{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/mg7fq9qq4p/manifest","type":"Manifest","label":{"en":["The Negro Spiritual and the Recorded Sermon as Resistance to Uplift Theories of the 1920s-1930s"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Terri Brinegar (Presenter)","Derek Long (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2017-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eReverend A. W. Nix’s recorded sermons from the 1920s-1930s presented not only spoken dialogue, but also sung spirituals by members of his congregation. Racial uplift theories of the era demonized folk traditions, such as the spiritual, as “uncivilized” remnants of a past society associated with the era of slavery. By examining race records of sermonettes by Reverend A. W. Nix, and through interviews with contemporary Black gospel singers, I analyze how folk traditions, such as the spiritual, and vocal sound aesthetics that include “black musical gestures,” have represented and continue to represent African-American racial identity and function as empowerment against oppression. Nix’s recorded sermons created sonic spaces in which members could freely express traditional folk expressions, and acted as aggressive resistance to not only the dominant society’s vocal aesthetics, but also to racial uplift theories prevalent in the early twentieth century.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Amanda McCabe"]}}],"summary":{"en":["\u003cp\u003eReverend A. W. Nix\u0026rsquo;s recorded sermons from the 1920s-1930s presented not only spoken dialogue, but also sung spirituals by members of his congregation. Racial uplift theories of the era demonized folk traditions, such as the spiritual, as \u0026ldquo;uncivilized\u0026rdquo; remnants of a past society associated with the era of slavery. By examining race records of sermonettes by Reverend A. W. Nix, and through interviews with contemporary Black gospel singers, I analyze how folk traditions, such as the spiritual, and vocal sound aesthetics that include \u0026ldquo;black musical gestures,\u0026rdquo; have represented and continue to represent African-American racial identity and function as empowerment against oppression. Nix\u0026rsquo;s recorded sermons created sonic spaces in which members could freely express traditional folk expressions, and acted as aggressive resistance to not only the dominant society\u0026rsquo;s vocal aesthetics, but also to racial uplift theories prevalent in the early twentieth century.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/520/small/open-uri20200922-6764-2hwhh2_1600816083.jpg?1600801707","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-2hwhh2.mp4"]},"duration":1428.62933,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/520/small/open-uri20200922-6764-2hwhh2_1600816083.jpg?1600801707","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/520/original/open-uri20200922-6764-2hwhh2.mp4?1600801676","type":"Video","format":"video/mp4","duration":1428.62933,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071","type":"AnnotationPage","label":{"en":["AUTO_TRINT_The Negro Spiritual and the Recorded Sermon as Resistance to Uplift Theories of the 1920s-1930s [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As Terry Brinegar, she is a P. D student in ethnomusicology at University of Florida. She holds a master of arts degree in classical voice from University of Central Florida and a Bachelor of Music degree in classical voice from North Texas State University. She has performed for over 20 years in classic RMV and blues bands in both Los Angeles and Nashville. Prior to moving to Florida, she currently teaches the U.S. vocal jazz ensemble and a music history course on American popular music at the University of Florida. Terry's areas of interest include African-American music, specifically related to vocal practices spanning from the Negro spiritual to contemporary R\u0026D. Her current research focuses on how the vocal sound on recorded sermons from the 1920s by African-American ministers ministers intersects with racial uplift theories from the same era. Her dissertation is tenanted, tentatively titled African-American Vocal Expressions on recorded sermons by Reverend A.W. Knick's, The Voice as Index for Intercultural Diversity and Racial Uplift in the 1920s. So please welcome Terry Brinegar. Hello. Hope we're having a good time in San Antonio. Nice and cool, not too hot. Thank goodness. Get some good Mexican food here. In the 1920s and 30s, African-American ministers from predominantly working class churches recorded three minute sermons on race records. These sermons were called sermonettes, which featured preaching and singing and were highly popular with black consumers during the same era. Black intellectuals espouse tenants of racial uplift to the larger African-American community for what they believed would be a remedy for racism against African-Americans. The purpose of this paper is to demonstrate how the voice in recorded sermons on race records from the 1920s and 30s by African-American working class ministers and their congregations embodied intercultural resistance to the black middle classes idea of racial uplift.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=12.04,148.47"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My research focuses on the role of the voice in both speaking and singing on recorded sermons as a signifier of resistance and an enduring resource of cultural empowerment. I argue that sermons on race records acted as a freeing agent that allowed for expression and a continuation of cultural values linked to the black church experience in the safety of private spaces. In addition to a close listening and analysis of Reverend A.W. Nix's recorded sermons, of which I located 54 43 out of 54 recordings, I conducted field research including interviews with African-American musicians and singers from the Orlando and Gainesville areas in central Florida. My informants range in age from their early 20s to late 50s, and most are avid churchgoers, predominantly in predominantly black churches. Their comments and interpretations helped me to link ideas concerning the intersection of the voice as resistance in the contemporary era with those from the early part of the century. My research reveals the privileged place of the voice in African-American religious communities and its importance in resisting pressure to assimilate to the dominant society's cultural values. Traditionally, the voice through singing and preaching in the black church and on recorded sermons exhibits participatory expressions which typically include the exclamatory oral declamations of preachers and spontaneous verbal interjections by congregation members, including singing, humming or non pitched utterances. The vocal style of the minister typically includes shouts, raspy, vocal timbres and a half sung have spoken melodies, ised intonation called intoning, chanting or whipping. While background singers, typically female at improvised shouts, sing hymns or, as I will demonstrate, sing spirituals. Black ministers and their congregants singers demonstrate the values of their communities through competency and performing signifiers of black esthetics. These performative qualities apparent in the recordings. I will now play a sermonette by Reverend A.W.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=150.0,287.67"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Niks, who live from 1876 to 1943, a black Baptist minister from Longview, Texas, who recorded 54 sighs between April 1927 and March 1931. Please pay close attention to the female singing in the background behind the male voice of the preacher, as this particular melody will be the main focus of my discussion. This is a spiritual melody that recurs in many of Nix's recordings. The female congregant begins singing the spiritual and repeats it throughout the remainder of the three minute recording. It's spinning, won't engage in a battle with death on the battlefield, death or a friend. Husband and wife. Take the little darling, be a mother. Consider home and leave father and son. It is an unwelcome death. Death is without a friend in a. Thousands of people. Vernon. Oh, yeah. To have a big time on Christmas Day. Nic's recorded Death Might Be Your Christmas Gift. On October 12, 1927, featuring five female members of his congregation. His recordings were released on the following race. Record labels Vocalic and Brunswick. Super Tone. Banner. Melatonin. Tone. Oriel Romeo. And Perfect Records. The fact that multiple record labels distributed Nix's recordings. And the fact that he recorded for several years up until the Great Depression slowed record production testifies to his popularity in the black consumer market. Secular and religious race records were highly popular in the 1920s and 30s among black consumers and became symbols of pride among the black community while at odds moralistically. Both the sacred, represented and recorded sermons and the secular and blues recordings gave a literal voice to the working class who had previously been dismissed by black elites in the era after reconstruction. Nick's most likely brought singers from his own church to the recording sessions in Chicago, suggesting that he was either familiar with their musical repertoire or may have instructed the singers on what to sing.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=288.15,435.1"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Of the 54 sermonettes released Bible Caliburn, I was able to locate 43 of these forty three recordings. 32 of them, or 74 percent, include performances of the same spiritual sung either by a solo female or the female chorus as a whole. In the second example, I'm about to play. Notice the congregation singing the spiritual melody in octaves. Whatever the motive, I think this time would get one point about this now and all of it is going to put it that way. The moon by night with. Margaret Warner died when. With we're always in the same way this spiritual demonstrates some of the sonic qualities of what Samuel A.. Floyd Junior calls black musical gestures, which include blue notes, hums and moans. For example, in addition to musical gestures, my contemporary informant explained that emotional expressivity is an essential quality in African-American vocal performances, which they believe to represent an authentic pouring of emotion from deeply embedded pain stemming from a long history of oppression. Although it is difficult to define emotional, expressive city based on the comments of my informants. I have determined that the element of spontaneity and the freedom of expression through musical gestures, specifically in the black church setting or unrecorded sermons may be one example of how pain is transmitted vocally. One of my contemporary informants, who is a professional musician and music director of a Amy Church in Orlando, explains how both oppression and freedom can be vocalized. He says, quote, We are made to feel that being ourselves is not okay. Being ourselves is not what's right. So, for example, the way we sing hymns or the way we will sing certain songs, well, there's a book that says you're supposed to sing exactly like this or exactly like that.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=436.42,564.57"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So in your heart, you might see this. You might feel that you kind of want to sing it this way or add an extra note. And if someone is telling you, no, that is wrong, then you won't do it. Now, if you're around your own people who hear you and feel the same way telling you to go on, they're empowering you. It was told to you that African-American culture and what we do is bad and this white culture is what is right. So you start to identify the white cultural society as the way to being wealthy. The way to being rich. To living a better lifestyle. And the African-American way of living as a way to poverty and the mess that we suffer. It becomes a mindset of survival of the fittest, end quote. His comments reveal how spontaneous improvizational creation or arrangement through singing expresses agreed upon cultural values, which contrasts with and is able to resist the musical esthetic of dominant white culture and creates empowerment through cultural support in the privacy of the black church environment, including recorded sermons. One of the earliest examples of the black folk musical tradition that includes both musical gestures and emotional expressivity is the Negro spiritual. An account from 1863 describes the qualities of folk singing, presumably as spiritual in the black church. Quote, It was a strange song with seemingly very little rhythm and what is termed in music, a minor. It was not a song nor a real song. As we understand these words, for there was nothing that approached the jubilant in it. It seemed more like a wail, a mournful dirge like expression of sorrow in quotes. More than 60 years after this 1863 article, the same qualities are present in the spiritual undocks is recordings, mirrorless rhythm, lack of a clearly discernable text other than well, well, well.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=565.53,683.73"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The melodic composition of the minor pentatonic scale slides, hums and bluenose. The plaintive quality of the melody, the lack of accompaniment, the spontaneous impromptu entrances. Not adhering to a written text or arrangement which sound as if the singer had a burst of emotion that needed to be sung at that particular moment. It is necessary to distinguish folk spirituals from the Irane spirituals of the Fisk Jubilee Singers and other university groups. Ali Wilson contends that the African-American spiritual developed as a vernacular folk expression during slavery among the majority of the black population in the United States, functioning as a connection with God. In contrast, the Arain spiritual was a late 18th and early 19th century creation of elite blacks that mixed European and African-American esthetic qualities, appealing to the values of and functioning as entertainment for the broader culture of whites. For one example, the fact that Reverend Nix included performances of the same spiritual on multiple recordings for almost the entirety of his recording career begs the following questions. Why would he include such vernacular renditions, which contradicted the efforts by black intellectuals and ministers to uplift the race? Why would black consumers want to hear and purchase recordings of folk moralities when the pressure for assimilating to dominant esthetic values abounded? To answer these questions, we must first understand racial uplift theories of the era and how Nixon. Others may have resisted adopting them during the post reconstruction era racial uplift. Ideology was a reaction by black intellectuals to legal segregation and to negative stereotypes of African-Americans as, quote, biologically inferior, inferior and unassimilable, unquote. The black bourgeoisie believes that by assimilating to the dominant society's cultural values, including music, African-Americans could achieve equality and respect. Historian Kevin K. Gaines as, quote, Generally, black elites claim class distinctions.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=684.66,814.56"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Indeed, the very existence of a better class of blacks as evidence of what they called race progress, believing that the improvement of African-Americans material and moral condition through a self-help would diminish white racism. They sought to rehabilitate the race's image by embodying respectability enacted through an ethos of service to the masses. The bourgeois cultural values that came to stand for interracial class differences affirm their sense of status. An entitlement to citizenship. Books such as James Trotter's music and some highly musical people, which detail the achievements of black opera singers and classical musicians, were published as evidence of black achievement and respectability. European cultural values were considered as a modern remedy for the backward musical expressions of the folk, such as the spiritual. Both were physicalize through the voice in the late 18th and early 19th century. Many black intellectuals dismissed folk or ality not only as an expression of the lower classes, but also as an impediment to racial progress and uplift. For example, during the post Reconstruction Era in 1888, Daniel Payne, a bishop of the African Methodist Episcopal Church from 1852 to 1893, demonize the ring, shout a folk expression of slaves as, quote, a heathen ish way to worship and disgraceful to themselves. The race and the Christian name. In 1912, James Weldon Johnson explained. Quote, The Negroes themselves do not fully appreciate these old slave songs. The educated classes are rather ashamed of them and prefer to sing hymns from books input. Later in 1926, Langston Hughes, a staunch supporter of the black arts, sarcastically commented on the same issue. Quote, And many an upper class Negro church even now would not dream of employing a spiritual in its services. The drab melodies and white folks hymn books are much to be preferred.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=815.7,943.4"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We want to worship the Lord correctly and quietly. We don't believe in shouting in quotes. These comments reveal that conflicted interpretations of the spiritual and spontaneous vocal expressivity such as that, such as shouting and the association with both the working class and the era of slavery. Although African-American ministers were expected to uplift their communities, as demonstrated by Bishop Payne's preference for rational expressions. Reverend Nixon. Other early 20th century ministers adhere to preaching styles and folk singing, including the spiritual, which reveals how they may have chosen to resist the constant pressure to uplift and reject middle class esthetic values, including European related sound ideals of vocality. Such sound ideals were the subject of voice training books such as one from 19 from 1882, which addresses the modern singer, quote, the deficiencies and tone quality, the want of smoothness, the in distinctness of glottal articulation, the Blowering or confusing of the connecting intervals, the improper phrasing, the deficient articulation, etc., etc.. All these defects would didn't stand out prominently in all their crudity approach. In other words, proper singing technique would eliminate the very musical gestures that had come to define the black vocal tradition that was presented on Nix's sermonette recordings, including a comparison in the form of a graph for your reference. For example, the deficiencies in tone quality is exemplified by the harsh, rough or Nazel timbres in Nix's and the singers voices. The want of smoothness completely contradicts the staccato shouts of Nix's chanted. Preaching style in distinct glottal articulation is clearly avoided in Nix's back up the throat. Guttural utterances, distinct intervals, contrast with slide's and blue notes. Proper phrasing contrasts in Nix's offbeat melodic phrases. Improvization and spontaneous vocal declamations and deficient articulation and imperceptible lyrics are predominant in the preaching and singing on Nix's recordings.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=944.33,1081.91"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The presence of the spiritual and Nix's recordings exemplifies not only resistance to middle class esthetic values, but also a preference for their oral traditions of the folk, which were disseminated via recorded sermonettes because Reverend Nix's father was born in Georgia in 1853 and possibly born a slave. The inclusion of the spiritual on Nix's recordings could have been the result of the oral transmission of slavery era melodies passed down from elders to the singers on the recordings. If that is the case, this example could perhaps represent one of the first recordings of a folk spiritual. However, further research is needed. Although his sermons were recorded in recording studios rather than in churches, raised recordings, simulated and represented the black working class church experience, essentially creating a sonic space in which members could listen to freely expressed and familiar vocalized sounds in their homes. As explained by Llorona, a Martin recorded sermons on race records were popular for a number of reasons. First, they granted African-Americans the ability to participate in the consumer market, which was considered an aspect of freedom. Black ministers served as the catalysts for progress in both the spiritual realm and the material world. Second, recorded sermons and the dissemination of the spiritual message transferred the place of worship and sacred practices of the public church to the privacy of the home. Lastly, recorded sermons allowed black ministers to enter into the consumer market, serving as both competition to the entertainment provided by a secular recording such as blues, while simultaneously utilizing and integrating the formats of these secular forms into modern recorded sermons. I would now like to replay the spiritual featured in Death Might be your Christmas gift that I played earlier. Engage in a battle with death on the battlefield, death separate, free.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=1084.64,1211.08"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Husband and wife, take the little darling, be a mother, bread, comfort home and leave far and sadness. It is an unwelcome death. Death is without a friend in a bar on. People. And big time, as I previously mentioned, this particular spiritual was sung on almost 75 percent of Nix's recordings between 1927 and 1931. After listening to this recording, one of my contemporary informants, an African-American minister and gospel choir director, said, quote, I could definitely tell that Knick's was possibly probably descended from slavery, which is why you heard the singer's melodic tones. That was definitely field. As in singing in the field, musical associations with slavery were considered shameful, shameful and were to be avoided. Shirley Nicks would have known that the Negro spiritual itself was linked to the era of slavery because the minister and female congregants were recorded live with no overdubbing and because the same spiritual was sung on almost every single recording over a period of several years, Shirley Nicks and his followers would have come to expect the rendering of the melody. Both the blues influenced melodies in his chanted sermons and the sung spirituals were traditional expressions of the folk. And despite the climate of the emerging middle class who aspired to uplift the race, Nixon, his congregants clearly resisted the belief that they needed to change their traditions and adopt, quote unquote, civilized vocalists that acts to conform to black elites, uplift ideologies. In Reverend Nix's Ara's era, the ability to preach, sing and record in a vernacular black esthetic must have been empowering in the face of discrimination, oppression and intercultural pressures. In the midst of segregated society and in an era in which lynchings were at an all time high. Recordings that could be played in the privacy of one's home allowed for a reenactment of the black working class church experience without the threat of persecution or judgment by either the dominant white society or by middle class blacks.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=1212.23,1347.27"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In conclusion, the use of the spiritual and the vocal expressivity of Reverend Knick's someone folk representations that were once deemed as antithetical to uplift ideologies by contemporary informants have described the voice as a freeing agent, one that resists assimilation and one that allows for empowerment. While these beliefs may apply to my contemporary informants, the question of whether whether Reverend Knick's and his congregation consciously resist resisted uplift and assimilation by adhering to traditional folk representation is not presently known. However, black consumers consciously purchased recorded sermons on race records for the private experience of black oral traditions. Despite the pressure from black elites to uplift Phya Europeanized vocal sounds in this way, the voices on the recorded sermons by Reverend HDB Nixon, his congregation became signifiers of empowerment and resistance in the post Reconstruction Era. Thank you.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520#t=1348.59,1407.39"}]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/97520/transcript/19071/annotation/12","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/071/original/open-uri20200924-1385-11rvafp?1600957113","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/071/original/open-uri20200924-1385-11rvafp?1600957113"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/255829","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2017_Brinegar_audio.mp3"]},"duration":1404.62038,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/255829/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/255829/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/829/original/ARSC_conf_2017_Brinegar_audio.mp3?1730761223","type":"Audio","format":"audio/mpeg","duration":1404.62038,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29698/file/255829","metadata":[]}]}],"annotations":[]}]}