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Marini Made Harps LLC Order Form for Recordings 2021 Harp Prices Please send the following tapes/CD's (PLEASE PRINT OR USE ADDRESS LABEL) All harps come pre-strung with a tuning wrench To:_________________________ and extra strings (low wound strings not included). Prices below do not include sharping levers, hand ____________________________ carvings, exotic wood, stools, stands, sales tax, ____________________________ shipping or other accessories. (1) Hymns on the Harp (harp instrumental) Note: Prices Listed are for semi-gloss finish… ____ Cassette only Roma Classic (46 strings)……. $12,840.00 (2) Christmas Carols On the Harp Roma Bella (40 strings)……....... $5,930.00 (harp instrumental) _____Cassette Sold Out CD Regency Robusto (38 strings)…. $3,730.00 (3) There is a Fountain (harp instrumental) Roma Rosa (36 strings)............. $5,730.00 _____Cassette _____CD Hallel Harp (36 strings)….......... $2,705.00 (4) Beautiful Saviour (harp instrumental) _____Cassette _____CD Regency (34 strings)................. $3,445.00 (5) When Peace Like a River Affordable Regency (34 strings).... $2,870.00 (vocal and harp with violin and flute) _____Cassette _____CD Ultra-Lite (34 strings)................ $3,080.00 (6) Thine is the Glory (piano instrumental) Hallel Harp (31 strings)….......... $2,045.00 _____Cassette _____CD Bass LAP (28 strings)………….... $1,425.00 (7) Be Thou My Vision (vocal and harp with violin, piano, guitar, cello & flute) Hallel Harp (27 strings)…............. $855.00 _____CD Bass Minstrel (27 strings) …......... $980.00 (8) This is the Day (vocal and harp with violin, piano, guitar, cello & flute) The LAP Harp (26 strings) ……... $1,110.00 _____CD Celtic LAP Harp (26 strings) …... $1,210.00 (9) The Marini Family (vocal and harp with other instruments) _____CD Affordable Hallel (26 strings) …….. $710.00 Double-Strung Harp (24x2 strings)…$1,440.00 Number of CD's ____ X $15 = $________ Lute (24 strings)……….................. $935.00 " of Cassettes _____ X $5 = $________ Morning Meditations___x $16 = $_______ Hallel Harp (22 strings)….............. $825.00 Shipping (CD $2, Book $3) = $________ Travel Harp …............. $725.00 Total Enclosed: $________ (22 strings) Lyre Harp (16 strings)................... $855.00 Quantity Cassettes CD's 1-9 ................ $5.00 ...... $15.00 Davidic Harp (16 strings) ….......... $645.00 10-20.............. $5.00 ...... $10.00 21-100............ $5.00 ...... $9.00 Davidic Harp (10 strings) ….......... $380.00 100 + ............ $4.00 ...... $8.00 Kinnor Harp (10 strings) …........... $280.00 Note: The above prices do not include tax or shipping. Quantities can be a mixture of all 8 recordings. Sharping Levers: Gold Camac Levers……….. $26.00 per string Send This Form & Personal Check To: Silver Camac Levers…..….. $22.00 per string Silver Hong Kong Levers…. $20.00 per string Marini Made Harps Silver Rees Levers…………. $16.00 per string 704 Wallace Road, New Holland, PA 17557 Our Guarantee: All harps are guaranteed against defects in materials --- (717) 355-0897 --- or workmanship for 5 years from the date of purchase. If you are not satisfied, return it within 30 days for an even exchange or a full refund. www.marinimadeharps.com .

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The Music of the Bible, with an Account of the Development Of
\ \ ^ \ X \N x*S-s >> V \ X \ SS^^ \ 1 \ JOHN STAINER,M.A.,MUS,.DOC., Cornell University Library ML 166.S78 3 1924 022 269 058 CORNELL UNIVERSITY LIBRARY ^^S/C [7BRARY Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022269058 THE MUSIC OF THE BIBLE WITH AN ACCOUNT OF THE Development of Modern Musical Instruments from Ancient Types BY JOHN STAINER, M.A.. MUS. DOC, MAGD. COLL., OXON. Cassell Fetter & Galpin LONDON, PARIS & NEW YORK. V Novell o, Ewer & Co.: LONDON. [all rights reserved.] PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further con- firmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be fotmd here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. But I think all will admit that the study of the history of ancient nations, whether with reference to their arts, religion, conquests, or language, seems to gather and be concentrated round the Book of Books, and when once I began to treat of the com- parative history of musical instruments, I felt that a few more words, tracing their growth up to our own times, would make this little work more complete and useful than if I should deal only with the sparse records of Hebrew music.
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The Music of the Bible, with Some Account of the Development Of
. BOUGHT WITH THE INCOl^E .. FROM THE SAGE ENDOWMENT FUlSfD THE GIFT OF Henrg W. Sage 1891 ,. A>.3ooq..i.i... /fiMJA MUSIC LIBRARY Cornell University Library ML 166.S78 1914 The music of the Bible with some account 3 1924 021 773 290 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021773290 Frontispiece. Sounding the Shophar. (p. 224/ THE MUSIC OF THE BIBLE WITH SOME ACCOUNT OF THE DEVELOPMENT OF MODERN MUSICAL INSTRUMENTS FROM ANCIENT TYPES BY JOHN STAINER M.A., MUS. DOC, MAGD. COLL., OXON. NEW EDITION : With Additional Illustrations and Supplementary Notes BY the Rev. F. W. GALPIN, M.A., F.L.S. London : NOVELLO AND COMPANY, Limited. New York: THE H. W. GRAY CO., Sole Agents for the U.S.A. [ALL RIGHTS RESERVED.] 5 ORIGINAL PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further confirmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be found here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music.
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Music in the Bible by Theodore W
Music in the Bible By Theodore W. Burgh Music is an essential element of ancient and modern cultures. It often shapes chronological periods, as did the Motown recordings of the 1960’s and 70’s, and marks what we grieve and celebrate. While many of the uses of music in the ancient Near East are similar to those of today, the sound and experience of music in ancient times was different. It is hard for us to imagine not being able to pull music from the air and download it upon request. In antiquity, people only heard music in live musical performances. Nothing was recorded, sampled, mixed, or mass-marketed. Although we don’t know how ancient music sounded, judging from the ways it was used we do know that music was important then as it is now. By studying the ancient remains of instruments, descriptions of musical activity in texts like the Bible, and artistic representations, we gain valuable information about these enigmatic past societies and peoples—from aspects of relationships between men and women, the types of instruments used in sacred and secular performances, and occasions when music was performed. A glance at several biblical stories reveals the importance of music in the daily life of antiquity. For instance, writers describe how people used music to express an array of emotions, convey valuable information, and entertain. Moreover, there are numerous ceremonies and celebrations in the Bible where musical performance was a major part. Several passages contain descriptions of actual instruments, names of musicians, as well as places and times music was played.
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A Compendium of Musical Instruments and Instrumental Terminology in the Bible
CRITICAL REVIEW A Compendium of Musical Instruments and Instrumental Terminology in the Bible Yelena Kolyada; translated from Russian by the author with the assistance of David J. Clark. A Compendium of Musical Instruments and Instrumental Terminology in the Bible. London: Equinox, 2009. 304 pp. $140.00. Hardcover. ISBN: 9781845534097. Compendium of Musical Instruments and Instrumental Terminology in the Bible is an English translation and adaptation of a doctoral thesis written in Russian and published in 2003 by Kompozitor in Moscow. The author seeks to answer the question, “What did the instruments that are referred to in the Bible and TanakhA look or sound like?” To answer this question, she draws upon numerous fields of study, such as history, philology, archaeology, and musicology. It is necessary to synthesize from various fields because neither the Tanakh nor the Old Testament defines the instruments—these sacred books simply use the musical terms. In addition, the passage of the centuries has fostered the evolution of the musical terms and definitions. For example, when the Hebrew term “kinnor” is mentioned, one might see it translated as “harp” (KJV) or “lyre” (RSV), and yet a different instrument called “nevel” is also translated as “harp” (RSV) or “lyre” (NIV). Not only are harps and lyres different from each other, present-day harps and lyres also are different from ancient harps and lyres. This book details the differences between a “kinnor” and a “nevel,” thus giving the reader possession of a more accurate assessment of the appearance and sound of these instruments in biblical times. After providing an overview of references to instrumental music in the Bible in chapter one, the author devotes chapters two through four to the major classes of instruments: plucked strings, winds, and percussion.
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of Out Many, August 13–16, 2015 Washington, D.C. !,, 9/5.%%$ 4/+./7 !"/54 &,54%).352!.#% WWWFLUTEINSURANCECOM ,AKEVIEW$RIVE 3UITE! 3EBRING &,53! SERVICE ANDERSON GROUPCOM &,,ICENSE,s),,ICENSEs#!,ICENSE) 43RD ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, WASHINGTON D.C., 2015 3 nfaonline.org LET’S PLAY FLUTE! AN INNOVATIVE METHOD FOR STUDENTS OF ANY AGE by Elizabeth Weinzierl & Edmund Waechter Let’s Play Flute! is a new English adaptation of a successful method by noted *HUPDQÀXWLVWVDQGSHGDJRJXHV WITH PLAY-ALONG ONLINE AUDIO: 50600096 • Method Book 1 • 50600097 • Method Book 2 • 50600098 • Repertoire Book 1 • 50600099 • Repertoire Book 2 • 50600124 • Piano accompaniments for Method Books 1 & 2 • SPECIAL CONFERENCE OFFER FOR FLUTE TEACHERS Get a FREE copy of Method Book 1 at the Hal Leonard exhibit booth #417 while supplies last. 4 43RD ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, WASHINGTON D.C., 2015 nfaonline.org rself Indulge you Choose your Powell and never look back. connect with us at booth #131. Follow us at #PowellFlutesDC. ® VERNE Q. POWELL® FLUTES INC. One Clock Tower Place, Maynard, MA 01754 USA 978.461.6111 www.PowellFlutes.com Table of Contents Letter from the President ................................................................................9 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators............................................................................14 Welcome Letter from the Mayor of Washington, D.C.............................18 From the Convention Program Chair..........................................................20
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Indus Musicians in Mesopotamia
1 Indus Musicians in Mesopotamia 2 Bull Lyre of Indus Valley and 90 words that Harappans 3 May Have Spoken 4 5 Shail Vyas 6 Homi Bhabha Fellow, Mumbai 7 8 [email protected] 9 10 11 12 13 Abstract 14 15 Human is a musical creature. It is seen ubiquitously through times and spaces 16 that a certain percentage of human population is always musically inclined 17 irrespective of their profession. Music is also an integral part of many social 18 activities humans generally observe like religious practices, marriages, deaths 19 and what more. Due to the possible presence of Harappan population in 20 Mesopotamia, it may be surmised that a number of Harappan musicians and 21 some of their musical instruments could also have reached there. In this 22 investigation, crucial help could also come from the fact that many a times, 23 names of musical instruments travel with them. 24 25 26 On account of a very likely possibility of such an occurrence, a study of 27 archaeological and Sumerian textual records in Mesopotamia was strongly 28 suggestive of a significant presence of Harappan musicians and musical 29 instruments in Mesopotamia. In fact, study of Sumerian text has shown that 30 about 30 musical terminologies out of a total of nearly 60, in the categories such 31 as names of instruments, singers, names of songs and even musical notations, 32 etc. in Sumerian (PSD) are found to be phonetically and semantically very similar 33 to ancient Indian terms with some “Sumerianization”. The study also 34 demonstrated certain patterns in the way words were sumerianized.
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The Biblical Nebel*
Catalog TOC <<Page>> THE BIBLICAL NEBEL* Bathja Bayer, Jerusalem The nebel, mentioned 27 times in the Bible, is generally supposed to have been a harp, and probably of the upperchested type (i.e. with the resonator held upright against the body of the player).1 We have been led to doubt this for several reasons, of which three seemed to be the most important. First the sources did not necessarily prove the nebel to have been a harp, if one did not assume a priori that they ought todo so. Secondly the archaeo logical evidence now available for the Syropalaestinian area showed no repre sentations of harps before the hellenistic period; those that then appeared were few in number, and in both form and context belonged to the "cosmo politan" hellenistic background.2 Even granting the random factors of survival and discovery a correspondence between "textual" and "material" frequency was evident for most of the other identiifable Biblical instruments such as tof (frame drum), mesiltayim (cymbals) and most important kinnor (lyre). How could this silence of the archaelogical record be explained for the supposed nebel = harp ?One could not but be remindedof the curious incident of the dog in the nighttime ("The dog did nothing in the nighttime." "That was the curious incident", remarked Sherlock Holmes). Lastly some of the most "decisive5' sources did not seem to be in the nature of evidence at all, although it was they which were supposed to prove the equation ofnebel=harp. They were much later than the Biblical or even the Second Temple period (Hieronymus at the beginning of the iffth century CE, or Se'adyah Ga'on in the ninth!), and therefore belonged to the history of exegesis.
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Investigation of Music in Therapy from Biblical Times Until the Beginning of the Middle Ages
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1984 Investigation of music in therapy from Biblical times until the beginning of the Middle Ages Cochavit Elefant The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Elefant, Cochavit, "Investigation of music in therapy from Biblical times until the beginning of the Middle Ages" (1984). Graduate Student Theses, Dissertations, & Professional Papers. 7276. https://scholarworks.umt.edu/etd/7276 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 Th is i s an unpublished m a n u s c r ip t in w h ic h c o p y r ig h t su b s i s t s . A ny further r e p r in t in g of it s co ntents must be a ppro ved BY THE AUTHOR, MANSFIELD L ib r a r y U n iv e r s it y of Montana Date : ----------- 3 ^ 9 . 8 - 4 -------- Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. An Investigation of Music in Therapy From Biblical Times Until the Beginning of the Middle Ages by Cochavit Elefant B.M.
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The Universal Lyre: Three Perspectives
The Universal Lyre: Three Perspectives by Diana Rowan EOPLE are often entranced by the harp for for krar and begena. Besides his many recordings, its mystical sound and image, hearkening Temesgen has instructional DVDs for krar and back to the most ancient of times. Whether begena, with additional titles in the works. He is we realize it or not, the harp’s roots lie deep within also a source for people looking to purchase these ourP collective consciousness worldwide. The instruments. instrument touches us in dual fashion, both in Michalis Georgiou of Cyprus (http://terpandros. body and soul. The harp or lyre may be found in com/) is steeped in that island’s ancient, always very similar form across the Middle East, Greece visible history, and over twenty years ago moved into and Africa. Everywhere they have been found, the the world of instrument reconstruction. Already a instruments have been used to address the sacred lifelong musician, Georgiou took to his workshop and the secular throughout the ages. Note that to recreate ancient Greek instruments. H has built “harp” and “lyre” will be used interchangeably here more than twenty-three different types of stringed as many construction and playing techniques are instruments, many of which can be classified as lyres. similar as is the use of the instrument. He has also formed a large award-winning student- based orchestra to perform reconstructions of Three Artist-Scholars ancient music on these instruments, leading to: …the creation of Terpandros, named after the great Three contemporary artists are involved in the field musician of antiquity.
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Tortoise-Shell Lyre
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Differs in Category on Advancedinstrumenttree Wiki Page Violet – Brands Should Not Be Present Or All Should Be Included
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The Musical Book
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