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Weekly Parashah |
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| Torah: Lev. 16:1-18:30
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Haftara: 1 Sam. 20:18-42 | Brith Chadashah: John 7 : 1 - 52 | |||
| Acharei Mot (After the Death) |
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Scripture: |
Leviticus 16 : 1 – 18 : 30 |
Torah |
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Parashat Acharei Mot16 Then Adonai spoke to Moses after the death of the two sons of Aaron, when they approached the presence of Adonai and died. 2 Adonai said to Moses, “Tell Aaron your brother not to come at just any time into the Holiest Place behind the curtain[a]—before the atonement cover which is on the Ark—so that he would not die. For I will be appearing in the cloud over the atonement cover.[b] Yom Kippur Service3 “In this way should Aaron come into the Sanctuary: with a young bull for a sin offering and a ram for a burnt offering. 4 He is to put on the holy linen garment, have the linen undergarments on his body, put on the linen sash, and wear the linen turban—they are the holy garments. He should bathe his body in water, and put them on. 5 “Then he is to take from the congregation of Bnei-Yisrael two he-goats for a sin offering and one ram for a burnt offering. 6 Then Aaron is to offer the bull for the sin offering which is for himself and make atonement for himself and his house. 7 Then he is take the two goats and present them before Adonai at the entrance of the Tent of Meeting. 8 Aaron will then cast lots for the two goats—one lot for Adonai, and the other lot for the scapegoat. 9 Aaron is to present the goat on which the lot for Adonai fell and make it a sin offering. 10 But the goat upon which the lot for the scapegoat[c] fell is to be presented alive before Adonai, to make atonement upon it,[d] by sending it away as the scapegoat into the wilderness. https://www.biblegateway.com/passage/?search=Leviticus+16%3A1-18%3A30&version=TLV
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Scripture: |
1 Samuel 11 : 14 – 12 : 22 |
Haftarah |
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18 Then Jonathan said to him, “Tomorrow is the New Moon. You’ll be missed because your seat will be empty. 19 On the third day, you must go down quickly and come to the place where you hid as you did on that day, and remain close to the stone Ezel. 20 I will shoot three arrows to the side of it, as though I were shooting at a target. 21 Now look, I will send a lad saying, ‘Go, find the arrows.’ If I specifically say to the lad, ‘See, the arrows are on this side of you—get them,’ then come; for it is safe for you and no danger, as Adonai lives. 22 But if I say to the boy: ‘Look, the arrows are beyond you,’ then go your way, for Adonai has released you. 23 But as for the matter which I and you have spoken about, behold, Adonai is between me and you forever.” 24 So David hid himself in the field, and when the New Moon came, the king sat down to eat a meal. 25 So the king sat on his seat—as usual, the seat by the wall—Jonathan stood up and Abner sat down by Saul’s side, but David’s place was empty. 26 Nevertheless, Saul said nothing that day, for he thought, “It must be an accident; he must be ceremonially unclean—yes, that’s it, he’s unclean.” 27 Yet it came to pass on the day following the New Moon, the second day, that David’s place was still empty. So Saul asked his son Jonathan, “Why didn’t Jesse’s son come to the meal yesterday or today?” 28 Jonathan answered Saul, “David earnestly asked leave of me to go to Beth-lehem, 29 as he said, ‘Please let me go, for we are going to have a family feast in the town, and my brother has commanded me. So now, if I have found favor in your eyes, let me go, please, to see my brothers. That’s why he hasn’t come to the king’s table.” https://www.biblegateway.com/passage/?search=1+Sam.+20%3A18%E2%80%9342&version=TLV
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Scripture: |
John 7 : 1 – 52 |
Brit Chadashah |
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Anticipating Hostility at Sukkot7 After these events, Yeshua was walking about in the Galilee. He did not want to walk in Judea, because the Judean leaders wanted to kill Him. 2 Now the Jewish Feast of Tabernacles[a] was near. 3 Therefore His brothers said to Him, “Leave here and go to Judea, so Your disciples also may see the works You are doing. 4 No one who wants to be well known does everything in secret. If You are doing these things, show Yourself to the world!” 5 For not even His brothers were trusting in Him. 6 Therefore Yeshua said to them, “My time has not yet come, but your time is always at hand. 7 The world cannot hate you, but it hates Me because I testify that its works are evil. 8 You go on up to the Feast. I’m not going to this feast, because My time hasn’t yet fully come.” 9 After saying these things, He stayed in the Galilee. 10 But after His brothers went to the Feast, He also went, not openly but secretly. 11 Then the Judean leaders were searching for Him at the Feast and kept asking, “Where is that fellow?” https://www.biblegateway.com/passage/?search=Jn.+7%3A1%E2%80%9352&version=TLV |
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Parashah in 60 seconds |
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Music Styles Contemporary Worship Music
Styles
On this radio station you will find the following music styles;Contemporary Worship Music (CWM) (Praise and Worship Music)
Contemporary worship music (CWM) is a loosely defined genre of Christian music used in contemporary worship. It has developed over the past sixty years and is stylistically similar to pop music. The songs are frequently referred to as "praise songs" or "worship songs" and are typically led by a "worship band" or "praise team", with either a guitarist or pianist leading. It is becoming a common genre of music sung in Western churches, particularly in Pentecostal churches, both denominational and nondenominational. Also many non-Charismatic Protestant Churches use this type of music. Some do so exclusively. Others have services that are just traditional along with services that are just contemporary. Others simply mix this type of music in with traditional. Some Protestant churches avoid this music and remain traditional. Also, Roman Catholic churches are using this type of music in some parishes. Some mix it in with more traditional music; others have certain masses with just contemporary worship music along with traditional masses; others only use contemporary; many others steer clear of contemporary worship and stick with traditional.History and development
In the early 1950s, the Taizé Community in France started to attract youths from several religious denominations with worship hymns based on modern melodies.
In the 1950s and 1960s the Christian Church began to place particular emphasis on reaching to the youth. Christian Unions in university environments hosted evangelistic talks and provided biblical teaching for their members, Christian cafes opened with evangelistic aims, and church youth groups were set up. Amateur musicians from these groups began playing Christian music in a popular idiom. Some Christians felt that the Church needed to break from its stereotype as being structured, formal and dull to appeal to the younger generation. By borrowing the conventions of popular music, the antithesis of this stereotype, the Church restated the claims of the Bible through Christian lyrics, and thus sent the message that Christianity was not outdated or irrelevant. The Joystrings were one of the first Christian pop groups to appear on television, in Salvation Army uniform, playing Christian beat music. The Jesus People in America also had particular influence, and began to create their own musical subculture, sometimes referred to as Jesus music— essentially hippie-style music with biblical lyrics. This Jesus music gradually bifurcated into Christian rock (music played for concerts) and 'praise music' (music for communal worship).
Churches began to adopt some of these songs and the styles for corporate worship. These early songs for communal singing were arguably the first examples of contemporary worship music, and were characteristically simple, 'Youth Praise', published in 1966, was one of the first and most famous collections of these songs and was compiled and edited by Michael Baughen and published by the Jubilate Group.
As of the early 1990s, songs such as "Lord, I Lift Your Name on High", "Shine, Jesus, Shine" and "Shout to the Lord" had been accepted in many churches. Integrity Media, Maranatha! Music and Vineyard were already publishing newer styles of music. Supporters of traditional worship hoped the newer styles were a fad, while younger people cited Psalms 96:1, "Sing to the Lord a new song". Prior to the late 1990s, many felt Sunday morning was a time for hymns, and young people could have their music on the other six days. A "modern worship renaissance" helped make it clear any musical style was acceptable if true believers were using it to praise God. The changes resulted from the Cutting Edge recordings by the band Delirious?, the Passion Conferences and their music, the Exodus project of Michael W. Smith, and the band Sonicflood. Contemporary worship music became an integral part of Contemporary Christian music.[1]
More recently songs are displayed using projectors on screens at the front of the church, and this has enabled greater physical freedom, and a faster rate of turnover in the material being sung. Important propagators of CWM today include Hillsong, Vineyard, Bethel Music and Soul Survivor.
Theology and lyrics
As CWM is closely related to the charismatic movement, the lyrics and even some musical features reflect its theology. In particular the charismatic movement is characterised by its emphasis on the Holy Spirit, personal encounter and relationship with God, and agape.
