Introduction to the Study of the Holy Scriptures by H. M. Harman

by George Richard Crooks

1878 · Rarebooksclub.com

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1878 edition. Excerpt: ...a genuine work of Daniel, they would have immediately inserted it with the other prophets, as belonging to them, if they regarded Daniel as a real prophet. But if Daniel was not regarded by the arrangers of the canon in the time of Nehemiah as a prophet in the sense in which they held the prophets Jeremiah and Ezekiel, they would, probably, have put it into the Hagiographa, though acknowledging the book to be genuine. But if Daniel had been vritten in the time of Antiochus Epiphanes, it could not have been admitted into the Hagiographa, for that division was already closed. 2. ALLEGED GREEK WORDS IN DANIEL. In chap. iii, 5 ' occur the following names of musical instruments, which are alleged to be ofGreek origin: D1-TE, gay!/1ru: _, 'N Q, sablleka; t'jl: '=: t, pe.ra/1lcrz'1z; n"J'e'3'4D, szmzponeya/1. On the hypothesis of their Greek origin, the opponents of the genuineness of the book allege that at the time of the Babylonian captivity it is unlikely that musical instruments with Greek names were found in Babylon; and consequently that the bookanust be referred to a period subsequent to Alexander the Great, when Grecian learning was widely diflused in the East. _ The word o1'n'p is generally regarded as the Greek m'19a(ng' (or iut9a pa): 11/zara, or /tarp, which was in use at:1 very early period among the Greeks, and is found as the name of a musical instrument in Homer. It is very probably Greek, although Strabo represents some one as saying, "beating the A:: 'alz'cents-cf!/ram." ' N33? is supposed by some to be from the Greek dapfiemy, but with. outirieason. Filrst remarks that the word is " from the Aramzean, as a Syrian invented it" (Heb. Lex). Liddel

My Road to Radio and The Vocal Scene

by George Jellinek

2015 · McFarland

Born in Ujpest, Hungary, in 1919, George Jellinek began his musical career playing violin with gypsies in the family's garden restaurant. He spent his adolescence doing much the same, honing his talent and enriching his own musical education with frequent trips to the Hungarian Royal Opera House. But when Hitler and Chamberlain signed the Munich Pact in 1938, Jellinek's quiet life was shattered. How the exiled teenager survived World War II, worked his way up from a poor Hungarian immigrant in Cuba and became one of the most important and influential musical administrators in New York is an unconventional but truly American success story. This memoir documents the inspiring life of George Jellinek, beginning with his childhood in his beloved Hungary. The crisis of World War II soon invaded his life and, leaving behind his family and homeland, he fled west. Having been finally allowed to enter the United States, he was drafted into the U.S. Army in 1942, obligated to bear arms against the country of his birth. This ironic turn of events culminated in his firsthand role in the capture of Ferenc Szalasi, the leader of Hungary's Hitlerite faction. The latter half of the book reveals how music helped Jellinek piece back together his broken life in America. After rising to the post of musical director for radio station WQXR, he went on to become the producer and host of The Vocal Scene. His 36 years with that program established it as a revered fixture of New York's opera life. The epilogue documents the day on which Hungary's president bestowed upon Jellinek the Knight's Cross of the Order of Merit of the Republic of Hungary.