="width:100%" border="0"

(3.2.13)
 * $$\displaystyle h(x) = \frac{1}{x^3}exp \left[-\frac{3}{x^2}+15x + k \right]$$
 *

 *

 * }

title: User:Egm6321.f10.team2.oztekin/hw3


text:
User talk:WikiMike~enwikiversity

 Hello WikiMike, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. All users are expected to abide by our Privacy policy, Civility policy, and the Terms of Use while at Wikiversity.

To get started, you may

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 * Visit a (kind of) random project.
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You don't need to be an educator to edit. You only need to be bold to contribute and to experiment with the sandbox or your userpage. See you around Wikiversity! --Abd 22:24, 4 October 2011 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called WikiMike. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name WikiMike~enwikiversity that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:47, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:25, 19 April 2015 (UTC)

title: User talk:WikiMike~enwikiversity


text:
User talk:Huynhtanluc

 Hello Huynhtanluc, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. All users are expected to abide by our Privacy policy, Civility policy, and the Terms of Use while at Wikiversity.

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You don't need to be an educator to edit. You only need to be bold to contribute and to experiment with the sandbox or your userpage. See you around Wikiversity! --Abd 22:24, 4 October 2011 (UTC)

title: User talk:Huynhtanluc


text:
User talk:Aomidpanah

 Hello Aomidpanah, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. All users are expected to abide by our Privacy policy, Civility policy, and the Terms of Use while at Wikiversity.

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title: User talk:Aomidpanah


text:
User talk:ThomasPasco

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title: User talk:ThomasPasco


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User talk:Dsamura3302

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User talk:Songsit

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User talk:Anupmehra

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text: File:Ode45 pj.jpg

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text: File:DSP HW07.20111005.pdf

title: File:DSP HW07.20111005.pdf


text:
Hymnology

Sacred Music

The 1000 Songs Project

This project is an attempt to create a taxonomy of songs intended for congregational singing in a Christian church. It will be built and maintained by students, and then used as a resource and guide by more students. It is a hymnal with 1000 songs, designed to represent a balance of historical traditions as well as contemporary culture. It is also a hymn companion, with background information regarding the source, context and material for each song. It is also an anthology of music and texts, providing written scores for study and arrangement, as well as a creative outlet for composition and arranging students. It is also a resource for worship leaders, who might find a new text or tune for a song, or perhaps some background information that will help. Let's get started!

THE LIST OF 1000 Songs

200 Bible songs 150 psalms 6 canticles, 12 hymn fragments 32 prophetic songs Use a minimum of three sources for every assertion you make (our text and Wikipedia are two options), and LINK TO YOUR SOURCE every detail that is not just common knowledge! No need for you to write something that someone else has already written—link to the thing that says what you would say. Use Wikipedia as one of your sources, and EDIT the article if you have something to add to it. (Extra credit for improving a Wikipedia article!)

What to include:

Why might this passage be included as an example of biblical songs? Was it intended to be sung by a congregation? If so, how might that work in your church today?

Find out some information about the writer, about the historical and cultural setting. (Beware of higher criticism!)

Explain the content of the material itself.

Pick or create your own “Editor’s Choice” version of this text, suitable for singing. Choose your translation or possibly metricized version, or make your own. Include other versions, such as Tate& Brady or Sternhold&Hopkins, other metricized versions, various translations that might work for singing, etc. Find musical settings out there—someone’s been singing this passage for thousands of years, including today. What’s that text and music look and sound like?

Extra credit for each if you include music, a chart, and/or a recording.

100 Pre-Reformation 50 Early Christian hymns (AD 100-400) 20 Greek hymns 10 Odes of Solomon 20 Syrian hymns 15 Byzantine hymns (AD 400-1000) 15 Latin hymns (AD 400-1000) 10 Late Middle Ages (AD 1000-1500) 10 Pre-Reformation hymns (AD 1200-1500) 100 Early Reformation (AD 1500-1600) 40 Lutheran chorales (Luther’s psalm settings included above in “psalms”) 10 Reformed (metricized psalter included above in “psalms”) 30 Anglican 20 Catholic Counter-Reformation 200 Second-Generation Reformation (AD 1600-1700) 50 Lutheran pietist 50 Anabaptist (Radical Reformed) 50 Reformed (new generation metricized psalms, included above in “psalms”) 50 Anglican chorales and Moravian hymns 200 British hymns (AD 1700-1800) 50 Isaac Watts (150 psalms included above in “psalms”) 50 Charles Wesley hymns 50 Evangelical hymns 50 Olney hymns 200 American/English songs (AD 1800-1900) 50 singing school, spirituals and campmeeting songs 50 transitional, Oxford, Victorian hymns (50 early American psalmody and shaped-note tunes) (50 Lowell Mason tunes) 50 Sunday School songs 50 Gospel Songs (Sankey and Bliss) 200 American/English songs (AD 1900-2000) 20 hymns 20 Black gospel 20 Southern gospel 20 Sentimental (1900-1950) 20 Youth-oriented (1950-1970) 20 Evangelism-oriented (1960-1980) 20 Praise songs (1960-1990) 20 presentational-to-congregational (1990-2010) 20 postmodern self-orientation (2000-present)

title: Hymnology


text:
Paideia High School/Hymn to God the Father

A Hymn to God the Father is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Exordium
The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

Oral Presentation

 *
 *

Written Presentation
A Hymn to God the Father John Donne (1623)

WILT Thou forgive that sin where I begun, Which was my sin, though it were done before? Wilt Thou forgive that sin through which I run, And do run still, though still I do deplore? When Thou hast done, Thou hast not done;

For I have more.

Wilt Thou forgive that sin which I have won Others to sin, and made my sins their door? Wilt Thou forgive that sin which I did shun A year or two, but wallow'd in a score?

When Thou hast done, Thou hast not done; For I have more. I have a sin of fear, that when I've spun My last thread, I shall perish on the shore; But swear by Thyself that at my death Thy Son

Shall shine as He shines now and heretofore: And having done that, Thou hast done; I fear no more.

The poet died more than 100 years ago and the poem was published prior to 1923, so it is in the public domain.
 *
 * http://en.wikisource.org/wiki/A_Hymn_to_God_the_Father

Interpretation
Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.

These questions can be appropriately modified for analysis of a work in science, mathematics, or the fine arts. Analysis of these types of works proceeds in a manner analagous to that of a text. Inasmuch as imaginative literature can be considered a work of fine art, the analogies drawn in Adler's and Van Doren's How to Read a Book can serve as a guide to other types of works too.

Interpretation of  or
In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways. . In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
 *
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

 *
 *
 *

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Sentences
One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.

Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speechs often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.

 * :
 * :
 * : <explanation of meter and rhythm, consideration of overall prosody>
 * <Fourth Sentence>: <etc.>

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * <Argument>: <demonstration of both the grammar of the sentences comprising premeses and of the concluding proposition along with the logic of the argument followed by an explanation of how the arguments help to unravel the author's meaning>
 * <Passage Illustrating Rhetorical Rules>: <demonstration of the rhetorical rules and their value in the success of the author's purpose>
 * <Passage Illustrating Poetical Rules>: <demonstration of the poetical rules and their value in the success of the author's purpose>
 * <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>

Erudition
Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.

<Note that these categories are presented alphabetically for ease of organization>

Anthropological References

 * <information relevant to anthropological issues and discoveries--include citations--delete if not used>

Antiquarian References

 * <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

Archaeological References

 * <information about details related to archaeological discoveries--include citations--delete if not used>

Biographical References

 * <information about the author--always include>
 * <information about other textual references to important people--include citations--delete if not used>

Cultural References

 * <information and links to cultural references--include citations--delete if not used>

Ethical References

 * <information and links to ethical references--include citations--delete if not used>

Geographical References

 * <links to relevant maps--delete if not used>
 * <information relevant to geographical references--include citations--delete if not used>

Historical References

 * <information and links to historical references--include citations--delete if not used>

Mathematical References

 * <information and links to mathematical references--include citations--delete if not used>

Political References

 * <information and links to political references--include citations--delete if not used>

Religious References

 * <information and links to religious references--include citations--delete if not used>

Scientific References

 * <information and links to scientific references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * <links to additional quality recordings--include citations--delete if not used>
 * <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

Speaking Skills

 * <imitation of quality oral readings--should be a part of every unit>
 * <recitations from memory--should be some part of every unit>
 * <oral presentations of written work--should be a part of most units>
 * <class discussions--should be a part of every unit>
 * <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

Reading Skills

 * <read hard-copy with a pencil in hand--always!>
 * <marking up a text both with a pencil and electronically>
 * <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
 * <analytical reading notes as taught in the same work>

Writing Skills

 * <Choose phrases from text and express them in different ways>
 * <Reconstruct a previously disarranged passage from the text>
 * <Compose verses or lines in imitation of the author>
 * <Change a passage or poem of one kind into another kind>
 * <Imitate a passage>
 * <Write a composition imitating the author>
 * <Translate sentences or passages into Latin or another language>

Seminar Question Writing Guidelines
The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.

Specific Seminars
<Include written plans of actual seminars that have been conducted here.>


text:
1000 Songs

Presentation
From https://en.wikiversity.org/w/index.php?title=User_talk:TheProf&oldid=791805

06 X 11

The purpose and contents of this learning resource is to be hymnology project. The plan is for it to be open content, contributed by students and others. Much of the content will be short explanations with wikipedia links. Other content will be student compositions in pdf and/or audio files. The "songs" are mostly public domain hymns, with student editing and tunes supplied.

(...)

This project is specifically sacred/congregational music. It should not be the only learning project in the Sacred Music division, and it seems there should be another layer between Sacred Music, and even Hymnology, and the 1000 Songs Project.

150 psalms
How blessed in the man who walks not Ps 001

Why do the nations rage Ps 002

My God my God why have You forsaken me Ps 022

The Lord is my shepherd I shall not want Ps 023

The earth is the Lord's and the fulness thereof Ps 024

How blessed is the man whose transgression is forgiven Ps 032

Sing joyfully to the Lord you righteous Ps 033

Why are you downcast O my soul Ps 042

God is our refuge and strength Ps 046

Have mercy on me O God Ps 051

May God arise may his enemies be scattered Ps 068

Sing to the Lord a new song Ps 098

Praise the Lord Praise O servants of the Lord Ps 113

Give thanks to the Lord for He is good Ps 118

Blessed are those whose way is blameless Ps 119

Out of the depths I cry to You O Lord Ps 130

Praise the Lord How good it is to sing praises to our God Ps 147

Praise the Lord Praise the Lord from the heavens Ps 148

Praise the Lord Sing to the Lord a new song Ps 149

Praise the Lord Praise God in his sanctuary Ps 150

6 canticles
My soul magnifies the Lord Luke 1:46-55

Praise be to the Lord the God of Israel Luke 1:67-79

Glory to God in the highest Luke 2:14

Now dismiss your servant in peace Luke 2:29-32

12 hymn fragments
Have this mind among yourselves which is also in Christ Jesus Phil 2:5-11

Awake O sleeper and rise from the dead Eph 5:14

He appeared in a body 1 Tim 3:16

If we died with Him we will also live with Him 2 Tim 2:11-13

Worthy are You to take the scroll Rev 5:9-10 (8-14)

32 prophetic songs
I will sing unto the Lord, for He has triumphed gloriously Exod 15:1-18

Give ear, O heavens and I will speak Deut 32:1-43

For unto us a child is born Is 9:6

The desert and the parched land will be glad Is 35

Who has believed our message Is 53

The Lord is a jealous and avenging God Nahum 1:2-8

O Lord I have heard the report of You Hab 3:2-19

20 Greek hymns
Shepherd of Eager Youth (Clement of Alexandria)

Sunset to Sunrise Changes Now (Clement of Alexandria)

Hymns to Christ the Savior "Bridle of colts untamed" (Clement of Alexandria)

O Gladsome Light of the Father Immortal (anon)

Oxyrhynchus hymn fragment

What new mystery then is this (Melito of Sardis)

10 Odes of Solomon
The Lord abides upon my head like a crown (ode 01)

As the hand moves over the harp and the strings speak ode 06

As the impulse of anger against evil (ode 07)

I stretched out my hands and approached my Lord (ode 42)

20 Syrian hymns
Lord Jesus Think on Me (Synesius of Cyrene)

Light is arisen upon the just (Ephriam of Syria)

The Pearl (Ephriam of Syria)

15 Byzantine hymns (AD 400-1000)
Only-begotten Son and Word of God

Save the world, O Savior (Romanus)

The Day of Resurrection (John of Damascus)

Come ye faithful raise the strain (John of Damascus)

Trisagion Hymn (John Chrysostem)

Let all mortal flesh keep silence (St. James)

When we were buried with you in baptism (Vespers of Palm Sunday)

15 Latin hymns (AD 400-1000)
Lorica--I bund unto myself today (Patrick)

Framer of the earth and sky (Ambrose)

Deus Creator omnium--Maker of all things God most high (Ambrose)

Iam surgit hora tertia--Come thou savior of our race (Ambrose)

Splendor paternae gloriae--O splendor of God's glory bright (Ambrose)

Claro paschali gaudio--That Easter day with joy was bright

Veni veni Emmanuel--O come O come Emmanuel

Te Deum laudamus--We praise Thee O God

Kyrie eleison--Lord have mercy

Gloria in excelsis Deo--Glory to God in the highest

Sanctus Sanctus Sanctus--Holy holy holy

Of the Father's love begotten (Prudentius)

All glory laud and honor (Theodulph of Orleans)

Veni Creator Spiritus--Come Holy Ghost our souls inspire

jubilus

10 Late Middle Ages (AD 1000-1500)
Victimae paschali laudes--Christians to the Paschal victim (Wipo of Burgundy)

Dies irae--Day of wrath O day of mourning (Thomas of Celano)

Stabat mater--At the cross her station keeping

Alone thou goest forth O Lord (Peter Abelard)

Jesus the very thought of Thee (Bernard of Clairvaux)

Jesus thou joy of loving hearts (Bernard of Clairvaux)

Jerusalem the golden (Bernard of Cluny)

Symphony of the harmony of celestial revelations (Hildegard of Bingen)

Adoro te devote--Humbly I adore Thee (Thomas Aquinas)

10 Pre-Reformation hymns (AD 1200-1500)
Canticle of the Sun (Francis of Assisi)

All creatures of our God and King (Francis of Assisi)

Discendi amor santo--Come down O love divine

30 Lutheran chorales (Luther’s psalm settings included above in “psalms”)
A Mighty Fortress Is Our God (Martin Luther)

Out of the Depths I Cry (Martin Luther)

Christ Jesus Lay in Death's Strong Bands (Martin Luther)

Come Holy Ghost God and Lord (Martin Luther)

Christ Who Freed Our Souls From Danger (Martin Luther)

(Justus Jonas) Hans Sachs Paul Speratus

All glory be to God on high (Nicolaus Decius)

Nicolaus Hermann Paul Eber Nicolaus Selnecker Bartholomaeus Ringwaldt Martin Schalling Martin Moller

Wake awake for night is flying (Philipp Nicolai)

O morning star how fair and bright (Philipp Nicolai)

10 Lutheran chorale tunes
WACHET AUF (Philipp Nicolai)

WIE SCHON LEUCHTET (Philipp Nicolai)

PASSION CHORALE (Hans Leo Hassler)

ST THEODULPH (Melchior Teschner)

ES IST EIN ROS'ENTSPRUNGEN (Michael Praetorius)

10 Reformed (metricized psalter included above in “psalms”)
OLD 100TH (Louis Bourgeois)

OLD 124 (Louis Bourgeois)

NUNC DIMITTIS (Louis Bourgeois)

RENDEZ A DIEU (Louis Bourgeois)

30 Anglican
Sternhold and Hopkins Sternhold and Hopkins Sternhold and Hopkins Sternhold and Hopkins Sternhold and Hopkins

While shepherds watched their flocks by night (Tate and Brady)

Tate and Brady Tate and Brady Tate and Brady

HANOVER (William Croft, Tate and Brady)

ST ANNE (William Croft, Tate and Brady) Thomas Ravenscroft

TALLIS' ORDINAL (Thomas Tallis)

TALLIS' CANON (Thomas Tallis)

CAITHNESS (Scottish Psalter, Edware Millar)

DUNDEE (Scottish Psalter, Edware Millar)

20 Catholic Counter-Reformation
Silent night holy night (Joseph Mohr)

STABAT MATER (Jacopone da Todi), Pope Innocent III

LASST UNS ERFREUEN

STILLE NACHT (Franz Gruber)

200 Second-Generation Reformation (AD 1600-1700)

50 Lutheran pietist/orthodox
Sing praise to God who reigns above (Johann Jakob Schutz)

Praise to the Lord the Almighty (Joachim Neander)

Joachim Neander Joachim Neander Gerhard Tersteegen

My Jesus as thou wilt (Benjamin Schmolck)

Open now thy gates of beauty (Benjamin Schmolck)

We plow the fields and scatter (Matthias Claudius)

Sinners Jesus will receive (Erdmann Neumeister)

Print thine image pure and holy (Thomas Hansen Kingo)

Jesus thy boundless love to me (Paul Gerhardt)

All my heart this night rejoices (Paul Gerhardt)

(Paul Gerhardt) (Paul Gerhardt)

50 Anabaptist (Radical Reformed)
Menno Simons Michael Weisse

Jesus still lead on (Nicolaus von Zinzendorf)

Christian heats in love united (Nicolaus von Zinzendorf)

Jesus thy blood and righteousness (Nicolaus von Zinzendorf)

Thou great high priest (Nicolaus von Zinzendorf)

Nicolaus von Zinzendorf Nicolaus von Zinzendorf

50 Isaac Watts (150 psalms included above in “psalms”)
Come ye that love the Lord (Isaac Watts)

O God our help in ages past (Isaac Watts)

I sing the mighty power of God (Isaac Watts)

Joy to the world the Lord is come (Isaac Watts)

When I survey the wondrous cross (Isaac Watts)

Alas and did my Savior bleed (Isaac Watts)

50 Charles Wesley hymns
O for a thousand tongues (Charles Wesley)

Come thou long-expected Jesus (Charles Wesley)

Hark the herald angels sing (Charles Wesley)

Arise my soul arise (Charles Wesley)

And can it be (Charles Wesley)

Christ the Lord is risen today (Charles Wesley)

Jesus lover of my soul (Charles Wesley) Jesus Lover of my soul

50 Olney hymns
Amazing grace how sweet the sound (John Newton)

God moves in a mysterious way (William Cowper)

There is a fountain filled with blood (William Cowper)

50 singing school, spirituals and campmeeting songs
Brethren we have met to worship (George Atkins)

WONDROUS LOVE

Down By the Riverside

50 transitional, Oxford, Victorian hymns
O Zion Haste (Mary Ann Thomson)

Jesus I Am Resting Resting (Jean Pigott)

(50 early American psalmody and shaped-note tunes)
LENOX (Lewis Edson)

When Jesus Wept (William Billings)

HOLY MANNA

AMHERST (William Billings)

BROOKFIELD (William Billings)

CHESTER (William Billings)

LEBANON (William Billings)

GREENWICH (Daniel Read)

WINDHAM (Daniel Read)

(50 Lowell Mason tunes)
BETHANY (Lowell Mason)

OLIVET (Lowell Mason)

DENNIS (Lowell Mason)

BOYLSTON (Lowell Mason)

HAMBURG (Lowell Mason)

WORK SONG (Lowell Mason)

50 Sunday School songs
CHINA (William Bradbury)

BRADBURY (William Bradbury)

SOLID ROCK (William Bradbury)

Just As I Am (William Bradbury)

Sweet hour of prayer (William Bradbury)

What can wash away my sin (Robert Lowry)

Shall we gather at the river (Robert Lowry)

We're marching to Zion (Robert Lowry)

Low in the grave He lay (Robert Lowry)

To God be the glory (William H. Doane)

Jesus keep me near the cross (William H. Doane)

Pass me not O gentle Savior (William H. Doane)

50 Gospel Songs (Sankey and Bliss)
Man of sorrows what a name (P. P. Bliss)

Wonderful words of life (P. P. Bliss)

It is well with my soul (P. P. Bliss)

There were ninety and nine (Ira Sankey)

20 hymns
How great the Father's Love for Us God is Here as We Your People We Will Glorify There is a Redeemer Great is Thy Faithfulness How Great Thou Art

20 Black gospel
Precious Lord Take My Hand By and By O Happy Day Soon and Very Soon Through It All Tell Them Go

20 Southern gospel
He Touched Me Because He Lives

20 Sentimental (1900-1950)
Love Lifted Me Tell Mother I'll Be There Tis So Sweet to Trust in Jesus (Louisa Stead)

20 Youth-oriented (1950-1970)
Christ For Me He's Everything to Me Pass It On Walkin on the Heaven Road Boys and Girls for Jesus

20 Evangelism-oriented (1960-1980)
Just As I Am The Savior is Waiting Room At the Cross for You Yesterday He Died for Me

20 Praise songs (1960-1990)
Majesty Alleluia

20 presentational-to-congregational (1990-2010)
Your Love Oh Lord We Shall Behold Him

20 postmodern self-orientation (2000-present)
How He Loves

title: 1000 Songs


title: File:Egm6321.team4.hw3.prob10-1.png


text: TESOL/Planning to meet

title: TESOL/Planning to meet


text:
User:Egm6321.f10.team2.oztekin/hw3.13

Given
1st relation in 2nd exactness condition for N2-ODEs
 * {| style="width:100%" border="0"

(3.13.1)
 * $$ \displaystyle f_{xx} + 2pf_{xy} + p^2 f_{yy} = g_{xp} + p g_{yp} - g_y $$
 *
 *
 * }

2st relation in 2nd exactness condition for N2-ODEs

 * {| style="width:100%" border="0"

(3.13.2)
 * $$ \displaystyle f_{xp} + pf_{yp} + 2 f_y = g_{pp} $$
 *
 *
 * }

N2-ODE equation for verification,

 * {| style="width:100%" border="0"

 * $$ \displaystyle x\left( y^{\prime} \right)^2 + yy^{\prime} + \left( xy \right) y^{''} = 0 $$
 * $$ \displaystyle x\left( y^{\prime} \right)^2 + yy^{\prime} + \left( xy \right) y^{''} = 0 $$

(3.13.3)
 *
 * }

Find
1. Derive the 2nd relation in the 2nd exactness condition. 2. Derive the 1st relation in the 2nd exactness condition. 3. Verify that the Eq. (3.13.3) satisfies the 1st and 2nd relations in the 2nd exactness condition.

Solution Part C
The N1-ODE-VC: $$\displaystyle \phi(x,y,p)=xp+(2x^{1/2}-1)y = k$$ so we can rewrite, $$\displaystyle xy'+(2x^{1/2}-1)y=k $$ If we rearrange it, we get

$$\displaystyle y'+(2x^{1/2}-\frac{1}{x})y=\frac{k}{x} $$. From the equation (3) p.11-4, we can solve by using integrating factor, $$\displaystyle h(x)=\exp[\int^x a_0(s)ds+k_1] $$

We need to substitute $$\displaystyle a_0(x)=2x^{1/2}-\frac{1}{x} $$ into the h(x)equation $$\displaystyle h(x)=\exp[\int^x (2s^{1/2}-\frac{1}{s})ds+k1] $$ $$\displaystyle h(x)=\exp[\frac{4}{3}x^{3/2}-\ln{x}+k1] $$ $$\displaystyle h(x)=\frac{1}{x}\exp[{\frac{4}{3}x^{3/2}}+k1] $$ From the equation (1) p. 11-5 to find out $$\displaystyle y(x) $$ $$\displaystyle y(x)=\frac{1}{h(x)}\left[\int^x h(s)b(s)ds + k2\right] $$ $$\displaystyle b(x)=\frac{k}{x} $$ $$\displaystyle y(x)=\frac{1}{\frac{1}{x}\exp[{\frac{4}{3}x^{3/2}}+k1]}*\left[\int^x (\frac{1}{s}\exp[{\frac{4}{3}s^{3/2}}+k1])(\frac{k}{s})ds+k2 \right]$$

Solution
1. Derivation of the 2nd relation in the 2nd exactness condition We know that

 * {| style="width:100%" border="0"

 * $$\displaystyle g(x,y,p) = \phi_x +\phi_yp $$
 * $$\displaystyle g(x,y,p) = \phi_x +\phi_yp $$

(3.13.4)
 *
 * }

If we differentiate Eq. 3.13.4 with respect to p, we obtain

 * {| style="width:100%" border="0"

 * $$\displaystyle g_p = \phi_{xp} + \phi_y + p\phi_{yp} $$
 * $$\displaystyle g_p = \phi_{xp} + \phi_y + p\phi_{yp} $$

(3.13.5)
 *
 * }

One more differentiation with respect to p, we obtain
 * {| style="width:100%" border="0"

 * $$ \displaystyle   g_{pp} = \phi_{xpp} + 2\phi_{yp} + \phi_{ypp} p $$
 * $$ \displaystyle   g_{pp} = \phi_{xpp} + 2\phi_{yp} + \phi_{ypp} p $$

(3.13.6)
 *
 * }

Substituting the $$ \displaystyle f :=\phi_p $$ into the Eq. 3.13.6,

 * {| style="width:100%" border="0"

(3.13.7)
 * $$ \displaystyle  g_{pp} = f_{xp} + 2 f_{y} + f_{yp} p $$
 *
 *
 * }

2. Derivation of the 1nd relation in the 2nd exactness condition

i. We know that  $$ \displaystyle \phi_{xp} = \phi_{px} $$

 * {| style="width:100%" border="0"

(3.13.8)
 * $$ \displaystyle ( \phi_{x} )_{p} =( \phi_{p})_{x} $$
 *
 *
 * }

 * {| style="width:100%" border="0"

\begin{align} ( g - \phi_y p )_{p} &= f_x \\ g_p -\phi_{yp} p- \phi_y &= f_x \\ g_p - f_y p - \phi_y &= f_x \end{align} $$     (3.13.9) We can get $$\displaystyle \phi_y $$ with rearranging,
 * $$ \displaystyle
 * $$ \displaystyle
 *
 * }
 * {| style="width:100%" border="0"

(3.13.10)
 * $$ \displaystyle     \phi_y = g_p - f_y p - f_x $$
 *
 *
 * }

Differentiating $$ \displaystyle \phi_y $$ with respect to x,
 * {| style="width:100%" border="0"

(3.13.11)
 * $$ \displaystyle ( \phi_y )_x = g_{px} - f_{yx} p - f_{xx} $$
 *
 *

 * }

ii. We know that $$ \displaystyle (\phi_{y})_{p} =( \phi_{p} )_{y}$$  and $$ \displaystyle f :=\phi_p $$

Also

 * {| style="width:100%" border="0"

\begin{align} g :=&\phi_x + \phi_y p \\ \phi_y=& \left( \frac {g-\phi_x}{p} \right) \end{align} $$     (3.13.12)
 * $$ \displaystyle
 * $$ \displaystyle
 *

 * }

Combining them together, we get
 * {| style="width:100%" border="0"

\begin{align} \left( \frac{g-\phi_x}{p} \right)_{p} &= f_{y} \\ -\frac{g-\phi_x}{p^2} + \frac{g_p - \phi_{xp}}{p} &= f_y \\ -\frac{g-\phi_x}{p^2} + \frac{g_p - f_{x}}{p} &= f_y \end{align} $$     (3.13.13)
 * $$ \displaystyle
 * $$ \displaystyle
 *

 * }

We can get $$\displaystyle \phi_x $$ with rearranging the equation above,
 * {| style="width:100%" border="0"

(3.13.14)
 * $$ \displaystyle \phi_x = g - p \left( g_p - f_x \right) + p^2 f_y $$
 *

 *

 * }

Differentiating $$ \displaystyle \phi_x $$ with respect to y,

 * {| style="width:100%" border="0"

(3.13.15)
 * $$ \displaystyle (\phi_x)_y = g_y - p (g_{py} - f_{xy}) + p^2 f_{yy} $$
 *

 *

 * }

iii. We know that $$ \displaystyle (\phi_{x})_{y} =( \phi_{y} )_{x}$$

If we substitute Eq 3.13. and Eq.3.13 into equity given above, we obtain

 * {| style="width:100%" border="0"

 * $$ \displaystyle    g_y - p (g_{py} - f_{xy}) + p^2 f_{yy} = g_{px} - f_{yx} p - f_{xx} $$
 * $$ \displaystyle    g_y - p (g_{py} - f_{xy}) + p^2 f_{yy} = g_{px} - f_{yx} p - f_{xx} $$

(3.13.16)
 *

 * }

Rearraning the terms on both sides, we get

 * {| style="width:100%" border="0"

 * $$ \displaystyle    f_{xx} + 2p f_{xy} + p^2 f_{yy} = g_{xp} + p g_{yp} - g_y $$
 * $$ \displaystyle    f_{xx} + 2p f_{xy} + p^2 f_{yy} = g_{xp} + p g_{yp} - g_y $$

(3.13.17) 3. Verify
 *

 * }

From (1) 16-6: $$ \displaystyle x(y')^2+yy'+(xy)y''=0 $$ From (2) 16-6:

$$ \displaystyle g(x,y,y')=x(y')^2+yy' = x p^2 + y p $$ From (3) 16-6:

 * $$ \displaystyle f(x,y,y')=xy $$

Therefore, it satisfies the 1st exactness condition.

For 1nd relation in the 2nd exactness condition,

 * {| style="width:100%" border="0"

\begin{align} f_{xx} + 2p f_{xy} + p^2 f_{yy} &= g_{xp} + p g_{yp} - g_y \\ 0 + 2p (1)   + p^2(0)     &= 2p + p(1) - p \\ 2p &= 2p \\ \end{align} $$     (3.13.18)
 * $$ \displaystyle
 * $$ \displaystyle
 *

 * }

For 2nd relation in the 2nd exactness condition,

 * {| style="width:100%" border="0"

\begin{align} g_{pp} &= f_{xp} + 2 f_{y} + f_{yp} p \\ 2x   &= 0      + 2x      + (0)p \\ 2x &= 2x \end{align} $$
 * $$ \displaystyle
 * $$ \displaystyle

(3.13.19) It also satisfies 2nd exactness conditions as it was showed in Eq. 3.13.18 and Eq. 3.13.19.
 *

 * }

title: User:Egm6321.f10.team2.oztekin/hw3.13


text:
User:TheProf/How blessed is the man who walks not

How blessed is the man who walks not Ps 1


text:
1000 Songs/How blessed is the man who walks not Ps 001

How blessed is the man who walks not Ps 001

1000 Songs

The Psalms were intended to be sung corporally and I can see no reason why this should be an exception. It would be quite suitable to sing today because of its content. It transcends culture with its astute wisdom through instructions towards righteous living. This passage consists of three basic elements: the righteous, the wicked, and attributes of Yaweh. The beginning of this segment is sometimes classified as David’s beatitudes, due to its obvious similarity to Jesus’ beatitudes during the Sermon on the Mount in Matthew. It is also known as a wisdom psalm because it has poetic form and style but is distinguished because of content and a tendency toward the proverbial. In this case, it compares the lifestyles of a godly person and an evil person. A wisdom psalm also usually includes general observations on life and our relationship to God.

Author
Most likely, David, considering that he wrote the majority of Psalms, wrote Psalm 1. However, some scholars believe that David is not the author of this particular chapter. Stylistically, it is similar to Proverbs, which leads some scholars to believe that it was written by Solomon as an introduction to his father’s writing.

Translations/Challenges
Done Into Verse, 1653:

 * BLESS'D is the man who hath not walk'd astray
 * In counsel of the wicked, and ith'way
 * Of sinners hath not stood, and in the seat
 * Of scorners hath not sate.
 * But in the great Jehovahs Law is ever his delight,
 * And in his law he studies day and night.
 * He shall be as a tree which planted grows
 * By watry streams, and in his season knows
 * To yield his fruit, and his leaf shall not fall.
 * And what he takes in hand shall prosper all.

 * Not so the wicked, but as chaff which fann'd
 * The wind drives, so the wicked shall not stand
 * In judgment, or abide their tryal then
 * Nor sinners in th'assembly of just men.
 * For the Lord knows th'upright way of the just
 * And the way of bad men to ruine must.

Kim Hill put her own version into a song, Psalm 1 with the following lyrics.

Chorus Blessed is he who will follow the Lord, He will not stand in the path of the sinner, He will not sit in the seat of the scoffer, For the law of the Lord is his delight

In His law he meditates day and night, He will be like a tree planted by water, He will yield his fruit in its season, His leaves won't die, In whatever he does, he will prosper

Repeat Chorus

For the lost, they are like chaff that the wind drives away, They are not safe; at any time their life could perish

Repeat Chorus

The Lord holds the plans, and the paths of all who follow Him, The righteous will stand secure and last forever

Repeat Chorus

Editor's Choice
Psalm 1 - Paraphrased by Robert Burns The man, in life wherever plac'd, Hath happiness in store, Who walks not in the wicked's way, Nor learns their guilty lore!

Nor from the seat of scornful pride Casts forth his eyes abroad, But with humility and awe Still walks before his God.

That man shall flourish like the trees, Which by the streamlets grow; The fruitful top is spread on high, And firm the root below.

But he whose blossom buds in guilt Shall to the ground be cast, And, like the rootless stubble, tost Before the sweeping blast.

For why? that God the good adore, Hath giv'n them peace and rest, But hath decreed that wicked men Shall ne'er be truly blest.

Cultural setting
One cultural reference in the text is the mention of chaff. In a modern urban setting, this has less meaning to us, but in the setting in which this chapter was written, everyone would know that chaff is the hollow part of the wheat grain that is discarded and released to blow anywhere.


text:
1000 Songs/My God my God why have You forsaken me Ps 022

My God my God why have You forsaken me Ps 022

1000 Songs

Text
My God, my God, why hast thou forsaken me? Why art thou so far from helping me, and from the words of my roaring?

O my God, I cry in the day time, but thou hearest not; and in the night season, and am not silent.

But thou art holy, O thou that inhabitest the praises of Israel.

Our fathers trusted in thee: they trusted, and thou didst deliver them.

They cried unto thee, and were delivered: they trusted in thee, and were not confounded.

But I am a worm, and no man; a reproach of men, and despised of the people.

All they that see me laugh me to scorn: they shoot out the lip, they shake the head, saying,

He trusted on the LORD that he would deliver him: let him deliver him, seeing he delighted in him.

But thou art he that took me out of the womb: thou didst make me hope when I was upon my mother's breasts.

I was cast upon thee from the womb: thou art my God from my mother's belly.

Be not far from me; for trouble is near; for there is none to help.

Many bulls have compassed me: strong bulls of Bashan have beset me round.

They gaped upon me with their mouths, as a ravening and a roaring lion.

I am poured out like water, and all my bones are out of joint: my heart is like wax; it is melted in the midst of my bowels.

My strength is dried up like a potsherd; and my tongue cleaveth to my jaws; and thou hast brought me into the dust of death.

For dogs have compassed me: the assembly of the wicked have inclosed me: they pierced my hands and my feet.

I may tell all my bones: they look and stare upon me.

They part my garments among them, and cast lots upon my vesture.

But be not thou far from me, O LORD: O my strength, haste thee to help me.

Deliver my soul from the sword; my darling from the power of the dog.

Save me from the lion's mouth: for thou hast heard me from the horns of the unicorns.

I will declare thy name unto my brethren: in the midst of the congregation will I praise thee.

Ye that fear the LORD, praise him; all ye the seed of Jacob, glorify him; and fear him, all ye the seed of Israel.

For he hath not despised nor abhorred the affliction of the afflicted; neither hath he hid his face from him; but when he cried unto him, he heard.

My praise shall be of thee in the great congregation: I will pay my vows before them that fear him.

The meek shall eat and be satisfied: they shall praise the LORD that seek him: your heart shall live for ever.

All the ends of the world shall remember and turn unto the LORD: and all the kindreds of the nations shall worship before thee.

For the kingdom is the LORD's: and he is the governor among the nations.

All they that be fat upon earth shall eat and worship: all they that go down to the dust shall bow before him: and none can keep alive his own soul.

A seed shall serve him; it shall be accounted to the Lord for a generation.

They shall come, and shall declare his righteousness unto a people that shall be born, that he hath done this.

Psalm 22 in Wikipedia

Author
This Psalm is referenced when Jesus is being crucified (Matt 27:46; Mark 15:34)

This is a Psalm that can apply to both David and Christ, where David speaks through the Spirit as a father and figure of the Messiah.

This Psalm is filled with a battle between complaints and comforts, resolving in

the deliverance of God’s kingdom.

Translations/Challenges
This Psalm is referenced in the hymn “God of Our Fathers” (text by Daniel Roberts, Music by George Warren)

God of our fathers, whose almighty hand Leads forth in beauty all the starry band Of shining worlds in splendor thru the skies, Our grateful songs before Thy throne arise.

Thy love divine hat led us in the past, In this free land by The our lot is cast; Be Thou or Ruler, Guardian, Guide, and Stay, Thy Word or law, Thy paths our chosen way.

From war’s alarms, from deadly pestilence, Be Thy strong arm our ever-sure defense; Thy true religion in our hearts increase, Thy bounteous goodness nourish us in peace.

Refresh Thy people on their toilsome way, Lead us from night to never-ending day; Fill all our lives with love and grace divine, And glory, laud, and praise be ever Thine!


text:
1000 Songs/The Lord is my shepherd I shall not want Ps 023

The Lord is my shepherd I shall not want Ps 023

1000 Songs

Text
The Lord is my shepherd, I lack nothing.

He makes me lie down in green pastures,

he leads me beside quiet waters,

he refreshes my soul.

He guides me along the right paths

for his name’s sake.

Even though I walk

through the darkest valley,

I will fear no evil,

for you are with me;

your rod and your staff,

they comfort me.

You prepare a table before me

in the presence of my enemies.

You anoint my head with oil;

my cup overflows.

Surely your goodness and love will follow me

all the days of my life,

and I will dwell in the house of the Lord

forever.

Author
King David

Arrangements
There are three hymns based off the text of Psalm 23. The first is "Surely Goodness and Mercy" with text and music by John W. Peterson and Alfred B. Smith. The text was altered and set to music in a more simple, understandable way. While it is based off of Psalm 23, it is not the exact text. Second is "The Lord's My Shepherd, I'll Not Want." The music was written by Jessie S. Irvine and arranged by David Grant. The text is as close to the original text as possible with a few alterations to fit the rhythm of the hymn. The third hymn is "The New 23rd". The music and text is written by Ralph Carmichael. Here the original text was simplified and set to music in a less traditional way.

http://www.hymnary.org/


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1000 Songs/Why are you downcast O my soul Ps 042

Why are you downcast O my soul Ps 042

1000 Songs

Commentaries on Psalm 42:

 * Matthew Henry
 * Adam Clarke

Verses 2-3 sung in traditional Hebrew:
 * Hebrew

Where it is used in song:
 * Mendelssohn – (recording)
 * Handel's As Pants The Hart (HWV 251) – (explanation of HWV)* * explanation helps understand psalm’s inclusion
 * Bach's Ich hatte viel Bekümmernis (BWV 21)

Metricized Versions:
 * Tate & Brady
 * Sternhold & Hopkins
 * New England Puritans
 * Old Scottish Psalter (1635)
 * Scottish Reformed Church (1650)
 * Isaac Watts
 * Michael Morgan


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User:KTucker/EditCounterOptIn.js

See this.

title: User:KTucker/EditCounterOptIn.js


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User talk:JeyashreeSaainath

I request any Technical Writing Expert to review the below content and provide comments.

Technical Writing Exercise 4: Describe Wikipedia to your persona.

My Persona : My Father

Persona Details:

1.My father is a retired Goverment servant who is 60 years old. 2.He is a proficient Accounts Officer well versed in Accounting and Ledger Management 3.He Knows the following about a Computer: a. Typing documents using MS-WORD b. Managing accounts on Computer using Government provided specialised Software 4.He does not know to use the Internet 5.He is well versed in reading, writing, and interpreting the following languages: a. Tamil b. English c. Hindi

Instruction booklet for my Father:

What is Wikipedia? Wikipedia is a Website.

What is the Purpose of a Wikipedia? The User can search for any item in the Wikipedia and wikipedia provides information about the Search Item.

How do I access Wikipedia? To access wikipedia, connect to the Internet. Double click the icon titled "Internet Explorer" and type "www.wikipedia.org" in the address bar of the Internet Explorer. Click the Language "English"

What are the items that I can search for in Wikipedia? A Variety of Items can be searched in a wikipedia like companies, famous people, notorious criminals, scientific concepts, literature, languages, history, physics, recipes etc..

You can also make contributions to Wikipedia by providing accurate and Authentic information about any thing that you know.

Carolus Lineaus
I have deleted this page as it contained no content apart from a link to a Wikipedia article. Top level educational resources should have substantial content. If you require any assitance in contributing to Wikiversity, feel free to contact me. -- Simone 09:42, 10 October 2011 (UTC)

title: User talk:JeyashreeSaainath


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User:JeyashreeSaainath

I am From India. I work as an IT professional.

title: User:JeyashreeSaainath


text:
User:KTucker/temp

For now, see this and my user page on WikiEducator.

title: User:KTucker/temp


title: File:CORDIC.VHDL.2.A.20111005.pdf


text:
1000 Songs/How blessed is the man whose transgression is forgiven Ps 032

how blessed is the man whose transgression is forgiven Ps 032

1000 Songs

Author's circumstances
PSALM 32

•	A psalm of David. •	http://en.wikipedia.org/wiki/Psalm_32 •	Ian White’s version: http://www.youtube.com/watch?v=00mHIy96lnI •	FindingTheChurch: http://www.youtube.com/watch?v=sTMnVcTezAw&feature=related o	Talks about how this was written in David’s mourning of what he had done to Uriah. •	Written about Adultery/murder mess. •	This Psalm was sung/used by the Israelites after healing and forgiveness. It is describing the joy in forgiveness and healing. •	A penitential Psalm. •	Probably written in Jerusalem. •	Paul uses Psalms 32:1-2 in Romans 4:7-8 to emphasize that rightenousness comes through faith and not by anything that we can do.


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1000 Songs/Praise the Lord Praise O servants of the Lord Ps 113

Praise the Lord O servants of the Lord Ps 113

1000 Songs

Author
UNKNOWN

Translations/Challenges
http://www.bibletrack.org/cgi-bin/bible.pl?incr=0&mo=7&dy=17

Tune
Andre, William B. Bradbury

LYRICS

http://www.hymnlyrics.org/lyricso/o_praise_the_lord_ye_servants_of_the_lord.html

Author biography
William B. Bradbury

http://hymntime.com/tch/bio/b/r/a/bradbury_wb.htm


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1000 Songs/Blessed are those whose way is blameless Ps 119

Blessed are those whose way is blameless Ps 119

1000 Songs

Text
This Psalm is an acrostic poem divided into 22 sections containing 176 verses. Each section begins with a letter in the Hebrew alphabet in succession from beginning to end. Each section is divided into 8 verses which also start with that letter of the alphabet. This Psalm is commonly used in Orthodox funeral services, and also used to signify Christ’s death and resurrection. “Alleluia” is inserted in between the verses.

http://en.wikipedia.org/wiki/Psalm_119


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1000 Songs/My soul magnifies the Lord Luke 1:46-55

My soul magnifies the Lord Luke 1:46-55

1000 Songs


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1000 Songs/Glory to God in the highest Luke 2:14

Glory to God in the highest Luke 2:14

1000 Songs

Text
Luke 2:14 - Glory to God in the highest, and on earth peace, good will toward men. This passage is not a song in its original context, but spoken praise to God from the lips of angels (Luke 2:13). However, it has been used in a number of songs since. It is well known in use of the “[Bold texthttp://en.wikipedia.org/wiki/Gloria_in_Excelsis_Deo#Present-day_Latin_text Gloria]” section of Catholic masses. This same Latin translation of the text is used in the chorus of “Angels We Have Heard on High”. The English text is also used in a popular song by Ken Read called “Hallelujah”. It is also known for being included in Handel’s Messiah in “Glory to God in the Highest”. As I’m sure you can tell, some of these songs, such as “Angels” are commonly used for congregational singing. Others, such as “Gloria” and “Hallelujah” are more performance-oriented songs. As far as context is concerned, this scripture appears right after the birth of Jesus. This was simply meant to be a confirmation from God that Jesus was, in fact, sent from heaven. This verse can be easily manipulated to fit whatever music you wish to set it to. For example, “highest glory to God” or “peace on earth” is simply switching the word order. Here are a few recordings of songs that use Luke 2: 14 (whether it be in English or Latin): Vivaldi’s Gloria Rutter’s Gloria Angels We Have Heard on High – David Archuleta Angels We Have Heard on High – contemporized version by the Glee cast Glory to God in the Highest – Ernie Haase & Signature Sound Glory to God in the Highest - Rachmaninoff


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1000 Songs/Have this mind among yourselves which is also in Christ Jesus Phil 2:5-11

Have this mind among yourselves which is also in Christ Jesus Phil 2:5-11

1000 Songs

Text
Philippians 2:1-11, especially vs. 6-11, has long been considered a hymn and is, in fact, commonly referred to as the "Christ Hymn" or "Kenosis Hymn" (http://en.wikipedia.org/wiki/Kenosis). Whether or not the Apostle Paul (http://en.wikipedia.org/wiki/Apostle_Paul) meant to write it as a hymn or as well balanced prose appears to be a matter of debate (http://www.biblicalstudies.org.uk/pdf/philippians_fee.pdf). Nevertheless it has been sung for hundreds of years and is the subject of many of the scripture readings found in The Hymnal for Worship and Celebration. The text of the hymn "At the Name of Jesus", number 235 in our hymnal, is listed as an adaptation of Philippians 2:5-11 and was written by Caroline M. Noel. Also, in 2008 Howard Sloan metricized the passage in 8.7.8.7 to fit the tune of "Ode to Joy" (http://hra.witnesstoday.org/Philippians2Hymn.pdf). The scripture is also the subject or, at least, referenced in numerous modern worship songs such as: "You are My King", "Come, No is the Time to Worship", "Above All", "Shout to The Lord", and countless others.


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1000 Songs/Awake O sleeper and rise from the dead Eph 5:14

Awake O sleeper and rise from the dead Eph 5:14

1000 Songs

Text
“Wake up, sleeper, rise from the dead, and Christ will shine on you.”

The text from Ephesians 5:14 is suggested to be a quoted portion from an early Christian hymn. Based on the text, the Hymn was most likely sung at somebody’s baptism. The text demonstrates an example of the literary device, climax. The use of such devices in the early Christian Hymns shows the influence of the various forms of biblical Hebrew poetry, such as the Book of Psalms of the Old Testament.

Music

The text has been set to music by many composers, such as the band Cool Hand Luke and the version that appears in the album, Glory Revealed II, composed by Jason Crabb, Jonathan Shelton and Bear Rinehard.

Editor’s Choice

Wake up, oh sleeper, rise from the dead Christ will shine on you Wake up, oh sleeper, rise from the dead Christ will shine on you

I know you've been sleeping in your bed of sin Life's passing by while you've been sleeping in I know you've been running, running from His grace Why don't you know that you can't get away

Wake up, oh sleeper, rise from the dead Christ will shine on you Wake up, oh sleeper, rise from the dead Christ will shine on you

Now you've been busy sleeping in the shadows of your own Wasting the gift of your life Now the sun is rising, the shadows are gone Get up, wake up, for you've been justified

The prodigal is waking up The wayward child is waking up The down and out is waking up The prisoner is waking up The lonely soul is waking up The Pharisee is waking up I hope the church is waking up Everybody's waking up

Wake up, oh sleeper, rise from the dead Christ will shine on you Wake up, oh sleeper, rise from the dead Christ will shine on you


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1000 Songs/Worthy are You to take the scroll Rev 5:9-10 (8-14)

Worthy are You to take the scroll Rev 5:9-10 (8-14)

1000 Songs


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1000 Songs/I will sing unto the Lord, for He has triumphed gloriously Exod 15:1-18

I will sing unto the Lord, for He has triumphed gloriously Exod 15:1-18

1000 Songs

Text
Song of Moses in Exodus 15 is also known as the Song of the Sea. The song was used to celebrate the victory over the Eygyptian army during the crossing of the Red Sea; this event is also known as the Bashalach.


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1000 Songs/Give ear, O heavens and I will speak Deut 32:1-43

Give ear O heavens and I will speak Deut 32:1-43

1000 Songs

Text
-http://niv.scripturetext.com/deuteronomy/32-1.htm

Author
-Moses

Translations/Challenges
-Hebrew, English

Editor's Choice
- English http://blog.kolel.org/search/label/Shabbat%20Shuvah

Arrangements
-http://www.soniaking.info/SONGGiveEarO.html http://www.elyrics.net/read/e/elgibbor-lyrics/the-song-of-moses-lyrics.html

Author biography
-http://en.wikipedia.org/wiki/Moses


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1000 Songs/The Lord is a jealous and avenging God Nahum 1:2-8

The Lord is a jealous and avenging God Nahum 1:2-8

1000 Songs

Text
THOU HIDDEN SOURCE OF CALM REPOSE Thou Hidden Source of Calm Repose is a hymn poem written by Charles Wesley in 1749 and is based upon Nahum 1:7. The hymn poem has four stanza’s and has been added to the tune St. Petersburg written by Dmitri S. Bortniansky. A recording with a score can be found here.

Thou hidden source of calm repose, Thou all sufficient love divine, My help and refuge from my foes, Secure I am if Thou art mine; And lo! from sin and grief and shame I hide me, Jesus, in Thy Name.

Thy mighty name salvation is, And keeps my happy soul above; Comfort it brings, and power and peace, And joy and everlasting love; To me with Thy dear name are given Pardon and holiness and heaven.

Jesus, my all in all Thou art, My rest in toil, my ease in pain, The healing of my broken heart, In war my peace, in loss my gain, My smile beneath the tyrant's frown, In shame my glory and my crown.

In want my plentiful supply, In weakness my almighty power, In bonds my perfect liberty, My light in Satan's darkest hour, In grief my joy unspeakable, My life in death, my Heaven in hell.


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1000 Songs/O Lord I have heard the report of You Hab 3:2-19

O Lord I have heard the report of You Hab 3:2-19

1000 Songs

Author
Bessie Porter Head

(http://hymntime.com/tch/bio/h/e/a/head_bp.htm)

Versions: Only different title

(http://www.cyberhymnal.org/htm/o/b/obreathl.htm)

Editor's Choice
Verses 1,2,4,5: O Breath of life, come sweeping through us, Revive Thy church with life and power; O Breath of life, come, cleanse, renew us, And fit Thy church to meet this hour.

O Breath of love, come breathe within us, Renewing thought and will and heart; Come, Love of Christ, afresh to win us, Revive Thy church in every part. O Heart of Christ, once broken for us, ’Tis there we find our strength and rest; Our broken, contrite hearts now solace, And let Thy waiting church be blest. Revive us, Lord! Is zeal abating While harvest fields are vast and white? Revive, us Lord, the world is waiting, Equip Thy church to spread the light.

Tune
DET AR ETT FAST ORD, 9.8.9.8.

Arrangements
Joel Bloomquist Mary J Hammond (O Breath of Life, Come Sweeping Through Us)

Background
Biblical Text: Habakkuk 3

 * 1) A prayer of Habakkuk the prophet upon Shigionoth.
 * 2) O LORD, I have heard thy speech, and was afraid: O LORD, revive thy work in the midst of the years, in the midst of the years make known; in wrath remember mercy.
 * 3) God came from Teman, and the Holy One from mount Paran. Selah. His glory covered the heavens, and the earth was full of his praise.
 * 4) And his brightness was as the light; he had horns coming out of his hand: and there was the hiding of his power.
 * 5) Before him went the pestilence, and burning coals went forth at his feet.
 * 6) He stood, and measured the earth: he beheld, and drove asunder the nations; and the everlasting mountains were scattered, the perpetual hills did bow: his ways are everlasting.
 * 7) I saw the tents of Cushan in affliction: and the curtains of the land of Midian did tremble.
 * 8) Was the LORD displeased against the rivers? was thine anger against the rivers? was thy wrath against the sea, that thou didst ride upon thine horses and thy chariots of salvation?
 * 9) Thy bow was made quite naked, according to the oaths of the tribes, even thy word. Selah. Thou didst cleave the earth with rivers.
 * 10) The mountains saw thee, and they trembled: the overflowing of the water passed by: the deep uttered his voice, and lifted up his hands on high.
 * 11) The sun and moon stood still in their habitation: at the light of thine arrows they went, and at the shining of thy glittering spear.
 * 12) Thou didst march through the land in indignation, thou didst thresh the heathen in anger.
 * 13) Thou wentest forth for the salvation of thy people, even for salvation with thine anointed; thou woundedst the head out of the house of the wicked, by discovering the foundation unto the neck. Selah.
 * 14) Thou didst strike through with his staves the head of his villages: they came out as a whirlwind to scatter me: their rejoicing was as to devour the poor secretly.
 * 15) Thou didst walk through the sea with thine horses, through the heap of great waters.
 * 16) When I heard, my belly trembled; my lips quivered at the voice: rottenness entered into my bones, and I trembled in myself, that I might rest in the day of trouble: when he cometh up unto the people, he will invade them with his troops.
 * 17) Although the fig tree shall not blossom, neither shall fruit be in the vines; the labour of the olive shall fail, and the fields shall yield no meat; the flock shall be cut off from the fold, and there shall be no herd in the stalls:
 * 18) Yet I will rejoice in the LORD, I will joy in the God of my salvation.
 * 19) The LORD God is my strength, and he will make my feet like hinds' feet, and he will make me to walk upon mine high places. To the chief singer on my stringed instruments.

Habakkuk: The book of Habakkuk is set up as a series of oracles about the Babylonians, with the last chapter of the book (Habakkuk 3) originally being a song. An oracle is essentially a prophet; it is someone who has received a divine revelation. Habakkuk received this song from the Lord. The book of Habakkuk is written to the Chaldeans (Babylonians), and since the Chaldeans assumed power over Assyria in 612 BC, it is assumed that Habakkuk wrote this book during or shortly after that year. The hymn tune for this, DET AR ET FAST ORD in 9.8.9.8. hymnal meter was written by Joel Blomquist. Blomquist wrote this tune in 1876, set to different text called (in Dutch) “It is a fixed word.” The hymn was actually written in 1914. Another hymn tune was written to go with this by Mary J. Hammond called SPIRITIS VITAE in 1920 (SPIRITIS VITAE means “(O) Breath of Life” in Latin). O Breath of Life on CyberHymnal Wikipedia article for Habakkuk Source for rise to power Source for Rise to Power Source for rise to power Elizabeth Head, Born January 1, 1850 (London), Died June 28, 1936


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