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Parashah - Vayekhel (And he assembled)

Weekly Parashah


Torah: 

Exo. 35:1-38-20

Haftara: 1 Kgs. 7:40-50  Brit Chadashah: Mk. 6:14–29
2 Cor. 9:6-11
1 Cor. 3:11-18 

Vayekhel (And he assembled)

וַיַּקְהֵל

Scripture: 

 Exodus 35:1-38-20

Torah

 

Offerings for the Tabernacle

35 Then Moses assembled all the congregation of Bnei-Yisrael and said to them, “These are the words which Adonai has commanded you to do. 2 Work is to be done for six days, but the seventh day is a holy day for you, a Shabbat of complete rest to Adonai. Whoever does any work then will die. 3 Do not kindle a fire in any of your dwellings on Yom Shabbat.”

4 Moses also said to all the congregation of Bnei-Yisrael, “This is the word which Adonai commanded saying: 5 Take from among you an offering for Adonai. Whoever has a willing heart, let him bring Adonai’s offering: gold, silver and bronze; 6 blue, purple and scarlet cloth; fine linen and goat hair; 7 ram skins dyed red, sealskins and acacia wood; 8 oil for the light, spices for the anointing oil and for the sweet incense; 9 onyx stones, and setting stones for the ephod and for the breastplate.

10 “Let every wise-hearted man among you come and make everything that Adonai has commanded, including

https://www.biblegateway.com/passage/?search=Exo.+35%3A1-38%3A20&version=TLV

Scripture: 

 1 kings 7 : 40 – 50

Haftarah

40 Then Hiram made the basins, the shovels, and the sprinkling bowls.

So Hiram finished doing all the work that he performed for King Solomon on Adonai’s House: 41 the two pillars, the two bowls of the capitals that were on the top of the pillars, the two nettings to cover the two bowls of the capitals that were on the top of the pillars, 42 the 400 pomegranates for the two nettings, two rows of pomegranates for each to cover the two bowls of the capitals on top of the pillars, 43 the ten bases and the ten basins on the bases, 44 the one sea and the 12 oxen under the sea, 45 the pots, the shovels and the basins. All these vessels Hiram made for King Solomon in the House of Adonai were made of polished bronze. 46 The king had them cast in the plain of the Jordan, with clay of the ground between Sukkot and Zarethan. 47 Solomon left all the vessels unweighed, because they were too many—the weight of the bronze could not be determined.

48 So Solomon made all the equipment that was to be in the House of Adonai: the golden altar, the table on which was the bread of the presence, of gold; 49 the menorahs—five on the right side and five on the left in front of the inner Sanctuary—of pure gold; the flowers, the lamps and the tongs, of gold; 50 the cups, the snuffers, the bowls, the wick trimmers and the fire pans, of pure gold; the hinges for the doors of the inner House, the Holy of Holies, and for the doors of the House, that is, of the Temple, of gold.

https://www.biblegateway.com/passage/?search=1+kings+7%3A40-50&version=TLV

Scripture: 

 Mark 6:14–29
2 Corinthians 9:6-11
1 Corinthians 3:11-18

Brit Chadashah

 

14 King Herod heard, for Yeshua’s name had become known. Some were saying, “John the Immerser has risen from the dead! Because of this, these powers are at work in Him!” 15 But others were saying, “It’s Elijah!” Still others were saying, “It’s a prophet, like one of the prophets of old.”[a]

16 But when Herod heard, he said, “John, the one I beheaded, has been raised!” 17 For Herod himself sent and arrested John and bound him in prison for the sake of Herodias, the wife of his brother Philip, because Herod had married her. 18 For John had been telling Herod, “It is not permitted for you to have your brother’s wife.” [b] 19 Now Herodias had a grudge against John and wanted to kill him, but she wasn’t able. 20 For Herod was in awe of John and kept him safe, knowing him to be a righteous and holy man. When he listened to John he was confused, but he still listened gladly.

21 An opportunity came—when Herod, on his birthday, gave a banquet for his high officials, military brass, and the leaders of the Galilee. 22 When the daughter of Herodias[c] came in and danced, she pleased Herod and those reclining with him. And the king said to the girl, “Ask me for whatever you want, and I’ll give it to you!” 23 He vowed to her, “Whatever you ask of me I’ll give you, up to half of my kingdom!”

24 She left the room and said to her mother, “What should I ask for?”

Her mother said, “The head of John the Immerser!”

https://www.biblegateway.com/passage/?search=mk+6%3A14-29&version=TLV

2 Corinthians 9 : 6 – 11

Sowing and Reaping Generosity

6 The point is this: whoever sows sparingly shall also reap sparingly, and whoever sows bountifully shall also reap bountifully. [a] 7 Let each one give as he has decided in his heart, not grudgingly or under compulsion—for God loves a cheerful giver. [b] 8 And God is able to make all grace overflow to you, so that by always having enough of everything, you may overflow in every good work. 9 As it is written,

“He scattered widely, He gave to the poor;
His righteousness endures forever.”[c]

10 Now the One who supplies seed to the sower and bread for food will supply and multiply your seed and increase the harvest of your righteousness. [d] 11 You will be enriched in everything for all generosity, which through us brings about thanksgiving to God.

https://www.biblegateway.com/passage/?search=2+Cor+9%3A6-11&version=TLV

1 Corinthians 3 : 11 – 18

11 For no one can lay any other foundation than what is already laid[a]—which is Yeshua the Messiah. 12 Now if anyone builds on the foundation with gold, silver, precious stones, wood, hay, straw, 13 each one’s work will become clear. For the Day will show it, because it is to be revealed by fire; and the fire itself will test each one’s work—what sort it is. 14 If anyone’s work built on the foundation survives, he will receive a reward. 15 If anyone’s work is burned up, he will suffer loss—he himself will be saved, but as through fire.

16 Don’t you know that you are God’s temple and that the Ruach Elohim dwells among you? 17 If anyone destroys God’s temple, God will destroy him; for God’s temple is holy, and you are that temple.

18 Let no one deceive himself. If anyone thinks he is wise in this age, let him become a fool so he may become wise.

https://www.biblegateway.com/passage/?search=1+cor+3%3A11-18&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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