5 Noah and the Flood

Total Page:16

File Type:pdf, Size:1020Kb

5 Noah and the Flood 5 Noah and the Flood Read Genesis 6–9 Go into the ark, you and all your household, for I have seen that you alone are righteous. Genesis 7:ı he story of Noah is told to illustrate how deeply the human Tfamily has fallen into sinfulness. Sin is now so universal that a troubled God decides to complete the work of destruction that the human family has begun (Genesis 6:13). However, God sees that Noah is a good man and decides that humanity will survive through Noah’s family. God tells Noah to build an ark, which God will use to save Noah’s family and members of the animal kingdom. God is pained by and disappointed in humankind, but in his mercy he will save the human family through Noah. Noah builds the ark and, following God’s instructions, loads himself, his family, and the animals into it. God closes the door of the ark, showing his care for all inside and for the future human family. The flood comes, joining the waters of the sky with the waters on the earth. As the ark floats higher, everything beneath 11 12 • Noah and the Flood it drowns. For forty days and nights it rains. It is another 150 days before the water recedes. Then God remembers Noah. In his remembering, God begins the process of re-creation: “And God made a wind blow over the earth, and the waters subsided” (Genesis 8:1). Noah sends out birds to see if it is safe to disembark. He first sends a raven, then a dove. The second time he sends the dove, it returns with an olive branch in its beak. God then tells Noah to leave the ark with his family and all of the animals and begin to repopulate the earth. God makes a covenant with all the living beings. Although the evil in the human heart continues to flourish, God promises that never again will he destroy the earth in a flood. The sign of this covenant, or promise, is the rainbow. The story of Noah shows how, even in the face of terrible sin, God wants to save the human family. CCC, 56–58: The covenant with Noah.
Recommended publications
  • A Christian Physicist Examines Noah's Flood and Plate Tectonics
    A Christian Physicist Examines Noah’s Flood and Plate Tectonics by Steven Ball, Ph.D. September 2003 Dedication I dedicate this work to my friend and colleague Rodric White-Stevens, who delighted in discussing with me the geologic wonders of the Earth and their relevance to Biblical faith. Cover picture courtesy of the U.S. Geological Survey, copyright free 1 Introduction It seems that no subject stirs the passions of those intending to defend biblical truth more than Noah’s Flood. It is perhaps the one biblical account that appears to conflict with modern science more than any other. Many aspiring Christian apologists have chosen to use this account as a litmus test of whether one accepts the Bible or modern science as true. Before we examine this together, let me clarify that I accept the account of Noah’s Flood as completely true, just as I do the entirety of the Bible. The Bible demonstrates itself to be reliable and remarkably consistent, having numerous interesting participants in various stories through which is interwoven a continuous theme of God’s plan for man’s redemption. Noah’s Flood is one of those stories, revealing to us both God’s judgment of sin and God’s over-riding grace and mercy. It remains a timeless account, for it has much to teach us about a God who never changes. It is one of the most popular Bible stories for children, and the truth be known, for us adults as well. It is rather unfortunate that many dismiss the account as mythical, simply because it seems to be at odds with a scientific view of the earth.
    [Show full text]
  • Virtual Edition in Honor of the 74Th Festival
    ARA GUZELIMIAN artistic director 0611-142020* Save-the-Dates 75th Festival June 10-13, 2021 JOHN ADAMS music director “Ojai, 76th Festival June 9-12, 2022 a Musical AMOC music director Virtual Edition th Utopia. – New York Times *in honor of the 74 Festival OjaiFestival.org 805 646 2053 @ojaifestivals Welcome to the To mark the 74th Festival and honor its spirit, we bring to you this keepsake program book as our thanks for your steadfast support, a gift from the Ojai Music Festival Board of Directors. Contents Thursday, June 11 PAGE PAGE 2 Message from the Chairman 8 Concert 4 Virtual Festival Schedule 5 Matthias Pintscher, Music Director Bio Friday, June 12 Music Director Roster PAGE 12 Ojai Dawns 6 The Art of Transitions by Thomas May 16 Concert 47 Festival: Future Forward by Ara Guzelimian 20 Concert 48 2019-20 Annual Giving Contributors 51 BRAVO Education & Community Programs Saturday, June 13 52 Staff & Production PAGE 24 Ojai Dawns 28 Concert 32 Concert Sunday, June 14 PAGE 36 Concert 40 Concert 44 Concert for Ojai Cover art: Mimi Archie 74 TH OJAI MUSIC FESTIVAL | VIRTUAL EDITION PROGRAM 2020 | 1 A Message from the Chairman of the Board VISION STATEMENT Transcendent and immersive musical experiences that spark joy, challenge the mind, and ignite the spirit. Welcome to the 74th Ojai Music Festival, virtual edition. Never could we daily playlists that highlight the 2020 repertoire. Our hope is, in this very modest way, to honor the spirit of the 74th have predicted how altered this moment would be for each and every MISSION STATEMENT Ojai Music Festival, to pay tribute to those who imagined what might have been, and to thank you for being unwavering one of us.
    [Show full text]
  • Valse Triste, Op. 44, No. 1
    Much of the Sibelius Violin Concerto’s beauty comes from its eccentricity — while it has elements of a traditional Romantic concerto, Sibelius constantly asks the musicians to play in quirky, counterintuitive ways, and often pits the soloist and orchestra against each other. BOB ANEMONE, NCS VIOLIN Valse triste, Op. 44, No. 1 JEAN SIBELIUS BORN December 8, 1865, in Hämeenlinna, Finland; died September 20, 1957, in Järvenpää, Finland PREMIERE Composed 1903; first performance December 2, 1903, in Helsinki, conducted by the composer OVERVIEW Though Sibelius is universally recognized as the Finnish master of the symphony, tone poem, and concerto, he also produced a large amount of music in the more intimate forms, including the scores for 11 plays — the music to accompany a 1926 production of Shakespeare’s The Tempest was his last orchestral work. Early in 1903, Sibelius composed the music to underscore six scenes of a play by his brother-in-law, Arvid Järnefelt, titled Kuolema (“Death”). Among the music was a piece accompanying the scene in which Paavali, the central character, is seen at the bedside of his dying mother. She tells him that she has dreamed of attending a ball. Paavali falls asleep, and Death enters to claim his victim. The mother mistakes Death for her deceased husband and dances away with him. Paavali awakes to find her dead. Sibelius gave little importance to this slight work, telling a biographer that “with all retouching [it] was finished in a week.” Two years later he arranged the music for solo piano and for chamber orchestra as Valse triste (“Sad Waltz”), and sold it outright to his publisher, Fazer & Westerlund, for a tiny fee.
    [Show full text]
  • STRAVINSKY the Firebird
    557500 bk Firebird US 14/01/2005 12:19pm Page 8 Philharmonia Orchestra STRAVINSKY The Philharmonia Orchestra, continuing under the renowned German maestro Christoph von Dohnanyi as Principal Conductor, has consolidated its central position in British musical life, not only in London, where it is Resident Orchestra at the Royal Festival Hall, but also through regional residencies in Bedford, Leicester and Basingstoke, The Firebird and more recently Bristol. In recent seasons the orchestra has not only won several major awards but also received (Complete original version) unanimous critical acclaim for its innovative programming policy and commitment to new music. Established in 1945 primarily for recordings, the Philharmonia Orchestra went on to attract some of this century’s greatest conductors, such as Furtwängler, Richard Strauss, Toscanini, Cantelli and von Karajan. Otto Klemperer was the Petrushka first of many outstanding Principal Conductors throughout the orchestra’s history, including Maazel, Muti, (Revised 1947 version) Sinopoli, Giulini, Davis, Ashkenazy and Salonen. As the world’s most recorded symphony orchestra with well over a thousand releases to its credit, the Philharmonia Orchestra also plays a prominent rôle as one of the United Kingdom’s most energetic musical ambassadors, touring extensively in addition to prestigious residencies in Paris, Philharmonia Orchestra Athens and New York. The Philharmonia Orchestra’s unparalleled international reputation continues to attract the cream of Europe’s talented young players to its ranks. This, combined with its brilliant roster of conductors and Robert Craft soloists, and the unique warmth of sound and vitality it brings to a vast range of repertoire, ensures performances of outstanding calibre greeted by the highest critical praise.
    [Show full text]
  • Roman Vlad's Reception of Stravinsky
    Hermeneutics and Creative Process: Roman Vlad’s Reception of Stravinsky Susanna Pasticci Università degli Studi di Cassino e del Lazio meridionale Roman Vlad’s experience of music was a complex universe, which manifested itself in various forms.1 His research on musical composition went hand in hand with an extraordinary intellectual activity, which resulted in the publication of several studies on the theory and history of music, and a constant activity as a promoter and critic of music. Vlad was capable of switching with great nonchalance from the role of the composer interested in new experimental forms to that of a scholar working with great methodological rigour on the music of the past and of the present. It was inevitable that these two activities would have an impact on his interpretation of music. In an effort to illustrate the complexity of this dialectic, the present article focuses on Vlad’s reception of Stravinsky’s work, analysing in parallel Vlad’s essays on Stravinsky published in the 1950s and his musical compositions written in the same period. In his writings, Vlad repeatedly underlines the centrality of the sacred in Stravinsky’s work, a rather original interpretation, which is unique in the critical debate of the time. During those same years, the sacred acquired great importance also in his musical compositions, a fact that already evidences the close relation between Vlad’s interpretation of Stravinsky’s work and his own 41 ARCHIVAL NOTES Sources and Research from the Institute of Music, No. 2 (2017) © Fondazione Giorgio Cini, Venezia ISSN 2499–832X | ISBN 9788896445167 SUSANNA PASTICCI creative activity.
    [Show full text]
  • The Late Choral Works of Igor Stravinsky
    THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5.
    [Show full text]
  • Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood
    The Proceedings of the International Conference on Creationism Volume 7 Article 36 2013 Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood Gavin M. Cox Follow this and additional works at: https://digitalcommons.cedarville.edu/icc_proceedings DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Browse the contents of this volume of The Proceedings of the International Conference on Creationism. Recommended Citation Cox, Gavin M. (2013) "Egypt's Hieroglyphs Contain a Cultural Memory of Creation and Noah's Flood," The Proceedings of the International Conference on Creationism: Vol. 7 , Article 36. Available at: https://digitalcommons.cedarville.edu/icc_proceedings/vol7/iss1/36 Proceedings of the Seventh International Conference on Creationism. Pittsburgh, PA: Creation Science Fellowship EGYPT'S HIEROGLYPHS CONTAIN CULTURAL MEMORIES OF CREATION AND NOAH'S FLOOD Gavin M. Cox, BA Hons (Theology, LBC). 26 The Firs Park, Bakers Hill, Exeter, Devon, UK, EX2 9TD. KEYWORDS: Flood, onomatology, eponym, Hermopolitan Ogdoad, Edfu, Heliopolis, Memphis, Hermopolis, Ennead, determinative, ideograph, hieroglyphic, Documentary Hypothesis (DH). ABSTRACT A survey of standard Egyptian Encyclopedias and earliest mythology demonstrates Egyptian knowledge of Creation and the Flood consistent with the Genesis account.
    [Show full text]
  • An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky Robert Sivy [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons, and the Music Theory Commons Recommended Citation Sivy, Robert, "An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/1025 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Robert Sivy entitled "An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music, with a major in Music. Brendan P. McConville, Major Professor We have read this thesis and recommend its acceptance: Barbara Murphy, Donald Pederson Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Robert Jacob Sivy August 2011 Copyright © 2011 by Robert Jacob Sivy All rights reserved.
    [Show full text]
  • Genesis in Biblical Perspective the Gospel of Christ from Genesis from Shem to Abram – Genesis 11:10-26
    Genesis in Biblical Perspective The Gospel of Christ from Genesis From Shem to Abram – Genesis 11:10-26 This is the word of God. Genesis 11:10-26. 10 These are the generations of Shem. When Shem was 100 years old, he fathered Arpachshad two years after the flood. 11 And Shem lived after he fathered Arpachshad 500 years and had other sons and daughters. 12 When Arpachshad had lived 35 years, he fathered Shelah. 13 And Arpachshad lived after he fathered Shelah 403 years and had other sons and daughters. 14 When Shelah had lived 30 years, he fathered Eber. 15 And Shelah lived after he fathered Eber 403 years and had other sons and daughters. 16 When Eber had lived 34 years, he fathered Peleg. 17 And Eber lived after he fathered Peleg 430 years and had other sons and daughters. 18 When Peleg had lived 30 years, he fathered Reu. 19 And Peleg lived after he fathered Reu 209 years and had other sons and daughters. 20 When Reu had lived 32 years, he fathered Serug. 21 And Reu lived after he fathered Serug 207 years and had other sons and daughters. 22 When Serug had lived 30 years, he fathered Nahor. 23 And Serug lived after he fathered Nahor 200 years and had other sons and daughters. 24 When Nahor had lived 29 years, he fathered Terah. 25 And Nahor lived after he fathered Terah 119 years and had other sons and daughters. 26 When Terah had lived 70 years, he fathered Abram, Nahor, and Haran.
    [Show full text]
  • Burkholder/Grout/Palisca, Eighth Edition, Chapter 31 27 Chapter 31
    27 13. What did the U.S. gain in the Spanish-American war of 1898? Chapter 31 The Early Twentieth Century 14. When did the U.S. join ______ in WW I? Who was 1. [771] What are the four evidences of reconstructing president? music? 15. What was Sigmund Freud's view? 2. TQ: Take a wild guess: When do you think the different technologies became available? Recording Photography 16. (774) SR: Who invented the phonograph? When? Do Film you understand the process? Television Computer (PC size) 17. SR: He started with ____ but changed to ____. Mass production? 3. We meet all the requirements above, so what's the problem? 18. SR: In ____, recording went to a ______. They were ___ inches in diameter, could hold ____ minutes worth of 4. Music of the 20th century is more ___ than previous music and sold for ___, which is about __ today. centuries. 19. SR: Who was the first recording artist? When? 5. What are the new traditions? 20. SR: Orchestra sound was ___. Beethoven's Fifth, 6. What are the new methods beyond tonal music? recorded in ____, had ___ gathered in an "_____." 7. What are the competing styles? 21. SR: Improvements were made in ___ for orchestral sounds. By the late 19___, most significant orchestral works had been recorded about ___ times each. 8. What are the new sounds? 22. (775) SR: In 19__, Columbia Records introduced the __, a __-inch disc which rotated at ___ revolutions per minute rather than ___, thus allowing about __ minutes 9.
    [Show full text]
  • Theory of Music-Stravinsky
    Theory of Music – Jonathan Dimond Stravinsky (version October 2009) Introduction Igor Stravinsky (1882-1971) was one of the most internationally- acclaimed composer conductors of the 20th Century. Like Bartok, his compositional style drew from the country of his heritage – Russia, in his case. Both composers went on to spend time in the USA later in their careers also, mostly due to the advent of WWII. Both composers were also exposed to folk melodies early in their lives, and in the case of Stravinsky, his father sang in Operas. Stravinsky’s work influenced Bartok’s – as it tended to influence so many composers working in the genre of ballet. In fact, Stravinsky’s influence was so broad that Time Magazine named him one of th the most influential people of the 20 Century! http://en.wikipedia.org/wiki/Igor_Stravinsky More interesting, however, is the correlation of Stravinsky’s life with that of Schoenberg, who were contemporaries of each other, yet had sometimes similar and sometimes contradictory approaches to music. The study of their musical output is illuminated by their personal lives and philosophies, about which much has been written. For such writings on Stravinsky, we have volumes of work created by his long-term companion and assistant, the conductor/musicologist Robert Craft. {See the Bibliography.} Periods Stravinsky’s compositions fall into three distinct periods. Some representative works are listed here also: The Dramatic Russian Period (1906-1917) The Firebird (1910, revised 1919 and 1945) Petrouchka (1911, revised 1947))
    [Show full text]
  • About Ham and His Wicked Siblings
    ABOUT HAM AND HIS WICKED SIBLINGS Caroline Angenent 1. Genesis When the Catholic priest Frei Betto asked Fidel Castro what he remembered from the Bible teachings he received as a schoolboy, Castro recalled that one of Noah's sons was punished with black descendants. After some reflection, he added that somebody ought to investigate whether it is truly fitting to teach in religious education that being black is a punishment from God (Betto 1986:108, quoted in Linde 1993:10).' This anecdote about Fidel Castro must have inspired Van der Linde (vdL) to once again write a book about slavery. VdL has spent a long time as a Moravian missionary in Surinam, a former Dutch colony. Many of his earlier publications (e.g. Linde 1953, 1956, 1963, 1966) also dealt with the subject of slavery, mainly from the point of view of the history of the people of Surinam and the role the Society of the Moravian Brethren played in it. This time, however, vdL focuses on the history of the "curse of Ham", for centuries a legitimizing force behind slavery and slave trade. Even well into the 20th century the story is said to have been used to discriminate against coloured people, as can be read in Edgar Cairo's book Dit vuur der grote drama's. In this book Cairo tells about the children of Surinam who, a decade after the second World War, were still taught that they, being the "children of Ham", were inferior to the white people (Linde 1993:133, cf. Paasman 235:n.37).
    [Show full text]