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Parashah - Tazria (She Conceives)

Weekly Parashah


Torah: Lev. 12:1–13:59 Haftara: 2 kings 4:42-5:19  Brith Chadashah: John 6:8-13
Matt. 8:1-4
Luke 2:22-35

Tazria (She Conceives) תַזְרִיעַ

Scripture: 

 Lev. 12:1–13:59

Torah

 

Niddah Rest for New Mothers

12 Then Adonai spoke to Moses saying: 2 “Speak to Bnei-Yisrael, instructing: If a woman conceives and bears a male child, then she will be unclean for seven days, as in the days of her niddah she will be unclean. 3 In the eighth day the flesh of his foreskin is to be circumcised. [a] 4 She must wait during the blood of purification for 33 days.[b] She is not to touch any holy thing, nor come into the Sanctuary, until the days of her purifying are completed. 5 But if she bears a female child, then she will be unclean for two weeks, as in her niddah, and she is to wait in the blood of purification for 66 days.

6 “When the days of her purification are completed for a son or for a daughter, she is to bring to the kohen, at the entrance of the Tent of Meeting, a year old lamb for a burnt offering and a young pigeon or a turtledove, for a sin offering. 7 He is to present it before Adonai and make atonement for her. Then she will be cleansed from the discharge of her blood. This is the Torah for her who gives birth, whether to a male or a female child. 8 If she cannot afford a lamb, then she is to bring two turtledoves or two young pigeons,[c] one for a burnt offering and the other for a sin offering. Then the kohen will make atonement for her, and she will be clean.”

 

Scripture: 

 2 Kings 4 : 42 – 5 : 19

Haftarah

42 Now a man came from Baal-shalishah, and brought the man of God bread of the firstfruits—20 loaves of barley bread and fresh ears of corn in his sack. Then he said, “Give them to the people that they may eat.”

43 But his attendant said, “What? Will I set this before a hundred men?” But he said, “Give them to the people that they may eat, for thus says Adonai, ‘They will eat and will have left over.’” 44 So he set it before them, and they ate and had some left over, according to the word of Adonai.
Naaman’s Tza’arat

5 Now Naaman, commander of the army of the king of Aram, was a great man in his master’s sight and highly esteemed, because through him Adonai had given victory to Aram. Though the man was a mighty man of valor, he had tza’arat.

2 Aram had gone out in bands, and had taken captive a young girl from the land of Israel. So she served Naaman’s wife. 3 Then she said to her mistress, “If only my lord went before the prophet who is in Samaria! Then he would cure him of his tza’arat.”

4 So Naaman went in and told his master, saying, “Thus and thus spoke the girl who is from the land of Israel.” 5 The king of Aram said, “Go now, and I will send a letter to the king of Israel.” So he departed and took with him ten talents of silver, 6,000 pieces of gold, and ten changes of clothes.

6 He brought the letter to the king of Israel saying, “When this letter comes to you, behold, I have sent my servant Naaman to you, so you may cure him of his tza’arat.”

7 Now when the king of Israel read the letter, he ripped his clothes and said, “Am I God, to kill and to make alive, that this man is sending to me to cure a man of his tza’arat? But please consider, and see how he is seeking a pretext against me.”

 


 

Scripture: 

 

John 6:8-13
Matt. 8:1-4
Luke 2:22-35

 

Brit Chadashah

 

John 6 : 8 – 13

8 One of His disciples, Andrew, Simon Peter’s brother, said to Him, 9 “There’s a boy here who has five barley loaves and two fish—but what’s that for so many?”

10 Yeshua said, “Make the people recline.” There was much grass in the area. So the men reclined, about five thousand in number. 11 Then Yeshua picked up the loaves. And having given thanks, He distributed bread to everyone who was reclining. He did the same with the fish, as much as they wanted.

12 When the people were full, Yeshua said to His disciples, “Gather up the leftovers, so nothing is wasted.” 13 So they gathered them and filled twelve baskets with broken pieces from the five barley loaves, which were left over by those who had finished eating.

https://www.biblegateway.com/passage/?search=John+6%3A8-13&version=TLV

 

Matthew 8 : 1 – 4

Healing Those who Trust

8 When He came down from the mountain, large crowds followed Him. 2 And a man with tzara’at came to Him and bowed down before Him, saying, “Master, if You are willing, You can make me clean.”

Yeshua stretched out His hand and touched him, saying, “I am willing. Be cleansed.” Immediately his tzara’at was cleansed. 4 And Yeshua said to him, “See that you tell no one; but go show yourself to the kohen and offer the gift that Moses commanded, as a testimony to them.”[a]

https://www.biblegateway.com/passage/?search=Matt.+8%3A1-4&version=TLV

 

Luke 2 : 22 – 35

22 And when the days of their purification were fulfilled,[a] according to the Torah of Moses, they brought Him to Jerusalem to present to Adonai. 23 As it is written in the Torah of Adonai, “Every firstborn male that opens the womb shall be called holy to Adonai.” [b] 24 So they offered a sacrifice according to what was said in the Torah of Adonai: “a pair of turtle doves, or two young pigeons.”[c]

25 Now there was a man in Jerusalem whose name was Simeon, and this man was just and pious, waiting for the consolation of Israel.[d] The Ruach ha-Kodesh was on him. 26 And it had been revealed to him by the Ruach ha-Kodesh that he would not die before he had seen the Anointed One of Adonai. 27 So in the Ruach, Simeon came into the Temple; and when the parents brought the Child Yeshua to do for Him according to the custom of the Torah, 28 Simeon received Him into his arms and offered a bracha to God, saying,

29 “Now may You let Your servant go in peace, O Sovereign Master,[e]
according to Your word.
30 For my eyes have seen Your salvation,
31 which You have prepared
in the presence of all peoples:
32 ‘A light for revelation to the nations’[f]
and the glory of Your people Israel.”

https://www.biblegateway.com/passage/?search=Luke+2%3A22-35&version=TLV

Parashah in 60 seconds

Music Styles Black Gospel

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Styles

On this radio station you will find the following music styles;

excerpts and links to wikipedia

Gospel (black gospel as not southern gospel)

Gospel music is a music genre in Christian music. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music usually has dominant vocals (often with strong use of harmony) with Christian lyrics. Gospel music can be traced to the early 17th century,[1] with roots in the black oral tradition. Hymns and sacred songs were repeated in a call and response fashion. Most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Most of the singing was done a cappella.[2] The first published use of the term ″Gospel Song" probably appeared in 1874. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby.[3] Gospel music publishing houses emerged. The advent of radio in the 1920s greatly increased the audience for gospel music. Following World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate.[4]

Gospel blues is a blues-based form of gospel music (a combination of blues guitar and evangelistic lyrics). 

Style

Gospel music in general is characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a Christian nature. Subgenres include contemporary gospel, urban contemporary gospel (sometimes referred to as "black gospel"). Several forms of gospel music utilize choirs, use piano or Hammond organ, tambourines, drums, bass guitar and, increasingly, electric guitar. In comparison with hymns, which are generally of a statelier measure, the gospel song is expected to have a refrain and often a more syncopated rhythm.

Several attempts have been made to describe the style of late 19th and early 20th century gospel songs in general. Christ-Janer said "the music was tuneful and easy to grasp ... rudimentary harmonies ... use of the chorus ... varied metric schemes ... motor rhythms were characteristic ... The device of letting the lower parts echo rhythmically a motive announced by the sopranos became a mannerism".[5]

Roots and background

Coming out of the African American religious experience, gospel music can be traced to the early 17th century.[1] Gospel music has roots in the black oral tradition, and typically utilizes a great deal of repetition. The repetition of the words allowed those who could not read the opportunity to participate in worship. During this time, hymns and sacred songs were lined and repeated in a call and response fashion, and the Negro spirituals and work songs emerged. Repetition and "call and response" are accepted elements in African music, designed to achieve an altered state of consciousness we sometimes refer to as "trance", and strengthen communal bonds.

Most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. There would be guitars and tambourines available every now and then, but not frequently. Church choirs became a norm only after emancipation. Most of the singing was done a cappella.[2]

20th century

The holiness-Pentecostal movement, or sanctified movement, appealed to people who were not attuned to the Europeanized version of black church music. Holiness worship has used any type of instrumentation that congregation members might bring in, from tambourines to electric guitars. Pentecostal churches readily adopted and contributed to the gospel music publications of the early 20th century. Late 20th-century musicians such as Elvis Presley, Jerry Lee Lewis, Mahalia Jackson, Andrae Crouch, and the Blackwood Brothers either were raised in a Pentecostal environment, or have acknowledged the influence of that tradition.[11]

The advent of radio in the 1920s greatly increased the audience for gospel music, and James D. Vaughan used radio as an integral part of his business model, which also included traveling quartets to publicize the gospel music books he published several times a year.[12] Virgil O. Stamps and Jesse R. Baxter studied Vaughan's business model and by the late 1920s were running heavy competition for Vaughan.[11] The 1920s also saw the marketing of gospel records by groups such as the Carter Family.

The first person to introduce the ragtime influence to gospel accompaniment as well as to play the piano on a gospel recording was Arizona Dranes.[13]

In African-American music, gospel quartets developed an a cappella style following the earlier success of the Fisk Jubilee Singers. The 1930s saw the Fairfield Four, the Dixie Hummingbirds, the Five Blind Boys of Mississippi, the Five Blind Boys of Alabama, The Soul Stirrers, the Swan Silvertones, the Charioteers, and the Golden Gate Quartet. Racism divided the nation, and this division did not skip the church. If during slavery blacks were treated as inferior inside the white churches, after emancipation they formed their own separate churches. The gospel groups which were very popular within the black community, were virtually unknown to the white community, though some in the white community began to follow them.[14] In addition to these high-profile quartets, there were many black gospel musicians performing in the 1920s and 30s, usually playing the guitar and singing in the streets of Southern cities. Famous among them were Blind Willie Johnson, Blind Joe Taggart and others.

In the 1930s, in Chicago, Thomas A. Dorsey (best known as author of the song "Precious Lord, Take My Hand"), who had spent the 1920s writing and performong secular blues music under the name "Georgia Tom", turned to gospel music, establishing a publishing house.[4] He had experienced many trials in his life,including the death of his pregnant wife. Thomas gained biblical knowledge from his father, who was a Baptist minister, and was taught to play piano by his mother. He started working with blues musicians when the family moved to Atlanta.[15] It has been said that 1930 was the year when modern gospel music began, because the National Baptist Convention first publicly endorsed the music at its 1930 meeting.[16] Dorsey was responsible for developing the musical careers of many African-American artists, such as Mahalia Jackson.[4]

Meanwhile, the radio continued to develop an audience for gospel music, a fact that was commemorated in Albert E. Brumley's 1937 song, "Turn Your Radio On" (which is still being published in gospel song books). In 1972, a recording of "Turn Your Radio On" by the Lewis Family was nominated for "Gospel Song of the Year" in the Gospel Music Association's Dove Awards.[17]

Following the Second World War, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate.[4] In 1950, black gospel was featured at Carnegie Hall when Joe Bostic produced the Negro Gospel and Religious Music Festival. He repeated it the next year with an expanded list of performing artists, and in 1959 moved to Madison Square Garden.[18] Today, black gospel and white gospel are distinct genres, with distinct audiences.

Style

The secular version of this music is urban contemporary music, which is musically indistinguishable, but which takes non-religious subjects for its lyrical content.

Urban/contemporary gospel music is characterized by dominant vocals, usually performed by a soloist. Common instruments include drums, electric guitar, bass guitar, and keyboards.
The lyrics very often have an explicitly Christian nature, although "inspirational" songs feature lyrics that can be construed as secular in meaning. For example, a song about a father's love for his son may be interpreted as God the Father's love for God the Son, or as a human father's love for his human child. This lyrical ambiguity echoes the double-voicedness of 19th century spirituals, and may have musical crossover appeal to the larger secular market (Darden 2004:79-80). Common themes include hope, deliverance, love, and healing (Waldron 2006).

In comparison with traditional hymns, which are generally of a statelier measure, gospel songs are expected to have a refrain and a pronounced beat with a syncopated rhythm. Compared to modern praise and worship music, urban/contemporary gospel typically has a faster tempo and more emphasis on the performer. Like traditional black gospel music, the performer's emotional connection to the audience and the lyrical content of the song is valued highly.

The genre includes Christian hip hop (sometimes called "Christian rap"), Which is described in a separate link on this site.
 

 

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