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Parashah 41 - Pinchas (Phinehas)

Category: Parashah
Read Time: 8 mins
Hits: 1230

Weekly Parashah


Torah: Num. 25:10–30:1 Haftara: Jer. 1:1–2:3  Brith Chadashah: Mk. 11:27–12:37
Rom. 11:2-32

Pinchas (Phineas)

Scripture: 

 Num. 25:10–30:1

Torah

 

 

10 Then Adonai spoke to Moses saying, 11 “Phinehas son of Eleazar son of Aaron the kohen has turned away My anger from Bnei-Yisrael because he was very zealous for Me among them, so that I did not put an end to Bnei-Yisrael in My zeal. 12 So now say: See, I am making with him a covenant of shalom13 It will be for him and his descendants after him a covenant of an everlasting priesthood—because he was zealous for his God and atoned for Bnei-Yisrael.”

14 The name of the Israelite man killed with the Midianite woman was Zimri son of Salu, a prince of a Simeonite ancestral household. 15 The name of the executed Midianite woman was Cozbi, daughter of Zur—he was a tribal head of an ancestral house in Midian.

16 Adonai spoke to Moses saying, 17 “Deal with the Midianites as enemies and strike them. 18 For they have been enemies to you in their deceptions of you in the matter of Peor and in the matter of Cozbi, the daughter of a Midianite prince, their sister who was slain on the day of the plague on account of the Peor incident.”

Numbering the Second Generation

26 After the plague, Adonai said to Moses and Eleazar son of Aaron the kohensaying, “Take a headcount of the entire community of Bnei-Yisrael, sons twenty years old and upward, by their ancestral houses, all who can serve in Israel’s army.”

So Moses and Eleazar the kohen spoke with them on the Moabite plains by the Jordan across from Jericho saying, “Just as Adonai commanded Moses, a census will be taken of all men of Bnei-Yisrael who came out of Egypt, from 20 years old and upward.”

https://www.biblegateway.com/passage/?search=Num.+25%3A10%E2%80%9330%3A1&version=TLV

Scripture: 

 Jer. 1:1–2:3

Haftarah

The Call of Jeremiah

1 The words of Jeremiah son of Hilkiah, one of the kohanim who were in Anathoth in the land of Benjamin. The word of Adonai came to him during the days of King Josiah of Judah, son of Amon, in the thirteenth year of his reign. It continued during the days of King Jehoiakim of Judah, son of Josiah, until the end of the eleventh year of King Zedekiah of Judah, son of Josiah—until the exile from Jerusalem in the fifth month.

The word of Adonai came to me, saying:

“Before I formed you in the womb, I knew you,
    and before you were born, I set you apart—
    I appointed you prophet to the nations.”
Then I said, “Alas, Adonai Elohim!
    Look, I don’t know how to speak!
    For I’m still a boy!”
But Adonai answered me,
    “Do not say ‘I’m only a boy!’
    For to everyone I send you, you will go,
    and all I command you, you will speak.
Do not be afraid of them!
    For I am with you to deliver you.”
It is a declaration of Adonai.

Then Adonai stretched out His hand and touched my mouth and Adonai said to me,

“Behold, I have put My words in your mouth.
https://www.biblegateway.com/passage/?search=Jer.+1%3A1%E2%80%932%3A3+&version=TLV

 

 

 

Scripture: 

 Mk. 11:27–12:37
Rom. 11:2-32

Brit Chadashah

 

A Question for a Question

27 Again they come to Jerusalem. While Yeshua was walking in the Temple, the ruling kohanim, Torah scholars, and elders come up to Him. 28 And they start saying to Him, “By what authority are You doing these things? Who gave You this authority to do these things?”

29 Yeshua said to them, “I will put one question to you. Answer Me, and I will tell you by what authority I do these things. 30 The immersion of John—was it from heaven or from men? Answer Me!”

31 They began to dialogue among themselves, saying, “If we say, ‘From heaven,’ He will say, ‘Then why didn’t you believe him?’ 32 But if we say, ‘From men’. . .?” They were afraid of the crowd, for all held that John really was a prophet. 33 So answering Yeshua, they say, “We don’t know.”

And Yeshua tells them, “Neither will I tell you by what authority I do these things.”

https://www.biblegateway.com/passage/?search=Mk.+11%3A27%E2%80%9312%3A37&version=TLV

 

Romans 11 : 2 - 32

God has not rejected His people whom He knew beforehand.[a] Or do you not know what the Scripture says about Elijah, how he pleads with God against Israel? Adonai, they have killed your prophets, they have destroyed your altars; I alone am left, and they are seeking my life.” [bBut what is the divine response to him? “I have kept for Myself seven thousand men who have not bowed the knee to Baal.”[cSo in the same way also at this present time there has come to be a remnant[d]according to God’s gracious choice. But if it is by grace, it is no longer by works; otherwise grace would no longer be grace.

What then? What Israel is seeking, it has not obtained; but the elect obtained it, and the rest were hardened— just as it is written,

“God gave them a spirit of stupor,
    eyes not to see and ears not to hear,
        until this very day.”[e]

And David says,

“Let their table become a snare and a trap,
    a stumbling block and a retribution for them.
10 Let their eyes be darkened so they do not see,
    and bend their back continually.”[f]

11 I say then, they did not stumble so as to fall, did they?[g] May it never be! But by their false step salvation has come to the Gentiles, to provoke Israel to jealousy. [h]

https://www.biblegateway.com/passage/?search=Rom.+11%3A2-32&version=TLV

Parashah in 60 seconds

Pastor Chris

 

 

Music Styles Black Gospel

Category: Radio
Read Time: 9 mins
Hits: 10448

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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