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The psalm has been variously dated to either the 8th century BC, the time of the prophets Hosea and Micah, or to a time after the Babylonian captivity.The latter date is supported by the reference to "gathering" in verse 5, but is problematic because verse 2 describes Zion (another name for Jerusalem) as "the perfection of beauty", even though Jerusalem was destroyed in 587 BC.
The Psalms of Asaph (English: / ˈ eɪ. s æ f / Ay-saf; [1] Hebrew: אָסָף ’Āsāp̄, "Gather" [2]) are the twelve psalms numbered as 50 and 73–83 in the Masoretic Text, and as 49 and 72–82 in the Septuagint. They are located in the Book of Psalms in the Hebrew Bible (which is also called the Old Testament).
The work is set as a falsobordone, a technique then commonly used for performing psalm tones in a polyphonic manner. Allegri's setting is based upon the Tonus peregrinus . Verses alternate between a five-part setting sung by the first choir (verses 1, 5, 9, 13, 17) and a four-part setting sung by the second (verses 3, 7, 11, 15, 19 ...
Josquin's setting of the Miserere was influential not only as a psalm setting, but as an example of how to approach the text of Infelix ego. Later in the 16th century, composers who specifically set the words of Savonarola, such as Adrian Willaert , Cipriano de Rore , and Nicola Vicentino , all of whom wrote motets on Infelix ego , used Josquin ...
The other books associated with it were the Lectionary, the Antiphonary, and Responsoriale, and the Hymnary. [1] In Late Modern English, psalter has mostly ceased to refer to the Book of Psalms (as the text of a book of the Bible) and mostly refers to the dedicated physical volumes containing this text.
Together with Heman, the grandson of the Israelite prophet Samuel (1 Chronicles 6:24, or 1 Chronicles 6:39 in non-Hebrew translations), he and his male descendants were set aside by King David to worship God in song and music (1 Chronicles 15:16–17). He authored Psalm 50, and Psalms 73 to 83. Asaph, a Levite descendant of Kohath (1 Chronicles ...
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David is depicted giving a penitential psalm in this 1860 woodcut by Julius Schnorr von Karolsfeld. The Penitential Psalms or Psalms of Confession, so named in Cassiodorus's commentary of the 6th century AD, are the Psalms 6, 31, 37, 50, 101, 129, and 142 (6, 32, 38, 51, 102, 130, and 143 in the Hebrew numbering).