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Weekly Parashah |
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| Torah: Gen. 37:1–40:23 | Haftara: Amos 2:6–3:8 | Brit Chadashah: Jn. 2:13–4:42 Mt.1:18-25 |
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| Vayeshev (And he settled) |
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Scripture: |
Genesis 37:1 – 40:23
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Torah |
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Joseph, Favored Son37 Now Jacob dwelled in the land where his father had sojourned, in the land of Canaan. 2 These are the genealogies of Jacob. https://www.biblegateway.com/passage/?search=Gen.+37%3A1%E2%80%9340%3A23&version=TLV |
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Scripture: |
Amos: 2:6 - 3:8
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Haftarah |
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6 Thus says Adonai: |
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Scripture: |
John 2:13–4:42
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Brit Chadashah |
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13 The Jewish feast of Passover was near, so Yeshua went up to Jerusalem. 14 In the Temple, He found the merchants selling oxen, sheep, and doves; also the moneychangers sitting there. 15 Then He made a whip of cords and drove them all out of the Temple, both the sheep and oxen. He dumped out the coins of the moneychangers and overturned their tables. 16 To those selling doves, He said, “Get these things out of here! Stop making My Father’s house a marketplace!” 17 His disciples remembered that it is written, “Zeal for your House will consume Me!”[a]18 The Judean leaders responded, “What sign do You show us, since You are doing these things?”19 “Destroy this Temple,” Yeshua answered them, “and in three days I will raise it up.” 20 The Judean leaders then said to Him, “Forty-six years this Temple was being built, and You will raise it up in three days?” 21 But He was talking about the temple of His body. 22 So after He was raised from the dead, His disciples remembered that He was talking about this. Then they believed the Scripture and the word that Yeshua had spoken. 23 Now when He was in Jerusalem for the Passover, during the feast, many believed in His name, seeing the signs He was doing. 24 But Yeshua did not entrust Himself to them, because He knew all men. 25 He did not need anyone to testify about man, for He knew what was in man. https://www.biblegateway.com/passage/?search=Jn.+2%3A13%E2%80%934%3A42&version=TLV Matthew 1 : 18 - 25The Miraculous Birth of Yeshua18 Now the birth of Yeshua the Messiah happened this way. When His mother Miriam was engaged to Joseph but before they came together, she was found to be pregnant through the Ruach ha-Kodesh. 19 And Joseph her husband, being a righteous man and not wanting to disgrace her publicly, made up his mind to dismiss her secretly. 20 But while he considered these things, behold, an angel of Adonai appeared to him in a dream, saying, “Joseph son of David, do not be afraid to take Miriam as your wife, for the Child conceived in her is from the Ruach ha-Kodesh. 21 She will give birth to a son; and you shall call His name Yeshua, for He will save His people from their sins.”22 Now all this took place to fulfill what was spoken by Adonai through the prophet, saying, 23 “Behold, the virgin shall conceive and give birth to a son, and they shall call His name Immanuel,” which means “God with us.”[a]24 When Joseph woke up from his sleep, he did as the angel of Adonai commanded him and took Miriam as his wife. 25 But he did not know her intimately until she had given birth to a Son. And he called His name Yeshua. https://www.biblegateway.com/passage/?search=Mt.1%3A18-25&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.
