Podcasts about copyists

On the faculty at Princeton for over 45 years, Michael Pratt has built one of the premiere music performance programs in American liberal arts universities. He has conducted instrumental works and opera from five centuries in Princeton and in international halls. He was made a Honorary Member of the Royal College of Music, London by King Charles III and was awarded the President's Award for Distinguished Teaching by Princeton President Christopher Eisgruber. He's recently released a historical fiction romance, The Copyists.  And our conversation about it is LOVELY.  Check out the book on Facebook, too!  Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. I have three 1:1 coaching slots available this season. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!      

The Boy Bands Have Won, and All the Copyists and the Tribute Bands and the TV Talent Show Producers Have Won, If We Allow Our Culture to Be Shaped by Mimicry, Whether from Lack of Ideas or from Exaggerated Respect. You Should Never Try to Freeze Culture. What You Can Do Is Recycle That Culture. Take Your Older Brother's Hand-Me-Down Jacket and Re-Style It, Re-Fashion It to the Point Where It Becomes Your Own. But Don't Just Regurgitate Creative History, or Hold Art and Music and Literature as Fixed, Untouchable and Kept Under Glass. The People Who Try to 'Guard' Any Particular Form of Music Are, Like the Copyists and Manufactured Bands, Doing It the Worst Disservice, Because the Only Thing That You Can Do to Music That Will Damage It Is Not Change It, Not Make It Your Own. Because Then It Dies, Then It's Over, Then It's Done, and the Boy Bands Have Won. Chumbawamba Add Me | Chumbawamba : The Boy Bands Have Won Words Can Save Us | Chumbawamba : The Boy Bands Have Won Hull or Hell | Chumbawamba : The Boy Bands Have Won El Fusilado | Chumbawamba : The Boy Bands Have Won Unpindownable | Chumbawamba : The Boy Bands Have Won I Wish That They'd Sack Me | Chumbawamba : The Boy Bands Have Won Word Bomber | Chumbawamba : The Boy Bands Have Won All Fur Coat & No Knickers | Chumbawamba : The Boy Bands Have Won Fine Line | Chumbawamba : The Boy Bands Have Won Lord Batemans Motorbike | Chumbawamba : The Boy Bands Have Won A Fine Career | Chumbawamba : The Boy Bands Have Won To a Little Radio | Chumbawamba : The Boy Bands Have Won Right Around the World | Chumbawamba : The Boy Bands Have Won Sing About Love | Chumbawamba : The Boy Bands Have Won Bury Me Deep | Chumbawamba : The Boy Bands Have Won You Watched Me Dance | Chumbawamba : The Boy Bands Have Won Compliments of Your Waitress | Chumbawamba : The Boy Bands Have Won R.I.P. PR | Chumbawamba : The Boy Bands Have Won Charlie | Chumbawamba : The Boy Bands Have Won Ogre (After WH Auden) | Chumbawamba : The Boy Bands Have Won Refugee | Chumbawamba : The Boy Bands Have Won Same Old Same Old | Chumbawamba : The Boy Bands Have Won Waiting for the Bus | Chumbawamba : The Boy Bands Have Won What We Want | Chumbawamba : The Boy Bands Have Won #PoliticalMusic Polyrical.com movingtrainradio.com

In Episode 76, we talk about the transmission of biblical texts in the New Testament. Transmission refers to how an original text (e.g. Paul's Letter to the Romans) has been copied and duplicated through the ages to what we have today. Unfortunately, there is a widespread perception that the Bible is just a messy copy of multiple copies, therefore making it an unreliable source. This is far from the truth, which is why it's important that we learn and understand the transmission of biblical information. So, if you've ever been faced with this argument in a discussion or have your own doubts, then today's episode is for you. Tune in now and let's go bigger, better, and deeper! If you enjoy this episode, please subscribe to the Godstuff podcast so you're always first to know when a new episode is released. Video Timestamps:Introduction [00:00]What is Biblical Transmission? [03:44]Scribes & Copyists [05:26]Rules of the Scribes for the Old Testament [08:03]Archaeological Discoveries of Biblical Text [14:27]The Variations of Biblical Text [18:17]Biblical Transmission Summary & Outro [25:05] Audio Timestamps: ● Enjoy free 1-month enrollment to our online theological school https://www.veritasschool.life/i0ogjjcu About Our Host: Bill Giovannetti is the Senior Pastor at Pathway Church, Redding, California — an experienced senior pastor with a demonstrated history of working in the religious institutions industry. He also teaches ministry related college classes at Simpson University and the A. W. Tozer Theological Seminary. Bill has always had a passion to bring the deep things of God's word to the everyday people of God. Resources: ● Veritas School Online Theological School https://www.veritasschool.life/ Connect with Bill Giovannetti: ● Visit the website: https://www.veritasschool.life/● Subscribe to the podcast: https://maxgrace.com/category/podcasts/● Follow Bill on Facebook: https://www.facebook.com/bill.giovannetti● Follow Bill on Twitter: https://twitter.com/BillGiovannetti● Follow Bill on Instagram: https://www.instagram.com/billgiovannetti/ Thanks for tuning in! Please don't forget to like, share, and subscribe!

By Jerry Smith

By Jerry Smith

Has someone ever said this to you- -The Bible was written centuries ago and the original writings are lost. What we have are copies of copies of copies, who knows how many times. Copyists are only human, they make mistakes, some could have taken liberties with the wording... who knows what, if anything, in the Bible is what the original writers actually wrote------This sermon begins a short series on how we got the Bible and how we can know that what we read today is exactly as it was given to the inspired writers.

Two men on a hillside, standing on a stony outcrop, look at the crescent moon shining in a luminous sky. Framed between a strong, sinuous oak and an angular, spiky pine, the younger man leans on his companion’s shoulder, as though overcome by beauty. These are not detached scientific observers scrutinising a lunar phenomenon, but witnesses of God’s ever-surprising Nature. Instead of that scientific examination of natural phenomena so characteristic of German learning at the time, Friedrich’s painting is a parable of Christianity and paganism. The oak, used for heathen rituals, is dying; the evergreen pine, a symbol of Christianity, lives. The men are protected underneath its branches. Friedrich painted several versions of this scene, similar in composition although varying in character. The earliest known dates from 1819, another of a man and woman was made c. 1824, and at least two more were painted about 1830.1Friedrich’s friend Dahl refers to later versions by the artist and others in a letter of 26 September 1840, at the time he donated the 1819 painting to the Dresden Gemäldegalerie in memory of Friedrich: This picture, full of sentiment and the quietness of nature, was painted by Friedrich in 1819 and he gave it to me in exchange for one of my own works. Friedrich had to copy it several times, but he did not approve of this, hence others copied it as well.2 While there is some disagreement about this version, close examination reveals Friedrich’s blue underdrawing, a generous execution, and liberal and unique application of colour.3The characteristic freedom of the artist’s hand can be seen here, with the silhouette of a dead branch on the right, jutting from a large rock – a pagan dolmen – which seems to buttress the old oak tree. A sawn stump on the left testifies to human life cut short while new vegetation, representing a growing Christianity, appears in a line of young pines on the right. Friedrich’s earlier works often show a lone hero in the landscape. A pair of figures now become part of the artist’s repertoire, to symbolise friendship. They wear German national dress; the cloak and hat signalled opposition to the French invasions under Napoleon, and they were still popular signs of dissent against later reactionary German governments under Metternich. The men have been identified as Friedrich, leaning on a walking stick, and his pupil, August Heinrich (1794–1822), who died of consumption. It is touching the way the younger leans upon the older man, rather than the conventional reverse. Friedrich captures the temporary and evanescent effects of this expedition to watch the moon and Venus, a strange phenomenon counterpoising the effects of light and darkness. The moon-filled sky is pale and glowing, denying blackness as the moon’s natural element. The material world is dark, outlined against the eerie heavens. Christine Dixon 1 The 1819 painting is in the Galerie Neue Meister, Dresden. A version made c. 1824, depicting the artist and his wife Caroline is in the National Galerie, Berlin. A c. 1830 version is in the Metropolitan Museum of Art, New York; this 1830s version is held in the Galerie Hans, Hamburg. 2 Letter to the Dresden Gemäldegalerie, Sächsische Hauptarchiv, cited in Helmut Börsch-Supan and Karl Wilhelm Jähnig, Caspar David Friedrich: Gemälde, Druckgraphik und bildmässige Zeichnungen, Munich: Prestel, 1973, p. 216, note 34. 3 Because of its spontaneity and breadth of handling, and original variations on the other versions, this painting is unlikely to be a copy by another artist. Copyists are notoriously careful in their imitation, and all too accurate in their replication. This version is attributed to Friedrich by Werner Sumowski 1969, 1971, 1975 and by Jens Christian Jensen 1999, refuting Helmut Börsch-Supan and Karl Wilhelm Jähnig 1973, who attribute it to a copyist, perhaps Julius Leypold.