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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 Southern Gospel

Category: Radio
Read Time: 8 mins
Hits: 9569

Styles

On this radio station you will find the following music styles;
excerpts and links to wikipedia

Southern Gospel

Southern gospel music is a genre of Christian music. Its name comes from its origins in the Southeastern United States whose lyrics are written to express either personal or a communal faith regarding biblical teachings and Christian life, as well as (in terms of the varying music styles) to give a Christian alternative to mainstream secular music. Sometimes known as "quartet music" for its traditional "four men and a piano" set up, southern gospel has evolved over the years into a popular form of music across the United States and overseas, especially among baby boomers and those living in the Southern United States. Like other forms of music the creation, performance, significance, and even the definition of southern gospel varies according to culture and social context. It is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace.

Origins

The date of southern gospel's establishment as a distinct genre is generally considered to be 1910, the year the first professional quartet was formed for the purpose of selling songbooks for the James D. Vaughan Music Publishing Company in Lawrenceburg, Tennessee. Nonetheless the style of the music itself had existed for at least 35 years prior although the traditional wisdom that southern gospel music was "invented" in the 1870s by circuit preacher Everett Beverly is spurious. The existence of the genre prior to 1910 is evident in the work of Charles Davis Tillman (1861–1943), who popularized "The Old Time Religion", wrote "Life's Railway to Heaven" and published 22 songbooks.[1][2][3] Some of the genre's roots can be found in the publishing work and "normal schools" of Aldine S. Kieffer and Ephraim Ruebush. Southern gospel was promoted by traveling singing school teachers, quartets, and shape note music publishing companies such as the A. J. Showalter Company (1879) and the Stamps-Baxter Music and Printing Company. Over time, southern gospel came to be an eclectic musical form with groups singing traditional hymns, a capella (jazz-style singing with no instruments) songs, country, bluegrass, spirituals, and "convention songs". Because it grew out of the musical traditions of white musicians from the American South, the name Southern gospel was used to differentiate it from so-called black gospel.[4][5]

Early performers

Southern gospel is sometimes called "quartet music" by fans because of the originally all-male, tenor-lead-baritone-bass quartet make-up. Early quartets were typically either a cappella or accompanied only by piano or guitar, and in some cases a piano and banjo in areas that were influenced by bluegrass music such as Appalachia. Over time, full bands were added and even later, pre-recorded accompaniments (soundtracks) were introduced.

In the first decades of the twentieth century, southern gospel drew much of its creative energy from the holiness movement churches that arose throughout the south. Early gospel artists such as The Speer Family, The Stamps Quartet, The Blackwood Family, and The Lefevre Trio achieved wide popularity through their recordings and radio performances in the 1920s, 1930s, 1940s and 1950s. On October 20, 1927, The Stamps Quartet recorded its early hit "Give The World A Smile" for RCA Victor, which become the Quartet's theme song. The Stamps Quartet was heard on the radio throughout Texas and the South. A handful of groups were considered pioneers in southern gospel music for a series of "firsts." The Blackwood Brothers, with James Blackwood and J.D. Sumner became the first group to travel in a Bus, which is on display at the Southern Gospel Music Hall of Fame at Dollywood in Pigeon Forge, Tennessee. Sumner also was instrumental in creating the National Quartet Convention, an annual music festival where many groups, both known and well known perform for a week. The Speer Family was known for bringing blended groups to mainstream popularity where both Male and Female performers toured together.

1960's

The best known group of the 1950s and 1960s was Statesmen Quartet, which set the trend for broad appeal of the all male quartets that would develop years later. The Statesmen were known for their showmanship and introduction of Jazz, ragtime, and even some early rock and roll elements into their music and their stage appearance with trendy suits and wide audience appeal and were known for their signature song, "Happy Rhythm" (Rockin and a'Rollin).

Representative artists

From the start of the genre, the predominant type of artist has been the male quartet. Notable examples from the past and present include, The Blackwood Brothers, Brian Free and Assurance, The Cathedral Quartet, Christian Troubadours, Ernie Haase & Signature Sound, The Florida Boys, The Gaither Vocal Band, Gold City, The Inspirations, Jake Hess and the Imperials, The Kingdom Heirs Quartet, The Kingsmen Quartet, Legacy Five, The Oak Ridge Boys, The Stamps Quartet, The Statesmen Quartet, and the Plainsmen Quartet.Notable artists

J.D. Sumner and The Stamps toured with Elvis Presley, who originally wanted to be a Gospel singer despite trying out for numerous groups and never receiving an offer to join. Sumner and Presley met when Elvis was 14 years old and the two forged a strong relationship. Sumner sang at Presley's funeral and debunked many myths about Presley's alleged substance abuse and also credited Elvis for saving his life when Presley confronted Sumner about his alcoholism. Sumner held the world record for the lowest bass note ever hit for a human being until 2002, four years after his death.

The Cathedrals were perhaps the most successful quartet of the 1980s and 1990s. The group had massive appeal and recorded their 1987 album Symphony of Praise with the London Philharmonic Orchestra and also made numerous appearances NBC's The Today Show. After the deaths of frontmen George Younce and Glenn Payne, the Cathedrals spawned off two current groups that are immensely popular, The Legacy Five and Ernie Haase and Signature Sound.

Several secular artists have expressed their love for and influence of the genre by recording southern gospel albums or performing gospel songs in concert. Among them are Johnny Cash, Patsy Cline, Bob Dylan, Larry Gatlin, Alan Jackson, Kentucky Thunder, Jerry Lee Lewis, Loretta Lynn, Willie Nelson, The Oak Ridge Boys, Brad Paisley, Dolly Parton, Carl Perkins, Elvis Presley, Ricky Skaggs, The Statler Brothers, and Travis Tritt.

Today's southern gospel

By the 1990s, the "old-timey" quartet-style music began to develop to include more soloists and duos. Although still mostly popular in the Southeast and Southwest, it has a nationwide and even an international audience. The music remains "more country than city, more down-home than pretentious".[6]

Over the last decade, a newer version of southern gospel has grown in popularity. This style is called progressive southern gospel and is characterized by a blend of traditional southern gospel, bluegrass, modern country, contemporary Christian and pop music elements. Progressive southern gospel generally features artists who push their voices to produce a sound with an edge to it. The traditional style southern gospel singers employ a more classical singing style.

Lyrically, most progressive southern gospel songs are patterned after traditional southern gospel in that they maintain a clear evangelistic and/or testimonial slant. Southern gospel purists view lyrical content and the underlying musical style as the key determining factors for applying the southern gospel label to a song.

Although there are some exceptions, most southern gospel songs would not be classified as Praise and Worship. Few southern gospel songs are sung "to" God as opposed to "about" God.
 

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