Journal articles: 'Alleluja'

1

Rubinkiewicz, Ryszard. "Liturgia uobecnieniem zwycięstwa Boga nad mocami zła." Verbum Vitae 2 (December 14, 2002): 296–99. http://dx.doi.org/10.31743/vv.1335.

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Jones, Michael E. "The Historicity of the Alleluja Victory." Albion 18, no. 3 (1986): 363–73. http://dx.doi.org/10.2307/4049979.

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The subject of this paper is a celebrated incident in Constantius' Life of St. Germanus. The work is a near contemporary piece, evidently drawing on eye witness accounts. It was composed in Gaul about 480 A.D. Constantius provides several interesting and possibly historical details concerning conditions in Britain during the transition from Celtic independence to Saxon dominance. St. Germanus visited Britain in 429 to combat the Pelagian heresy. While there, according to Constantius, he led the Britons in a military victory over invading Picts and Saxons, the Alleluja Victory. He thereafter passed into a prominent position in British legend and history.This biography of St. Germanus and particularly the incident of the miracle victory have long been the focus of a lively historical debate. Incidental details in Constantius' work including references to cities, synods, and men bearing vaguely Roman titles in Britain have been accepted (rather uncritically) as genuine. Others have rejected the work as historically valueless and suggested that the Alleluja victory is simply an allegory based on Biblical miracles such as the fall of the walls of Jericho.

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HUGHES, DAVID G. "The paschal alleluia in medieval France." Plainsong and Medieval Music 14, no. 1 (April 2005): 11–57. http://dx.doi.org/10.1017/s0961137105000197.

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The alleluia was the last proper chant of the Mass to be standardized. Through the twelfth century and beyond, different churches assigned different alleluias to the same Masses, and the composition of new alleluia chants flourished throughout the latter Middle Ages. The Masses from Easter to the octave of Pentecost witness this. A collation of ca. 200 manuscripts demonstrates that identical series of chants are to be found only in sources emanating from the same church (or churches in the same city). Most of the alleluia chants from the eleventh century onward have New Testament or non-scriptural texts, as opposed to the psalmic texts of the earlier post-Pentecostal alleluias. The musical style is varied, ranging from the richly melismatic manner traditionally associated with the alleluia to much more modest melodies with few or no large melismas. A number of the latter can be associated with the reforms of Guillaume de Volpiano at Dijon and in Normandy in the years after 1000.

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Nowak, Jacek. "Archetyp liturgii słowa w liturgii synagogalnej." Ruch Biblijny i Liturgiczny 71, no. 1 (March 31, 2018): 25. http://dx.doi.org/10.21906/rbl.3608.

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Genezy chrześcijańskiej liturgii słowa należy upatrywać w Biblii, ponieważ z niej wywodzi się liturgia synagogalna. Artykuł jest podzielony na trzy części: (1) Liturgia słowa, (2) Aklamacje, (3) Ambona. Pokazane są zestawy czytań w zależności od święta, a także zachowania lektorów i wiernych. Największe znaczenia miała Tora. Mniejsze znaczenie miało czytanie proroków. Do istotnych momentów liturgii słowa należy w synagodze także homilia i śpiew psalmów. Zgromadzenie kończyło się udzieleniem błogosławieństwa. Liturgia chrześcijańska przyjęła również aklamacje: Amen i Alleluja. W synagodze znajduje się także ambona, która bierze swoją podstawę biblijną z Ne 8, 4. Te synagogalne elementy przechodzą do chrześcijaństwa. Biorąc pod uwagę 2 Kor 13–18, widać różnicę pomiędzy liturgią synagogalną a liturgią chrześcijańską. O archetypie można mówić tylko w zewnętrznej formie. W czasach Starego Testamentu zwracano się tylko do Boga. W liturgii Kościoła podczas proklamacji słowa Bożego jest obecny Chrystus (por. Sobór Watykański II, konst. Sacrosanctum Concilium, 7, 33). Tak więc w chrześcijańskiej liturgii słowa człowiek odnajduje ducha i życie (por. J 6, 63).

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Wodzianowska, Irena, and Ewa Ziółek. "„…Kiedy biją dzwony niebieskie na Alleluja”. Apoteoza męczeństwa ks. prałata Konstantego Budkiewicza na obrazie Władysława Barwickiego." Roczniki Humanistyczne 72, no. 4 (June 11, 2024): 215–60. http://dx.doi.org/10.18290/rh24724-7.

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Pokazowy proces abpa Jana Cieplaka i 14 księży, który miał miejsce w marcu 1923 r. w Moskwie, odbił się szerokim echem w Polsce i na całym świecie. W wyniku wyroku zapadłego na tym procesie został rozstrzelany ks. prałat Konstanty Budkiewicz. Opinia publiczna uznała go za męczennika bolszewizmu, co skutkowało licznymi upamiętnieniami jego osoby. Jednym z takich upamiętnień był obraz lubelskiego malarza Władysława Barwickiego. Jest to wielowarstwowa alegoria męczeństwa księdza oraz duchowieństwa katolickiego i prawosławnego w bolszewickiej Rosji. Jest to też alegoria zderzenia cywilizacji łacińskiej z ideą Rosji jako cywilizacji barbarzyńskiej.

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Towarek, Piot. "Messe Kompositionen zu Ehren der Hailigen Anna. Umriss der Problematik." Roczniki Humanistyczne 69, no. 12 (December 9, 2021): 183–96. http://dx.doi.org/10.18290/rh216912-12.

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Die Verehrung der heiligen Anna, die sich im Westen seit dem 14. Jahrhundert entwickelt hat, ist mit liturgischen Werken, einschließlich musikalischer Kompositionen, verbunden. Dazu gehören die Messeproprien: Alleluja-Akklamationen mit Strophen, Sequenzen, und vor allem zahlreiche Motetten (Festa, Senfl, Mouton, de Mantua, Lhéritrier, di Lasso, Charpentier). Der vorliegende Artikel konzentriert sich jedoch nur auf ausgewählte Messen als Musikformen, die mit dem Namen der heiligen Großmutter Jesu verbunden sind. Diese Sammlung umfasst Kompositionen von Künstlern wie Pierre de la Rue, Marcin Mielczewski, Josef Gruber, Kazimierz Garbusiński, Charles Haenni und Richard Flury. Eine interessante Entdeckung waren die Messen aus dem 20. Jahrhundert im Zusammenhang mit dem bretonischen Wallfahrtsort Saint-Anne-d‘Auray (Bretagne). In ihnen finden sich Bezüge zum gregorianischen Gesang und zum bretonischen Kirchenlied (Ropartz, Le Penven, Salaün, Le Marec). Ebenfalls mit dem Namen der Heiligen Anna verbunden sind eine zeitgenössische Messe von Peter F. Schneider, die auf einem deutschen Ordinarium Missae basiert, sowie Kompositionen von polnischen Autoren: Józef Świder und Anna M. Huszcza. Dies sind wichtige Spuren, die die Vitalität des Christentums in der Musikkultur der Vergangenheit und Gegenwart bezeugen.

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Chmielewski, Marek T. "Od Angoli do Zairu. Życie konsekrowane na pielgrzymich szlakach Jana Pawła II, red. Kazimierz Wojtowicz CR, Wydawnictwo Zmartwychwstańców „Alleluja”, Kraków 2004." Seminare. Poszukiwania naukowe 23 (June 30, 2006): 494–96. http://dx.doi.org/10.21852/sem.2006.23.46.

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8

Hughes, David G. "The alleluias Dies sanctificatus and Vidimus stellam as examples of late chant transmission." Plainsong and Medieval Music 7, no. 2 (October 1998): 101–28. http://dx.doi.org/10.1017/s0961137100001480.

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It is well known that the two alleluias cited in the title are textings of the same tune – indeed they are only two of many textings of that tune. Along with the alleluia Video celos, these two were sung over a rather short space of time in the liturgical year: on the feasts of Christmas, St Stephen's and Epiphany. It happens that for another purpose, involving the transmission of chant in later manuscripts, I have collated the alleluia Dies sanctificatus and alleluia Vidimus stellam in over a hundred manuscripts, most of them late French sources. The choice of these manuscripts rather than others – French rather than German or English – was dictated in part by practical considerations, but also by the conviction that French sources are on the whole richer in variants and hence more revealing in the mechanics of their transmission. The approximately one hundred sources considered are a good majority of the surviving late sources, and the picture they give is, I believe, representative. In the course of this article, I will also have occasion to mention earlier manuscripts, both French and non-French. These are not the primary focus of my study, and therefore I have permitted myself many omissions in that respect. Important graduals, for example from St-Omer,2 Angers3 and Noyon,4 to name only three, have been untouched. My collation has shown a considerable number of variants, some of which are clearly regional in nature, while others are of a more ambiguous character. Having two textings of the same melody available supplies a useful control: readings that occur in both versions naturally have a strong claim to represent a true tradition, rather than a random alteration.

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9

Desmond, Karen. "W. de Wicumbe's Rolls and Singing the Alleluya ca. 1250." Journal of the American Musicological Society 73, no. 3 (2020): 639–709. http://dx.doi.org/10.1525/jams.2020.73.3.639.

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Abstract A set of thirteenth-century parchment fragments, including the remnants of two rolls and one manuscript codex, preserves a largely unstudied repertoire unique to medieval England. In addition to a single motet and a setting of a responsory verse, the Rawlinson Fragments preserve twelve three-voice Alleluya settings. While polyphonic Alleluyas are well known from the continental Magnus liber repertoire, these insular Alleluya settings are quite different. Most significantly, while composed on the text and pitches of plainchant, they include newly composed texts in at least one voice—that is, they are polytextual chant settings. Aspects of their musical style certainly draw on other polyphonic genres—organum, conductus, and motet. This article presents the paleographical and codicological evidence that corroborates an early date for these fragments (in the 1240s), confirms their connection to Reading Abbey, and situates their repertoire within a broader context. My analysis points to intriguing points of overlap with both the plainchant prosula tradition and the Magnus liber organa and motets. It reopens broader questions about the copying and performance practices of liturgical polyphony, including previous suggestions that motet texts may have been sung within the performance of the Magnus liber organa, regardless of the scribal copying conventions that separated organum and motet in the surviving Magnus liber manuscripts. The article also considers the role of the Rawlinson Fragments’ main scribe, Benedictine monk W. de Wicumbe, who was active within the monastic communities of Leominster and Reading as a composer of plainchant and polyphony, and as precentor, most likely in charge of his community's musical life.

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10

PFISTERER, ANDREAS. "Italian and Gallican alleluia psalmody." Plainsong and Medieval Music 17, no. 1 (April 2008): 55–68. http://dx.doi.org/10.1017/s0961137108000776.

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AbstractOne of the earliest forms of Christian psalmody, the alleluia psalmody, is difficult to explore since in most rites it is preserved only in part. Comparisons between direct and indirect traces of alleluia psalmody from Milan, Rome, Byzantium and Gaul as well as between alleluia psalmody and other genres of chant, especially the Mass alleluia, allow some conclusions about distinctive melodic characteristics. As one result, there seem to be common features in the Italian traditions that are missing in the Gallican tradition.

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11

Chmielewski, Marek T. "Konferencja Wyższych Przełożonych Zakonów Męskich, Konferencja Wyższych Przełożonych Żeńskich Zgromadzeń Zakonnych, Idziemy naprzód z nadzieją. Życie konsekrowane w Polsce na początku nowego tysiąclecia, Wydawnictwo Zmartwychwstańców „Alleluja”, Kraków 20." Seminare. Poszukiwania naukowe 20 (June 30, 2004): 542–45. http://dx.doi.org/10.21852/sem.2004.41.

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12

Domina, Lynn. "Alleluia." New England Review 41, no. 3 (2020): 187. http://dx.doi.org/10.1353/ner.2020.0097.

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13

Young, Joy K. "Allelujah." Dialogue: A Journal of Mormon Thought 31, no. 1 (April 1, 1998): 142. http://dx.doi.org/10.2307/45226429.

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14

McKinnon, James W. "Preface to the study of the Alleluia." Early Music History 15 (October 1996): 213–49. http://dx.doi.org/10.1017/s0261127900001558.

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There is a passage in Willi Apel's discussion of the Alleluia of the Mass that nicely epitomises several of the difficulties that music historians have experienced with the genre. Apel found himself faced with a dilemma: on the one hand there was that undeniably late characteristic of the Alleluia, its notorious instability of liturgical assignment; and on the other hand there was literary evidence of the Alleluia's antiquity, its appearance in fourth-century patristic literature as the melismatic jubilus, and Gregory I's late sixth-century letter in which he admitted to extending the use of the Alleluia beyond Paschaltime.

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15

Wamo, Paul. "Alleluia Destin commun." Mouvements 91, no. 3 (2017): 83. http://dx.doi.org/10.3917/mouv.091.0083.

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16

Huglo, Michel, and Terence Bailey. "The Ambrosian Alleluia." Revue de musicologie 72, no. 1 (1986): 139. http://dx.doi.org/10.2307/928780.

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17

Garcia, Jairo. "Return to the natural cycle for in vitro fertilization (Alleluia! Alleluia!)." Journal of In Vitro Fertilization and Embryo Transfer 6, no. 2 (April 1989): 67–68. http://dx.doi.org/10.1007/bf01130727.

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Copeland, Robert M. "Alleluia: An American Hymnal." American Music 18, no. 3 (2000): 318. http://dx.doi.org/10.2307/3052433.

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Yehuda, Simone Naomi. "AN ALLELUIA OF LARKS." Bridges: A Jewish Feminist Journal 10, no. 2 (October 2005): 68–70. http://dx.doi.org/10.2979/bri.2005.10.2.68.

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20

Morris, Gaye Williams. "Alleluia: An Ethnographic Study." Journal of Contemporary Religion 34, no. 3 (September 2, 2019): 600–602. http://dx.doi.org/10.1080/13537903.2019.1661644.

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21

Hibbett, Ryan. "Allelujah! Don't Bend! Ascend!" Popular Music and Society 36, no. 3 (July 2013): 422–23. http://dx.doi.org/10.1080/03007766.2012.758527.

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22

Chinn, Nancy. "From Ashes to Alleluia." Liturgy 15, no. 1 (September 1998): 47–50. http://dx.doi.org/10.1080/0458063x.1998.10392434.

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23

Dyer, Joseph. "Tropis semper variantibus: Compositional strategies in the offertories of Old Roman chant." Early Music History 17 (October 1998): 1–60. http://dx.doi.org/10.1017/s0261127900001601.

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In the introduction to the second volume of the series Monumenta Monodica Medii Aevi, devoted in the main to a transcription of the Old Roman gradual Vat. lat. 5319, Bruno Stäblein drew up a perceptive assessment of the native Italian chant style, contrasting it with the melodic style of Gregorian chant, a repertoire considered by many scholars to be the result of a process of local ‘editing’ of the Roman chant introduced north of the Alps in the late eighth and early ninth centuries. Stäblein quoted a remark about the singing of ‘alleluia’ from Cassiodorus' commentary on Psalm 104: ‘The tongues of cantors are adorned with [alleluia], and the Lord's basilica joyfully responds with it. Innovations are always being introduced to it with varying tropes’ (tropis semper variantibus innovatur).

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24

Christner, Sharon Rose. "Three Alleluias." Prairie Schooner 96, no. 3 (September 2022): 189–95. http://dx.doi.org/10.1353/psg.2022.a904608.

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25

Wilkinson, Michael. "SWENSON, Don. Alleluia: An Ethnographic Study." PentecoStudies: An Interdisciplinary Journal for Research on the Pentecostal and Charismatic Movements 18, no. 1 (April 17, 2019): 121–23. http://dx.doi.org/10.1558/pent.38783.

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Paz Deble, Leonardo, and Anabela Silveira de Oliveira-Deble. "TWO NEWS SPECIES OF BACCHARIS (ASTERACEAE: ASTEREAE) FROM BAHIA, BRAZIL." Bonplandia 18, no. 1 (January 1, 2009): 45. http://dx.doi.org/10.30972/bon.1811346.

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<div>En la revisión del género Baccharis para Brasil, fueron reconocidas dos especies nuevas:</div><div>Baccharis alleluia y Baccharis orbiculata. Estas especies son descriptas, ilustradas y diferenciadas</div><div>de los taxones afines</div>

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27

Fallows, David, and Terence Bailey. "The Ambrosian Alleluias." Musical Times 126, no. 1706 (April 1985): 241. http://dx.doi.org/10.2307/962201.

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28

March, Thomas. "Backlist: Little Alleluias." American Book Review 27, no. 6 (2006): 27. http://dx.doi.org/10.1353/abr.2006.0009.

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29

LeMon, Joel M. "Symphonizing the Psalms: Igor Stravinsky’s Musical Exegesis." Interpretation: A Journal of Bible and Theology 71, no. 1 (December 20, 2016): 25–49. http://dx.doi.org/10.1177/0020964316670949.

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The twentieth-century composer Igor Stravinsky’s setting of the psalms can resonate with faithful communities today that find themselves in complex and often confusing relationships with God. In the Symphony of Psalms, Stravinsky’s use of Scripture shapes the listener’s sense of the Psalter as a whole and can lead worshipers in an honest, bold alleluia.

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30

Karp, Theodore. "The Analysis of the "Alleluia Laetatus sum"." Studia Musicologica Academiae Scientiarum Hungaricae 39, no. 2/4 (1998): 215. http://dx.doi.org/10.2307/902535.

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31

Pohly, Linda. "Alleluia! Sacred Choral Music in New England." American Music 13, no. 1 (1995): 124. http://dx.doi.org/10.2307/3052318.

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32

Jordan, William Chester. "Perpetual Alleluia and Sacred Violence: An Afterword." International History Review 17, no. 4 (December 1995): 744–52. http://dx.doi.org/10.1080/07075332.1995.9640729.

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33

de la Fuente, David. "Alleluia: An Ethnographic Study, by Don Swenson." Pneuma 42, no. 1 (April 16, 2020): 132–34. http://dx.doi.org/10.1163/15700747-04201009.

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34

Guenther, Eileen. "“Alleluia! Christ Our Passover is Sacrificed for Us”." Liturgy 13, no. 4 (December 1996): 18–22. http://dx.doi.org/10.1080/0458063x.1996.10392369.

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King, Fergus J., and Selwyn Selvendran. "Rhubarb, Rhubarb, Alleluia, Amen: Xenolalia, Glossolalia, and Neurophysiology." Biblical Theology Bulletin: Journal of Bible and Culture 49, no. 2 (April 12, 2019): 88–95. http://dx.doi.org/10.1177/0146107919831877.

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This article puts forward the proposition that the twin phenomena of ecstatic language identified in Acts 2 and 1 Corinthians 14 should not be conflated into a single behavior: speaking in tongues. It is argued the two NT accounts describe two distinct practices: xenolalia (Acts 2) and glossolalia (1 Corinthians 14). Furthermore, when their differences are recognized, this distinction is supported by evidence from neuroscience that different cognitive and neural functions are involved in the two phenomena as depicted: neurophysiological research confirms the difference between the Pentecost experience described in Acts, and the spiritual gifts of the Pauline texts.

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Oram, Celeste, and Keir GoGwilt. "A Loose Affiliation of Alleluias." Current Musicology 108 (November 1, 2021): 115–36. http://dx.doi.org/10.52214/cm.v108i108.7921.

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This article is written from our perspectives as a performer and a composer, focusing on our violin concerto, “a loose affiliation of alleluias”, which we created and premiered in 2019. Making this concerto was an exercise in excavating the material histories that guide our creative practice. Our purpose in doing so was to work towards a clear and necessarily complex appraisal of how our current practices are motivated by, and reproduce, historically-determined knowledge, authority, and cultural attitudes. We think through our own reproductions of historical knowledge via Ben Spatz’s exegesis of “technique”, and via Edward Said’s notion of “affiliations” as the networks which build up cultural associations and cultural authority. With this theoretical frame, we contextualize some of the musical techniques and tropes engaged in our concerto—for instance polyphony, ornamentation, and the concerto soloist as heroic subject. We contextualize our reflections next to critical positions staked circumscribed by what Ben Piekut calls “elite avantgardism”—an analytical category which we see ourselves as operating within. We discuss, for instance, the critical gestures of musical modernism which (per Adorno’s analysis) conspicuously arrest and negate historical musical grammars and logics – and yet continue to reproduce its structuring values. In our concluding statements we gesture towards some of the pedagogical implications of this work, considering how creative practice can be leveraged to re-appraise the histories shaping our practices of composition, improvisation, and performance.

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Henein, Michael Y., Shereen S. Azer, Joseph Khirey, Ahmes L. Pahor, and Nabil S. Isshak. "The Infrequently Sung ‘a’ Instead of ‘A’ in ‘Alleluia’ According to the Coptic Tradition." TEACH - Journal of Christian Studies 1, no. 1 (November 30, 2021): 1. http://dx.doi.org/10.35995/teach-jcs1010002.

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We attempted to study the hitherto unexplained phenomenon of the sung “a”, for one note, at the end of an “A” melody. We encountered this issue during singing the word “Alleluia” in the Coptic musical culture. We found that the transmission from “A” to “a” serves as an intermediary step before continuing to the “L”. It may also be an adopted habit by some singers, rather than a consistently inherited musical design with a clear pattern. However, further research is encouraged to decipher this phenomenon.

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Deflitch, Samantha. "Should the Alleluia Return To Us In Ordinary Time." Colorado Review 49, no. 1 (2022): 88–89. http://dx.doi.org/10.1353/col.2022.0023.

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karp, theodore. "chants for the post-tridentine mass proper." Plainsong and Medieval Music 14, no. 2 (September 12, 2005): 183–97. http://dx.doi.org/10.1017/s0961137105000215.

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in summarizing the findings of a forthcoming monograph and edition, this article reviews the forces leading to the major revisions of chant characteristic of the period 1590–1890. it identifies the major independent editions, outlines their chief characteristics, and documents the need for a geography of chant practice during these centuries. the fundamental changes wrought by the several editors brought about an individualization in melodic constructions and undoubtedly caused accompanying differences in learning processes. new comparative transcriptions of the alleluia veni domine provide a view of representative editorial processes.

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Boring, M. Eugene. "The Theology of Revelation." Interpretation: A Journal of Bible and Theology 40, no. 3 (July 1986): 257–69. http://dx.doi.org/10.1177/002096438604000304.

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The representative summary of John's theology is the hymnic word drawn from the heavenly worship in which the church of that day—and ours—is invited to join: “Alleluiah! The Lord our God the Almighty reigns.”

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Jones, Simon. "Book Review: A More Profound Alleluia: Theology and Worship in Harmony." Theology 110, no. 853 (January 2007): 61–62. http://dx.doi.org/10.1177/0040571x0711085323.

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Cappuzzo, V., F. Ingrassia, R. Bavetta, S. Mistretta, and R. Marcenò. "Characterization of a new HLA allele:A*02:548." Tissue Antigens 86, no. 1 (May 5, 2015): 55–56. http://dx.doi.org/10.1111/tan.12572.

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Muller, Rene J. "A Significant Upper Arm Injury Sustained While Learning Simon Preston's Alleluyas: A Proposal for Avoiding this Malady." Medical Problems of Performing Artists 31, no. 4 (December 1, 2016): 244. http://dx.doi.org/10.21091/mppa.2016.4042.

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Simon Preston’s Alleluyas is an organ solo of moderate difficulty written partly in the tonal language of Olivier Messiaen. While learning this piece, I experienced a slight discomfort in my right upper arm. A more severe pain developed later, over several weeks, and my right hand became partially paralyzed. Full recovery took almost 2 months. … My reversible injury was caused by playing just six bars, and it may owe something to the way I “handled” this brief section, or more likely, “footed” it.

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Haggh. "MEDIEVAL PLAINCHANT FROM CAMBRAI. A PRELIMINARY LIST OF HYMNS, ALLELUIA VERSES AND SEQUENCES." Revista de Musicología 16, no. 4 (1993): 2326. http://dx.doi.org/10.2307/20796087.

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Thangaraj, M. Thomas. "A More Profound Alleluia: Theology and Worship in Harmony - Leanne Van Dyk (ed.)." Reviews in Religion and Theology 13, no. 3 (July 2006): 430–31. http://dx.doi.org/10.1111/j.1467-9418.2006.00302_25.x.

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Zhu, Y. B., Y. Chen, and C. F. Zhu. "Identification of a new HLA-A allele:A*02:512." Tissue Antigens 86, no. 4 (August 6, 2015): 296–97. http://dx.doi.org/10.1111/tan.12635.

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Najock, Dietmar. "A Few Notes on the Kοινὴ Ὁρμασία and Some Musical Examples of the Old Organum." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 176–88. http://dx.doi.org/10.1163/22129758-bja10039.

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Abstract The article discusses – on the basis of manuscript readings and the wider context – two musical examples from the Old organum (Musica enchiriadis 14 and Micrologus 19), both with respect to an occursus at the end of the melody. These examples were previously used by the author for the illustration of similar features in the κοινὴ ὁρμασία, but without the critical discussion given here. The discussion shows that the Micrologus example most probably must be renounced as an illustration for the sequence b♭-b and that the Musica enchiriadis example can serve as an illustration for parallel fourths, but that it remains ambiguous with respect to the occursus. In addition, a few further musical examples from the Musica enchiriadis and from an associated treatise (De organo, with the Alleluia/Benedicta) are discussed which may help us to understand the role of the tritone in Gaudentius and in some of the restored hormasia tables.

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GILLION, MARIANNE C. E. "Editorial endeavours: plainchant revision in early modern Italian printed graduals." Plainsong and Medieval Music 29, no. 1 (April 2020): 51–80. http://dx.doi.org/10.1017/s0961137120000066.

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ABSTRACTThe extensive melodic revision of plainchant in editions of the Graduale Romanum published in Italy from the late sixteenth century onward resulted in musically diverse repertoires that could depart widely from earlier chant traditions. The scale of the changes in these sources, both in type and in number, has obscured certain aspects of their editors’ work: their familiarity with the corpus, their aims and techniques, and their approach to the task. Previous analyses concluded that the editors worked on a chant-by-chant basis, and were either unaware of or ignored any shared melodic relationships between pieces of plainchant. An examination of the revisions to the recurrent melody used by the eight Ostende alleluias in three influential Italian printed graduals – Gardano 1591, Giunta 1596 and Medici 1614/15 – provides a different perspective. Analyses of the reshaped chants reveal that the editors possessed knowledge of the repertoire guiding aims, and favoured revision techniques. The combination of these factors, whether intentionally or not, resulted in the chants’ continued structural connection in the midst of increased melodic diversity. The individuation evident the chants did not necessarily signal the editors’ unfamiliarity with the repertoire, but could have been indicative of their intentional rejection of shared elements. Further, the revisions to the Ostende alleluias reveal that the editorial process could be flexible, with the chants approached both as individual entities and as groups. These findings demonstrate the complexity of the editorial process in early modern Italian printed graduals, and deepen our understanding of this multifaceted repertoire.

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Nowak, Michał. "Identyfikacja genów Vrn w odmianach jęczmienia zwyczajnego (Hordeum vulgare L.) zarejestrowanych w Polsce." Biuletyn Instytutu Hodowli i Aklimatyzacji Roślin, no. 252 (June 30, 2009): 179–85. http://dx.doi.org/10.37317/biul-2009-0066.

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Długość okresu wernalizacji jęczmienia zwyczajnego warunkowana jest przez 3 loci: VRN-H1, VRN-H2 oraz VRN-H3. Dominujące allele Vrn-H1 i Vrn-H3 są charakterystyczne dla odmian jarych. W odmianach ozimych występuje dominujący allel Vrn-H2 oraz recesywne allele vrn-H1 i vrn-H3. W pracy zidentyfikowano za pomocą markerów STS-PCR geny Vrn-H1 oraz Vrn-H2 w 41 jarych oraz 11 ozimych odmianach jęczmienia zwyczajnego zrejonizowanych w Polsce. Do identyfikacji genu Vrn-H1 zastosowano parę starterów: HvBM5A-intron1-F3 i Intr1/H/R3, natomiast dla genu Vrn-H2: VRN-Ha-F i VRN-Ha-R. Obecność recesywnego allelu vrn-H1 stwierdzono we wszystkich badanych odmianach ozimych, a jego brak — we wszystkich analizowanych odmianach jarych jęczmienia. Obecność dominującego allelu Vrn-H2 stwierdzono we wszystkich 11 badanych odmianach ozimych oraz w 10 odmianach jarych: Boss, Bryl, Edgar, Prosa, Rabel, Rastik, Rataj, Refren, Rodos oraz Scarlett. W jarych odmianach Scarlett i Stratus obserwowano ponadto produkty amplifikacji, których obecność wynikać może z występowania nowej formy allelicznej genu Vrn-H2 lub rearanżacji w genomach tych odmian.

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Kiss, Gábor. "Candor est lucis aeternae: the “Transfiguration” of a new feast and of an Alleluia." Studia Musicologica 56, no. 2-3 (June 2015): 217–31. http://dx.doi.org/10.1556/6.2015.56.2.8.

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The introduction of new feasts was regularly accompanied by a kind of rearrangement of the liturgical material. In the beginning Transfiguratio Domini was not obligatory feast, but was introduced gradually in more and more churches from the 10th century on. During the greater part of its history it had no special Proper for the mass, but different chants were drawn from the masses of traditional feasts, like Christmas, Epiphany, the Easter season and even the Holy Trinity. In the sources that include at all a mass for Transfiguratio we see different sets of Proper chants, borrowed from different feasts. The status of the feast changed when pope Callixtus III extended the feast to the Universal Church in memory of the victory gained by the Hungarians over the Turks. After that a new Proper was compiled, which, however, was slowly adopted by the different dioceses. It is questionable whether new melodies were also composed or the texts were sung to existing melodies instead. In Hungary the feast understandably gained special importance and apparently there was a need for Proper melodies. Since, however, there were no ordered melodies (or they were not at hand), every scriptor had to compose or find their own version. The paper demonstrates a great variety of solutions through the different melodies set to the Alleluia text Candor est lucis.

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Journal articles on the topic 'Alleluja'

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