This collection of essays advances psalms studies through a concerted focus on the persuasive aim of psalmic poetry, and it offers unique perspectives on rhetorical devices within the psalms. These essays include discussions not only of structure, literary devices, and rhetorical strategies, but the authors also dialogue with classical rhetoric, modern psalms research, and current trends in rhetoric and cognitive science. Part One discusses various theoretical issues. Several articles discuss lament within the psalms, including the function of appeals to pathos, lament's compensation for monotheistic piety, and the need for more attention to the laments' poetry and rhetoric to understand their meaning. Other essays address the psalmists' self-presentation, the ideological identity of the wicked within the psalms, faunal imagery with regard to tenor and vehicle, the topoi related to God in call to praise psalms, the function of gaps in prayers for help, and the rhetoric of kingship psalms as attempts to persuade readers of the legitimacy and efficacy of kingship. Part Two consists of rhetorical analyses of several psalms or psalm pairs, each with distinctive emphases. These include a discussion of Psalm 8 from a bodily perspective, the nature and implication of nature language within Psalm 23, the structure of Psalm 102 within Book IV of the Psalter along with its theology and lament, the forensic case of Psalms 105 and 106 emphasizing the role of narrative in forensic rhetoric and comparing the results with classical rhetoric, and an analysis of the rhetorical aim of Psalm 147, subjected to developments within cognitive science.

The acoustics of a space can have a real impact on the sounds you create and capture. Acoustics and Psychoacoustics, Fifth Edition provides supportive tools and exercises to help you understand how music sounds and behaves in different spaces, whether during a performance or a recording, when planning a control room or listening space, and how it is perceived by performers, listeners, and recording engineers. With their clear and simple style, Howard and Angus cover both theory and practice by addressing the science of sound engineering and music production, the acoustics of musical instruments, the ways in which we hear musical sounds, the underlying principles of sound processing, and the application of these concepts to music spaces to create professional sound. This new edition is fully revised to reflect new psychoacoustic information related to timbre and temporal perception, including an updated discussion of vocal fold vibration principles, samples of recent acoustic treatments, and a description of variable acoustics in spaces, as well as coverage of the environment's effect on production listening, sonification, and other topics. Devoted to the teaching of musical understanding, an accompanying website (www.routledge.com/cw/howard) features various audio clips, tutorial sheets, questions and answers, and trainings that will take your perception of sound to the next level. This book will help you: Gain a basic grounding in acoustics and psychoacoustics with respect to music audio technology systems Incorporate knowledge of psychoacoustics in future music technology system designs as appropriate Understand how we hear pitch, loudness, and timbre Learn to influence the acoustics of an enclosed space through designed physical modifications

This second contribution to the "Handbooks for Old Testament Exegesis" series continues the admirable tradition set by Robert B. Chisholm Jr. in "Interpreting the Historical Books." A valuable resource for pastors and students, "Interpreting the Psalms" begins by explaining the nature of Hebrew poetry and the purpose of the Psalms. An accomplished scholar of the Psalms, Mark Futato next explores issues related to properly interpreting Israel's songbook, and concludes with a sample of moving from interpretation to proclamation. A glossary is included.

The acoustics of a space can have a real impact on the sounds you create and capture. Acoustics and Psychoacoustics, Fifth Edition provides supportive tools and exercises to help you understand how music sounds and behaves in different spaces, whether during a performance or a recording, when planning a control room or listening space, and how it is perceived by performers, listeners, and recording engineers. With their clear and simple style, Howard and Angus cover both theory and practice by addressing the science of sound engineering and music production, the acoustics of musical instruments, the ways in which we hear musical sounds, the underlying principles of sound processing, and the application of these concepts to music spaces to create professional sound. This new edition is fully revised to reflect new psychoacoustic information related to timbre and temporal perception, including an updated discussion of vocal fold vibration principles, samples of recent acoustic treatments, and a description of variable acoustics in spaces, as well as coverage of the environment's effect on production listening, sonification, and other topics. Devoted to the teaching of musical understanding, an accompanying website (www.routledge.com/cw/howard) features various audio clips, tutorial sheets, questions and answers, and trainings that will take your perception of sound to the next level. This book will help you: Gain a basic grounding in acoustics and psychoacoustics with respect to music audio technology systems Incorporate knowledge of psychoacoustics in future music technology system designs as appropriate Understand how we hear pitch, loudness, and timbre Learn to influence the acoustics of an enclosed space through designed physical modifications

Written for voice professionals, their teachers and those who care for their voices, this unique book covers voice acoustics, the effect of the acoustics of spaces on the voice, and how to make a voice recording properly. The book is wholly practical and written in a manner which is rooted in science but which is designed to enable understanding by non-scientists and voice practitioners alike. The authors provide an outline of acoustics and the human voice, before going on to cover ways in which voice users - from professional and amateur singers and performers, through lawyers, to school teachers - the largest group reporting to clinics with vocal problems - can improve vocal efficiency, regardless of location, and vocal health. Also covered are methods of amplification, whether through microphones, or simply by posture or stance and best methods for sound recording.

Singing has been a characteristic behaviour of humanity across several millennia. Chorus America (2009) estimated that 42.6 million adults and children regularly sing in one of 270,000 choruses in the US, representing more than 1:5 households. Similarly, recent European-based data suggest that more than 37 million adults take part in group singing. The Oxford Handbook of Singing is a landmark text on this topic. It is a comprehensive resource for anyone who wishes to know more about the pluralistic nature of singing. In part, the narrative adopts a lifespan approach, pre-cradle to senescence, to illustrate that singing is a commonplace behaviour which is an essential characteristic of our humanity. In the overall design of the Handbook, the chapter contents have been clustered into eight main sections, embracing fifty-three chapters by seventy-two authors, drawn from across the world, with each chapter illustrating and illuminating a particular aspect of singing. Offering a multi-disciplinary perspective embracing the arts and humanities, physical, social and clinical sciences, the book will be valuable for a broad audience within those fields.

Sub Title: "REFLECTIONS ON A LIFETIME IN MISSIONS" This book tells stories from a lifetime in missions beginning with childhood in a home where parents, themselves former missionaries, and 6 children all involved in Christian ministry, 4 of whom served in cross cultural missions, were influenced for world missions. The stories move on through college, marriage and on to overseas ministry in Latin America which take the reader to remote locations throughout the continent. Years spent in student ministries in the U.S., including directing the Intervarsity student missions conventions at Urbana, IL, prepared the author for a broader worldwide ministry. Organizing the Consultation on World Evangelization (COWE), sponsored by the Lausanne Committee, held in Pattaya, Thailand, provided intimate contact with world leaders in missions. As International Director of the World Evangelical Fellowship, located in Singapore, the author was privileged to travel extensively around the world which provided many opportunities to see God at work in a wide variety of places both geographical and cultural. Stories were gathered from the lives of Christians both in humble and remote places as well as from the lives of well-known Christian and mission leaders.

THE NEW AMERICAN COMMENTARY is for the minister or Bible student who wants to understand and expound the Scriptures. Notable features include: * commentary based on THE NEW INTERNATIONAL VERSION; * the NIV text printed in the body of the commentary; * sound scholarly methodology that reflects capable research in the original languages; * interpretation that emphasizes the theological unity of each book and of Scripture as a whole; * readable and applicable exposition.

The acoustics of a space can have a real impact on the sounds you create and capture. Acoustics and Psychoacoustics gives you an essential grounding and understanding to how real music sounds behave in different spaces whether during a performance or a recording and how they are perceived by performers and listeners.

With their clear and simple style, Howard and Angus address both theory and practice by addressing the science of sound engineering and music production, the acoustics of musical instruments, the ways in which we hear musical sounds, and the application of these concepts to music spaces to create professional sound. Real-world examples and audio clips are included, providing practical materials to work with.

The new edition uncovers the acoustic application for today's recording industry. The accompanying CD provides audio examples to help readers gain a clear understanding of the many concepts discussed in the book
The website is packed with audio clips, questions and answers, a calculation facility as well as links and resources.

Rich rewards await readers who dig deep into the historical books of the Old Testament. Incredible events, amazing love stories, larger-than-life personalities and deep theological implications and themes are just part of the t treasure that awaits readers of Joshua, Judges, Ruth, 1 & 2 Samuel, 1 & 2 Kings, 1 & 2 Chronicles, Ezra, Nehemiah, Esther.

These books tell the story o the nation of Israel and the God who loves her, punishes her, and always brings this recalcitrant people back to Himself. It is really the story of all of us.

David M. Howard Jr. provides an in-depth introduction to the Old Testament historical books, focusing first on the overarching themes of historical narrative in general. He then turns his attention to each book.
From the conquest of Canaan to the fall of Jerusalem, from war to peace and back to war, from kings and queens to farmers and housewives--David Howard covers it all in this invaluable introduction to the Old Testament historical books.

At one time, apocalyptic literature was relegated to the more obscure reaches of biblical scholarship, acceptable to occasionally refer to, but too thorny to delve into deeply. However, in recent decades it has moved to the forefront of research. The rich veins of wisdom to be mined therein are being rediscovered. Richard A. Taylor has crafted a handbook to explore those riches and uncover a way to understand apocalyptic literature more fully. Using the characteristic six-chapter structure of the Handbooks for Old Testament Exegesis series, Taylor offers an introduction to the genre; covers the purpose, message, and primary themes; and then discusses critical questions and helpful works for study. He provides guidelines for interpretation of the text, and then lays out sample texts on which to practice those guidelines. Taylor does more than simply consider the history of the texts and those who have previously studied them; he uses these as a foundation for and springboard into the proclamation of apocalyptic literature.

The Old Testament displays a remarkable literary and theological unity through a variety of genres. But applying a single, one-size-fits-all method of exegesis can lead to confusion and misunderstanding. A valuable reference tool for students and pastors, the Handbooks for Old Testament Exegesis (HOTE) series provides readers with an enhanced understanding of different Old Testament genres and strategies for interpretation. The inaugural volume in the HOTE series, Interpreting the Historical Books begins by exploring the components of narrative-setting, characterization, and plot-and then develops the major theological themes in each of the Old Testament historical books (Joshua, Judges, Ruth, 1-2 Samuel, 1-2 Kings, 1-2 Chronicles, Ezra, Nehemiah, and Esther). As readers work through Interpreting the Historical Books, they will begin to see and interpret the narrative writings as the writings were intended to be understood. A glossary defining technical words and samples of moving from exegesis to proclamation make this handbook practical and user-friendly. All written by accomplished teacher-scholars at leading evangelical schools, forthcoming handbooks include the following: Interpreting the Psalms Mark D. Futato (Reformed Theological Seminary, Orlando) Interpreting the Prophets Michael A. Grisanti (The Master's Seminary) Interpreting the Wisdom Literature Richard L. Schultz (Wheaton College) Interpreting Apocalyptic Literature Richard A. Taylor (Dallas Theological Seminary) Interpreting the Pentateuch Peter T. Vogt (Bethel Seminary)

An exhaustive study of these kingship psalms, utilizing the entire lexicon of the 8 psalms studied. Howard’s study confirms that Hebrew poetry is regularized around a pattern of bicolons of roughly 8:8 syllables and 3:3 stresses. A major contribution to the rhetorical-critical method.