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Weekly Parashah |
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| Torah: Exodus 13:17-15:26 | Haftara: 2 Samuel 22:1-51 | Brit Chadashah: John 20:1-14 | |||
Pesach VII (Seventh Day of Passover)
פֶּסַח ז׳ |
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Scripture: |
Exodus 13:17-15:26
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Torah |
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17 After Pharaoh had let the people go, God did not lead them along the road to the land of the Philistines, although that was nearby, for God said, “The people might change their minds if they see war and return to Egypt.” 18 So God led the people around by the way of the wilderness to the Sea of Reeds, and Bnei-Yisrael went up out of the land of Egypt armed. 19 Moses also took the bones of Joseph with him, for he had made Bnei-Yisrael swear an oath saying, “God will surely remember you, and then you are to carry my bones away with you.”[a] 20 So they journeyed from Succoth and encamped in Etham, on the edge of the wilderness. 21 Adonai went before them in a pillar of cloud by day to lead the way and in a pillar of fire by night to give them light. So they could travel both day and night. [b] 22 The pillar of cloud by day and the pillar of fire by night never departed from the people. https://www.biblegateway.com/passage/?search=%20Exodus%2013%3A17-15%3A26&version=TLV |
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Scripture: |
2 Samuel 22:1-51
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Haftarah |
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22 David spoke to Adonai the words of this song in the day that Adonai delivered him from the hand of all his enemies and from the hand of Saul. 2 He said: “Adonai is my rock, my fortress and my deliverer. https://www.biblegateway.com/passage/?search=%202%20Samuel%2022%3A1-51&version=TLV |
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Scripture: |
John 20:1-14
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Brit Chadashah |
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The Lamb of God is Resurrected20 Early in the morning on the first day of the week, while it is still dark, Miriam from Magdala comes to the tomb. She sees that the stone had been rolled away from the tomb. 2 So she comes running to Simon Peter and the other disciple, the one Yeshua loved. She tells them, “They’ve taken the Master out of the tomb, and we don’t know where they’ve put Him!” 3 Then Peter and the other disciple set out, going to the tomb. 4 The two were running together, but the other disciple outran Peter and arrived at the tomb first. 5 Leaning in, he sees the linen strips lying there. But he didn’t go in. 6 Then Simon Peter comes following him, and he entered the tomb. He looks upon the linen strips lying there, 7 and the face cloth that had been on His head. It was not lying with the linen strips, but was rolled up in a place by itself. 8 So then the other disciple, who had reached the tomb first, also entered. He saw and believed. 9 For they did not yet understand from Scripture that Yeshua must rise from the dead. [a] 10 So the disciples went back to their own homes. Yeshua Appears to Miriam11 But Miriam stood outside the tomb weeping. As she was weeping, she bent down to look into the tomb. 12 She sees two angels in white sitting, one at the head and one at the feet, where Yeshua’s body had been lying. 13 “Woman, why are you crying?” they say to her. She says to them, “Because they took away my Master, and I don’t know where they’ve put Him.” 14 After she said these things, she turned around. And she sees Yeshua standing there. Yet she didn’t know that it was Yeshua. https://www.biblegateway.com/passage/?search=%20John%2020%3A1-14&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.
