{"id":37,"date":"2022-11-08T22:00:55","date_gmt":"2022-11-08T22:00:55","guid":{"rendered":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/chapter\/creation\/"},"modified":"2023-01-26T23:11:51","modified_gmt":"2023-01-26T23:11:51","slug":"creation","status":"publish","type":"chapter","link":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/chapter\/creation\/","title":{"raw":"Creation","rendered":"Creation"},"content":{"raw":"<div class=\"creation\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">In this chapter you will<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<ul>\r\n \t<li class=\"import-sbbl\">explore connections between the depictions of God creating in Genesis 1\u20133 and human creative activity<\/li>\r\n \t<li class=\"import-sbbl\">learn how translations and historical contextual background information are relevant to interpreting the Bible<\/li>\r\n \t<li class=\"import-sbbll\">listen to musical examples that explore creation in Genesis in very different ways<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\nThe creation accounts in Genesis can provide a helpful jumping-off point for reflection on creativity and what it means to create. So too can the study of music. When the creation accounts are set to music and one examines the ways these texts have been explored in musical settings, the possibilities for thinking about creation and creativity are multiplied.[footnote]Composer James MacMillan notes the connections between creation in the Bible and the compositional activity he himself engages in. See his essay James MacMillan, \u201cGod, Theology, and Music,\u201d in <em>Composing Music for Worship<\/em>, ed. Stephen Darlington and Alan Kreider (Norwich: Canterbury Press, 2003), 35\u201350 (here 44).[\/footnote]\r\n<h1>Multiple Creation Stories (within and before the Bible)<\/h1>\r\nOne thing that both music and accounts of creation each raise separately, but that are highlighted and become the focus differently when these are explored together, is the question of what it means to create. Those who have not studied the Bible in an academic context before may not be aware that <a href=\"https:\/\/web.archive.org\/web\/20201022220241\/https:\/web.cn.edu\/kwheeler\/Genesis_texts.html\" target=\"_blank\" rel=\"noopener\">there is more than one creation story in Genesis 1\u20133<\/a>, and allusions are made to even older ideas about creation in other texts. As with the music in the Bible, it is useful to begin with the context and the broader world of ancient Near Eastern ideas about creation before narrowing our attention to the biblical materials and their musical settings.\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">One important text that provides crucial background and contextual information is the <a href=\"https:\/\/www.bibleodyssey.org\/places\/main-articles\/mesopotamia-babylon\/\" target=\"_blank\" rel=\"noopener\">Mesopotamian<\/a> epic known as the <a href=\"http:\/\/bibleodyssey.org\/passages\/related-articles\/enuma-elish-and-the-bible\" target=\"_blank\" rel=\"noopener\">Enuma Elish<\/a>. It is named the same way the books of the Bible are in the Jewish tradition, for the first words\u2014in this case, \u201cWhen on high.\u201d The book we call Genesis is known in Hebrew as <em>Bereshit<\/em>, or \u201cIn the beginning.\u201d You can <a href=\"https:\/\/www.sacred-texts.com\/ane\/enuma.htm\" target=\"_blank\" rel=\"noopener\">read an English translation of the text of the Enuma Elish online<\/a>, or if you prefer, you can <a href=\"https:\/\/www.youtube.com\/watch?v=46BGbs4ER9E\" target=\"_blank\" rel=\"noopener\">listen to the Enuma Elish being read in English translation<\/a>. Given our focus on music here, it is worth noting that <a href=\"https:\/\/www.youtube.com\/watch?v=4kl90oN_QtE\" target=\"_blank\" rel=\"noopener\">composer Carl Vine has set this Babylonian text to music<\/a>. You may enjoy giving that a listen as well, even though this is a setting of a text that is not in the Bible but something older than the Bible that provides relevant context for understanding it.<\/p>\r\n\r\n<h1>Translations and Interpreting Creation<\/h1>\r\nTurning our attention to Genesis, an interpretive question comes up immediately in the very first word in Hebrew. If you compare English translations, you will find that some say something like this:\r\n<div class=\"textbox textbox--examples\">\r\n<div class=\"textbox__content\">In the beginning when God created the heavens and the earth, the earth was a formless void... (<a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis%201%3A1-2&amp;version=NRSV\" target=\"_blank\" rel=\"noopener\">NRSV<\/a>)<\/div>\r\n<\/div>\r\nThe updated edition of the New Revised Standard Version renders it like this:\r\n<div class=\"textbox textbox--examples\">\r\n<div class=\"textbox__content\">When God began to create the heavens and the earth, the earth was complete chaos\u2026 (<a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis 1:1-2&amp;version=NRSVUE\" target=\"_blank\" rel=\"noopener\">NRSVUE<\/a>)<\/div>\r\n<\/div>\r\nOthers say something along these lines:\r\n<div class=\"textbox textbox--examples\">\r\n<div class=\"textbox__content\">In the beginning God created the heavens and the earth. Now the earth was formless and empty\u2026 (<a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis 1:1-2&amp;version=NIV\" target=\"_blank\" rel=\"noopener\">NIV<\/a>)<\/div>\r\n<\/div>\r\nThe difference is subtle but significant. The first, which linguists consider the best rendering, conveys that this is the start of a creative activity that fashions something out of the already existing earth, which is in a state of chaos and disorder. The second, which is found in many older as well as some conservative modern translations, conveys the idea that creation is an absolute beginning, taking place \u201cout of nothing\u201d (sometimes discussed using the Latin phrase for this,<em> creatio ex nihilo<\/em>). The former understanding represents a point of commonality with the Enuma Elish: there is no discussion of where the raw materials come from, just what is made from them.\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">This is not only important for understanding the theological outlook of the creation account in Genesis 1:1\u20132:3. It also relates to musical creation. Those who create music use sounds and pitches that already exist. Those who create new musical instruments and sounds begin with things that existed already, even if they modify them in very substantial ways. Just as you do not need to invent a language or a new mode of writing when producing text, so too composing music almost always means using a musical language that already exists. One can speak without writing, as was true of most or all of the New Testament authors. Paul was the author of the letter to the church in Rome that we know as the \u201cEpistle to the Romans.\u201d He was not, however, the <em>writer<\/em>. That was someone named Tertius, who adds his greetings in <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Romans 16:22&amp;version=NRSV\" target=\"_blank\" rel=\"noopener\">Romans 16:22<\/a>. In ancient times, many people made music, but even fewer wrote it down in some form of notation than do so today. This is important, because we sometimes feel inadequate if we cannot read and write, whether words or music. Creativity does not depend on the ability to transcribe what one creates. If you can make sounds\u2014whether using your voice, an instrument, or an app\u2014then you can create music, just as is true with creating meaningful communication in the form of words. Of course, training is important in both areas to develop and improve our skills. But these points are worth emphasizing, since many do not explore their potential as creators of music because they think that a high level of training is required. Speaking even a little of a second or third language is worthwhile. Making music at a basic level has value.<\/p>\r\n\r\n<h1>Beginning in the Beginning<\/h1>\r\nHow does one start a piece of music that is based in Genesis 1? Does it begin with chaos or silence? When the music begins, does it do so loudly or <a href=\"https:\/\/www.durham-singers.org\/in-the-beginning\/\" target=\"_blank\" rel=\"noopener\">gently<\/a>? Does the beginning of the music represent the first words in the text or the beginning of creation itself? Different composers do different things. The <a href=\"https:\/\/www.lawrence.edu\/mw\/160429TheCreation.pdf\" target=\"_blank\" rel=\"noopener\">text<\/a> (also called a <a href=\"https:\/\/melbournesymphonyorchestra-assets.s3.amazonaws.com\/assets\/File\/3878.pdf\" target=\"_blank\" rel=\"noopener\">libretto<\/a>) of one famous work that may come to mind, <em><a href=\"https:\/\/www.eclassical.com\/shop\/17115\/art71\/4803171-2e7b15-691062040129.pdf\" target=\"_blank\" rel=\"noopener\">Die Sch\u00f6pfung<\/a> <\/em>(<em>The Creation<\/em>) by <a href=\"https:\/\/www.gutenberg.org\/files\/13504\/13504-h\/13504-h.htm\" target=\"_blank\" rel=\"noopener\">Joseph Haydn<\/a>, is based on Genesis but also draws on other sources and includes words not in Genesis. As we saw in the last chapter, the boundary between translation and paraphrase is a blurry one, although most of the time we can genuinely place a rendition into one category or the other. In this case, it is clear that we are dealing with both words that are in Genesis and words that are not. Haydn\u2019s setting features angels and elaborates more on the romance between Adam and Eve. It is nevertheless definitely worth <a href=\"https:\/\/www.youtube.com\/watch?v=xIpSNMQZH9M\" target=\"_blank\" rel=\"noopener\">listening to this piece<\/a> if you can find the time, even though it will take you more than an hour and a half to do so![footnote]Those with even a little music theory will appreciate his use of <a href=\"https:\/\/indianapublicmedia.org\/arts\/jacobs-school-preview-haydns-creation.php\" target=\"_blank\" rel=\"noopener\">unresolved chords<\/a> to convey the primordial chaos. The example of Haydn\u2019s <em>Creation<\/em> also provides an opportunity to explore subjects like the <a href=\"https:\/\/www.laphil.com\/musicdb\/pieces\/1543\/die-schopfung-the-creation\" target=\"_blank\" rel=\"noopener\">Enlightenment context<\/a> of religion in that era and its impact on and expression in music. Also worth mentioning is that Haydn wove a phrase from <em>Die Sch\u00f6pfung<\/em> into one of his masses, which became known as the <em>Sch\u00f6pfungsmesse<\/em> for that reason. Since the musical phrase was a melody from the love duet between Adam and Eve in the earlier work, the Habsburg empress Marie Therese (Haydn\u2019s patron) demanded that Haydn rework that part of the mass in her copy of it. On this, see further Daniel Heartz, <a href=\"https:\/\/www.amazon.com\/Mozart-Haydn-Early-Beethoven-1781-1802\/dp\/0393066347?dchild=1&amp;keywords=9780393066340&amp;qid=1613072576&amp;s=books&amp;sr=1-1&amp;linkCode=ll1&amp;tag=jamefmcgrshom-20&amp;linkId=9f4fe57a0a20f93fba05ad62126ab887&amp;language=en_US&amp;ref_=as_li_ss_tl\" target=\"_blank\" rel=\"noopener\">Mozart, Haydn and Early Beethoven, 1781\u20131802<\/a> (New York: W. W. Norton, 2009), 652\u201353.[\/footnote]\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">Genesis can help us think about creativity and originality in many ways. Some theologians have suggested that the primary aspect of human beings bearing \u201cthe image and likeness of God\u201d (as <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis 1:26-27&amp;version=NRSV\" target=\"_blank\" rel=\"noopener\">Genesis 1:26\u201327<\/a> puts it) is that we are ourselves creators, sometimes even envisaged as being \u201cco-creators\u201d along with God. One can see this idea in several places in Genesis 1\u20132: humans rule over the earth and subdue it much as God subdued the chaotic waters, and humans tend the garden that God got started. Musical creativity, as already noted, involves working with preexisting materials. Even in this regard, there are different levels and kinds of originality. One can write a song or perform a song someone else has written (a \u201ccover version\u201d). In between, one can do one\u2019s own rendition of a song that develops it in new ways. A good biblical example of this is the song \u201cTurn, Turn, Turn,\u201d almost all of <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Ecclesiastes 3&amp;version=KJV\" target=\"_blank\" rel=\"noopener\">the words of which are from the book of Ecclesiastes<\/a>. <a href=\"https:\/\/youtu.be\/GbPl91kTFro\" target=\"_blank\" rel=\"noopener\">Pete Seeger<\/a> wrote it, but <a href=\"https:\/\/www.youtube.com\/watch?v=T51nmyCODHQ\" target=\"_blank\" rel=\"noopener\">the song was made famous by the Byrds<\/a>, whose version is noticeably different in important ways, yet we still rightly consider it to be the same song.[footnote]There is a <a href=\"https:\/\/www.dailymotion.com\/video\/x7dqqcc\" target=\"_blank\" rel=\"noopener\">live performance by Seeger together with Judy Collins<\/a> in which he talks about a topic of creation that a musician could easily neglect\u2014namely, who made the instrument they play. For another example of music with text from Ecclesiastes, see <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/symphonic-visions\/work\/two-songs-from-ecclesiastes\/\" target=\"_blank\" rel=\"noopener\">Jean Berger\u2019s \u201cTwo Songs from Ecclesiastes.\u201d<\/a>[\/footnote] Different again, yet still the same song, is <a href=\"https:\/\/youtu.be\/CZv-RNdmY0I\" target=\"_blank\" rel=\"noopener\">Nina Simone\u2019s cover version<\/a>.<\/p>\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">It is important to give credit to one\u2019s source material, however much one reworks it, so that one avoids plagiarism. Yet many lawsuits have wrestled with the problem that originality in music is a spectrum. The same chord progressions occur in a wide array of different songs. The Genesis 1 creation account is itself based on earlier creation stories, as we have already seen. Yet no one would deny that it is highly original in many respects. As one explores one\u2019s own creativity, it is natural to begin by copying what one sees others doing and only later develop anything that might be considered a distinctive style. If you are being musically creative for the first time, expect this and do not set yourself unrealistic expectations regarding how \u201coriginal\u201d your early efforts are.<\/p>\r\n\r\n<h1>Two Examples from the Twentieth Century<\/h1>\r\n<a href=\"https:\/\/www.aaroncopland.com\/works\/in-the-beginning\/\" target=\"_blank\" rel=\"noopener\">American composer<\/a> <a href=\"https:\/\/thechoralsingerscompanion.com\/copland-choral-music.php\" target=\"_blank\" rel=\"noopener\">Aaron Copland<\/a> set words from Genesis to music. Here is his \u201cIn the Beginning,\u201d performed by San Diego Pro Arte Voices.[footnote]Shared by the performers, San Diego Pro Arte Voices, on their YouTube channel.[\/footnote]\r\n\r\n[embed]https:\/\/www.youtube.com\/watch?v=xPsd_8lnXbM[\/embed]\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">His choice of where to end is interesting, since most scholars of the Bible view Genesis 2:3 or perhaps 2:4 as the end of the account of creation in a week, after which another story, which perhaps had its own separate compositional history, begins. Copland ends with 2:7, God breathing life into the human being that God has created so that (as the King James Version puts it, the translation Copland worked with) the human being \u201cbecame a living soul.\u201d If you are interested in reading more about this work, <a href=\"https:\/\/thechoralsingerscompanion.com\/copland-choral-music.php\" target=\"_blank\" rel=\"noopener\">Honey Meconi<\/a> provides additional information about the background of the piece as well as how Copland uses music to explore and reinforce the meaning of the text.[footnote]Copland\u2019s only other setting of biblical texts is his student work <a href=\"https:\/\/www.youtube.com\/watch?v=PQvId2vn6jM\" target=\"_blank\" rel=\"noopener\"><em>Four Motets<\/em><\/a>, which he only reluctantly agreed to have <a href=\"https:\/\/www.loc.gov\/resource\/copland.corr0504.0\/?st=text\" target=\"_blank\" rel=\"noopener\">published<\/a> decades after he composed them.[\/footnote]<\/p>\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">The collaborative work from the middle of the twentieth century known as the <em>Genesis Suite<\/em> may help us think about the long-puzzling \u201clet us\u201d in the account of God creating human beings. Is creation collaborative? Who was involved in the process depicted in Genesis and in what ways? How much do human creative products owe to others, both those explicitly mentioned and perhaps listed as co-authors and also far more influences and supporters than anyone is likely to consciously call to mind? In the <em>Genesis Suite<\/em>, seven composers (Arnold Schoenberg, Nathaniel Shilkret, Aleksander Tansman, Darius Milhaud, Mario Castelnuovo-Tedesco, Ernst Toch, and Igor Stravinsky) created music to accompany the text of the early chapters of Genesis. Here is a performance of the work by the Janssen Symphony Orchestra of Los Angeles conducted by Werner Janssen, with chorus directed by Hugo Strelitzer. The recording is from December 1945 and was made less than a month after the work\u2019s premiere.<\/p>\r\n[embed]https:\/\/www.youtube.com\/watch?v=wyBtOstfcWo[\/embed]\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">You can read more about the <em><a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/odes-and-epics\/work\/genesis-suite\/\" target=\"_blank\" rel=\"noopener\">Genesis Suite<\/a><\/em><a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/odes-and-epics\/work\/genesis-suite\/\" target=\"_blank\" rel=\"noopener\"> on the Milken Archive website<\/a>. Other instrumental explorations of the creation story include <a href=\"https:\/\/www.youtube.com\/watch?v=nWpAQ6AWMDA\" target=\"_blank\" rel=\"noopener\">Darius Milhaud\u2019s \u201cLa Cr\u00e9ation du Monde\u201d<\/a> and <a href=\"https:\/\/www.youtube.com\/watch?v=A73z5iEKPuU\" target=\"_blank\" rel=\"noopener\">Andrei Petrov\u2019s ballet suite \u201cThe Creation of the World.\u201d<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=8jFa-4b2FTk\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u2019s \u201cIn the Beginning, God\u201d<\/a> (part of his <em>Sacred Concerts<\/em>) also deserves a mention for its rather free jazz exploration. However many examples you listen to, you will undoubtedly find that it leads to greater appreciation of both the texts and the music if you reflect on and compare the choices made by composers, the different moods of the pieces, how the meaning and structure of the text is or is not reflected in the musical setting, and other similarities and differences you notice.[footnote]There is also a fascinating story that intersects with multiple subjects in this book. Apparently, when searching for music that could represent the character of God in <em>Paradise Lost<\/em> (John Milton\u2019s famous retelling of the story in the early chapters of Genesis), composer <a href=\"https:\/\/www.israelite-samaritans.com\/samaritan-music-choir\/\" target=\"_blank\" rel=\"noopener\">Krzysztof Penderecki was influenced by the experience of hearing Samaritan music<\/a>. On this, see further Avigdor Herzog, \u201cSamaritan Music,\u201d Grove Music Online <a href=\"https:\/\/www.oxfordmusiconline.com\/grovemusic\" target=\"_blank\" rel=\"noopener\">https:\/\/www.oxfordmusiconline.com\/grovemusic<\/a>; and Cindy Bylander, <em>Krzysztof Penderecki: A Bio-bibliography<\/em> (Westport: Praeger, 2004), 243. Samaritans are the descendants of the Israelites who lived in the northern kingdom known as Israel, whereas Jews are mostly descended from those who lived in the southern kingdom known as Judah. For more on Samaritan music, see Reinhard Pummer, <em>The Samaritans: A Profile<\/em> (Grand Rapids: Eerdmans, 2016), 282\u201384.[\/footnote]<\/p>\r\n\r\n<h1>Conclusion: Celebrating and Exploring Creation through Music<\/h1>\r\nHebrew Bible scholar Norman Habel has advocated for the addition of a celebration of creation to the church\u2019s liturgical year. Other key moments in the biblical narrative are given attention in this way, while creation has been neglected. He thus founded the <a href=\"https:\/\/seasonofcreation.com\/about\/the-season-of-creation-story\/\" target=\"_blank\" rel=\"noopener\">Season of Creation<\/a>. And just as other holidays in the Christian calendar have music connected with the theme of that specific occasion, Habel has written a number of songs for use in church services during the four Sundays in September that he hopes increasing numbers of congregations and denominations will dedicate as the season of creation. As one of a very small number of biblical scholars who also writes songs, Habel\u2019s lyrics (usually to be sung to familiar tunes) deserve close attention. You can find many of them on <a href=\"http:\/\/normanhabel.com\/?page_id=351\" target=\"_blank\" rel=\"noopener\">Habel\u2019s website<\/a> as well as <a href=\"https:\/\/seasonofcreation.com\/creation-songs\/\" target=\"_blank\" rel=\"noopener\">the Season of Creation website<\/a>.\r\n<div>\r\n<div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\"><span style=\"text-align: initial; font-size: 1em;\">For Further Reading<\/span><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Brown, A. Peter. \u201cHaydn\u2019s Chaos: Genesis and Genre.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">Musical Quarterly<\/em><\/span> 73, no. 1 (1989): 18\u201359.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Fromm, Allison Wallis. \u201cAaron Copland\u2019s <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">In the Beginning<\/em><\/span>: Context and Creative Process.\u201d PhD diss., University of Illinois, 2015.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n&nbsp;\r\n\r\n<\/div>\r\n<\/div>\r\n<div><\/div>\r\n<\/div>","rendered":"<div class=\"creation\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">In this chapter you will<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<ul>\n<li class=\"import-sbbl\">explore connections between the depictions of God creating in Genesis 1\u20133 and human creative activity<\/li>\n<li class=\"import-sbbl\">learn how translations and historical contextual background information are relevant to interpreting the Bible<\/li>\n<li class=\"import-sbbll\">listen to musical examples that explore creation in Genesis in very different ways<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>The creation accounts in Genesis can provide a helpful jumping-off point for reflection on creativity and what it means to create. So too can the study of music. When the creation accounts are set to music and one examines the ways these texts have been explored in musical settings, the possibilities for thinking about creation and creativity are multiplied.<a class=\"footnote\" title=\"Composer James MacMillan notes the connections between creation in the Bible and the compositional activity he himself engages in. See his essay James MacMillan, \u201cGod, Theology, and Music,\u201d in Composing Music for Worship, ed. Stephen Darlington and Alan Kreider (Norwich: Canterbury Press, 2003), 35\u201350 (here 44).\" id=\"return-footnote-37-1\" href=\"#footnote-37-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<h1>Multiple Creation Stories (within and before the Bible)<\/h1>\n<p>One thing that both music and accounts of creation each raise separately, but that are highlighted and become the focus differently when these are explored together, is the question of what it means to create. Those who have not studied the Bible in an academic context before may not be aware that <a href=\"https:\/\/web.archive.org\/web\/20201022220241\/https:\/web.cn.edu\/kwheeler\/Genesis_texts.html\" target=\"_blank\" rel=\"noopener\">there is more than one creation story in Genesis 1\u20133<\/a>, and allusions are made to even older ideas about creation in other texts. As with the music in the Bible, it is useful to begin with the context and the broader world of ancient Near Eastern ideas about creation before narrowing our attention to the biblical materials and their musical settings.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">One important text that provides crucial background and contextual information is the <a href=\"https:\/\/www.bibleodyssey.org\/places\/main-articles\/mesopotamia-babylon\/\" target=\"_blank\" rel=\"noopener\">Mesopotamian<\/a> epic known as the <a href=\"http:\/\/bibleodyssey.org\/passages\/related-articles\/enuma-elish-and-the-bible\" target=\"_blank\" rel=\"noopener\">Enuma Elish<\/a>. It is named the same way the books of the Bible are in the Jewish tradition, for the first words\u2014in this case, \u201cWhen on high.\u201d The book we call Genesis is known in Hebrew as <em>Bereshit<\/em>, or \u201cIn the beginning.\u201d You can <a href=\"https:\/\/www.sacred-texts.com\/ane\/enuma.htm\" target=\"_blank\" rel=\"noopener\">read an English translation of the text of the Enuma Elish online<\/a>, or if you prefer, you can <a href=\"https:\/\/www.youtube.com\/watch?v=46BGbs4ER9E\" target=\"_blank\" rel=\"noopener\">listen to the Enuma Elish being read in English translation<\/a>. Given our focus on music here, it is worth noting that <a href=\"https:\/\/www.youtube.com\/watch?v=4kl90oN_QtE\" target=\"_blank\" rel=\"noopener\">composer Carl Vine has set this Babylonian text to music<\/a>. You may enjoy giving that a listen as well, even though this is a setting of a text that is not in the Bible but something older than the Bible that provides relevant context for understanding it.<\/p>\n<h1>Translations and Interpreting Creation<\/h1>\n<p>Turning our attention to Genesis, an interpretive question comes up immediately in the very first word in Hebrew. If you compare English translations, you will find that some say something like this:<\/p>\n<div class=\"textbox textbox--examples\">\n<div class=\"textbox__content\">In the beginning when God created the heavens and the earth, the earth was a formless void&#8230; (<a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis%201%3A1-2&amp;version=NRSV\" target=\"_blank\" rel=\"noopener\">NRSV<\/a>)<\/div>\n<\/div>\n<p>The updated edition of the New Revised Standard Version renders it like this:<\/p>\n<div class=\"textbox textbox--examples\">\n<div class=\"textbox__content\">When God began to create the heavens and the earth, the earth was complete chaos\u2026 (<a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis 1:1-2&amp;version=NRSVUE\" target=\"_blank\" rel=\"noopener\">NRSVUE<\/a>)<\/div>\n<\/div>\n<p>Others say something along these lines:<\/p>\n<div class=\"textbox textbox--examples\">\n<div class=\"textbox__content\">In the beginning God created the heavens and the earth. Now the earth was formless and empty\u2026 (<a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis 1:1-2&amp;version=NIV\" target=\"_blank\" rel=\"noopener\">NIV<\/a>)<\/div>\n<\/div>\n<p>The difference is subtle but significant. The first, which linguists consider the best rendering, conveys that this is the start of a creative activity that fashions something out of the already existing earth, which is in a state of chaos and disorder. The second, which is found in many older as well as some conservative modern translations, conveys the idea that creation is an absolute beginning, taking place \u201cout of nothing\u201d (sometimes discussed using the Latin phrase for this,<em> creatio ex nihilo<\/em>). The former understanding represents a point of commonality with the Enuma Elish: there is no discussion of where the raw materials come from, just what is made from them.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">This is not only important for understanding the theological outlook of the creation account in Genesis 1:1\u20132:3. It also relates to musical creation. Those who create music use sounds and pitches that already exist. Those who create new musical instruments and sounds begin with things that existed already, even if they modify them in very substantial ways. Just as you do not need to invent a language or a new mode of writing when producing text, so too composing music almost always means using a musical language that already exists. One can speak without writing, as was true of most or all of the New Testament authors. Paul was the author of the letter to the church in Rome that we know as the \u201cEpistle to the Romans.\u201d He was not, however, the <em>writer<\/em>. That was someone named Tertius, who adds his greetings in <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Romans 16:22&amp;version=NRSV\" target=\"_blank\" rel=\"noopener\">Romans 16:22<\/a>. In ancient times, many people made music, but even fewer wrote it down in some form of notation than do so today. This is important, because we sometimes feel inadequate if we cannot read and write, whether words or music. Creativity does not depend on the ability to transcribe what one creates. If you can make sounds\u2014whether using your voice, an instrument, or an app\u2014then you can create music, just as is true with creating meaningful communication in the form of words. Of course, training is important in both areas to develop and improve our skills. But these points are worth emphasizing, since many do not explore their potential as creators of music because they think that a high level of training is required. Speaking even a little of a second or third language is worthwhile. Making music at a basic level has value.<\/p>\n<h1>Beginning in the Beginning<\/h1>\n<p>How does one start a piece of music that is based in Genesis 1? Does it begin with chaos or silence? When the music begins, does it do so loudly or <a href=\"https:\/\/www.durham-singers.org\/in-the-beginning\/\" target=\"_blank\" rel=\"noopener\">gently<\/a>? Does the beginning of the music represent the first words in the text or the beginning of creation itself? Different composers do different things. The <a href=\"https:\/\/www.lawrence.edu\/mw\/160429TheCreation.pdf\" target=\"_blank\" rel=\"noopener\">text<\/a> (also called a <a href=\"https:\/\/melbournesymphonyorchestra-assets.s3.amazonaws.com\/assets\/File\/3878.pdf\" target=\"_blank\" rel=\"noopener\">libretto<\/a>) of one famous work that may come to mind, <em><a href=\"https:\/\/www.eclassical.com\/shop\/17115\/art71\/4803171-2e7b15-691062040129.pdf\" target=\"_blank\" rel=\"noopener\">Die Sch\u00f6pfung<\/a> <\/em>(<em>The Creation<\/em>) by <a href=\"https:\/\/www.gutenberg.org\/files\/13504\/13504-h\/13504-h.htm\" target=\"_blank\" rel=\"noopener\">Joseph Haydn<\/a>, is based on Genesis but also draws on other sources and includes words not in Genesis. As we saw in the last chapter, the boundary between translation and paraphrase is a blurry one, although most of the time we can genuinely place a rendition into one category or the other. In this case, it is clear that we are dealing with both words that are in Genesis and words that are not. Haydn\u2019s setting features angels and elaborates more on the romance between Adam and Eve. It is nevertheless definitely worth <a href=\"https:\/\/www.youtube.com\/watch?v=xIpSNMQZH9M\" target=\"_blank\" rel=\"noopener\">listening to this piece<\/a> if you can find the time, even though it will take you more than an hour and a half to do so!<a class=\"footnote\" title=\"Those with even a little music theory will appreciate his use of unresolved chords to convey the primordial chaos. The example of Haydn\u2019s Creation also provides an opportunity to explore subjects like the Enlightenment context of religion in that era and its impact on and expression in music. Also worth mentioning is that Haydn wove a phrase from Die Sch\u00f6pfung into one of his masses, which became known as the Sch\u00f6pfungsmesse for that reason. Since the musical phrase was a melody from the love duet between Adam and Eve in the earlier work, the Habsburg empress Marie Therese (Haydn\u2019s patron) demanded that Haydn rework that part of the mass in her copy of it. On this, see further Daniel Heartz, Mozart, Haydn and Early Beethoven, 1781\u20131802 (New York: W. W. Norton, 2009), 652\u201353.\" id=\"return-footnote-37-2\" href=\"#footnote-37-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">Genesis can help us think about creativity and originality in many ways. Some theologians have suggested that the primary aspect of human beings bearing \u201cthe image and likeness of God\u201d (as <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis 1:26-27&amp;version=NRSV\" target=\"_blank\" rel=\"noopener\">Genesis 1:26\u201327<\/a> puts it) is that we are ourselves creators, sometimes even envisaged as being \u201cco-creators\u201d along with God. One can see this idea in several places in Genesis 1\u20132: humans rule over the earth and subdue it much as God subdued the chaotic waters, and humans tend the garden that God got started. Musical creativity, as already noted, involves working with preexisting materials. Even in this regard, there are different levels and kinds of originality. One can write a song or perform a song someone else has written (a \u201ccover version\u201d). In between, one can do one\u2019s own rendition of a song that develops it in new ways. A good biblical example of this is the song \u201cTurn, Turn, Turn,\u201d almost all of <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Ecclesiastes 3&amp;version=KJV\" target=\"_blank\" rel=\"noopener\">the words of which are from the book of Ecclesiastes<\/a>. <a href=\"https:\/\/youtu.be\/GbPl91kTFro\" target=\"_blank\" rel=\"noopener\">Pete Seeger<\/a> wrote it, but <a href=\"https:\/\/www.youtube.com\/watch?v=T51nmyCODHQ\" target=\"_blank\" rel=\"noopener\">the song was made famous by the Byrds<\/a>, whose version is noticeably different in important ways, yet we still rightly consider it to be the same song.<a class=\"footnote\" title=\"There is a live performance by Seeger together with Judy Collins in which he talks about a topic of creation that a musician could easily neglect\u2014namely, who made the instrument they play. For another example of music with text from Ecclesiastes, see Jean Berger\u2019s \u201cTwo Songs from Ecclesiastes.\u201d\" id=\"return-footnote-37-3\" href=\"#footnote-37-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a> Different again, yet still the same song, is <a href=\"https:\/\/youtu.be\/CZv-RNdmY0I\" target=\"_blank\" rel=\"noopener\">Nina Simone\u2019s cover version<\/a>.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">It is important to give credit to one\u2019s source material, however much one reworks it, so that one avoids plagiarism. Yet many lawsuits have wrestled with the problem that originality in music is a spectrum. The same chord progressions occur in a wide array of different songs. The Genesis 1 creation account is itself based on earlier creation stories, as we have already seen. Yet no one would deny that it is highly original in many respects. As one explores one\u2019s own creativity, it is natural to begin by copying what one sees others doing and only later develop anything that might be considered a distinctive style. If you are being musically creative for the first time, expect this and do not set yourself unrealistic expectations regarding how \u201coriginal\u201d your early efforts are.<\/p>\n<h1>Two Examples from the Twentieth Century<\/h1>\n<p><a href=\"https:\/\/www.aaroncopland.com\/works\/in-the-beginning\/\" target=\"_blank\" rel=\"noopener\">American composer<\/a> <a href=\"https:\/\/thechoralsingerscompanion.com\/copland-choral-music.php\" target=\"_blank\" rel=\"noopener\">Aaron Copland<\/a> set words from Genesis to music. Here is his \u201cIn the Beginning,\u201d performed by San Diego Pro Arte Voices.<a class=\"footnote\" title=\"Shared by the performers, San Diego Pro Arte Voices, on their YouTube channel.\" id=\"return-footnote-37-4\" href=\"#footnote-37-4\" aria-label=\"Footnote 4\"><sup class=\"footnote\">[4]<\/sup><\/a><\/p>\n<p><iframe id=\"oembed-1\" title=\"Aaron Copland In the Beginning, San Diego Pro Arte Voices\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/xPsd_8lnXbM?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">His choice of where to end is interesting, since most scholars of the Bible view Genesis 2:3 or perhaps 2:4 as the end of the account of creation in a week, after which another story, which perhaps had its own separate compositional history, begins. Copland ends with 2:7, God breathing life into the human being that God has created so that (as the King James Version puts it, the translation Copland worked with) the human being \u201cbecame a living soul.\u201d If you are interested in reading more about this work, <a href=\"https:\/\/thechoralsingerscompanion.com\/copland-choral-music.php\" target=\"_blank\" rel=\"noopener\">Honey Meconi<\/a> provides additional information about the background of the piece as well as how Copland uses music to explore and reinforce the meaning of the text.<a class=\"footnote\" title=\"Copland\u2019s only other setting of biblical texts is his student work Four Motets, which he only reluctantly agreed to have published decades after he composed them.\" id=\"return-footnote-37-5\" href=\"#footnote-37-5\" aria-label=\"Footnote 5\"><sup class=\"footnote\">[5]<\/sup><\/a><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">The collaborative work from the middle of the twentieth century known as the <em>Genesis Suite<\/em> may help us think about the long-puzzling \u201clet us\u201d in the account of God creating human beings. Is creation collaborative? Who was involved in the process depicted in Genesis and in what ways? How much do human creative products owe to others, both those explicitly mentioned and perhaps listed as co-authors and also far more influences and supporters than anyone is likely to consciously call to mind? In the <em>Genesis Suite<\/em>, seven composers (Arnold Schoenberg, Nathaniel Shilkret, Aleksander Tansman, Darius Milhaud, Mario Castelnuovo-Tedesco, Ernst Toch, and Igor Stravinsky) created music to accompany the text of the early chapters of Genesis. Here is a performance of the work by the Janssen Symphony Orchestra of Los Angeles conducted by Werner Janssen, with chorus directed by Hugo Strelitzer. The recording is from December 1945 and was made less than a month after the work\u2019s premiere.<\/p>\n<p><iframe id=\"oembed-2\" title=\"Genesis Suite (1945) - A Collaborative Composition\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/wyBtOstfcWo?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">You can read more about the <em><a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/odes-and-epics\/work\/genesis-suite\/\" target=\"_blank\" rel=\"noopener\">Genesis Suite<\/a><\/em><a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/odes-and-epics\/work\/genesis-suite\/\" target=\"_blank\" rel=\"noopener\"> on the Milken Archive website<\/a>. Other instrumental explorations of the creation story include <a href=\"https:\/\/www.youtube.com\/watch?v=nWpAQ6AWMDA\" target=\"_blank\" rel=\"noopener\">Darius Milhaud\u2019s \u201cLa Cr\u00e9ation du Monde\u201d<\/a> and <a href=\"https:\/\/www.youtube.com\/watch?v=A73z5iEKPuU\" target=\"_blank\" rel=\"noopener\">Andrei Petrov\u2019s ballet suite \u201cThe Creation of the World.\u201d<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=8jFa-4b2FTk\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u2019s \u201cIn the Beginning, God\u201d<\/a> (part of his <em>Sacred Concerts<\/em>) also deserves a mention for its rather free jazz exploration. However many examples you listen to, you will undoubtedly find that it leads to greater appreciation of both the texts and the music if you reflect on and compare the choices made by composers, the different moods of the pieces, how the meaning and structure of the text is or is not reflected in the musical setting, and other similarities and differences you notice.<a class=\"footnote\" title=\"There is also a fascinating story that intersects with multiple subjects in this book. Apparently, when searching for music that could represent the character of God in Paradise Lost (John Milton\u2019s famous retelling of the story in the early chapters of Genesis), composer Krzysztof Penderecki was influenced by the experience of hearing Samaritan music. On this, see further Avigdor Herzog, \u201cSamaritan Music,\u201d Grove Music Online https:\/\/www.oxfordmusiconline.com\/grovemusic; and Cindy Bylander, Krzysztof Penderecki: A Bio-bibliography (Westport: Praeger, 2004), 243. Samaritans are the descendants of the Israelites who lived in the northern kingdom known as Israel, whereas Jews are mostly descended from those who lived in the southern kingdom known as Judah. For more on Samaritan music, see Reinhard Pummer, The Samaritans: A Profile (Grand Rapids: Eerdmans, 2016), 282\u201384.\" id=\"return-footnote-37-6\" href=\"#footnote-37-6\" aria-label=\"Footnote 6\"><sup class=\"footnote\">[6]<\/sup><\/a><\/p>\n<h1>Conclusion: Celebrating and Exploring Creation through Music<\/h1>\n<p>Hebrew Bible scholar Norman Habel has advocated for the addition of a celebration of creation to the church\u2019s liturgical year. Other key moments in the biblical narrative are given attention in this way, while creation has been neglected. He thus founded the <a href=\"https:\/\/seasonofcreation.com\/about\/the-season-of-creation-story\/\" target=\"_blank\" rel=\"noopener\">Season of Creation<\/a>. And just as other holidays in the Christian calendar have music connected with the theme of that specific occasion, Habel has written a number of songs for use in church services during the four Sundays in September that he hopes increasing numbers of congregations and denominations will dedicate as the season of creation. As one of a very small number of biblical scholars who also writes songs, Habel\u2019s lyrics (usually to be sung to familiar tunes) deserve close attention. You can find many of them on <a href=\"http:\/\/normanhabel.com\/?page_id=351\" target=\"_blank\" rel=\"noopener\">Habel\u2019s website<\/a> as well as <a href=\"https:\/\/seasonofcreation.com\/creation-songs\/\" target=\"_blank\" rel=\"noopener\">the Season of Creation website<\/a>.<\/p>\n<div>\n<div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\"><span style=\"text-align: initial; font-size: 1em;\">For Further Reading<\/span><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Brown, A. Peter. \u201cHaydn\u2019s Chaos: Genesis and Genre.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">Musical Quarterly<\/em><\/span> 73, no. 1 (1989): 18\u201359.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Fromm, Allison Wallis. \u201cAaron Copland\u2019s <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">In the Beginning<\/em><\/span>: Context and Creative Process.\u201d PhD diss., University of Illinois, 2015.<\/p>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n<div><\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-37-1\">Composer James MacMillan notes the connections between creation in the Bible and the compositional activity he himself engages in. See his essay James MacMillan, \u201cGod, Theology, and Music,\u201d in <em>Composing Music for Worship<\/em>, ed. Stephen Darlington and Alan Kreider (Norwich: Canterbury Press, 2003), 35\u201350 (here 44). <a href=\"#return-footnote-37-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-37-2\">Those with even a little music theory will appreciate his use of <a href=\"https:\/\/indianapublicmedia.org\/arts\/jacobs-school-preview-haydns-creation.php\" target=\"_blank\" rel=\"noopener\">unresolved chords<\/a> to convey the primordial chaos. The example of Haydn\u2019s <em>Creation<\/em> also provides an opportunity to explore subjects like the <a href=\"https:\/\/www.laphil.com\/musicdb\/pieces\/1543\/die-schopfung-the-creation\" target=\"_blank\" rel=\"noopener\">Enlightenment context<\/a> of religion in that era and its impact on and expression in music. Also worth mentioning is that Haydn wove a phrase from <em>Die Sch\u00f6pfung<\/em> into one of his masses, which became known as the <em>Sch\u00f6pfungsmesse<\/em> for that reason. Since the musical phrase was a melody from the love duet between Adam and Eve in the earlier work, the Habsburg empress Marie Therese (Haydn\u2019s patron) demanded that Haydn rework that part of the mass in her copy of it. On this, see further Daniel Heartz, <a href=\"https:\/\/www.amazon.com\/Mozart-Haydn-Early-Beethoven-1781-1802\/dp\/0393066347?dchild=1&amp;keywords=9780393066340&amp;qid=1613072576&amp;s=books&amp;sr=1-1&amp;linkCode=ll1&amp;tag=jamefmcgrshom-20&amp;linkId=9f4fe57a0a20f93fba05ad62126ab887&amp;language=en_US&amp;ref_=as_li_ss_tl\" target=\"_blank\" rel=\"noopener\">Mozart, Haydn and Early Beethoven, 1781\u20131802<\/a> (New York: W. W. Norton, 2009), 652\u201353. <a href=\"#return-footnote-37-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-37-3\">There is a <a href=\"https:\/\/www.dailymotion.com\/video\/x7dqqcc\" target=\"_blank\" rel=\"noopener\">live performance by Seeger together with Judy Collins<\/a> in which he talks about a topic of creation that a musician could easily neglect\u2014namely, who made the instrument they play. For another example of music with text from Ecclesiastes, see <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/symphonic-visions\/work\/two-songs-from-ecclesiastes\/\" target=\"_blank\" rel=\"noopener\">Jean Berger\u2019s \u201cTwo Songs from Ecclesiastes.\u201d<\/a> <a href=\"#return-footnote-37-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><li id=\"footnote-37-4\">Shared by the performers, San Diego Pro Arte Voices, on their YouTube channel. <a href=\"#return-footnote-37-4\" class=\"return-footnote\" aria-label=\"Return to footnote 4\">&crarr;<\/a><\/li><li id=\"footnote-37-5\">Copland\u2019s only other setting of biblical texts is his student work <a href=\"https:\/\/www.youtube.com\/watch?v=PQvId2vn6jM\" target=\"_blank\" rel=\"noopener\"><em>Four Motets<\/em><\/a>, which he only reluctantly agreed to have <a href=\"https:\/\/www.loc.gov\/resource\/copland.corr0504.0\/?st=text\" target=\"_blank\" rel=\"noopener\">published<\/a> decades after he composed them. <a href=\"#return-footnote-37-5\" class=\"return-footnote\" aria-label=\"Return to footnote 5\">&crarr;<\/a><\/li><li id=\"footnote-37-6\">There is also a fascinating story that intersects with multiple subjects in this book. Apparently, when searching for music that could represent the character of God in <em>Paradise Lost<\/em> (John Milton\u2019s famous retelling of the story in the early chapters of Genesis), composer <a href=\"https:\/\/www.israelite-samaritans.com\/samaritan-music-choir\/\" target=\"_blank\" rel=\"noopener\">Krzysztof Penderecki was influenced by the experience of hearing Samaritan music<\/a>. On this, see further Avigdor Herzog, \u201cSamaritan Music,\u201d Grove Music Online <a href=\"https:\/\/www.oxfordmusiconline.com\/grovemusic\" target=\"_blank\" rel=\"noopener\">https:\/\/www.oxfordmusiconline.com\/grovemusic<\/a>; and Cindy Bylander, <em>Krzysztof Penderecki: A Bio-bibliography<\/em> (Westport: Praeger, 2004), 243. Samaritans are the descendants of the Israelites who lived in the northern kingdom known as Israel, whereas Jews are mostly descended from those who lived in the southern kingdom known as Judah. For more on Samaritan music, see Reinhard Pummer, <em>The Samaritans: A Profile<\/em> (Grand Rapids: Eerdmans, 2016), 282\u201384. <a href=\"#return-footnote-37-6\" class=\"return-footnote\" aria-label=\"Return to footnote 6\">&crarr;<\/a><\/li><\/ol><\/div>","protected":false},"author":3,"menu_order":1,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"part":110,"_links":{"self":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/37"}],"collection":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":22,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/37\/revisions"}],"predecessor-version":[{"id":907,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/37\/revisions\/907"}],"part":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/parts\/110"}],"metadata":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/37\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/media?parent=37"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapter-type?post=37"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/contributor?post=37"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/license?post=37"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}