APR

APR or Apr may refer to:

Organizations

Technology

Other uses

List of Latin-script trigraphs

A number of trigraphs are found in the Latin script, most of these used especially in Irish orthography.

A

⟨aai⟩ is used in Dutch to write the sound /aːi̯/.

⟨abh⟩ is used in Irish to write the sound /əu̯/, or in Donegal, /oː/, between broad consonants.

⟨adh⟩ is used in Irish to write the sound /əi̯/, or in Donegal, /eː/, between broad consonants, or an unstressed /ə/ at the end of a word.

⟨aei⟩ is used in Irish to write the sound /eː/ between a broad and a slender consonant.

⟨agh⟩ is used in Irish to write the sound /əi̯/, or in Donegal, /eː/, between broad consonants.

⟨aim⟩ is used in French to write the sound /ɛ̃/ (/ɛm/ before a vowel).

⟨ain⟩ is used in French to write the sound /ɛ̃/ (/ɛn/ before a vowel). It also represents /ɛ̃/ in Tibetan Pinyin, where it is alternatively written än.

⟨aío⟩ is used in Irish to write the sound /iː/ between broad consonants.

⟨amh⟩ is used in Irish to write the sound /əu̯/, or in Donegal, /oː/, between broad consonants.

CHH

CHH may refer to:

The Cross Movement

The Cross Movement was a Christian hip hop group from Philadelphia, Pennsylvania.

Ministry

The Cross Movement has three separate and distinct eponymous components which comprise its ministry. The first component is the Christian hip hop group known as The Cross Movement (CM) which were composed of four several rappers: The Ambassador (William Branch), The Tonic (John Wells), Phanatik (Brady Goodwin), and T.R.U.-L.I.F.E (Virgil Byrd), Cruz Cordero, Enock (Jaun James), Earthquake (Cleve Foat). The CM also frequently collaborates with the Christian disc jockey, DJ Official (Nelson Chu). The CM’s niche has been to translate biblical and Christian theology into rap music by using the same hyper-aggressive lyrics, sampled orchestral riffs, alliteration, and virtuoso delivery of many underground rappers without the self-aggrandizing and violent lyrics, or the materialistic imagery stereotypically associated with many rappers. The second component to the Cross Movement is the record label, Cross Movement Records (CMR), which is responsible for producing and marketing the albums of the CM, its individual members' solo albums, and other Christian hip hop artists such as Da' T.R.U.T.H. and FLAME. The third aspect of the Cross Movement is the incorporated, non-profit group called Cross Movement Ministries (CMM), which aims to use creative ways to spread the Christian gospel message within hip hop culture.

Urban contemporary gospel

Urban/contemporary gospel is a modern form of Christian music that expresses either personal or a communal belief regarding Christian life, as well as to give a Christian alternative to mainstream secular music. Musically, it follows the trends in secular urban contemporary music. Urban/contemporary gospel is a recent subgenre of gospel music. Christian hip hop is a subtype of urban/contemporary gospel music.

Although the style developed gradually, early forms are generally dated to the 1970s, and the genre was well established by the end of the 1980s.

The radio format is marketed primarily to young African-American adults.

Origins and development

Protestant hymns and African-American spirituals make up the basic source material for traditional black gospel music, which in turn is the most significant source of urban/contemporary gospel. Urban/contemporary gospel has kept the spiritual focus of the traditional black gospel music, but uses modern musical forms.

Urban/contemporary gospel derives primarily from traditional black gospel music, with strong influence from, and strong influence on, many forms of secular pop music. Due to strong racial divisions in 20th century American culture, urban/contemporary gospel developed specifically out of the African-American musical traditions (Bream 1991). The equivalent music from white American culture is contemporary Christian music (Bream 1991). Although the racial lines have blurred in some areas, particularly with urban musical styles, these divisions are still evident in the industry (Burdick 2009). The color line divides artists with extremely similar musical styles on the basis of their race, and unites artists with divergent styles (such as rap and pop) on the same basis in industry reporting, marketing choices, and awards like the Grammy and Dove awards (Bream 1991).