Journal articles: 'Australian church music history'

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Rickard, John. "Writing Music into Australian History." Musicology Australia 37, no. 2 (July 3, 2015): 269–79. http://dx.doi.org/10.1080/08145857.2015.1064556.

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O'brien, Anne. "‘A church full of men’: Masculinism and the church in Australian history∗." Australian Historical Studies 25, no. 100 (April 1993): 437–57. http://dx.doi.org/10.1080/10314619308595925.

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Marcus, Kenneth H., and Paul Westermeyer. "Te Deum: The Church and Music." Sixteenth Century Journal 30, no. 3 (1999): 843. http://dx.doi.org/10.2307/2544847.

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Moufarrej, Guilnard. "Maronite Music: History, Transmission, and Performance Practice." Review of Middle East Studies 44, no. 2 (2010): 196–215. http://dx.doi.org/10.1017/s2151348100001518.

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This essay discusses the music of the Maronite Church, a Christian church based in Lebanon. It provides an overview of the chants used in religious services and examines their transmission and performance practice. The Maronites have always faced challenges to maintain their identity and preserve their heritage while adapting to their cultural milieu. Their religious music reflects the dichotomy between safeguarding tradition and accepting contemporary trends. Since the late nineteenth century, Maronites looking for better opportunities and political freedom have increasingly immigrated to the New World, where they face new challenges to preserving their religious identity while assimilating to the culture of their new homeland. Therefore, this essay reaches beyond the traditional geographic boundaries of the Maronite Church in Lebanon to examine issues in the transmission of Maronite music in the diaspora.

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Yulianti Farid, Lily. "Representing Australian Aboriginal Music and Dance 1930–1970." Australian Historical Studies 52, no. 3 (July 3, 2021): 456–57. http://dx.doi.org/10.1080/1031461x.2021.1944292.

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Bannister, Roland. "Singing Australian: A History of Folk and Country Music." Musicology Australia 28, no. 1 (January 2005): 131–35. http://dx.doi.org/10.1080/08145857.2005.10415283.

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Conway, Paul. "John Tavener round-up." Tempo 59, no. 234 (September 21, 2005): 55–56. http://dx.doi.org/10.1017/s004029820521032x.

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JOHN TAVENER: The Veil of the Temple. Choir of the Temple Church, Holst Singers, Patricia Rozaro (sop) c. Stephen Layton. RCA 82876661542.TAVENER: Lament for Jerusalem. Patricia Rozario (sop), Christopher Joey (counter-ten), Sydney Philharmonic Chorus, Australian Youth Orchestra c. Thomas Woods. ABC Classics 476 160–5.TAVENER: Birthday Sleep; Butterfly Dreams; The Second Coming; Schuon Hymen; As one who has slept; The Bridal Chamber; Exhortation and Kohima; Shunya. Polyphony c. Stephen Layton. Hyperion CDA67475.

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Cronshaw, Darren. "Reenvisioning Theological Education, Mission and the Local Church." Mission Studies 28, no. 1 (2011): 91–115. http://dx.doi.org/10.1163/016897811x572203.

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AbstractThere is a fresh wave of interest in local churches reshaping themselves around mission, but what does this mean for theological education? This article draws on the author’s experience as a student and teacher, and innovative approaches at Australian College of Ministries and Whitley College, two Australian theological colleges. It discusses six principles for reshaping theological education around mission and the local church. Theological courses and classes and informal processes for developing leaders will be at their best if they are communal in the classroom, assessment and shared mission; conversational between students and with other sources; contextual and engaged with contemporary needs in society; cross-cultural and engaged with global issues; character forming as part of the curriculum; contemplative both for prayer and space for reflection; and congregationally connected for faculty, students and their research.

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Wood, Michael. "Ancient Worship Wars: An Investigation of Conflict in Church Music History." Musical Offerings 5, no. 2 (November 4, 2014): 119–30. http://dx.doi.org/10.15385/jmo.2014.5.2.3.

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Clark, Jennifer. "The Impact of Church Closure on Australian Popular Culture." Journal of Popular Culture 30, no. 1 (June 1996): 147–62. http://dx.doi.org/10.1111/j.0022-3840.1996.00147.x.

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Irwin, Joyce. "German Pietists and Church Music in the Baroque Age." Church History 54, no. 1 (March 1985): 29–40. http://dx.doi.org/10.2307/3165748.

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Scholars of Pietism, the religious reform movement of the late seventeenth and early eighteenth centuries, have attempted in recent years to increase understanding and respect for the movement among American scholars. F. Ernest Stoeffler's The Rise of Evangelical Pietism (1971), Dale Brown's Understanding Pietism (1978), and Peter Erb's Pietists: Selected Writings (1983) all begin with a plea for open-minded recognition of Pietism's positive contributions. Our negative interpretation of the movement, they note, has been shaped largely by those opponents who first gave the Pietists their label.

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Trček, Katarina. "Organs and Organ Music in Slovene Cultural History until the Cecilian Movement." Musicological Annual 52, no. 1 (June 27, 2016): 227–30. http://dx.doi.org/10.4312/mz.52.1.227-230.

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The doctoral thesis entitled Organs and Organ Music in Slovene Cultural History until the Cecilian Movement explores the history of organ building in Slovenia from the beginning of the first half of the 15th century to the second half of the 19th century, when organs became a mandatory instrument in every parish church. The upper time line of the discussion is set in the year 1877, when the Slovene Cecilian Movement was founded, taking up the leading role in overseeing the planning of church music. The aim of this dissertation is to present the spreading of organ instruments in Slovene history and to evaluate this process from the standpoint of Slovene musical and cultural history.

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Sasongko, Michael Hari. "IDIOM MUSIK KLASIK DI GEREJA KARISMATIK." Tonika: Jurnal Penelitian dan Pengkajian Seni 1, no. 1 (November 26, 2018): 1–14. http://dx.doi.org/10.37368/tonika.v1i1.7.

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Church music has long history and experiences in its periods. It began when they, the believers, mentioned themselves as the “Christian”. From the time that phenomenon the christians commenced their act of devotion tradition included their musical tradition of worship. The existence of church music more developed till Middle Age or Dark Age Period. It was dominantly covering to others music genre. At the Renaisance Period, the church reformation movement occured and it was pioneered by Martin Luther. Western music changed at the time. Luther changed of scene; He changed the tradition of Catholic church that used Latin lirics to folk language; He changed the gregorian chant tradition with folksong. The phenomenon was the first time of event of inculturation in world history of music after it undergone stagnancy during the authorization of Roman empire, especially when Pope Gregory created the standarization to all christian music. At the present day we are familiar with charismatic music tradition which is developed from American music tradition. It has a characteristic which is used as the band instrument in praise and worship by christian believers. But sometimes, the believers also use arpeggio or broken-chord as the main charracter on Classical Period in part the way of Western music history. Pass through the reasearch, the reasearcher look into the idioms are used in praise and worship in charismatic church. The reasearcher found that the using of idiom in Classical Period has enriched the nuance of music aesthetic in praise and worship.

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Giuffre, Liz. "The lost history of jazz on early Australian popular music television." Jazz Research Journal 8, no. 1-2 (April 20, 2015): 126–43. http://dx.doi.org/10.1558/jazz.v8i1-2.26858.

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Homan, Shane. "Australian popular music history on television: Long Way to the Top." History Australia 14, no. 3 (July 3, 2017): 429–43. http://dx.doi.org/10.1080/14490854.2017.1358206.

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Tucker, Shirley. "The ‘country’ in contemporary Australian women's country music: Gender, history, narrative." Journal of Australian Studies 29, no. 86 (January 2005): 111–18. http://dx.doi.org/10.1080/14443050509388037.

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Müller, Alfons. "Message Becomes Incarnate in Song: Church Hymns in the Diocese of Kenge." Mission Studies 7, no. 1 (1990): 76–86. http://dx.doi.org/10.1163/157338390x00100.

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AbstractAs one cannot dance without music, so there is no music without dancing - so goes the popular thinking in Zaire. The Zairean Catholics have shown in the past admirable patience to imported European melodies and imposed language structures and their songs, robbed of their natural rhythm, were stilled until vernacular liturgy was approved in 1965. There is now music in the land, rich in the variety of various African traditions. The Catholic Church in Zaire is at last able to express itself in its own culture, and the Christian message becomes incarnate in songs and hymns.

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Wear, Rae. "The populist message of Australian country music." Journal of Australian Studies 30, no. 88 (January 2006): 73–81. http://dx.doi.org/10.1080/14443050609388077.

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LOOS, NOEL. "The Australian Board of Missions, The Anglican Church and the Aborigines, 1850–1900." Journal of Religious History 17, no. 2 (December 1992): 194–209. http://dx.doi.org/10.1111/j.1467-9809.1992.tb00713.x.

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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (August 2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.

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Smith, Graeme. "Australian country music and the hillbilly yodel." Popular Music 13, no. 3 (October 1994): 297–311. http://dx.doi.org/10.1017/s0261143000007212.

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Of the seventy-five tracks issued as a historical survey of Australian country performers from 1936 to 1960, sixty-eight feature a yodelling interlude, and in many the yodelling forms the main part of the performance. The importance of this vocal technique in Australian country music, and its persistence till the present day is a striking feature of the genre. Prominent Australian performers such as Wayne Horsborough comment that yodelling before country audiences in the USA produces reactions of amazement, for the technique has been almost totally abandoned by current American performers. Yet because most historical commentary on Australian country music has stressed textual development, the presence of the yodel, a wordless interlude, is often merely noted, even if with an acknowledgement of the skill of performers in this technique. And for those in the present period wishing to promote Australian country music to a broader audience, the yodel tends to be a source of embarrassment. The country music industry today is preoccupied with ‘throwing off the hick image’ and emphasising the broad appeal of the genre, and to many current propagandists for Australian country music yodelling is an aspect of both the history and current state of the music which condemns them to commercial unacceptability. Yet it has remained popular with audiences and a significant number of performers, and recently a telemarketed album of yodelling songs by veteran country performer Mary Schneider sold at Australian platinum levels (Latta, 1991, p. 150). Country music clubs, which form a backbone of committed support for the genre, frequently organise local festivals where talent quests characteristically include yodelling competitions.

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Whiteoak, John. "White Roots, Grey Flowers? Multiple Conceptions of Early Australian ‘Jazz’ and Pre-‘Jazz' History." Musicology Australia 37, no. 2 (July 3, 2015): 234–50. http://dx.doi.org/10.1080/08145857.2015.1055075.

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Thomas, Adrian. "One hand on the manuscript: Music in Australian cultural history 1930-1960." Musicology Australia 19, no. 1 (January 1996): 86–88. http://dx.doi.org/10.1080/08145857.1996.10416553.

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Remes, Hanna. "”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija." Trio 10, no. 1 (July 10, 2021): 91–100. http://dx.doi.org/10.37453/trio.110132.

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Hanna Remes’s artistic doctoral degree, which focuses on choral church music in worship, is the first of its kind in Finland. The demonstration of proficiency carried out 2016–2020 comprises two masses, a worship service, a passion drama and an Easter concert. She elucidates changes in guidelines for the liturgical use of the choir according to the Evangelical Lutheran Church of Finland’s 2000 church manual from those of the 1968 church manual. The dissertation stands at the junction of liturgy and the history of church music. Remes compares and analyses the liturgical role of the choir in the Church of Finland as stated in the latest church manuals and supplementary materials and explains the guiding principles of the manuals’ preparation.

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Waterhouse, Richard, and Marcus Breen. "Rock Dogs: Politics and the Australian Music Industry." Labour History, no. 79 (2000): 250. http://dx.doi.org/10.2307/27516760.

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Jennings, Mark. "‘Won't you break free?’ An ethnography of music and the divine-human encounter at an Australian Pentecostal Church." Culture and Religion 9, no. 2 (July 2008): 161–74. http://dx.doi.org/10.1080/14755610802211544.

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Garratt, James. "Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music." Journal of the Royal Musical Association 125, no. 2 (2000): 164–204. http://dx.doi.org/10.1093/jrma/125.2.164.

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AbstractCrucial to understanding the reception of Renaissance music in nineteenth-century Germany is an appreciation of the contradictory components of Romantic historicism. The tension between subjective and objective historicism is fundamental to the historiographical reception of Renaissance music, epitomizing the interdependency of historical representation and modern reform. Protestant authors seeking to reform church music elevated two distinct repertories — Renaissance Italian music and Lutheran compositions from the Reformation era — as ideal archetypes: these competing paradigms reflect significantly different historiographical and ideological trends. Early romantic commentators, such as Hoffmann and Thibaut, elevated Palestrina as a universal model, constructing a golden age of old Italian church music by analogy with earlier narratives in art history; later historians, such as Winterfeld and Spitta, condemned the subjectivity of earlier reformers, seeking instead to revivify the objective foundations of Protestant church music. Both approaches are united, however, by the use of deterministic modes of narrative emplotment.

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CARLSON, ERIC JOSEF. "Church Music and Protestantism in Post-Reformation England: Discourses, Sites and Identities - By Jonathan Willis." History 96, no. 323 (July 2011): 368. http://dx.doi.org/10.1111/j.1468-229x.2011.00524_12.x.

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Edwards, William H. "The Church and Indigenous Land Rights: Pitjantjatjara Land Rights in Australia." Missiology: An International Review 14, no. 4 (October 1986): 473–86. http://dx.doi.org/10.1177/009182968601400406.

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In this article the author, whose experience in cross-cultural communication as a missionary was used by a group of Australian Aboriginal people among whom he had worked to interpret their demand for title to their traditional land, outlines aspects of the traditional life of the Pitjantjatjara people and their conception of their relation to the land. Edwards traces the history of the dispossession of the land following European settlement, and the history of negotiations which led to the recognition of their title to the land under South Australian legislation. He comments on the role of the churches in these events and reflects on a Christian approach to indigenous land rights, noting that churches in other lands, in their mission work, are also involved with indigenous peoples in struggles to achieve just recognition to title for their land.

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Buckley, Ann. "Barra Boydell (ed), Music at Christ Church before 1800: documents and selected anthems, A History of Christ Church, Dublin 5." Peritia 13 (January 1999): 324–27. http://dx.doi.org/10.1484/j.peri.3.379.

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Wegman, Rob C. "Petrus de Domarto's Missa Spiritus almus and the early history of the four-voice mass in the fifteenth century." Early Music History 10 (October 1991): 235–303. http://dx.doi.org/10.1017/s0261127900001145.

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In 1449, the records of the church of Our Lady at Antwerp mention a new singer, Petrus de Domaro (see Figure 1). He does not reappear in the accounts of 1450, and those of the subsequent years are all lost. Musical sources and treatises from the 1460s to 80s call him, with remarkable consistency, P[etrus] de Domarto, and reveal that he was an internationally famous composer in the third quarter of the fifteenth century.

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Lett, Warren R. "Research In Australian Music Education: A Review and Analysis." British Journal of Music Education 5, no. 2 (July 1988): 141–56. http://dx.doi.org/10.1017/s0265051700006483.

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A review is made of the contents of the Australian Journal of Music Education from 1969, and of conferences in the early history of the Australian Society of Music Education. The categories of music education theses 1936–78 are described. A review of the research presentations is made from reports of the conferences of the Association of Music Education Lecturers. The paper identifies seminal summaries of music education research issues over a twenty-five-year period. It traces the lines of reported research, distinguishing standards for identification of research. It is concluded that although awareness of research issues has been consistently present amongst music educators in Australia, a lack of research orientation, together with inadequate planning and organisational structure has left the field to haphazard individualism. Proposals for current research priorities and procedures for their pursuit are made.

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Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

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De Luca, Elsa. "MUSICAL CRYPTOGRAPHY AND THE EARLY HISTORY OF THE ‘LEÓN ANTIPHONER’." Early Music History 36 (September 12, 2017): 105–58. http://dx.doi.org/10.1017/s0261127917000018.

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The ‘León Antiphoner’, León, Cathedral Library, MS 8, is the most complete manuscript containing Old Hispanic chant, comprising Office and Mass chants for the whole church year. As such, the León Antiphoner is the most studied Old Hispanic manuscript. Despite this, its dating is controversial and hypotheses have ranged from c. 906 (Menéndez Pidal) up to the eleventh century (Zapke and others). In this article, the dating and early history of the manuscript are reconsidered and an entirely new perspective is brought to bear on the questions of when, where, and for whom the manuscript was written. The reinterpretation of the cryptographic inscriptions found at the bottom of fols. 128vand 149rhas made it possible to identify the patron of the Antiphoner as San Froilán, Bishop of León, and to date the manuscript’s production to the years 900–5. The scriptorium of the monastery of SS Cosmas and Damian in Abellar is suggested as the likeliest place of production of the Antiphoner.

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Harris, Amanda. "Indigenising Australian music: authenticity and representation in touring 1950s art songs." Postcolonial Studies 23, no. 1 (January 2, 2020): 132–52. http://dx.doi.org/10.1080/13688790.2020.1727968.

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Casiño, Tereso Catiil. "Winds of change in the church in Australia." Review & Expositor 115, no. 2 (May 2018): 214–29. http://dx.doi.org/10.1177/0034637318761358.

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The history of Christianity in Australia had a humble but rich beginning. Its early foundations were built on the sacrifices and hard work of individuals and groups who, although bound by their oath to expand and promote the Crown, showed concern for people who did not share their religious beliefs and norms. Australia provided the Church with an almost unparalleled opportunity to advance the gospel. By 1901, Christianity emerged as the religion of over 90% of the population. Church growth was sustained by a series of revival occurrences, which coincided with momentous social and political events. Missionary work among the aboriginal Australians accelerated. As the nation became wealthier, however, Christian values began to erode. In the aftermath of World War II, new waves of immigrants arrived. When Australia embraced multiculturalism, society slid into pluralism. New players emerged within Christianity, e.g., the Pentecostals and Charismatics. Technological advancement and consumerism impacted Australian society and the Church. By 2016, 30% of the national population claimed to have “no religion.” The Australian Church today navigates uncharted waters wisely and decisively as the winds of change continue to blow across the dry, barren spiritual regions of the nation.

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Miller, Keith D., and Michael W. Harris. "The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church." Journal of American History 80, no. 1 (June 1993): 319. http://dx.doi.org/10.2307/2079816.

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Kuusi, Tuire, Jari Haukka, Liisa Myllykangas, and Irma Järvelä. "Causes of Death of Professional Musicians in the Classical Genre." Medical Problems of Performing Artists 34, no. 2 (June 1, 2019): 92–97. http://dx.doi.org/10.21091/mppa.2019.2016.

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OBJECTIVE: Music practice and listening have been reported to have favorable effects on human health, but empirical data are largely missing about these effects. To obtain more information about the effect of exposure to music from early childhood, we examined the causes of death of professional musicians in the classical genre. METHODS: We used standardized mortality ratios (SMR) for Finnish performing artists (n=5,780) and church musicians (n=22,368) during 1981-2016. We examined deaths from cardiovascular diseases, cancers, and neurodegenerative and alcohol-related diseases. The diagnoses were based on the ICD-10, with data obtained from Statistics of Finland. RESULTS: Overall, SMR for all-cause mortality was 0.59 (95% CI 0.57–0.61) for church musicians and 0.75 (95% CI 0.70–0.80) for performing artists, suggesting a protective effect of music for health. In contrast, we found increased mortality in alcohol-related diseases among female performing artists (SMR 1.85, 95% CI 1.06–2.95) and in neurodegenerative diseases among male performing artists (1.46, 95% CI 1.13–1.84). Additionally, we found higher SMRs for female than male church musicians for cancers (SMRfemales 0.90, 95% CI 0.83–0.97; SMRmales 0.60, 95% CI 0.54–0.67) and cardiovascular diseases (SMRfemales 0.75, 95% CI 0.68–0.82; SMRmales 0.58, 95% CI 0.54–0.64). CONCLUSIONS: Our results show that the causes of death in performers differ from those in church musicians. Performing artists are not protected from neurodegenerative diseases or alcohol-related deaths. The findings call for further study on the life-long effects of music in musicians.

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Ignatidou, Artemis. "Where Music Resides: Educational and Artistic Institutions, Nationalism, and Musical Debates in Nineteenth-Century Athens." European History Quarterly 51, no. 2 (April 2021): 143–69. http://dx.doi.org/10.1177/02656914211006581.

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The article details the institutional, political and cultural conditions in nineteenth-century Athens, in relation to the reception and development of Western opera and Greek ecclesiastical music. Through the examination of important institutions such as the Theatre of Athens and the University of Athens, the article compares the popularity of Italian opera with the underdevelopment of institutions for education in church music, it analyses the impact of limited musical education in the country, and explains how the absence of musical policy –either for Western music or the Greek-Orthodox chant – resulted in music turning into a token of local cultural resistance against Western European influence.

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Skop, Bartosz. "Organs at the church of St. Nicholas in Elbląg from the late 18th century until 1945." Masuro-⁠Warmian Bulletin 307, no. 1 (May 20, 2020): 4–40. http://dx.doi.org/10.51974/kmw-134781.

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The St. Nicholas parish church in Elbląg, currently the Elbląg diocese cathedral, is a unique building in every respect. Until today, it remains the most important element of the town and reflects its turbulent history. Since its erection, the church was an important centre of liturgical music. The paper discusses the changes in the organ instruments of the largest Elbląg church after the fire of 26 April 1777 until 1945. Their story has remained largely unknown until today. It is particularly surprising that no one analysed the issue of the instrument’s history in St. Nicholas’ church ever since it became a cathedral. The author of this paper intends to contribute to reviewing the history of the grand renovation of the church of St. Nicholas after the fire of 1777.

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Hilliard, David. "The Ties That Used to Bind: A Fresh Look at the History of Australian Anglicanism." Pacifica: Australasian Theological Studies 11, no. 3 (October 1998): 265–80. http://dx.doi.org/10.1177/1030570x9801100303.

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This article questions the widely accepted idea that the history of Anglicanism in Australia has been dominated by warfare between three church parties: Anglo-Catholic (high), evangelical (low) and liberal (broad). In fact, among lay Anglicans and at the parish level party strife was much less important than is often assumed. Until recently Australian Anglicans shared a number of common institutions, attitudes and social characteristics, and there was a large body of “moderate” Anglicans — exemplified in this article by the Rev R. P. Hewgill of Adelaide — who did not identify with any particular party.

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Marsh, Dana T. "SACRED POLYPHONY ‘NOT UNDERSTANDID’: MEDIEVAL EXEGESIS, RITUAL TRADITION AND HENRY VIII'S REFORMATION." Early Music History 29 (July 21, 2010): 33–77. http://dx.doi.org/10.1017/s0261127910000069.

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This study focuses on the ritual ‘conservatism’ of Henry VIII's Reformation through a new look at biblical exegeses of the period dealing with sacred music. Accordingly, it reconsiders the one extant passage of rhetoric to come from the Henrician regime in support of traditional church polyphony, as found in A Book of Ceremonies to be Used in the Church of England, c.1540. Examining the document's genesis, editorial history and ultimate suppression by Archbishop Thomas Cranmer, it is shown that Bishop Richard Sampson, Dean of the Chapel Royal (1522–40), was responsible for the original drafting of the musical paragraph. Beginning with Sampson's printed commentaries on the Psalms and on the Epistles of St Paul, the literary precedents and historical continuities upon which Sampson's topos in Ceremonies was founded are traced in detail. Identified through recurring patterns of scriptural and patristic citation, and understood via transhistorical shifts in the meaning of certain key words (e.g. iubilare), this new perspective clarifies important origins of the English church's musical ‘traditionalism’ on the eve of the Reformation. Moreover, it reveals a precise species of exegetical method – anagogy – as the literary vehicle through which influential clergy were able to justify expansions and elaborations of musical practice in the Western Church from the high Middle Ages to the Reformation.

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Peno, Vesna. "Athens: New capital of traditional Greek music: Testimonies on musical life at the beginning of the twentieth century." Muzikologija, no. 9 (2009): 15–32. http://dx.doi.org/10.2298/muz0909015p.

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During its long Byzantine and Post-Byzantine history Constantinople was the center for church art in general, but especially for music. This old city on the Bosporus maintained its prime position until the beginning of the 20th century when, because of new political and social conditions, the Greek people started to acquire their independence and freedom, and Athens became the new capital in the cultural as well as the political sense. During the first decades of the 20th century the Athenian music scene was marked by an intensive dispute between those musicians who leaned towards the European musical heritage and its methods in musical pedagogy, and those who called themselves traditionalists and were engaged in the preservation of traditional values of church and folk music. The best insight into the circumstances in which Greek musical life was getting a new direction are offered by the numerous musical journals published in Athens before the First World War. Among them, The Formigs is of the special interest, firstly because of the long period during which it was published (1901-1912), and secondly because of its main orientation. The editor Ioannes Tsoklis, a church chanter, and his main collaborator, the famous Constantinopolitan musician and theorist and later Principal of the Department for Byzantine music at Athens musical school Konstantinos Psahos, with other associates firmly represented the traditional position. That is why most of the published articles and the orientation of the journal generally were dedicated to the controversial problems and current musical events that were attracting public attention. The editorial board believed that there was a connection between the preservation of musical traditions and their development on one side, and foreign musical influences that were evident in the promotion of polyphonic church music, which had been totally foreign to the Greek Orthodox church until the end of the 19th century, on the other. Tsoklis and Psahos were resolved to provide enough reliable documented articles and theoretical and historical studies on church and folk music to pull up the church chanters and in such a way contribute to their better musical education. They assured that this would be the best way to attract and recruit church chanters struggling to maintain their own musical heredity. The Formigs thus served primarily in the so-called Greek music question, actuated with the aim of eliminating polyphonic music from liturgical practice. However, it also assisted in national endeavors to ensure that church and folk music would obtain separate status in official Greek musical education, which had been significantly changed by non-traditional, European methodology.

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Foster, Gaines M., and Michael W. Harris. "The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church." American Historical Review 98, no. 2 (April 1993): 569. http://dx.doi.org/10.2307/2166982.

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Lynch, Andrew P. "Negotiating Social Inclusion: The Catholic Church in Australia and the Public Sphere." Social Inclusion 4, no. 2 (April 19, 2016): 107–16. http://dx.doi.org/10.17645/si.v4i2.500.

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This paper argues that for religion, social inclusion is not certain once gained, but needs to be constantly renegotiated in response to continued challenges, even for mainstream religious organisations such as the Catholic Church. The paper will analyse the Catholic Church’s involvement in the Australian public sphere, and after a brief overview of the history of Catholicism’s struggle for equal status in Australia, will consider its response to recent challenges to maintain its position of inclusion and relevance in Australian society. This will include an examination of its handling of sexual abuse allegations brought forward by the Royal Commission into Institutional Responses to Child Sexual Abuse, and its attempts to promote its vision of ethics and morals in the face of calls for marriage equality and other social issues in a society of greater religious diversity.

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Hannick, Christian. "Reference materials on Byzantine and Old Slavic music and hymnography." Journal of the Plainsong and Mediaeval Music Society 13 (November 1990): 83–89. http://dx.doi.org/10.1017/s0143491800001343.

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One of the reasons for the neglect of Byzantine music, liturgy and hymnography within medieval studies undoubtedly lies in the difficulty of comprehending the special terminology. The indices in general accounts such as A History of Byzantine Music and Hymnography by Egon Wellesz (Oxford 1/1949, 2/1961), a work still not surpassed, help only those who are already acquainted with the liturgical practice of the Orthodox Church to find a way into the subject. The booklet by Dimitri Conomos, Byzantine Hymnography and Byzantine Chant (Brookline 1984), which is much more modest in scope, constitutes a suitable introduction. We may therefore applaud the initiative of the Greek scholar Georgios Bergotes, professor at the Ecclesiastical Academy in Thessalonika and author of several works in the area of liturgy and church music, who has compiled a Λεξικò λειτουργικν κα τελετουργικν ὅρων (Lexicon of liturgical and teleturgical terms, Thessalonika 1988). In this introduction to teleturgy Bergotes offers a definition of the two terms liturgy and teleturgy as conceived by the Orthodox Church, which help understand the aims and methods of compilation of the lexicon: ‘In the discipline of liturgy the services and festivals of the orthodox rite are investigated from a historical, archeological and theological standpoint, while the discipline of teleturgy engages the same services or festivals from the practical point of view and in their technical aspects.’

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Marjanovic, Natasa. "Writers and chanters in the nineteenth century as keepers of the tradition of Serbian church music." Muzikologija, no. 16 (2014): 67–82. http://dx.doi.org/10.2298/muz1416067m.

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In this paper, parts of the memoir literary works from the second half of the nineteenth century are presented as important sources for the research of Serbian traditional church chant. The testimonies on church music from diaries, memoirs and autobiographical notes by famous Serbian writers, statesmen and politicians, namely Jovan Subotic, Jakov Ignjatovic, Milan Savic, Milica Stojadinovic Srpkinja, Todor Stefanovic Vilovski, Vladimir Jovanovic and Kosta Hristic, were analyzed. Those writings bring to light a time when church chant was appreciated as an important part of the spiritual, folk heritage and had an important role in everyday culture of Serbian people both in the Habsburg Monarchy and in the Principality and Kingdom of Serbia. The authors wrote about musical skills of chanters from clerical, church circles and about the practice of chanting among school teachers. They also described different kinds of musical performances of church chant among laymen and children. These sources testify to writers? general and musical education and experiences, to their environment and its relation to the aesthetics of spiritual folk tradition. This paper also analyzes sources in the context of the history and theory of literature, having in mind the authors? commentary techniques and narrative style. Those issues are discussed in relation to the poetics of romanticism, Biedermeier and realism in Serbian literature.

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Prosén, Martina. "Songs that Carry Transformation: Pentecostal Praise and Worship Rituals in Nairobi, Kenya." Mission Studies 35, no. 2 (May 31, 2018): 265–85. http://dx.doi.org/10.1163/15733831-12341570.

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AbstractIn this article, the theological meaning of transformation is examined from the vantage point of a local Pentecostal church in Nairobi, Kenya, and its liturgical practices. The church under study is the Woodley branch of Christ is the Answer Ministries (CITAMWoodley), formerly Nairobi Pentecostal Church (NPC) Woodley, and data was collected through field research. Arguing with the help of Steven Land’s standard workPentecostal Spirituality. A Passion for the Kingdom, it is demonstrated that praise and worship rituals function as vehicles for transformation in the theology/spirituality of the informants. Singing and making music are not optional or random activities, but constitute a core ritual providing congregants a viable route to a central goal of Pentecostal spirituality: transformation. Transformation is thus both an idea and a goal, and praise and worship rituals – including the songs sung in worship – constitute a crucial link between the two.

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Purba, Mauly. "From Conflict to Reconciliation: The Case of the Gondang Sabangunan in the Order of Discipline of the Toba Batak Protestant Church." Journal of Southeast Asian Studies 36, no. 2 (June 2005): 207–33. http://dx.doi.org/10.1017/s0022463405000147.

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Since German missionaries arrived in the Batak Lands in the early 1860s, the Toba Batak Protestant Church has struggled with its relationship to the indigenous cosmology and belief system known as adat. Using the performance of ceremonial music and dance as a case study, this article explores the impact of continuing local respect for adat on the development of Church policy over 140 years.

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Peno, Vesna, and Ivana Vesic. "Serbian church chant in the service of national ideology." Muzikologija, no. 20 (2016): 135–50. http://dx.doi.org/10.2298/muz1620135p.

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In this paper we investigate the process of the creation and embodiment of the concept of Serbian folk church chant throughout the 19th and the beginning of the 20th century among Serbian intellectuals and scholars. In order to indicate its main dimensions we focused on church music narratives of that time. Due to a detailed analysis of discussions and writings in periodicals as well as the published chant collections themselves, we were able to assess the dominant interpretations of the historical development of church singing in the Serbian Orthodox church. Looking closely at suppositions made about the origins and formation of church chants through the history of the Serbian church we could unveil their character e.g. whether they were the result of previously done research or were just a product of speculative thinking. In addition, we formed assumptions on the embeddedness of the concept of Serbian folk church chant in influential narratives on national identity and culture developed among the Serbian political and intellectual elite. The aim of our investigation was to show that the concept of Serbian folk church chant was not only determined by socio-political strivings in the Serbian state but that it was also a product of the wider political and cultural goals of the Serbian elite. Finally, we sought to suggest the important role played by 19th and early 20th century Serbian church music scholars in the process of imagining the Serbian nation.

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Journal articles on the topic 'Australian church music history'

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