Select your language

8100 ingrid Drive, Elgin TX 78621 +1 (512) 772-1972 info@ewcmi.us Sun-Fri 10:00 - 16:00H CST
Open menu

 

parashah - Beshalach (When he let go)

Parashah Banner

 
 
Hebrew Name : When he let go
English Name : Beshalach
Week Nr. : 16
 16    
  Torah Haftarah Brit Chadashah
  Exo. 13:17-17:16

Jdg 4:4-5:31

 

Mt. 5:1–48
John 6:15-71
I Cor. 10:1-5

 
Table Talk Page :  

http://www.hebrew4christians.com/Scripture/Parashah/Summaries/Beshalach/ShabbatTableTalkPageBeshalach.pdf

Parashah in 60 Seconds  

בשלח

TorahBlue

Torah Reading 

Exodus 13 : 17 – 17 : 16

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.

Sea of Reeds Showdown

14 Adonai spoke to Moses saying, 2 “Speak to Bnei-Yisrael, so that they turn back and encamp before Pi-hahiroth, between Migdol and the sea. You are to camp by the sea, opposite Baal-zephon. 3 Pharaoh will say concerning Bnei-Yisrael, ‘They are wandering aimlessly in the land—the wilderness has shut them in!’ 4 I will harden Pharaoh’s heart, so he will follow after them. Then I will be glorified over Pharaoh along with all his army, and the Egyptians will know that I am Adonai.” So they did so.

https://www.biblegateway.com/passage/?search=Exo.+13%3A17-17%3A16&version=TLV



Yad - Pointer
       
Haftarah Reading

Judges 4 : 4 5 : 31

4 Now Deborah, a woman who was a prophetess, the wife of Lappidoth, was judging Israel at that time. 5 She used to sit under the palm tree of Deborah between Ramah and Bethel in the hill country of Ephraim, and Bnei-Yisrael came up to her for judgment. 6 Now she sent and summoned Barak son of Abinoam from Kedesh in Naphtali, and said to him, “Hasn’t Adonai, God of Israel, commanded, ‘Go, march to Mount Tabor, and take with you 10,000 men of the sons of Naphtali and of the sons of Zebulun? 7 Then at the Kishon torrent, I will draw out to you Sisera, commander of Jabin’s army with his chariots and his multitude, and I will give him into your hand.’”

8 But Barak said to her, “If you are going with me, then I will go. But if you aren’t going with me, I won’t go.”

9 “Surely I will go with you,” she said. “However, no honor will be yours on the way that you are about to go—for Adonai will sell Sisera into the hand of a woman.” So Deborah arose and went with Barak to Kedesh. 10 Then Barak summoned Zebulun and Naphtali together to Kedesh, and 10,000 men marched up after him, and Deborah went up with him.

11 Now Heber the Kenite had separated himself from the Kenites, from the children of Hobab the father-in-law of Moses, and had pitched his tent as far as the oak in Zaanannim, which is near Kedesh.

12 They told Sisera that Barak son of Abinoam had gone up to Mount Tabor. 13 So Sisera ordered all his chariots—900 iron chariots—and all the troops that were with him, from Harosheth-ha-goyim to the Kishon.

https://www.biblegateway.com/passage/?search=Jdg+4%3A4-5%3A31&version=TLV



Prophet
       
messianic Brit Chadashah Reading

Matthew 5 : 1 – 48

Drash on the Mountain

5 Now when Yeshua saw the crowds, He went up on the mountain. And after He sat down, His disciples came to Him. 2 And He opened His mouth and began to teach them, saying,

3 “Blessed are the poor in spirit,
    for theirs is the kingdom of heaven.
4 “Blessed are those who mourn,
    for they shall be comforted.
5 “Blessed are the meek,
    for they shall inherit the earth.
6 “Blessed are those who hunger and thirst for righteousness,
    for they shall be satisfied.
7 “Blessed are the merciful,
    for they shall be shown mercy.
8 “Blessed are the pure in heart,
    for they shall see God.
9 “Blessed are the peacemakers,
    for they shall be called sons of God.
10 “Blessed are those who have been persecuted for the sake of righteousness,
    for theirs is the kingdom of heaven.

11 “Blessed are you when people revile you and persecute you and say all kinds of evil against you falsely, on account of Me.

12 Rejoice and be glad, for your reward in heaven is great! For in the same way they persecuted the prophets who were before you.”[a]

https://www.biblegateway.com/passage/?search=Mt.+5%3A1%E2%80%9348&version=TLV

John 6 : 15 – 71

[a] 15 Realizing that they were about to come and seize Him by force to make Him king, Yeshua withdrew again to the mountain, Himself alone.

The Savior on the Sea

16 Now when evening came, Yeshua’s disciples went down to the sea. 17 Getting into a boat, they set out to cross the sea toward Capernaum. By now it had become dark, and still Yeshua had not come to them. 18 A great wind began to blow, stirring up the sea.

19 After they had rowed about twenty-five or thirty stadia,[b] they catch sight of Yeshua walking on the sea, approaching the boat. They were terrified! 20 But Yeshua says to them, “I am. Don’t be afraid.” [c] 21 Then they wanted to take Him into the boat, and right away the boat reached the shore where they were headed.

The Bread from Heaven

22 The next day, the crowd remaining on the other side of the sea realized that no other boat had been there except the one, and that Yeshua hadn’t gone into the boat with His disciples, but that His disciples had gone away alone. 23 Some other boats from Tiberias came close to the place where they had eaten the bread after the Master had given thanks. 24 So when the crowd realized that neither Yeshua nor His disciples were there, they got into the boats and set off for Capernaum to find Him. 25 When they found Him on the other side of the sea, they said, “Rabbi, when did You get here?”

https://www.biblegateway.com/passage/?search=John+6%3A15-71&version=TLV

 

I Corinthians 10 : 1 - 5

Warnings from History

10 For I do not want you to be ignorant, brothers and sisters, that our fathers were all under the cloud and all passed through the sea. [a] 2 They all were immersed into Moses in the cloud and in the sea. 3 And all ate the same spiritual food, 4 and all drank the same spiritual drink—for they were drinking from a spiritual rock that followed them, and the Rock was Messiah. [b] 5 Nevertheless, God was not pleased with most of them, for they were struck down in the desert.[c]

https://www.biblegateway.com/passage/?search=I+Cor.+10%3A1-5&version=TLV

 

 
 

Music Styles Southern Gospel

(0 Votes)

Styles

On this radio station you will find the following music styles;

excerpts and links to wikipedia

Southern Gospel

Southern gospel music is a genre of Christian music. Its name comes from its origins in the Southeastern United States whose lyrics are written to express either personal or a communal faith regarding biblical teachings and Christian life, as well as (in terms of the varying music styles) to give a Christian alternative to mainstream secular music. Sometimes known as "quartet music" for its traditional "four men and a piano" set up, southern gospel has evolved over the years into a popular form of music across the United States and overseas, especially among baby boomers and those living in the Southern United States. Like other forms of music the creation, performance, significance, and even the definition of southern gospel varies according to culture and social context. It is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace.

Origins

The date of southern gospel's establishment as a distinct genre is generally considered to be 1910, the year the first professional quartet was formed for the purpose of selling songbooks for the James D. Vaughan Music Publishing Company in Lawrenceburg, Tennessee. Nonetheless the style of the music itself had existed for at least 35 years prior although the traditional wisdom that southern gospel music was "invented" in the 1870s by circuit preacher Everett Beverly is spurious. The existence of the genre prior to 1910 is evident in the work of Charles Davis Tillman (1861–1943), who popularized "The Old Time Religion", wrote "Life's Railway to Heaven" and published 22 songbooks.[1][2][3] Some of the genre's roots can be found in the publishing work and "normal schools" of Aldine S. Kieffer and Ephraim Ruebush. Southern gospel was promoted by traveling singing school teachers, quartets, and shape note music publishing companies such as the A. J. Showalter Company (1879) and the Stamps-Baxter Music and Printing Company. Over time, southern gospel came to be an eclectic musical form with groups singing traditional hymns, a capella (jazz-style singing with no instruments) songs, country, bluegrass, spirituals, and "convention songs". Because it grew out of the musical traditions of white musicians from the American South, the name Southern gospel was used to differentiate it from so-called black gospel.[4][5]

Early performers

Southern gospel is sometimes called "quartet music" by fans because of the originally all-male, tenor-lead-baritone-bass quartet make-up. Early quartets were typically either a cappella or accompanied only by piano or guitar, and in some cases a piano and banjo in areas that were influenced by bluegrass music such as Appalachia. Over time, full bands were added and even later, pre-recorded accompaniments (soundtracks) were introduced.

In the first decades of the twentieth century, southern gospel drew much of its creative energy from the holiness movement churches that arose throughout the south. Early gospel artists such as The Speer Family, The Stamps Quartet, The Blackwood Family, and The Lefevre Trio achieved wide popularity through their recordings and radio performances in the 1920s, 1930s, 1940s and 1950s. On October 20, 1927, The Stamps Quartet recorded its early hit "Give The World A Smile" for RCA Victor, which become the Quartet's theme song. The Stamps Quartet was heard on the radio throughout Texas and the South. A handful of groups were considered pioneers in southern gospel music for a series of "firsts." The Blackwood Brothers, with James Blackwood and J.D. Sumner became the first group to travel in a Bus, which is on display at the Southern Gospel Music Hall of Fame at Dollywood in Pigeon Forge, Tennessee. Sumner also was instrumental in creating the National Quartet Convention, an annual music festival where many groups, both known and well known perform for a week. The Speer Family was known for bringing blended groups to mainstream popularity where both Male and Female performers toured together.

1960's

The best known group of the 1950s and 1960s was Statesmen Quartet, which set the trend for broad appeal of the all male quartets that would develop years later. The Statesmen were known for their showmanship and introduction of Jazz, ragtime, and even some early rock and roll elements into their music and their stage appearance with trendy suits and wide audience appeal and were known for their signature song, "Happy Rhythm" (Rockin and a'Rollin).

Representative artists

From the start of the genre, the predominant type of artist has been the male quartet. Notable examples from the past and present include, The Blackwood Brothers, Brian Free and Assurance, The Cathedral Quartet, Christian Troubadours, Ernie Haase & Signature Sound, The Florida Boys, The Gaither Vocal Band, Gold City, The Inspirations, Jake Hess and the Imperials, The Kingdom Heirs Quartet, The Kingsmen Quartet, Legacy Five, The Oak Ridge Boys, The Stamps Quartet, The Statesmen Quartet, and the Plainsmen Quartet.Notable artists

J.D. Sumner and The Stamps toured with Elvis Presley, who originally wanted to be a Gospel singer despite trying out for numerous groups and never receiving an offer to join. Sumner and Presley met when Elvis was 14 years old and the two forged a strong relationship. Sumner sang at Presley's funeral and debunked many myths about Presley's alleged substance abuse and also credited Elvis for saving his life when Presley confronted Sumner about his alcoholism. Sumner held the world record for the lowest bass note ever hit for a human being until 2002, four years after his death.

The Cathedrals were perhaps the most successful quartet of the 1980s and 1990s. The group had massive appeal and recorded their 1987 album Symphony of Praise with the London Philharmonic Orchestra and also made numerous appearances NBC's The Today Show. After the deaths of frontmen George Younce and Glenn Payne, the Cathedrals spawned off two current groups that are immensely popular, The Legacy Five and Ernie Haase and Signature Sound.

Several secular artists have expressed their love for and influence of the genre by recording southern gospel albums or performing gospel songs in concert. Among them are Johnny Cash, Patsy Cline, Bob Dylan, Larry Gatlin, Alan Jackson, Kentucky Thunder, Jerry Lee Lewis, Loretta Lynn, Willie Nelson, The Oak Ridge Boys, Brad Paisley, Dolly Parton, Carl Perkins, Elvis Presley, Ricky Skaggs, The Statler Brothers, and Travis Tritt.

Today's southern gospel

By the 1990s, the "old-timey" quartet-style music began to develop to include more soloists and duos. Although still mostly popular in the Southeast and Southwest, it has a nationwide and even an international audience. The music remains "more country than city, more down-home than pretentious".[6]

Over the last decade, a newer version of southern gospel has grown in popularity. This style is called progressive southern gospel and is characterized by a blend of traditional southern gospel, bluegrass, modern country, contemporary Christian and pop music elements. Progressive southern gospel generally features artists who push their voices to produce a sound with an edge to it. The traditional style southern gospel singers employ a more classical singing style.

Lyrically, most progressive southern gospel songs are patterned after traditional southern gospel in that they maintain a clear evangelistic and/or testimonial slant. Southern gospel purists view lyrical content and the underlying musical style as the key determining factors for applying the southern gospel label to a song.

Although there are some exceptions, most southern gospel songs would not be classified as Praise and Worship. Few southern gospel songs are sung "to" God as opposed to "about" God.
 

Listen On Banner:

Index of Artists

Index of Artists

The Amazon Links provided are Affiliate Links and will provide us with a little money supporting this ministry.


Note: EWCMI does not underwrite, support, and does not receive any payment from the advertisements at TuneIn.

Login