Songs Of Sacrifice

The TROJAN WAR SONG OF PRINCES, Book One of the Homeric Chronicles Sing Muse. Sing of the shining citadel of Troy rising from the hot sands of Asia. Sing of the Greek palaces ascending from their rocky hilltops. Sing of one woman's dream heralding the madness of men and the murder of innocents. From bull dancing rings and wild meadows, the Forgotten Prince must choose between love and a golden crown. From seclusion and safety, the Golden Warrior must choose between his honor and his life. From behind the Great Wall, the Golden Prince must choose between his family and his city. And from a rugged realm on the far side of Greece, the Warrior King must choose between his son's life and certain exile. Here shepherds and princes, warriors and kings, and seers and lovers seek to conquer their passions, outwit destiny or surrender to it. PARIS, the FORGOTTEN PRINCE. ACHILLES, the GOLDEN WARRIOR. HEKTOR, the GOLDEN PRINCE. ODYSSEUS, the WARRIOR KING. Where did their legends begin before their lives converged at Troy in one of the most famous battles of all time? The HOMERIC CHRONICLES tell the stories of Paris, Achilles, Hektor, and Odysseus in one chronological tale, beginning before the ILIAD and ending long after the ODYSSEY. Blending both history and myth, the Homeric Chronicles will satisfy your love of Greek mythology, while paying homage to the original storyteller, Homer. SONGS OF PRINCES begins with the birth of Paris and Achilles, and introduces us to a young Hektor and Odysseus. The journey of the princes begins... Fall in love with Greek mythology for the first time or all over again. ...READ THEM ALL... #songofprinces #riseofprinces #returnofkings #homericchronicles THE BIRTH OF PARIS The labor began with the pull of the full moon. Hecuba's eyes opened. She recognized the familiar dull ache. The squeeze tightened down her lower back and wrapped itself around her lower hips and belly like a merciless snake. It begins, she thought. The child whose destiny she'd agonized over these many weeks pressed his entrance into a hostile world. She rolled onto her side to ease the progressing pains. She knew precious little time remained before she would be forced to call Tessa to fetch the midwife. Hecuba planned to endure as much pain as she could bear buying time with her unwelcomed son...unwelcomed by all, except for her. She loved the child despite the prophecy. Tears filled her eyes for the child pushing his way to the light. Hecuba wept into her pillow. His innocence would be her life's burden. She would never know the burn of the first milk passing to her breasts as his little mouth suckled for the first time. She would not know the smell of his baby skin. She would not feel the weight of him in her arms as she cradled him to sleep, or the weight of his little body as it grew to fill the circle of her arms, making them ache with his increasing size. She would not know him at all. He would be stolen away from her and lost forever. With each new tug on her body, she clenched her teeth and tried to breathe as quietly as possible. In between the pains, she shifted to the opposite side to keep the mounting pressure from making her cry out. As the moonlight shifted past the high window, the birthing process accelerated. A piercing pain below Hecuba's pelvis forced a shrill scream into the stillness shattering the silver calm. The warm sticky wetness washed down her thighs. Eleithyia wasted no time bringing the child along. Why goddess? Let him stay with me a while longer, I beg you. Her plea hung unheeded in that space between earth and sky.

Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during a seventh-century cultural and educational program aimed at creating a society unified in the Nicene faith, built on twin pillars of church and kingdom. Led by Isidore of Seville and subsequent generations of bishops, this cultural renewal effort began with a project of clerical education, facilitated through a distinctive culture of textual production. Rebecca Maloy's Songs of Sacrifice argues that liturgical music--both texts and melodies--played a central role in the cultural renewal of early Medieval Iberia, with a chant repertory that was carefully designed to promote the goals of this cultural renewal. Through extensive reworking of the Old Testament, the creators of the chant texts fashioned scripture in ways designed to teach biblical exegesis, linking both to patristic traditions--distilled through the works of Isidore of Seville and other Iberian bishops--and to Visigothic anti-Jewish discourse. Through musical rhetoric, the melodies shaped the delivery of the texts to underline these messages. In these ways, the chants worked toward the formation of individual Christian souls and a communal Nicene identity. Examining the crucial influence of these chants, Songs of Sacrifice addresses a plethora of long-debated issues in musicology, history, and liturgical studies, and reveals the potential for Old Hispanic chant to shed light on fundamental questions about how early chant repertories were formed, why their creators selected particular passages of scripture, and why they set them to certain kinds of music.

Preliminary Material -- Provenance -- Form, Content, and Function -- Angelology -- The Heavenly Temple -- The Qumran Context of the Sabbath Shirot -- Provenance - Notes -- Form, Content, and Function - Notes -- Angelology - Notes -- The Heavenly Temple - Notes -- The Qumran Context of the Sabbath Shirot - Notes -- 4Q400: Text and Commentary -- 4Q401: Text and Commentary -- 4Q402: Text and Commentary -- Masada Shirshabb: Text and Commentary -- 4Q403: Text and Commentary -- 4Q404: Text and Commentary -- 4Q405: Text and Commentary -- 4Q406: Text and Commentary -- 4Q407: Text and Commentary -- llQshirshabb: Text and Commentary -- Concordance -- Numeration of Manuscripts and Fragments -- Bibliography of Works Cited.

Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during a seventh-century cultural and educational program aimed at creating a society unified in the Nicene faith, built on twin pillars of church and kingdom. Led by Isidore of Seville and subsequent generations of bishops, this cultural renewal effort began with a project of clerical education, facilitated through a distinctive culture of textual production. Rebecca Maloy's Songs of Sacrifice argues that liturgical music--both texts and melodies--played a central role in the cultural renewal of early Medieval Iberia, with a chant repertory that was carefully designed to promote the goals of this cultural renewal. Through extensive reworking of the Old Testament, the creators of the chant texts fashioned scripture in ways designed to teach biblical exegesis, linking both to patristic traditions--distilled through the works of Isidore of Seville and other Iberian bishops--and to Visigothic anti-Jewish discourse. Through musical rhetoric, the melodies shaped the delivery of the texts to underline these messages. In these ways, the chants worked toward the formation of individual Christian souls and a communal Nicene identity. Examining the crucial influence of these chants, Songs of Sacrifice addresses a plethora of long-debated issues in musicology, history, and liturgical studies, and reveals the potential for Old Hispanic chant to shed light on fundamental questions about how early chant repertories were formed, why their creators selected particular passages of scripture, and why they set them to certain kinds of music.

Read the inspiring tales that gave birth to fifty of today's most beloved worship songs.

"Songs of Sacrifice argues that liturgical music-both texts and melodies-played a central role in the cultural renewal of early Medieval Iberia. Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during the seventh century, as part of a cultural and educational program led Isidore of Seville and other bishops. After the conversion of the Visigothic rulers from Arian to Nicene Christianity at the end of the sixth century, the bishops aimed to create a society unified in the Nicene faith, built on twin pillars of church and kingdom. They initiated a project of clerical education, facilitated through a distinctive culture of textual production. The chant repertory was carefully designed to promote these aims. The creators of the chant texts reworked scripture in ways designed to teach biblical exegesis, linking both to the theological works of Isidore and others, and to Visigothic anti-Jewish discourse. The notation reveals an intricate melodic grammar that is closely tied to textual syntax and sound. Through musical rhetoric, the melodies shaped the delivery of the texts to underline words and phrases images of particular liturgical or doctrinal import. The chants thus worked toward the formation of individual Christian souls and a communal, Nicene identity. The final chapters turn to questions about the intersection between orality and writing and the relationships of the Old Hispanic chant to other Western plainsong traditions"--

The Oxford Handbook of Cinematic Listening explores the intersection between the history of listening and the history of the moving image. Featuring established and emergent scholars from musicology, film studies, and literary studies, ethnomusicology and sound studies, popular music,sociology, media and communications, and psychology, this Handbook offers a wide range of case studies and methodological perspectives on the archaeologies, aesthetics, and extensions of cinematic listening.Chapters are structured around six themes: Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing genres such as opera and shadow theatre, and explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations andRelocations") focuses on specific venues and presentational practices (from roadshow movies to and contemporary live-score screenings). Part III ("Representations and Re-presentations") zooms into the formal properties of specific films, analysing representations of listening on screen as well as onthe role of sound as a representational surplus. Part IV ("The Listening Body") focuses on cinematic sound as a powerful and sensual stimulus that has the power to engage the full body sensorium. Part V ("Listening again") discusses a range of ways in which film sound is encountered andreinterpreted outside the cinema, through ancillary materials like songs and soundtrack albums, in experimental conditions, and in pedagogical contexts. Part VI ("Between Media") compares the listening protocols of cinema with those of TV series and music video, promenade theatre and personalstereos, video games and Virtual Reality.