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A reference to a deity who was worshipped at that mountain peak and, biblically, was the subject of the heresy of Peor. The deity, worshipped by the Moabites, is biblically referred to as Baal-peor (Num. 25:3,5, 18) and as the "house of peor" (בית פעור) (Deuteronomy 3:29), generally meaning the Baal of Peor.
It is thus unclear whether the false worship of the "Baʿalim" being decried [75] is the worship of a new idol or rites and teachings placing Yahweh as a mere local god within a larger pantheon. The Hebrew Scriptures record the worship of Baʿal threatening Israel from the time of the Judges until the monarchy. [79]
Articles relating to Baal, a title and honorific meaning "owner," "lord" in the Northwest Semitic languages spoken in the Levant during antiquity. From its use among people, it came to be applied to gods. The title is particularly associated with the storm and fertility god Hadad.
The history of religious Jewish music is about the cantorial, synagogal, and the Temple music from Biblical to Modern times. The earliest synagogal music was based on the same system as that used in the Temple in Jerusalem. According to the Mishnah, the regular Temple orchestra consisted of twelve instruments, and the choir of twelve male singers.
The Baal Cycle or Epic of Baal is a collection of stories about the Canaanite Baal, also referred to as Hadad. It was composed between 1400 and 1200 B.C. and rediscovered in the excavation of Ugarit , an ancient city in modern-day Syria .
Baal (band), a Danish rock band; BAAL (Serbian band), a Serbian gothic rock band; Baal, a 1981 EP by David Bowie, featuring incidental music written for Brecht's play; Baal: Book of Angels Volume 15, a 2010 album by the Ben Goldberg Quartet composed by John Zorn "Baäl", a song by Exuma from his 1970 album Exuma II
The work was commissioned for the 1965 Southern Cathedrals Festival at Chichester Cathedral by the cathedral's Dean, Walter Hussey. [2] However, the world premiere took place in the Philharmonic Hall, New York, on 15 July 1965 with the composer conducting, followed by the performance at Chichester on July 31, 1965, conducted by the cathedral's Organist and Master of the Choristers, John Birch.
Upon learning that the ancestor of the modern guitar was tuned similarly to the ukulele, he reacquainted himself with the instrument, commissioning an Italian luthier to make a classical ukulele for him. With it, he revived a guitar-playing technique from the Baroque era: succeeding notes are played on different strings, allowing the previous ...
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