Psalm 119:105-112 (NKJV) Song „Your Word is a Lamp to My Feet“

Psalm 119:105-112 (NKJV)
105 Your word is a lamp to my feet And a light to my path.
106 I have sworn and confirmed That I will keep Your righteous judgments.
107 I am afflicted very much; Revive me, O Lord, according to Your word.
108 Accept, I pray, the freewill offerings of my mouth, O Lord, And teach me Your judgments.
109 My life is continually in my hand, Yet I do not forget Your law.
110 The wicked have laid a snare for me, Yet I have not strayed from Your precepts.
111 Your testimonies I have taken as a heritage forever, For they are the rejoicing of my heart.
112 I have inclined my heart to perform Your statutes Forever, to the very end.

Stabat Mater Dolorosa

Stabat Mater Dolorosa (Stała Matka Boleściwa) to XIII-wieczna sekwencja opowiadająca o męce Chrystusa z perspektywy Jego Matki. Na stałe zakorzeniła się w liturgii Kościoła oraz w sztuce religijnej: przez wieki doczekała się dziesiątek, jeśli nie setek aranżacji i opracowań. Chcielibyśmy podzielić się z Wami naszym wykonaniem w nowym czterogłosowym opracowaniu.

Hosana (Ježiš, Kráľov Kráľ)

This is a Slovak cover of a song „Hosanna“ originally sung by Marco Barrientos. The song was released on his album Avivanos in 2008 and it was produced by Aliento Music Group. This particular version was arranged by loopcommunity.com, however, it was enhanced by a local worship band from Kosice, Slovakia, called „Priatelia“. We hope you like it and pray that it blesses you and your church !

Ako sa vyhnúť emocionálnej manipulácií počas chvál, worshipu

Chvály môžu byť veľmi emotívne. Mohutná hudba, davy ľudí, aura Božieho majestátu a obrátenie pozornosti človeka k nemu, môžu vytvárať intenzívne pocity radosti, očakávania alebo dokonca i smútku. Niektorí plačú. Niektorí ľudia sa smejú. Niektorých to ani nepohne.
I napriek rôznym postojom je to všetko v poriadku.

Problém však nastáva, ak vedúci chvál  vyvinie spoločné úsilie s hudobníkmi zmeniť emócie ľudí v snahe vynútiť si „určité správanie“. To sa nazýva „emocionálna manipulácia“ ktorá je škodlivou a ktorá kradne pravé uctievanie.

Miserere Mei Deus, Have Mercy on Me O God (Psalm 50(51))

Psalm 51(50) composed by Gregorio Allegri. This penitential psalm is one of the most popular prayers, used by the Catholic Church very frequently in the Office and Liturgy (every Divine Liturgy and Matins in the Byzantine Rite). Below is the Latin text and the English Douay-Rheims translation. The art is by Gabriel Metsu, Bartolome Esteban Murillo, Ionnis Moskos, Eugene Siberdt, (unknown artist), Diego Velazquez, respectively.

Laetetur Cor

Laetetur Cor – Catholic Gregorian Chant Hymns

The Latin lyrics, as seen in the video, and the English translation follow:
Laetetur cor quaerentium Dominum: quaerite Dominum, et confirmamini: quaerite faciem eius semper. Confitemini Domino, et invocate nomen eius: annuntiate inter gentes opera eius. Laetetur cor quaerentium Dominum: quaerite Dominum, et confirmamini: quaerite faciem eius semper.

Let the heart of them rejoice that seek the Lord. Seek ye the Lord, and be strengthened: seek his face evermore. Give glory to the Lord, and call upon his name: declare his deeds among the Gentiles. Let the heart of them rejoice that seek the Lord. Seek ye the Lord, and be strengthened: seek his face evermore.

Musical Hypnosis: Sound and Selfhood from Mesmerism to Brainwashing (Hudobná hypnóza: zvuk a sebectvo od Mesmerizmu až po vymývanie mozgov)

Social History of Medicine, Volume 25, Issue 2, May 2012, Pages 271–289, https://doi.org/10.1093/shm/hkr143Published: 05 October 2011

Summary

Music has long been associated with trance states, but very little has been written about the modern western discussion of music as a form of hypnosis or ‘brainwashing’. However, from Mesmer’s use of the glass armonica to the supposed dangers of subliminal messages in heavy metal, the idea that music can overwhelm listeners‘ self-control has been a recurrent theme. In particular, the concepts of automatic response and conditioned reflex have been the basis for a model of physiological psychology in which the self has been depicted as vulnerable to external stimuli such as music. This article will examine the discourse of hypnotic music from animal magnetism and the experimental hypnosis of the nineteenth century to the brainwashing panics since the Cold War, looking at the relationship between concerns about hypnotic music and the politics of the self and sexuality.