“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –
And sweetest – in the Gale – is heard –
And sore must be the storm – That could abash the little Bird
That kept so many warm –
I’ve heard it in the chillest land –
And on the strangest Sea – Yet – never – in Extremity, It asked a crumb – of me.
― Emily Dickinson
PSALM 147
1 Praise the Lord!
For it is good to sing praises to our God;
for it is pleasant, and a song of praise is fitting.
2 The Lord builds up Jerusalem;
he gathers the outcasts of Israel.
3 He heals the brokenhearted
and binds up their wounds.
4 He determines the number of the stars;
he gives to all of them their names.
5 Great is our Lord, and abundant in power;
his understanding is beyond measure.
6 The Lord lifts up the humble;
he casts the wicked to the ground.
7 Sing to the Lord with thanksgiving;
make melody to our God on the lyre!
8 He covers the heavens with clouds;
he prepares rain for the earth;
he makes grass grow on the hills.
9 He gives to the beasts their food,
and to the young ravens that cry.
10 His delight is not in the strength of the horse,
nor his pleasure in the legs of a man,
11 but the Lord takes pleasure in those who fear him,
in those who hope in his steadfast love.
12 Praise the Lord, O Jerusalem!
Praise your God, O Zion!
13 For he strengthens the bars of your gates;
he blesses your children within you.
14 He makes peace in your borders;
he fills you with the finest of the wheat.
15 He sends out his command to the earth;
his word runs swiftly.
16 He gives snow like wool;
he scatters frost like ashes.
17 He hurls down his crystals of ice like crumbs;
who can stand before his cold?
18 He sends out his word, and melts them;
he makes his wind blow and the waters flow.
19 He declares his word to Jacob,
his statutes and rules to Israel.
20 He has not dealt thus with any other nation;
they do not know his rules.
Praise the Lord!
THE LORD’S PRAYER
Our Father, who art in heaven, Hallowed be thy Name; Thy kingdom come; Thy will be done on earth, as it is in heaven: Give us this day our daily bread; And forgive us our trespasses, as we forgive those that trespass against us; And lead us not into temptation, But deliver us from evil: For thine is the kingdom, the power, and the glory, For ever and ever. Amen.
ART APPRECIATION
The Thinker was originally intended to represent the poet Dante as he contemplated writing his Divine Comedy. Rodin also paid tribute to Michelangelo in his sculpture by making his figure muscular and valiant. The Thinker has become known all over the world as a symbol of philosophy and knowledge.
1
Auguste Rodin (1840-1970) was born in Paris and studied drawing and painting at the Petite Ecole, a school that specialized in art and mathematics. When he was seventeen, Rodin submitted a sculpture to the Grand Ecole, a renowned art school, but he was not accepted into the school even after several attempts. Rodin earned a living as a craftsman, ornamentor, and art director of a porcelain factory until he gained prominence as an artist. Rodin was accused of taking a cast from a living model. He was later cleared of this charge. Although Rodin is often considered a leader in modern sculpture, he was schooled traditionally and took a craftsmanlike approach to his work.
2
MUSIC APPRECIATION
| Gone with the Wind Soundtrack Suite |
The score for Gone With the Wind, by Max Steiner (1888 – 1971), is one of the greatest and best-known of all film music and is the highest and most immediate representation of music of Hollywood’s pre-World War II Golden Age.
David O. Selznick was halfway through shooting the immense Southern epic when, in March 1939, he sent a memo to the general manager of his studios that it was time to engage a composer and suggested Max Steiner. The Viennese-born Steiner was already a ten-year veteran of scoring sound pictures. Steiner, who had lived in the U.S. since 1915, working primarily in theatrical music, is credited as being the first to use non-source music (i.e., the audience does not see where the music comes from and, as Steiner realized, does not care) and the first to use music under dialogue. In King Kong (1933), he pioneered the use of leading motives, themes associated with characters or dramatic symbols that can be developed in parallel with the dramatic development in films.
3
Max Steiner (1888-1971) was more so than any other iconic Hollywood film composer, a difficult sell for contemporary audiences. On the one hand, in Hollywood he was and remains universally acknowledged as the “father of film music.” As a composer, Steiner’s music had extraordinary influence on the techniques, approaches, and conventions that remain the foundation of film music in the Western world. It was Steiner who established the Wagnerian leitmotif convention for cinema, Steiner who pioneered the click track, Steiner who gave us the concept of “Mickey Mousing” (though that certainly isn’t what he called it), Steiner who made people realize the role that music can play in establishing a picture’s sense of spectacle, and Steiner who established the defining cultural music idioms in nearly every genre he touched.4
- Lange, Krista, and Leigh Lowe. First Grade Enrichment: Classical Core Curriculum. Teacher Guide. Memoria Press, 2017. ↩︎
- Ibid. ↩︎
- Stevenson , Joseph. “Gone with the Wind, Film Score: Details.” AllMusic, http://www.allmusic.com/composition/gone-with-the-wind-film-score-mc0002372144. Accessed 14 Jan. 2025.
↩︎ - Cote, Paul. “Max Steiner.” IFMCA: International Film Music Critics Association, 10 June 2012, filmmusiccritics.org/ifmca-legends/max-steiner/#:~:text=Max%20Steiner%2C%20perhaps%20more%20so,difficult%20sell%20for%20contemporary%20audiences.
↩︎
Providence School of Tifton 