test post!

What could we do with this site?

WEC blog; curate a bunch of links; use site for updates (eg, by hooking it up to push notifications to FB/Twitter–anything else?


my revised rp proposal

Contemporary Christian Music: Redefining Christian Worship?

Over the last few decades, a tremendous wave of change us been sweeping through the music industry leading to the birth of new musical genres.   Contemporary Christian music, occasionally known as inspirational music, is a genre of modern popular music that is lyrically focused on matters concerned with the Christian faith, that has emerged as a result of this wave of change. This product of the Jesus movement revival has brought with it a series of controversies since its beginning in the 1960s with critic in the likes of Time Magazine’s Gerald Clark describing it as the “New lyrics to the Devil’s music.” (OMICS Publishing) On the other hand, the number of people that have been drawn into the church as a result of this new potential Christian music advancement coins in another arguably revolutionary perspective. Could this be the future of gospel evangelism, Christian expansionism or a demise of authentic Christian worship? What influence will this fast-growing aspect of the new Christian pop culture have on the future of the church?

The research paper will ll attempt to answer these questions. I will begin by providing background on the historical foundations of the music genre, digging to its roots by exploring the Jesus movement and the revival movements before it such as the Reformation.  A contextual understanding of the great awakenings will be established.  I will then consolidate a cross-referenced meaning of authenticity with respect to Christian worship music. I will then run through the timeline of the Contemporary Christian Music.  Popular contemporary Christian music brands like Hillsong will be analyzed and artists and song writers like Chris Tomlin and Michael Smith, will be evaluated.

“academic discourse” (click through to annotate)

“[E]xaminations of academic discourse tend to focus on a number of essential components: verbal assertiveness and voluntary participation, formality and explicitness, binary agonism, objectivity, specialized jargon, elements of display, and selectivity (Elbow 1998; Gravett & Petersen, 2007; Hindman, 1997; Tannen, 2002; Turner, 2003). Each of these components of academic discourse is unique, and almost all of them are based on White, Western linguistic norms (Elbow, 1998; Scheurich, 1993; Sleeter, 1993; Turner, 2003).”

White and Lowenthall (2011), 297

“making online discussion work” (click through to annotate)

Two citations from Howard (2015):

“In a study of freshmen composition students, discussion boards were helpful when it came to basic skills such as clarifying topic, purpose, and thesis statements, but less helpful in higher-order thinking challenges such as developing counterarguments (Bacabac 2010).” (Howard 119)

“One problem instructors may encounter in online discussion forums is also commonly found in face-to-face discussion groups. Students may be talking (or posting) a lot, but not saying much of value (Clouder and Deepwell 2004).” (Howard 123)

“citation and annotation” (click through to annotate)

Web Writing: Why and How for Liberal Arts Teaching and Learning, ed. Dougherty and McDonnell (Michigan, 2015)

“Web Writing as Intercultural Dialogue” (Oberle)

“My original motivation to begin experimenting with blogging in my classroom was twofold: first, a commitment to a feminist pedagogy and thereby a desire to explore alternative modes of the “classroom discussion,” which has the tendency to alienate female students; and similarly, a desire to harness the cultural diversity of my students, especially those not inclined to speak, as a pedagogical resource” (Oberle 201)


“Web Writing and Citation: the Authority of Communities”:

Traditional ways of teaching citation are authoritarian and follow what Paulo Freire called the “banking model” of education…Teaching citation through observation of and participation in online communities, by contrast, acknowledges that expectations for giving credit depend upon culture and community. By allowing students to engage with the logic of citation in different communities instead of asking them to follow regulations, instructors prepare them to discuss and debate the role of citation … This approach resembles the one taken by Gerald Graff and Cathy Birkenstein’s They Say / I Say in that it focuses on teaching students how to join conversations in their writing. Where it differs is in locating these conversations specifically within communities and in viewing these communities as authorities on the rules of these discussions. (Switaj 223-4)