A New Song For An Old World

Even as worship wars in the church and music controversies in society at large continue to rage, many people do not realize that conflict over music goes back to the earliest Christians as they sought to live out the "new song" of their faith. In A New Song for an Old World Calvin Stapert challenges contemporary Christians to learn from the wisdom of the early church in the area of music. Stapert draws parallels between the pagan cultures of the early Christian era and our own multicultural realities, enabling readers to comprehend the musical ideas of early Christian thinkers, from Clement and Tertullian to John Chrysostom and Augustine. Stapert's expert treatment of the attitudes of the early church toward psalms and hymns on the one hand, and pagan music on the other, is ideal for scholars of early Christianity, church musicians, and all Christians seeking an ancient yet relevant perspective on music in their worship and lives today.

The book of Psalms occupies a unique place in Scripture, being both the Word from God and words to God from His people. Unfortunately, psalm singing no longer plays an integral part of worship in most evangelical churches. In this book, thirteen well-respected scholars urge the church to rediscover the treasure of the Psalms as they examine the history of psalm singing in the church, present biblical reasons for the liturgical practice, and articulate the practical value it provides us today. Table of Contents: Foreword —W. Robert Godfrey Part 1: Psalm Singing in History 1. From Cassian to Cranmer: Singing the Psalms from Ancient Times until the Dawning of the Reformation — Hughes Oliphant Old and Robert Cathcart 2. Psalm Singing in Calvin and the Puritans — Joel R. Beeke 3. The History of Psalm Singing in the Christian Church — Terry Johnson 4. Psalters, Hymnals, Worship Wars, and American Presbyterian Piety — D. G. Hart Part 2: Psalm Singing in Scripture 5. Psalm Singing and Scripture — Rowland S. Ward 6. The Hymns of Christ: The Old Testament Formation of the New Testament Hymnal — Michael LeFebvre 7. Christian Cursing? — David P. Murray 8. The Case for Psalmody, with Some Reference to the Psalter’s Sufficiency for Christian Worship — Malcolm H. Watts Part 3: Psalm Singing and the Twenty-First-Century Church 9. Psalm Singing and Redemptive-Historical Hermeneutics: Geerhardus Vos’s “Eschatology of the Psalter” Revisited — Anthony T. Selvaggio 10. Psalm Singing and Pastoral Theology — Derek W. H. Thomas 11. Psalmody and Prayer — J. V. Fesko

Many preachers ignore preaching from the Old Testament because they feel it is outdated in light of the New Testament and difficult to expound. On the other hand, some preachers will preach from the Old Testament frequently but fail to handle it correctly, turning it into moralistic rules or symbolic lessons for our spiritual life. In How to Preach and Teach the Old Testament for All Its Worth, Christopher J. H. Wright proclaims that preachers must not ignore the Old Testament. It is the Word of God! The Old Testament lays the foundation for our faith and it was the Bible that Jesus read and used. Looking first at why we should preach from the Old Testament, the author moves on to show the reader how they can preach from it. Covering the History, Law, Prophets, Psalms, and Wisdom Literature, interspersed with practical checklists, exercises, and sermons, Wright provides an essential guide on how to handle the Old Testament responsibly.

The Dictionary of the Bible and Ancient Media is a convenient and authoritative reference tool, introducing specific terms and concepts helpful to the study of the Bible and related literature in ancient communications culture. Since the early 1980s, biblical scholars have begun to explore the potentials of interdisciplinary theories of oral tradition, oral performance, personal and collective memory, ancient literacy and scribality, visual culture and ritual. Over time these theories have been combined with considerations of critical and exegetical problems in the study of the Bible, the history of Israel, Christian origins, and rabbinics. The Dictionary of the Bible and Ancient Media responds to the rapid growth of the field by providing a source of reference that offers clear definitions, and in-depth discussions of relevant terms and concepts, and the relationships between them. The volume begins with an overview of 'ancient media studies' and a brief history of research to orient the reader to the field and the broader research context of the book, with individual entries on terms and topics commonly encountered in studies of the Bible in ancient media culture. Each entry defines the term/ concept under consideration, then offers more sustained discussion of the topic, paying particular attention to its relevance for the study of the Bible and related literature

Tesfaye Gabbiso, prominent Ethiopian soloist, began composing song texts and tunes as a young lad in the early 1970s during a period of social and political upheaval in Ethiopia. This national ferment strengthened a creative surge among a generation of youth as the Ethiopian revolution (1974–91) was taking hold. An explosion of indigenous spiritual songs was one result. The indigenous song style was in contrast to the imported and translated European hymnody that had earlier been sung in Ethiopia's evangelical churches. Because of his testimony, both in life and song, Tesfaye was imprisoned for seven years during the revolution, during which time he continued to compose and sing. Thus, his songs reflect suffering, endurance, and hope in the "Babylons, Meantime, and Zions" of life experience. The human voice in song, rooted in the flow of the missio Dei, is perhaps the greatest testimony that may be lived out, whether in a prison cell or in the larger complex world. A special feature of this book is the inclusion of 104 of Tesfaye's songs (Cassettes 1–7) in English translation. This study is valuable as a cross-cultural textbook, offers rich lyrics, and embodies a challenge to Christian commitment in the arts.

Music, myth, and magic mix—in this two-volume fantasy masterpiece by a New York Times–bestselling author that is a “joy to read” (Publishers Weekly). Hugo and Nebula Award–winning author Greg Bear explores the power of music to open a portal between worlds in this pair of brilliantly imagined fantasy novels. The Infinity Concerto: Following the instructions of a virtuoso composer—whose controversial Concerto Opus 45 is actually a song of power—young poet Michael Perrin passes through a gateway between Earth and the Realm of the Sidhedark, where faeries reign by rule of magic, and Michael’s epic journey begins . . . The Serpent Mage: After five years trapped in the Realm of the Sidhedark, Michael has returned home to Los Angeles. But the song of power has weakened the veil between the human and fairie worlds, and the Sidhe have followed him to the other side . . .

A magisterial account of how the cultural and maritime relationships between the British, Dutch and American territories changed the existing world order - and made the Industrial Revolution possible Between 1500 and 1800, the North Sea region overtook the Mediterranean as the most dynamic part of the world. At its core the Anglo-Dutch relationship intertwined close alliance and fierce antagonism to intense creative effect. But a precondition for the Industrial Revolution was also the establishment in British North America of a unique type of colony - for the settlement of people and culture, rather than the extraction of things. England's republican revolution of 1649-53 was a spectacular attempt to change social, political and moral life in the direction pioneered by the Dutch. In this wide-angled and arresting book Jonathan Scott argues that it was also a turning point in world history. In the revolution's wake, competition with the Dutch transformed the military-fiscal and naval resources of the state. One result was a navally protected Anglo-American trading monopoly. Within this context, more than a century later, the Industrial Revolution would be triggered by the alchemical power of American shopping

The invitation to worship God is the highest privilege of human beings - a privilege squandered by sinful rebellion, but also gloriously restored to us through the death, resurrection and ascension of Jesus Christ. Biblical worship is a response to God's revelation of himself, empowered by the Holy Spirit, which finds expression in every aspect of human life and experience. At the same time, there is a great deal of music and song in the Bible. Music is a wonderful gift of God in creation, and there is every reason to embrace its riches and harness its power responsibly for the glory of God and the blessing of his people. However, Christians have often been divided over the theology and practice of worship, with differing views about spiritual gifts, the place of liturgy, priorities attached to various functions of the church, the weight given to congregational and 'whole-life' worship, and the role and style of music. While many of these areas are touched on in John Risbridger's excellent exposition, his intention is not to court controversy, but simply to allow Scripture to speak, in the hope of establishing as much common ground as possible. He follows a loosely trinitarian structure, in which the main sections explore the connection between worship and the purpose of the Father, the supremacy of the Son and life of the Holy Spirit. Each section concludes with two chapters on the Psalms, in which we hear a variety of 'voices', and learn to join their distinctive song.