Relevant bibliographies by topics / Church music

Academic literature on the topic 'Church music'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Church music"

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Lestari, Dewi Tika. "Etnisitas, teologi, dan musik dalam nyanyian gereja: sketsa awal studi etnoteomusikologi nyanyian Gereja Protestan Maluku." Kurios 7, no. 1 (May 2, 2021): 81. http://dx.doi.org/10.30995/kur.v7i1.259.

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Church music is an essential part of Christian worship. The primary source to create Church music is commonly from the Bible, Christian tradition, and believers' experience. Yet, in the church music of the Protestant Church in the Moluccas (GPM), there is harmony between some elements such as ethnicity, theology, and music. In ethnicity, there is some local cultural tradition derived from the old local religion, which Christianity contextualizes. Using a descriptive qualitative research method, the harmony of all elements, ethnicity, theology, and music result in a new perspective, namely ethno-theo-musicology, to analyze and understand the church music existence. This research found that the Protestant Church member in the Moluccas appreciates all church music substances, which led them not only to praise God but also to experience God in their cultural experience in Maluku. Abstrak Musik gereja merupakan salah satu unsur penting dalam peribadahan Kristen. Musik gereja umumnya diciptakan bersumber dari kesaksian Alkitab, tradisi atau ajaran gereja tertentu, dan pengalaman iman orang percaya. Namun, dalam nyanyian Gereja Protestan Maluku (GPM), musik gereja bersumber dari harmonisasi unsur budaya lokal, teologi, dan musik. Dalam unsur budaya lokal juga ditemukan proses kontekstualisasi narasi-narasi mistik dari kepercayaan asli masyarakat sebelum menjadi Kristen. Dengan penelitian deskriptif kualitatif, artikel ini menjelaskan adanya perpaduan unsur etnisitas, teologis, dan musik yang kemudian menghasilkan suatu pendekatan etnoteomusikologis dalam mengartikan suatu nyanyian gereja. Penelitian ini menemukan bahwa Warga Gereja Protestan Maluku sebagai pemilik dari Nyanyian GPM, sangat mengapresiasi pendekatan etnotheomusikologis sebab dirasakan bahwa musik gereja selain memuliakan Allah juga mengantarkan mereka mengalami kehadiran Allah di dalam pengalaman-pengalaman budaya yang mereka miliki
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Beedon, David Kirk. "Church Music." Theology 93, no. 751 (January 1990): 51–52. http://dx.doi.org/10.1177/0040571x9009300112.

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Barus, Rodenita Br, and Antonius Richard Gondowijoyo. "Peranan Alat Musik Dalam Ibadah Gerejawi Abad I-V." Journal Kerusso 7, no. 2 (September 13, 2022): 14–31. http://dx.doi.org/10.33856/kerusso.v7i2.244.

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The problem in this paper lies in the use of musical instruments where in the Old Testament musical instruments played a very important role in worship, but in the New Testament the role of musical instruments is not explained and the Greek Orthodox Church does not use musical instruments in worship. This discussion aims to First, the role and use of musical instruments in worship ceremonies during the Old Testament period. Second, to answer the role and use of musical instruments in the ministry of the Lord Jesus and in the early church. The third, to explain why musical instruments are not used in the worship of the Greek Orthodox Church. So this paper uses a historical literature research approach. This paper will describe the role of music in the Old Testament, the role of music in the ministry of the Lord Jesus and in the early church, and the role of music in the Greek Orthodox Church. The conclusion of this paper proves that the role of music has different meanings in the Old Testament, the role of music during the ministry of the Lord Jesus and the early church, and the role of music in the worship of the Greek Orthodox Church. Abstrak Indonesia Permasalahan dalam tulisan ini terletak pada penggunaan alat musik dimana dalam Perjanjian Lama alat musik sangat berperan dalam peribadahan, namun berbeda dalam Perjanjian Baru peran alat musik tidak dijelaskan dan Gereja Orthodox Yunani tidak menggunakan alat musik dalam ibadahnya. Pembahasan ini bertujuan untuk Yang Pertama, peran dan penggunaan alat musik dalam upacara peribadahan pada masa Perjanjian Lama. Yang kedua, untuk menjawab peran dan penggunaan alat musik dalam masa pelayanan Tuhan Yesus dan pada masa gereja mula-mula. Yang ketiga, untuk menjelaskan mengapa alat musik tidak digunakan dalam peribadahan Gereja Orthodox Yunani. Maka tulisan ini menggunakan pendekatan penelitian pustaka bersifat historis. Tulisan ini akan menjabarkan peran musik dalam Perjanjian Lama, peran musik dalam pelayanan Tuhan Yesus dan pada masa gereja mula-mula, dan peran musik dalam Gereja Orthodox Yunani. Kesimpulan dari tulisan ini membuktikan bahwa peran musik memiliki makna yang berlainan baik dalam Perjanjian Lama, peran musik pada masa pelayanan Tuhan Yesus dan gereja mula-mula, dan peran musik dalam ibadah Gereja Orthodox Yunani.
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Nainggolan, Dapot. "KAJIAN TEOLOGIS TERHADAP MUSIK GEREJAWI." JURNAL LUXNOS 6, no. 1 (June 21, 2020): 32–52. http://dx.doi.org/10.47304/jl.v6i1.4.

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Abstract: Church music must be understood correctly based on the principles contained in the word of God. By having a correct understanding of the meaning, purpose, who, and how and when church music should be performed, our worship of God through music and singing will build faith and glorify God. Church music are absolutely based on God's will. Church music is not an option, but an obligation for every church in response to God's redemptive work in his life. Church music and singing are not in the framework of introducing one element to another in an arrangement of liturgical events, and not in the context of an enjoyable joint activity to sing favorite songs. Our encounter with God through His maintenance work at all times, that is the motor that drives the music and songs that we offer to God. Therefore, in this study, it will explain clearly what is meant by ecclesiastical music and then be examined theologically based on the description of Bible verses as a basic material and supported by existing literature sources. Abstrak: Musik gerejawi harus dipahami secara benar berdasarkan prinsip-prinsip yang terkandung dalam firman Allah. Dengan memiliki pemahaman yang benar akan makna , tujuan, siapa, dan bagaimana serta kapan seharusnya musik gerejwi itu dilakukan, maka penyembahan kita kepada Allah melalui musik dan nyanyian akan membangun iman dan memuliakan Allah. Musik dan nyanyian gerejawi mutlak didasari oleh kehendak Allah. Musik gerejawi bukan merupakan pilihan, melainkan kewajiban bagi setiap gereja sebagai respon atas karya penebusan Allah dalam hidupnya. Musik dan nyanyian gerejawi bukan dalam rangka sebagai pengantar antar unsur yang satu dengan unsur lainnya dalam sebuah susunan acara liturgi, dan bukan pula dalam rangka suatu aktifitas kegiatan bersama yang menyenangkan untuk menyanyikan lagu-lagu kesayangan. Perjumpaan kita dengan Allah melalui karya pemeliharaan-Nya pada setiap waktu, itulah yang menjadi motor yang menggerakkan musik dan nyanyian yang kita persembahkan kepada Allah. Oleh karena itu dalam penelitian ini akan menguraikan secara jelas apa yang dimaksud dengan musik gerejawi dan kemudian dikaji secara teologis berdasarkan uaraian ayat-ayat Alkitab sebagai bahan dasar dan didukung oleh sumber-sumber pustaka yang ada.
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Pahan, Berth Penny. "Perkembangan Musik Gereja dan Interpretasi Pemusik Gereja Terhadap Nyanyian Jemaat Di Gereja Sinta Kuala Kapuas." Danum Pambelum: Jurnal Teologi Dan Musik Gereja 1, no. 1 (May 30, 2021): 118–31. http://dx.doi.org/10.54170/dp.v1i1.40.

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Church music is part of worship service in a church. Each church denomination has church musik management according its tradition and habitual. Sinta Church in Kuala Kapuas as an old church is hoped as a barometer locally or regionally of Kalimantan Evangelical Church in singing congregation song. In its development so far church music at Sinta Church has been arranged in such a way for improving the quality and quantity in singing congregation songs. In this research, the researcher tried to conduct the problem dan development of church musik in Sinta Church Kuala Kapuas. The goal was to find out a general about church music management so it would be found the solutions constructively in improvinf the quality and quantity in singing congregation songs. By using descriptive qualitative method, it would be presented the research data from depth interview. The conclusion of this research that church music management in Sinta Church has been developed in such a way just like practicing and scheduling in Sunday news and also has been held by musicions and song leaders. Musik gereja adalah bagian dari ibadah atau pelayanan di gereja. Setiap denominasi gereja mempunyai penataan musik gereja masing-masing sesuai dengan tradisi atau kebiasaan gereja tersebut. Gereja Sinta di Kuala Kapuas sebagai salah satu gereja yang cukup tua dari segi usia diharapkan menjadi barometer di tingkat lokal atau bahkan di tingkat regional Gereja Kalimantan Evangelis (GKE) dalam hal menyanyikan nyanyian jemaat. Selama ini dalam perkembangannya musik gereja di Gereja Sinta telah diatur sedemikian rupa untuk meningkatkan kualitas bernyanyi dan kuantitas nyanyian jemaat yang dinyanyikan. Dalam penelitian ini penulis mencoba mengangkat permasalahan dan perkembangan musik gereja di Gereja Sinta Kuala Kapuas. Tujuannya untuk mendapatkan suatu gambaran umum sehingga nantinya diharapkan akan dilakukan solusi-solusi yang bersifat konstruktif untuk peningkatan kualitas dan kuantitas bernyanyi nyanyian jemaat. Dengan metode penelitian deskriptif kualitatif akan dipaparkan data penelitian dari hasil wawancara mendalam. Kesimpulan dari penelitian ini musik gereja di Gereja Sinta Kuala Kapuas telah berkembang cukup baik secara penataan dan diatur sedemikian rupa dalam bentuk latihan dan penjadwalan pada berita jemaat Minggu dan dilaksanakan oleh organis serta pemandu lagu.
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Janawati, Janawati, and Kornelius Gulo. "MUSIK DAN PERANANNYA DALAM IBADAH." Inculco Journal of Christian Education 2, no. 3 (September 19, 2022): 268–80. http://dx.doi.org/10.59404/ijce.v2i3.109.

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Abstrak: Artikel ini adalah suatu pengangkatan judul yang dilatar belakangi oleh, keinginan seorang Penulis untuk mengetahui apa yang menjadi peran musik, yang digunakan dalam setiap Ibadah Kristen, serta bagaimana supaya musik yang dimainkan oleh seorang musisi, boleh menjadi musik yang berjalan tidak sebagai simbol saja, tetapi ada fungsi dan tujuan dari musik yang dimainkan. Berbicara tentang musik dan peranannya dalam ibadah bukanlah sesuatu hal yang asing lagi, sebab banyak gereja yang sudah menggunakan musik dalam melaksanakan ibadah, baik itu dari aliran Injili, Protestan, Karismatik atau Pantekosta. Artikel ini bertujuan menjawab 1. Apa peranan musik gereja dalam ibadah? 2. Bagaimana musik yang berkenan bagi Tuhan? 3. Apa itu Musik Gereja dan bagaimana Liturgi Nyayian Jemaat dalam Ibadah? Dengan hasil: 1. Peranan musik menjadi sebuah pertempuran krisis, kuasa penyembahan, memulihkan pelayanan. 2. Musik yang berkenan kepada Tuhan adalah musik yang penuh dengan ketaatan, yang berisi ucapan syukur. 3. Musik gereja yang karena isinya serta dengan pernyataan Iman penciptanya atau orang yang menampilkan karya tersebut, dalam liturgi ibadah meliputi berarti perayaan iman, termasuk dalam liturgi adalah tata ruang, tata Ibadah, tata waktu, simbol-simbol, pembacaan Alkitab, musik gereja dan sebagainya. Abstract: This article is an appointment of a title based on the desire of an author to know what is the role of music, which is used in every Christian worship, and how the music played by a musician may become music that operates not only as a symbol , but there is a function and purpose of the music being played. Talking about music and its role in worship is not something new, because many churches already use music in carrying out their services, whether they are from Evangelical, Protestant, Charismatic or Pentecostal. This article aims to answer 1. What is the role of church music in worship? 2. How is music pleasing to God? 3. What is Church Music and how is the Liturgy of Congregational Singing in Worship? With the results: 1. The role of music becomes a crisis battle, the power of worship, restoring ministry. 2. Music that pleases God is music that is full of obedience, which contains thanksgiving. 3. Church music which, because of its content and the statement of faith by the creator or the person performing the work, in the liturgy of worship includes the meaning of the celebration of faith, including in the liturgy are spatial planning, worship arrangements, timing, symbols, Bible readings, church music and etc.
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MATIYCHYN, Iryna. "UKRAINIAN CHURCH MUSIC: THE ISSUE OF LANGUAGE." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 67–79. http://dx.doi.org/10.30970/vas.20.2019.10640.

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The article considers developmen to fUkrainian church music from the perspective of the accompanying linguistic processes. The issue of liturgical language was actualized when Ukraine gained its independence,Ukrainian churches (the Autocephalous Orthodox Church, Greek Catholic Church) resume dtheir work, and new church organizations appeared. The linguistic issue assumed critical importance with the restoration of autocephaly of the Orthodox Church in Ukraine. Ukrainianization of all areas of church life is also reflected in church music and determines certain tendencies of its present-day existence. At the same time, certain traditions left their marks on the spiritual heritage of Ukrainian composers, who worked in different confessional and political circumstances. The purpose of the proposed article is to highlight the dynamics of linguistic changes that accompanied Ukrainian church music at various stages of its creation, and to identify the specificity of its functioning in modern conditions. The following methods are used for this purpose: the method of retrospective (to explore the processes of historical development of Ukrainian church music),the comparative historical method(to reveal the general tendencies of the liturgical language evolution in different parts of Ukraine in a particular historical period), the method of musical and textual analysis for considering the texts of church musical compositions and identifying the historical features of their text fixation), the linguistic method (to analyze linguistic phenomena in church music). Scientific novelty. The study validates a significant influence of linguistic processes that accompanied the evolution of Ukrainian church music on the modern practice of liturgical singing. The logic of historical development proves an indisputable vector for Ukrainianization of the church life of Ukrainians. At the present stage we can talk about Ірина МАТІЙЧИН ISSN 2078-6794. Вісник Львівського університету. Серія мист-во. 2019. Вип. 20 79 convergence of two tendencies in Ukrainization of church music: the performance of ancient song samples in Church Slavonic with Ukrainian pronunciation; the performance of ancient church songs translated into Ukrainian, as well as the performance of liturgical and paraliturgical songs written in Ukrainian. Conclusions. Preserving an original linguistic basis in old compositions, liturgical singing becomes a conservative element of church services, because it prolongs an active life of the Church Slavonic language, in which a wide array of Ukrainian church songs was written.
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Ramsey, Basil, and Paul Fisher. "New Church Music." Musical Times 133, no. 1788 (February 1992): 98. http://dx.doi.org/10.2307/965876.

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Kershaw, Edward. "Tudor Church Music." Musical Times 130, no. 1754 (April 1989): 221. http://dx.doi.org/10.2307/966481.

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Portsmouth, Timothy. "Music in Church." Musical Times 129, no. 1750 (December 1988): 643. http://dx.doi.org/10.2307/966651.

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Dissertations / Theses on the topic "Church music"

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Koo, Gregory J. "The meaning of liturgical music." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.

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Sherwin, Ronald Glynn. "The Church Music Program: The Effect of Moving from Performance-based to Education-based Emphasis in a Church Music Program." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/SherwinRG2004.pdf.

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Stevenson, William. "Excellence in Scottish church music." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14473.

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Two propositions are advanced in the present study: firstly, national, not theological, attitudes have been the main influence on Scottish church music from the earliest days to the present; secondly, the present vitality of Scottish music can be traced back to a 19th-century search for musical excellence in church services by clergy, precentors and organists. Until the 19th century Scottish church music reflected a national indifference to music in general. Neither in pre-Reformation nor post-Reformation times is there completely convincing evidence of high-quality secular musical activity before a brief, if brilliant, period in Edinburgh during the late 18th century. Improvements in the national awareness of classical music came as a result of sweeping changes the Scottish churches had to make when they confronted the scientific and philosophical revolutions of the 19th century. Despite some resistance on the part of congregations, music came to be seen as a way of emphasising confidence and solidarity in the Christian faith. Thereafter more and more expert musicians were attracted to work in Scottish churches with long-term benefits for the churches themselves and for the community in which many of then worked as teachers and administrators. With a greater awareness of the potential benefits of music making, Scottish church and school soon began to regard musical excellence not only as desirable but also as a rationale - excellence equals truth. The pursuit of excellence on the part of leading clergy and church musicians from the late 19th century to the present, which has done so much for the musical health of the nation, has recently given rise to increasing concerns about accessibility. These concerns have fundamental implications for the music of the Scottish Church.
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Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.

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Milam, Kenneth Baker. "A music training program for Baptist church music leaders and pastors in Indonesia." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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Arnold, David F. "Seeking balance between subjective and objective criteria for music in the liturgical assembly of the Orthodox Church in America." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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Burrows, Donald. "Handel's Church Music - Modern Performances in Britain." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37227.

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Munro, Gordon James. "Scottish church music and musicians, 1500-1700." Thesis, Connect to e-thesis, 1999. http://theses.gla.ac.uk/882/.

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Austell, Robert M. "Biblical worship through music." Theological Research Exchange Network (TREN) Access this title online Theological Research Exchange Network (TREN), 2008. http://www.tren.com.

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Kinder, Patrick J. "God's instrument of praise liturgical and para-liturgical music /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Books on the topic "Church music"

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London College of Music and Media. Church music diplomas. London: LCM, 2001.

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Westermeyer, Paul. Chapters in church music. [Toronto: s.n.], 1992.

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Lionel, Dakers, ed. World of church music. Croydon: Royal School of Church Music, 1986.

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Gerard, Gillen, and White Harry 1958-, eds. Music and the church. Blackrock, Co. Dublin: Irish Academic Press, 1993.

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Sweatt, Danny M. Church music: Sense and nonsense. Greenville, S.C: Bob Jones University Press, 1986.

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Hong, Chŏng-su. History of Korean church music. Seoul: PCT Press, 2013.

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Minor, Theodore E. Management of church music programs. Traverse City, Mich. (9693 Londolyn Bluff, Traverse City 49684-9228): Tad Minor Keyboard Services, 1991.

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Jones, Paul S. Singing and making music: Issues in church music today. Phillipsburg, NJ: P & R Pub., 2006.

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Church Music. Creative Media Partners, LLC, 2023.

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Bell, M. F. Church Music. Library Reprints, 2001.

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Book chapters on the topic "Church music"

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Thomas, Chance. "Church Music." In Making it HUGE in Video Games, 301–15. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.1201/9781003199311-21.

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Steuernagel, Marcell Silva. "Performing church music." In Church Music Through the Lens of Performance, 162–85. [1.] | New York : Routledge, 2021. | Series: Congregational music studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781003080329-1g.

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Ingalls, Monique M. "Just Like Church, Not Like Church, or Better Than Church?" In Black British Gospel Music, 62–82. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003259800-4.

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Golding, Rosemary. "Anon., ‘On Church Music’." In Music in Nineteenth-Century Britain, 29–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-3.

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Wagner, Tom. "Hillsong Church." In Music, Branding, and Consumer Culture in Church, 47–74. New York : Routledge, 2020. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429507953-3.

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Webster, Peter. "Chichester Music." In Church and Patronage in 20th Century Britain, 187–211. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_7.

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Timms, Colin. "Steffani and his Church Music." In Agostino Steffani, 21–40. Göttingen: V&R unipress, 2017. http://dx.doi.org/10.14220/9783737007092.21.

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Warren, Raymond. "Music and the Liturgy." In Language and the Worship of the Church, 196–211. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20477-9_10.

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Golding, Rosemary. "J. Spencer Curwen, ‘The Temple Church’, ‘The Jewish Synagogue Service’ and ‘Presbyterian Church, Regent Square’." In Music in Nineteenth-Century Britain, 141–52. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-13.

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Golding, Rosemary. "Anon., ‘Church Music and the Ritual Commission’." In Music in Nineteenth-Century Britain, 114–21. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-10.

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Conference papers on the topic "Church music"

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Amaral, Filomena Soares, Rita Milyartini, and Diah Latifah. "Inculturation of Tradition Hamulak Music Fohorem Church." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.026.

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Lapian, Alrik. "Music and Testifying in Congregational Church: Faith Testimony (Marturia) in the Context of Church Music Festival at GMIM Territory." In Proceedings of the First International Conference on Christian and Inter Religious Studies, ICCIRS 2019, December 11-14 2019, Manado, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.11-12-2019.2302143.

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CHAVEZ, V. "ACOUSTIC DESIGN FOR LA ROMIEU CHURCH CHAMBER MUSIC." In Auditorium Acoustics 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16183.

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Reuter, Christoph, Michael Plitzner, Marik Roos, Isabella Czedik-Eysenberg, Veronika Weber, Saleh Siddiq, Michael Oehler, and Andreas Rupp. "The Sound of Bells in Data Cells – Perceived Quality and Pleasantness of Church Bell Chimes." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001661.

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CHIRCEV, Elena. "Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0002.

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Teacher, conductor, Byzantine musicologist, Gheorghe C. Ionescu (1920- 1999) devoted the last years of his life to researching the history of Romanian Byzantine music and published in specialized journals several comprehensive papers that address various topics and bring back in focus personalities of the past. Due to his solid musical and theological training, guided by prestigious teachers from the interwar period, the distinguished musician had a rich artistic and cultural contribution to the second half of the previous century. The change of the political regime in Romania allowed him to return to the pursuits of his adolescence and youth and to continue his research of Orthodox church music in Romania. Along with his papers at various scientific events and the published studies, his tireless work materialized, soon after 1989, in the writing of a lexicon dedicated exclusively to those who had researched Romanian Byzantine music, in 1997. It was followed by a chronological dictionary, the foreword of which was written by the academician Virgil Cândea, who appreciated the importance of the book and the quality of Teacher Ionescu’s work. Entitled Muzica bizantină în România [Byzantine Music in Romania], the book appeared posthumously, through the care of his family, in 2003. Although the centenary of his birth passed almost unnoticed, both productions are valuable working tools for all those who will continue to value Orthodox church music in our country. One more reason to evoke this personality who put a lot of passion in illustrating the richness and beauty of music sung in Romanian churches, two decades after the book was printed.
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6

Рidhorbunskyi, M. A. "South-eastern influences the formation and establishment of church music in Kievan Rus." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-23-27.

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Galaicu, Violina. "The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.04.

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The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, according to the linguistic factor (succession of sacred languages), according to stylistic manifestations. Based on the way in which the studies are structured, it is observed that historians do not consistently follow one way or another, but opt for summing them up. Thus, a milestone with generalizing value is outlined, in which the first Christian centuries mark the penetration and spread of Proto-Byzantine and Byzantine song in the Romanian space, the IX-X centuries – the enrollment of Romanianism in the Byzantine-Slavic religious front, the XIV century – the inauguration of the period of cultural effervescence related to the constitution of the Romanian medieval states, the end of the XVI century – the XVIII century – the Romanianization of the liturgical melody, the beginning of the XIX century – the XXI century – the passage of the Byzantine chant through the avatars of modernity and contemporaneity.
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Simanjuntak, Robert. "Exploration Of Children's Music Talents As A Solution For The Development Of Millennial Generations In The Church Of Bethany Tanjung Anom Deli Serdang." In Proceedings of the 1st International Conference of Global Education and Society Science, ICOGESS 2019,14 March, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.14-3-2019.2292033.

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Ribichini, Luca. "Notre Dame du Haut, Ronchamp, the shape of a listening. A whole other generative hypothesis." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.719.

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Abstract: The article will examin one of Le Corbusier's more emblematic works: the Ronchamp Chapel. The aim is to discover some of the intentionalities hidden within the design of this work by the swiss architect. It will start with the following considerations of Le Corbusier about the Ronchamp chapel:“it began with the acoustics of the landscape taking the four horizons as a reference...to respond to these horizons, to accomodate them, shapes were created…” And: “ Shapes make noise and silence; some speak and others listen...”And again: “ Ear can see proportions. It's possibile to hear the music of visual proportion” (Le Corbusier). The article sustains that the church is nothing but a giant acoustic machine dedicated to Virgin Mary which main purpose is the listening of the prayers. Infact in the Christian religion Mary is the very vehicle between God and man , she has a human but also divine nature since she is the mother of Jesus. To get in contact with the divine it is necessary to pray Mary, she can listen to man's prayers but she can also pass down God's word to man. In support of this hypothesis there stands an analogy between the chapel's map and the image section of a human ear, highlighting the coincidence between the altar position and that of cochlea, which shape is so dear to le Corbusier that he makes use of it very often in his work. Keywords: Ronchamp; acoustic landscape; human ear, architecture as chrystallized music. DOI: http://dx.doi.org/10.4995/LC2015.2015.719
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Szymanska-Stulka, Katarzyna. "SPACE PERFORMS FOR SACRED AMONG MUSIC AND ARCHITECTURE. THE CASE OF STABAT MATER??S MOTIF IN POLISH CONTEMPORARY MUSICAL WORKS BY PAWEL LUKASZEWSKI AND IGNACY ZALEWSKI." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.09.

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In sacred musical works we find structures and composing solutions that introduce a specific action, similar to visual elements. What are the means for the architectural and sound space that create a sacred space? Are there playing in common? I answer this question on the basis of contemporary architecture (e.g. Church of Light by Tadao Ando in Ibaraki/Japan, Fritz Hoger�s Kirke in Berlin/Germany, Basilica Sanctuary of Our Lady of Tears by Stephane Aboudaram in Syracuse/Italy) confronted with music dedicated to the sacred sphere. In accordance with the currently developed cognitive interpretation, I will guide towards the sphere of experience and define a sacred place as an area where you can feel safe, surrounded by somewhat mysterious; calm down, focused on, forget about reality. At this place you can also be moved, sublimed and touched by presence of eternity, and share or express the fullness of life emotions. I present a musical analysis of sacred elements on the examples of works by contemporary Polish composers focused on the image of the suffering Mother of God under the cross of her son: Luctus Mariae by Pawel Lukaszewski from 2010 based on the Latin version of the Stabat Mater sequence, referring to the convention of the Italian madrigal theater from the 18th century and representing a severe beauty of the contemporary vision of meditation, and Stabat Mater by Ignacy Zalewski from 2018 making the suffering of the Mother of God more �real� basing on the contemporary version of a medieval sequence in a current experience of symbolic performative and vivid image that can be shared by the recipient.
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