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There’s a meeting here tonight, For the Lord is on the given hand, There’s a meeting here tonight. 3 If ever I reach the mountain top, I'll praise my Lord and never stop, Get you ready, there’s a meeting here tonight. 4 Go down to the river when you're dry And there you'll get your full supply, Get ready, there’s a meeting here tonight.
"The Lord's Prayer" is a pop rock setting of the Lord's Prayer with music by Arnold Strals recorded in 1973 by the Australian nun Sister Janet Mead. [ 1 ] [ 2 ] Mead was known for pioneering the use of contemporary rock music in celebrating the Roman Catholic Mass and for her weekly radio programs.
Typically, Jehovah's Witnesses sing three songs at their meetings for worship. The entire congregation sings, [2] accompanied by an orchestral recording. Meetings open and close with a song and prayer, along with a song during an interlude between the two or three sections of the meeting. Songs are selected to match the theme of the meeting ...
The Seventh-day Adventist Hymnal is the official hymnal of the Seventh-day Adventist Church and is widely used by English-speaking Adventist congregations. It consists of words and music to 695 hymns including traditional favorites from the earlier Church Hymnal that it replaced, American folk hymns, modern gospel songs, compositions by Adventists, contemporary hymns, and 224 congregational ...
Sacrament meeting was the last meeting of the day on Sunday. In 1980, the church's First Presidency started the current "block" schedule, in which almost all church meetings were held in the space of three hours. [4] In October 2018, church president Russell M. Nelson announced plans to consolidate the Sunday meeting schedule. As a part of ...
Evensong was initially sung entirely to plainsong.Musicians gradually created polyphonic settings of its music, especially of the Magnificat. [6]The first musical setting of the Book of Common Prayer, by John Marbeck, provided a simplified version of traditional chant settings. [7]
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Hashkiveinu is the result of a commissioning project from 1943 to 1976 by Cantor Dr. David Putterman for a series of contemporary music at Park Avenue Synagogue in New York City. Putterman believed strongly that the synagogue music—particularly American synagogue music—would only endure through adaptation and creativity.