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Parashah 21 - Ki Tisa (When you take)

Category: English
Read Time: 7 mins
Hits: 9863

Weekly Parashah


Torah: Exo. 30:11–34:35 Haftara: 1 Kgs. 18:1–39  Brith Chadashah: Mt. 9:35–11:1
2 Cor. 3:1-18

Parashah 21- Ki Tisa (When you take)

Scripture: 

Exo. 30:11–34:35

Torah

 

Census and Ransom Money

11 Then Adonai spoke to Moses saying, 12 “When you tally the sum of Bnei-Yisrael by numbering them, then every man must pay a ransom for his soul to Adonai when you count them, so that no plague will fall on them. 13 Everyone among them who crosses over must give half a shekel according to the Sanctuary shekel (which is 20 gerahs): half a shekel as an offering to Adonai. 14 Everyone who crosses over among them who is counted, from 20 years old and upward, is to give the offering to Adonai. 15 The rich are not to give more and the poor are not to give less than the half shekel, when they present the offering of Adonai to make atonement for your souls. 16 You are to take the atonement money from Bnei-Yisrael and give it for the service of the Tent of Meeting, so that it may be a memorial for Bnei-Yisrael before Adonai, to make atonement for your souls.”

Basin for Washing

17 Adonai spoke to Moses saying, 18 “You will also make a basin of bronze with a bronze stand for washing. You are to place it between the Tent of Meeting and the altar and put water in it. 19 Aaron and his sons are to wash their hands and their feet there. 20 Whenever they go into the Tent of Meeting or come near to the altar to minister, to present an offering made by fire in smoke to Adonai, they are to wash with water so that they do not die. 21 They are to wash their hands and their feet, so that they do not die. It is to be an eternal statute for them, to him and to his offspring throughout their generations.”

https://www.biblegateway.com/passage/?search=Exo.+30%3A11%E2%80%9334%3A35&version=TLV


Scripture: 

1 Kings 18 : 1 – 39

Haftarah

Elijah Confronts Ahab

18 Now it was after many days that the word of Adonai came to Elijah in the third year saying, “Go, show yourself to Ahab; then I will send rain on the land. 2 So Elijah went to show himself to Ahab.

Now the famine was severe in Samaria. 3 Ahab summoned Obadiah who was the steward of the palace. Now Obadiah feared Adonai greatly— 4 for when Jezebel was cutting off the prophets of Adonai, Obadiah took 100 prophets, hid them 50 to a cave, and provided them with bread and water. 5 Then Ahab said to Obadiah, “Go through the land to all the springs of water and to all the wadis. Perhaps we may find grass and so keep the horses and mules alive and not lose all the animals.” 6 So they divided the land between them to explore it—Ahab went one way by himself while Obadiah went another way by himself.

7 As Obadiah was on the road, all of a sudden, Elijah met him. When he recognized him, he fell on his face and said, “Is it you, my lord Elijah?”

8 “It is I,” he answered him. Go tell your lord, ‘Look, Elijah is here!”

9 “How have I sinned,” he replied, “that you are giving your servant into the hand of Ahab, to put me to death? 10 As Adonai your God lives, there is no nation or kingdom where my master has not sent to search for you; and when they said, ‘He is not here,’ he made that kingdom or nation swear that they could not find you.

https://www.biblegateway.com/passage/?search=1+Kgs.+18%3A1%E2%80%9339&version=TLV


 

Scripture: 

Matthew 9:35 - 11:1 2
Corinthians 3:1-18

Brit Chadashah

 

Matthew 9 : 35 – 11 : 1

35 Now Yeshua was going around all the towns and villages, teaching in their synagogues and proclaiming the Good News of the kingdom, and healing every kind of disease and sickness. 36 When He saw the crowds, He felt compassion for them, because they were harassed and helpless, like sheep without a shepherd. [a] 37 Then He said to His disciples, “The harvest is plentiful, but the workers are few. 38 Therefore pray to the Lord of the harvest that He may send out workers into His harvest field.”

https://www.biblegateway.com/passage/?search=Mt.+9%3A35%E2%80%9311%3A1&version=TLV

 

A New Covenant on Hearts of Flesh

3 Are we beginning to commend ourselves again? Or do we need, as some do, letters of recommendation to you or from you? 2 You are our letter, written on our hearts, known and read by everyone. 3 It is clear that you are a letter from Messiah delivered by us—written not with ink but with the Ruach of the living God, not on tablets of stone but on tablets of human hearts.[a]

4 Such is the confidence we have through Messiah toward God— 5 not that we are competent in ourselves to consider anything as coming from ourselves, but our competence is from God. 6 He also made us competent as servants of a new covenant[b]—not of the letter, but of the Ruach. For the letter kills, but the Ruach gives life.

7 Now if the ministry of death, carved in letters on stone, came with such glory that Bnei-Yisrael could not look intently upon Moses’ face because of its glory[c]—although it was passing away— 8 how will the ministry of the Ruach not be even more glorious? 9 For if there is glory in the ministry of condemnation,[d] the ministry of righteousness overflows even more in glory. 10 For even what was glorious is not glorious in comparison to the glory that surpasses it. 11 For if what is passing away is glorious, much more what remains is glorious.

https://www.biblegateway.com/passage/?search=2+Cor.+3%3A1-18&version=TLV

 

Parashah in 60 seconds

Pastor Chris

Music Styles Black Gospel

Category: Radio
Read Time: 9 mins
Hits: 9591

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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