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Pieces with text from Psalm 23: Scores at the International Music Score Library Project; Psalm 23: Free scores at the Choral Public Domain Library (ChoralWiki) Psalm 23 in Parallel English (JPS translation) and Hebrew; BibleStudyTools.com – various translations and commentaries; Psalm 23 at biblegateway.com; Hymns for Psalm 23 hymnary.org
The verses that generally constitute the modern version of the song are: [4] I've been working on the railroad All the live-long day. I've been working on the railroad Just to pass the time away. Can't you hear the whistle blowing, Rise up so early in the morn; Can't you hear the captain shouting, "Dinah, blow your horn!" Dinah, won't you blow,
This psalm points the reader or hearer towards offering thanksgiving and a life of devotion as the correct way of approach to God, rather than burnt offerings alone. Some feel this Psalm, which is a type of judicial indictment, was moved to immediately precede Psalm 51, a plea for mercy, rather than being with the other 11 Psalms of Asaph which ...
4 Your loving mercy is better than life; my lips will speak your praise. 5 I will bless you all my life; in your name I will lift up my hands. 6 My soul shall be filled as with a banquet; with joyful lips, my mouth shall praise you. 7 When I remember you upon my bed, I muse on you through the watches of the night. 8 For you have been my strength;
The oldest surviving manuscript of the psalm comes from the Dead Sea Scrolls, first discovered in 1947. Significantly, the 5/6 H. ev–Sev4Ps Fragment 11 of Psalm 22 contains the crucial word in the form of what some have suggested may be a third person plural verb, written כארו (“dug”).
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Each day of the week possesses a distinct psalm that is referred to by its Hebrew name as the shir shel yom and each day's shir shel yom is a different paragraph of Psalms. [ 2 ] Although fundamentally similar to the Levite's song that was sung at the Holy Temple in Jerusalem in ancient times, there are some differences between the two.
Biblical Songs was written between 5 and 26 March 1894, while Dvořák was living in New York City. It has been suggested that he was prompted to write them by news of a death (of his father Frantisek, or of the composers Tchaikovsky or Gounod, or of the conductor Hans von Bülow); but there is no good evidence for that, and the most likely explanation is that he felt out of place in the ...