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Song of Songs (Cantique des Cantiques) by Gustave Moreau, 1893. The Song of Songs (Biblical Hebrew: שִׁיר הַשִּׁירִים , romanized: Šīr hašŠīrīm), also called the Canticle of Canticles or the Song of Solomon, is a biblical poem, one of the five megillot ("scrolls") in the Ketuvim ('writings'), the last section of the Tanakh.
There are 66 books in the King James Bible; 39 in the Old Testament and 27 in the New Testament.The Catholic Bible contains 73 books; the additional seven books are called the Apocrypha and are considered canonical by the Catholic Church, but not by other Christians.
The Song of the Theotokos (Magnificat: Luke 1:46–55); The Song of Zacharias (the Benedictus Luke 1:68–79) The Prayer of Simeon (Nunc dimittis Luke 2:29–32) Following the Song of the Three Youths and the Prayer of Simeon there are sets of hymns as well as other texts which are proper to the commemoration of the day or of the liturgical season.
The word testament in the expression "New Testament" refers to a Christian new covenant that Christians believe completes or fulfils the Mosaic covenant (the Jewish covenant) that Yahweh (the God of Israel) made with the people of Israel on Mount Sinai through Moses, described in the books of the Old Testament of the Christian Bible. [6]
The Benedictus was the song of thanksgiving uttered by Zechariah on the occasion of the circumcision of his son, John the Baptist. [ 1 ] The canticle received its name from its first words in Latin (" Benedictus Dominus Deus Israel ", “Blessed be the Lord God of Israel”).
Psalm 96 is the 96th psalm of the Book of Psalms, a hymn.The first verse of the psalm calls to praise in singing, in English in the King James Version: "O sing a new song unto the Lord".
Simeon's Song of Praise by Aert de Gelder, c. 1700–1710. The Nunc dimittis [1] (English: / n ʊ ŋ k d ɪ ˈ m ɪ t ɪ s /), also known as the Song of Simeon or the Canticle of Simeon, is a canticle taken from the second chapter of the Gospel of Luke, verses 29 through 32.
Leonard Cohen's 1984 song "Hallelujah" was initially rejected by Columbia Records for lacking commercial appeal, was popularized through covers by John Cale (1991) and Jeff Buckley (1994), achieved "modern ubiquity" after its inclusion in the animated movie Shrek (2001), and reached the Billboard charts upon Cohen's death in 2016.