TxC X Tim Lyre - Mood (Audio) __LINK__

The earliest material and representational evidence of Egyptian musical instruments dates to the Predynastic period, but the evidence is more securely attested in the Old Kingdom when harps, flutes and double clarinets were played.[33] Percussion instruments, lyres, and lutes were added to orchestras by the Middle Kingdom. Cymbals[34] frequently accompanied music and dance, much as they still do in Egypt today. Egyptian folk music, including the traditional Sufi dhikr rituals, are the closest contemporary music genre to ancient Egyptian music, having preserved many of its features, rhythms and instruments.[35][36]

TxC x Tim Lyre - Mood (Audio)

Music was an important part of social and cultural life in ancient Greece, in fact it was one of the main subjects taught to children. Musical education was considered to be important for the development of an individual's soul. Musicians and singers played a prominent role in Greek theater,[39] and those who received a musical education were seen as nobles and in perfect harmony (as can be read in the Republic, Plato). Mixed gender choruses performed for entertainment, celebration, and spiritual ceremonies.[40] Instruments included the double-reed aulos and a plucked string instrument, the lyre, principally a special kind called a kithara. Music was an important part of education, and boys were taught music starting at age six. Greek musical literacy created significant musical development. Greek music theory included the Greek musical modes, that eventually became the basis for Western religious and classical music. Later, influences from the Roman Empire, Eastern Europe, and the Byzantine Empire changed Greek music. The Seikilos epitaph is the oldest surviving example of a complete musical composition, including musical notation, from anywhere in the world.[41] The oldest surviving work written on the subject of music theory is Harmonika Stoicheia by Aristoxenus.[42]

Expression is achieved through the manipulation of pitch (such as inflection, vibrato, slides etc.), volume (dynamics, accent, tremolo etc.), duration (tempo fluctuations, rhythmic changes, changing note duration such as with legato and staccato, etc.), timbre (e.g. changing vocal timbre from a light to a resonant voice) and sometimes even texture (e.g. doubling the bass note for a richer effect in a piano piece). Expression therefore can be seen as a manipulation of all elements in order to convey "an indication of mood, spirit, character etc."[63] and as such cannot be included as a unique perceptual element of music,[64] although it can be considered an important rudimentary element of music.

Great article! I think it is important for Christians to understand that worship is about gathering together in one spirit as one community of faith to give glory and honor to God. Bringing the lights down turns a communal group activity of praise and adoration into an individualized and personal experience. And trying to use lighting to manipulate moods and emotional responses is terrible; any emotional response should be brought by the Holy Spirit. This was one of the 7 tips I pointed out for increasing congregational participation in worship in a recent post on my website.

Regardless of which side of this conversation people fall on, we can all agree that light, and the use of light in a worship setting, is a powerful tool. Whether you want to call it mood, atmosphere, or focus, how we use light affects the people who spend time designing the looks, the people leading the worship, the pastors leading the congregations, and the congregations who come into the building from every imaginable situation they could have encountered through the week. Every church needs to evaluate what is the most effective plan for helping their congregation (and unreached community) take steps towards God, rather than away from Him. That might even look different between churches that are right across the street from each other, or even campuses of the same church. 041b061a72