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The servant songs (also called the servant poems or the Songs of the Suffering Servant) are four songs in the Book of Isaiah in the Hebrew Bible, which include Isaiah 42:1–4; Isaiah 49:1–6; Isaiah 50:4–11; and Isaiah 52:13–53:12. The songs are four poems written about a certain "servant of YHWH" (Hebrew: עבד יהוה, ‘eḇeḏ ...
The Chinese Study Bible (CSB) [11] is a study Bible edition adapted from the study notes found in the ESV Study Bible. [12] The CSB uses the Chinese Union Version with New Punctuation (CUVNP) for its Bible text. The CSB sold more than 6,500 copies on its first day of publication. [13]
A music box (American English) or musical box (British English) is an automatic musical instrument in a box that produces musical notes by using a set of pins placed on a revolving cylinder or disc to pluck the tuned teeth (or lamellae) of a steel comb.
Song structure is the arrangement of a song, [1] and is a part of the songwriting process. It is typically sectional, which uses repeating forms in songs.Common piece-level musical forms for vocal music include bar form, 32-bar form, verse–chorus form, ternary form, strophic form, and the 12-bar blues.
The orchestra is divided into four groups (five if a keyboard instrument is used) and specified as follows: [1] Woodwind instruments: flutes, oboes, clarinets, saxophones (if one or more are needed), bassoons
In the other hours, sections of these and other canticles are included in fixed material, consisting of amalgams of verse material from the Old Testament: Ninth Hour: a citation of Daniel 3:35; Peace Hour (after Vespers): Isaiah 8:9–10, Isaiah 9:26; Rest Hour (after the Peace Hour): Daniel 3:29-34, Luke 2:29-32, Luke 1:16-55.
Eventually these settings became a separate form of Passion music. Perhaps the most outstanding work in this genre in the Lutheran tradition is the work by Heinrich Schütz. Joseph Haydn composed string quartets titled Die sieben letzten Worte unseres Erlösers am Kreuze (The seven last words of our Redeemer on the cross).
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 ...