Gemini Variations; Psalm 150; Songs from Friday Afternoons

1967 ◽  
Vol 108 (1494) ◽  
pp. 714
Author(s):  
Diana McVeagh ◽  
Britten ◽  
Gabriel Jeney ◽  
Zoltan Jeney ◽  
Viola Tunnard ◽  
...  
Keyword(s):  
Psalm 150

scholarly journals ‘Praise beyond Words’: Psalm 150 as grand finale of the crescendo in the Psalter

2011 ◽  
Vol 67 (1) ◽  
Author(s):  
Dirk J. Human
Keyword(s):  
Old Testament ◽  
The Past ◽  
Literary Context ◽  
Single Text ◽  
Psalm 150

Without doubt the final hymn of the Psalter can be described as the climax, or grand finale, of the Israelite faith’s most known hymnbook. In this psalm, sound and action are blended into a picture of ecstatic joy. The whole universe is called upon to magnify Yah(weh), the God of Israel. The text poses various exegetical challenges. In the past, Psalm 150 was traditionally analysed as a single text; but with the advent of the canonical and redactionhistorical approaches to the interpretation of the Book of Psalms, Psalm 150 can be interpreted as part of the final Hallel (Pss 146–150), or Book V (Pss 107–150) of the Psalter. This view opens up new possibilities for reading the psalm in broader contexts and its broader literary context(s) illuminate its theological significance. This article is an attempt at reflecting on the psalm’s context(s), structure, Gattung and dates of origin, tradition-historical relations to the Pentateuch, Psalms and other Old Testament texts. Ultimately some reflections on the psalm’s theological significance will be suggested.

scholarly journals Psalm 150 according to the Septuagint: integrating translation and tradition criticism into modern Septuagint exegesis

2006 ◽  
Vol 27 (2) ◽  
pp. 431-454
Author(s):  
Evangelia G Dafni
Keyword(s):  
Old Testament ◽  
Translation Technique ◽  
Critical Method ◽  
Psalm 150

The attempt to detect  Theology in the linguistic deviations and divergencies of the Septuagint (LXX) with the Massoretic Text (MT), presupposes the use of certain exegetical methods. Of course, this implies methods to be used by the modern Septuagint scholar and not the hypothetical translation technique(s) used by the LXX-translators. Therefore, I suggest  the scholar should integrate the historical critical method – in a balanced manner, without the incriminating questioning of long outdated historicism - into the modern LXX-exegesis. In this way, I think, we have the opportunity to verify or falsify hypothetical exegetical practices probably used by the LXX-translators and to discover where we are really able to talk about genuine  Theology in the LXX – in contrast to the MT.  The LXX-Psalm 150, in comparison to other related Old Testament texts, was chosen to exemplify this suggestion.

scholarly journals The drum and its significance for the interpretation of the Old Testament from an African perspective: Part two

2016 ◽  
Vol 37 (1) ◽  
Author(s):  
Rudolph De Wet Oosthuizen
Keyword(s):  
South African ◽  
Old Testament ◽  
Reading Strategy ◽  
Comparative Approach ◽  
Specific Reference ◽  
South African Context ◽  
The South ◽  
African Context ◽  
African Perspective ◽  
Psalm 150

Allowing the (South) African context to inform the construction and enhancement of the comparative paradigm as a reading strategy for the interpretation of the Old Testament enables one to identify and appreciate aspects of significance for the contemporary reader, relating to the interpretation of the text. Bearing in mind the importance of music and its function regarding religious expression, various aspects pertaining to the function and significance of music are being explored in order to enrich the interpretation of Psalm 150, with specific reference to music and musical instruments. (Whilst the focus in Part one [Oosthuizen 2016] is more on some hermeneutical aspects as pertaining to a specific reading strategy, Part two explores the significance of music for the interpretation of the Old Testament from an African perspective with specific reference to the drum and its usage in Psalm 150). Music enables one to comprehend and articulate a very particular aspect of religious experience, and it is of the utmost importance that this be acknowledged and taken into account in the current debate regarding appropriate strategies for the interpretation of religious texts in an African context. Three aspects serve to illustrate how the comparative approach can be augmented by drawing attention to aspects of particular interest for an African reading of the Old Testament: �music as space to encounter the divine�, the infectious nature of music, and �drumming� as a point of contact between the Old Testament and Africa.Intradisciplinary and/or interdisciplinary implications: In our encounters with the biblical text, the (South-) African context can inform a comparative reading of the Old Testament. In so doing, the �comparative paradigm� is augmented by allowing insights from various disciplines to inform the reader and to apprise a reading strategy that allows for the encounter with the text to be understood not merely in terms of a historical-descriptive or linguistic exercise only, but provides an opportunity to explore various perspectives pertaining to the appreciation and interpretation of the text (Psalm 150).

Psalm 150

1975 ◽  
Author(s):  
Sir John Davies
Keyword(s):  
Psalm 150

Stravinsky and U2 Fix Psalm 40

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Andrew Zack Lewis
Keyword(s):  
Igor Stravinsky ◽  
The Other ◽  
Other Hand ◽  
Bloody Sunday ◽  
Symphony Of Psalms ◽  
Psalm 150

AbstractThis paper examines the reception of Psalm 40 by Igor Stravinsky in the second movement of his “Symphony of Psalms” and by U2 in their song “40,” the final track on their 1983 album War. Though both limit their reception to only the first three verses of the psalm, their appropriation of the text indicates two different interpretations of the psalm within the Canon. Stravinsky places the verses between the concluding verses of Psalm 39 and the entirety of Psalm 150, the result of which is a typical personal lament psalm made up of lament, petition, assurance, and praise—a very different structure than the canonical Psalm 40's assurance followed by lament. U2's appropriation, on the other hand, is arguably more faithful to the text of the canonical Psalm 40 in that its concluding lyrics hearken back to the harrowing opening track of their album, the “lament” “Sunday Bloody Sunday.” The paper concludes by arguing that both Stravinsky and U2 remain faithful to the spirit of the psalter as a whole by re-appropriating the words of the psalmist for each musician's own Sitz I’m Leben.

Praise the Lord of Heaven (Psalm 150)

1887 ◽  
Vol 28 (534) ◽  
pp. 491
Author(s):  
C. Villiers Stanford
Keyword(s):  
Psalm 150

Psalm 150 (Z)

Psalms 3 ◽  
2016 ◽  
pp. 654-664
Author(s):  
Erich Zenger
Keyword(s):  
Psalm 150

Sonus triplex: von Varros Triaden zur Trinität

2016 ◽  
Vol 70 (5) ◽  
pp. 509-534
Author(s):  
Wolfgang Hübner
Keyword(s):  
Musical Instruments ◽  
Human Voice ◽  
Enarrationes In Psalmos ◽  
Psalm 150

Since his early days Augustine was acquainted with the Varronian triplicity of sound (vocalis, semivocalis—mutus). He employed it even in his Enarrationes in psalmos when explaining the musical instruments mentioned in the Psalter. After having explored the allegorical meaning of the instruments mentioned in particular biblical passages—including the human voice—he interprets their symphony in the final Psalm 150, relating the Varronian triad uoce—spiritu—pulsu to the anthropological triplicity mens—spiritus—corpus as well as to the theological Trinity.

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