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1
Hage, Jan, and Marcel Barnard. "Muziek als missie: Over Willem Mudde en zijn betekenis voor de kerkmuziek." NTT Journal for Theology and the Study of Religion 66, no. 4 (November 18, 2012): 283–98. http://dx.doi.org/10.5117/ntt2012.66.283.hage.
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Under the influence of Calvinism, the musical situation in the Protestant churches in the Netherlands was for a long time marked by sobriety, with attention focused on congregational singing. In the 20th century, church music gained importance through a dominant flow of Lutheran influence. Generally, the liturgical movement highlighted the role of music in worship. The Lutheran church musician Willem Mudde successfully called attention to the German church music reform movement. Inspired by the writings of the German theologian Oskar Söhngen, he strived to apply the ideals and practices of this German movement to the Dutch Protestant churches. He succeeded through his zeal and organisational skills, not only in the Lutheran church but also in other Protestant churches. The idealistic character and educational aims of the movement, however, could not offset the growing individualism and the ongoing crisis in the churches.
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Robin, A. Leaver. "Motive and Motif in the Church Music of Johann Sebastian Bach." Theology Today 63, no. 1 (April 2006): 38–47. http://dx.doi.org/10.1177/004057360606300105.
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Johann Sebastian Bach stands in a long line of Lutheran composers who used musical forms to convey theological concepts that reaches back to Luther himself. Lutheran theologians and musicians used the Latin formula viva vox evangelii to define their understanding of music as the living voice of the gospel. Here is presented first an overview of this Lutheran tradition, and then an examination of specific examples from Bach's musical works that expound specific theological concepts such as the doctrine of the Trinity, the distinction between law and gospel, the nature of discipleship, and christological hermeneutics in general.
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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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Wiese, Soraya. "Re-forming Music: Martin Luther’s Impact on Church Music through the Lutheran Reformation." Musical Offerings 12, no. 2 (2021): 51–62. http://dx.doi.org/10.15385/jmo.2021.12.2.2.
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Leaver, Robin A. "Brahms's Opus 45 and German Protestant Funeral Music." Journal of Musicology 19, no. 4 (2002): 616–40. http://dx.doi.org/10.1525/jm.2002.19.4.616.
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Brahms's German Requiem stands at the end of a long line of Lutheran funerary music. Luther reworked funeral responsories into a new, totally Biblical form, and later Lutherans collected anthologies of Biblical texts on death and dying. Such sources were used by later composers, including Schüütz and Bach, to compose funeral pieces on Biblical texts together with appropriate chorales. Brahms's opus 45 is similar in that its text is made up of Biblical verses assembled by the composer, and connections may be drawn between chorale usage in this work and the composer's Protestant upbringing in Hamburg on one hand, and in his knowledge of two cantatas by Bach (BWV 21 and 27), on the other. The text and structure of the work accord with general, north German Protestantism, and the famous letter to Reinthaler, which many have taken as a demonstration of Brahms's general humanistic tendencies, shows Brahms to be standing aloof from the theological controversies of his day in favor of a basic understanding of Biblical authors. Part of the problem was that the first performance was scheduled for Good Friday in Bremen cathedral; Reinthaler, the organist, and the cathedral clergy would have preferred passion music of some kind and what Brahms gave them was something different. Brahms surely knew of the distinctive Lutheran observance of "Totensonntag," the commemoration of the dead on the last Sunday in the church year (the Sunday before Advent). There are many similarities between Brahms's Requiem and Friedrich Wilhelm Markull's Das Gedäächtnis der Entschlafen (The Remembrance of those Who Sleep) of ca. 1847. Since Markull's work is subtitled Oratorium füür die Todtenfeier am letzten Sonntage des Kirchenjahres (Oratorio for the Celebration of the Dead on the Last Sunday of the Church Year), it is possible that Brahms had the same occasion in mind when composing his German Requiem.
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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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Scott, Allen. "Simon Lyra and the Lutheran liturgy in the second half-century of the Reformation in Breslau." Muzyka 65, no. 1 (April 2, 2020): 3–18. http://dx.doi.org/10.36744/m.309.
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In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and devotional songs. The music in the collections contain all of the items necessary for use in the liturgies performed in the St. Elisabeth Church and Gymnasium in the last quarter of the sixteenth century. This list provides valuable clues into the musical life of a well-established Lutheran church and school at the end of the sixteenth century.
When studying collections of prints and manuscripts, I believe it is helpful to make a distinction between two types of use. Printed music represents possibilities. In other words, they are collections from which a cantor could make choices. In Lyra’s case, we can view his recommendations as general examples of what he considered liturgically and aesthetically appropriate for his time and position. On the other hand, manuscripts represent choices. The musical works in the six Bohn manuscripts associated with Lyra are the result of specific decisions to copy and place them in particular collections in a particular order. Therefore, they can provide clues as to what works were performed on which occasions. In other words, manuscripts provide a truer picture of a musical culture in a particular location.
According to my analysis of Lyra’s recommendations, by the time he arrived at St. Elisabeth the liturgies, especially the mass, still followed Luther's Latin "Formula Missae" adopted in the 1520s. The music for the services consisted of Latin masses and motets by the most highly regarded, international composers of the first half of the sixteenth century. During his time as Signator and cantor, he updated the church and school choir repertory with music of his contemporaries, primarily composers from Central Europe. Three of these composers, Gregor Lange, Johann Knoefel, and Jacob Handl, may have been his friends and/or colleagues. In addition, some of the manuscripts collected under his direction provide evidence that the Breslau liturgies were beginning to change in the direction of the seventeenth-century Lutheran service in which the "Latin choir" gave way to more German-texted sacred music and greater congregational participation.
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Lampinen, Leena. "Choral music and identities in Tanzania." Trio 12, no. 1 (June 29, 2023): 49–56. http://dx.doi.org/10.37453/tj.131223.
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In her doctoral research, Lampinen explored the connection between choral repertoiresand identities within church choirs in one Lutheran Diocese in Northern Tanzania. The participantsin this research were a group of choir conductors in this diocese. The concept ofidentities was approached from individual, social, and group aspects as well as religious,ethnic, and national viewpoints.
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Trocmé-Latter, Daniel. "The psalms as a mark of Protestantism: the introduction of liturgical psalm-singing in Geneva." Plainsong and Medieval Music 20, no. 2 (September 15, 2011): 145–63. http://dx.doi.org/10.1017/s0961137111000039.
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ABSTRACTIt is widely believed that musical creativity suffered under the control of many sixteenth-century Protestant church leaders, especially in the Reformed (as opposed to Lutheran) branch of Protestantism. Such views are generalisations, and it is more accurate to say that music in Geneva and other Reformed strongholds developed in a very different way from the music of the Lutheran Church. The very specific beliefs about the role of music in the liturgy of Jean Calvin, Genevan church leader, led to the creation and publication of the Book of Psalms in French, in metre, and set to music. The Genevan or Huguenot Psalter, completed in 1562, formed the basis for Reformed worship in Europe and throughout the world, and its impact is still felt today. Despite the importance of the Psalter, relatively little is known about the precise liturgical musical practices in Geneva at the time of the Reformation, and little research has been carried out into the aspirations of either reformers or church musicians in relation to the Psalter. This article explores the significance of Calvin's interest in the Psalms as theological material, observing how this interest manifested itself, and outlines Calvin's views on music and the ways in which his plans for psalm-singing were implemented in Geneva from the 1540s onwards. After giving a brief explanation of the process through which the psalm melodies were taught and learnt, it also asks whether Calvin's vision for congregational singing would, or could, have been fully realised, and to what extent the quality of music-making was important to him. This article suggests that in the Genevan psalm-singing of the sixteenth century, matters of spiritual significance were most important.
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Holm, Anders. "- Luthertolkningen i 1812-krøniken." Grundtvig-Studier 64, no. 1 (May 29, 2015): 109–22. http://dx.doi.org/10.7146/grs.v64i1.20923.
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Luthertolkningen i 1812-krøniken[The Interpretation of Luther in Grundtvig’s World Chronicle of 1812]By Anders HolmGrundtvig grew up in two Lutheran vicarages. Both homes were characterized by Lutheran orthodoxy but could not ignore the critical thoughts of the Enlightenment. During his studies at the University of Copenhagen Grundtvig was convinced of the truth of the new philosophy of reason. His father’s wish in 1810, however, that he become his curate demanded that he reconsidered the world-view which he thought to have left behind. It all ended in a crisis and a nervous breakdown, which resulted in his return to a faith strongly inspired by Luther.Grundtvig’s book Brief View of the World Chronicle in Context, 1812, aimed to find God in the course of events of world history. His method was to describe and evaluate the past and the present with the Bible as the standard, and he chose to concentrate on Luther and Melanchthon as the principal characters of the Reformation. Luther dismissed everything that was not based upon clear words from scripture as lies and delusions; Melanchthon was a skilful interpreter of Luther’s radical statements, expressing himself distinctly and unequivocally. After the deathof Luther, however, Melanchthon was influenced by Reformed theology. The principal difference between Reformed and Lutheran cultures, Grundtvig claimed, sprung from the fact that Zwingli had emphasized reason whereas Luther wasmore poetically inclined. Accordingly, two cultures with diverging directions developed. The belief in reason and inborn abilities had led the followers of the Reformed Church to social uprising, and their mentality made them oppose people of other opinions. Lutheran believers and supporters on the other hand, Grundtvig conceived of as more obedient to authority. In contrast to the Reformed culture, the Lutherans appreciated elements of beauty in their churches such as art, music and hymn singing.Finally, the assessment of the young Grundtvig as a Lutheran orthodox is discussed, with the result that this view cannot be confirmed. Grundtvig does not show any tendency towards building coherent dogmatics from single biblicalpassages. But the Bible still has a role to play in the judging of the past because, as a whole, it points to the true Christianity in history.
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Boren, Braxton B. "Acoustic simulation of J.S. Bach’s Thomaskirche in 1723 and 1539." Acta Acustica 5 (2021): 14. http://dx.doi.org/10.1051/aacus/2021006.
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This paper investigates an early acoustical theory of Hope Bagenal about the Leipzig Thomaskirche, where J.S. Bach composed and conducted from 1723 to 1750. Bagenal predicted that the church had a shorter reverberation time than previously in Bach’s time as a result of the Lutheran alterations to the space in the 16th century. This study uses on-site measurements to calibrate a geometric acoustical model of the current church. The calibrated model is then altered to account for the state of the church in 1723 and 1539. Simulations predict that the empty church in 1723 had a T30 value nearly one second lower than today, while the empty church in 1539 was much more reverberant than today. However, when the fully occupied church is simulated across all time periods, the difference in T30 is much smaller, with values at 1 kHz ranging from 2.7s in 1539, 2.5s in the present day, and 2.3s in 1723. These empirical data are crucial for understanding the historical setting of Bach’s music as heard by its original congregation and by its composer.
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Korkalainen, Samuli. "Interdisciplinary Approaches to the History of Lutheran Church Music in Finland." Trio 12, no. 1 (June 29, 2023): 43–48. http://dx.doi.org/10.37453/tj.125381.
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New perspectives on church music history in Finland are achievable with the interdisciplinary theoretical framework,i.e. by embracing theories, research perspectives and key concepts, from other scientific disciplines. By outlining the philosophical, theological, cultural and political atmosphere of the time, a deeper understanding about the motives of people active in standardising congregational singing in nineteenth-century Finland and Ingria as well as the impact of pan European influence was achieved.
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Lebaka, Morakeng Edward Kenneth. "The Influence of the African Religious and Cultural Context and Its Impact on Lutheranism: The Case of Greater Sekhukhune District Municipality." European Journal of Interdisciplinary Studies 8, no. 2 (October 1, 2022): 1–21. http://dx.doi.org/10.2478/ejis-2022-0001.
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Abstract In Greater Sekhukhune District Municipality, traditional religion has played a significant role in transforming Christianity by confronting it with the decisive issue of indigenization. The purpose of this study was, therefore, to examine the inter-religious relations among Christianity and African Traditional Religion (ATR), and to explore how African religious and cultural values have impacted on Christian – ATR relations within the municipality, and how the latter has, also, been affected by the former. The primary research question raised in this study is: what is the relevance of indigenous people’s music in the existing (Lutheran) liturgy? The study employed an intercultural theological approach to Science and Religion, and the analysis is based on acculturation and the principle of elimination by substitution. The study also utilized a triangulated and contextual approach, and data was collected through observations, face-to-face interviews and video recordings of rehearsals and performances during church services and other related events. Secondary sources included published books and Journal articles. The investigation has revealed that the integration of spiritual folk songs (choruses), traditional musical instruments, handclapping, and dancing into liturgical church service of almost all Evangelical Lutheran churches found in Greater Sekhukhune District Municipality, has not compromised the essence of Lutheran tradition. It has rather encouraged maximum, active and unimpeded participation in liturgical church service and/or Congregational singing. Indications from the investigation have also shown that the dimensions of rhythm play an important role to contextualize and Africanize the existing (Lutheran) liturgy, in order to make the missionary qualities of worship an integral part of mission work. During the study, it was also observed that musical creativity and musicality in the visited churches embrace other elements such as the capacity for becoming absorbed emotionally in music and the ability to enter into an intimate relation with it, so that the whole organization of the soul is affected. It was concluded that it is indeed of great significance that indigenous people’s music should be regarded as a matter of relevance and ultimately becomes a vessel which carries the full meaning of the Gospel.
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Lebaka, Morakeng Edward Kenneth. "The Influence of the African Religious and Cultural Context and Its Impact on Lutheranism: The Case of Greater Sekhukhune District Municipality." European Journal of Interdisciplinary Studies 8, no. 2 (October 1, 2022): 1–21. http://dx.doi.org/10.2478/ejis-2022-0011.
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Abstract In Greater Sekhukhune District Municipality, traditional religion has played a significant role in transforming Christianity by confronting it with the decisive issue of indigenization. The purpose of this study was, therefore, to examine the inter-religious relations among Christianity and African Traditional Religion (ATR), and to explore how African religious and cultural values have impacted on Christian – ATR relations within the municipality, and how the latter has, also, been affected by the former. The primary research question raised in this study is: what is the relevance of indigenous people’s music in the existing (Lutheran) liturgy? The study employed an intercultural theological approach to Science and Religion, and the analysis is based on acculturation and the principle of elimination by substitution. The study also utilized a triangulated and contextual approach, and data was collected through observations, face-to-face interviews and video recordings of rehearsals and performances during church services and other related events. Secondary sources included published books and Journal articles. The investigation has revealed that the integration of spiritual folk songs (choruses), traditional musical instruments, handclapping, and dancing into liturgical church service of almost all Evangelical Lutheran churches found in Greater Sekhukhune District Municipality, has not compromised the essence of Lutheran tradition. It has rather encouraged maximum, active and unimpeded participation in liturgical church service and/or Congregational singing. Indications from the investigation have also shown that the dimensions of rhythm play an important role to contextualize and Africanize the existing (Lutheran) liturgy, in order to make the missionary qualities of worship an integral part of mission work. During the study, it was also observed that musical creativity and musicality in the visited churches embrace other elements such as the capacity for becoming absorbed emotionally in music and the ability to enter into an intimate relation with it, so that the whole organization of the soul is affected. It was concluded that it is indeed of great significance that indigenous people’s music should be regarded as a matter of relevance and ultimately becomes a vessel which carries the full meaning of the Gospel.
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Hulková, Marta. "Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)." Studia Musicologica 56, no. 1 (March 2015): 3–37. http://dx.doi.org/10.1556/6.2015.56.1.1.
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Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.
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Berwig Silva, Fernando. "The Brazilian Hymnological Melting Pot: Investigating Ethnoracial Discourses in the Compilation of the Lutheran Hymnal Livro de Canto (2017)." Religions 15, no. 5 (May 17, 2024): 620. http://dx.doi.org/10.3390/rel15050620.
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In 1926, a New York Times article described the cultural and ethnic flows in south Brazil as a “Melting Pot”. The report predicted that German Brazilians, tied to their ethnoracial origin, would soon be Brazilianized. The study of congregational song practices offers insight into the relationship between migration, race, culture, and ethnicity. Moreover, investigating Brazilian Lutheran singing practices helps us understand how the New York Times’ prediction unfolded on the ground. This paper examines the Brazilian Lutheran hymnal Livro de Canto, published in 2017, and displays how Brazil’s ethnoracial diversity is manifested and negotiated in the Lutheran context, both musically and theologically. By interviewing members of the hymnal committee and investigating how they dealt with Brazil’s ethnoraciality in the context of the hymnal compilation, this paper demonstrates ways denominations and churchgoers negotiate theological, cultural, musical, and ethnoracial identities through congregational singing. More importantly, it showcases how Brazilian Lutheran church music practices inform broader social conversations around racism, nationalism, Blackness, and Brazilianness.
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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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Pilch, Marek. "Geistliches Gesangbüchlein by Johann Walter (1524) – the beginnings of polyphonic Lutheran music." Notes Muzyczny 2, no. 20 (December 31, 2023): 9–38. http://dx.doi.org/10.5604/01.3001.0053.9946.
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The article presents the profile and creative output of Johann Walter (1496-1570), who worked closely together with Martin Luther and Philip Melanchton, and who was called the first evangelical cantor and is in modern times regarded as the creator of institutional, aesthetic and theoretical bases of reformation music. Walter’s work entitled Geistliches Gesangbüchlein, first published in Wittenberg in 1524 and including a preface by Martin Luther, was the first ever collection of polyphonic chorale arrangements for Lutheran church using polyphonic patterns of Franco-Flemish school and German tenor songs. During the composer’s lifetime the collection was published six times in a form of books of voices and its subsequent editions gradually grew bigger: the last edition of 1551 consisted of 74 arrangements of German songs and 47 Latin motets!The article presents both the main assumptions of Lutheran “music theology” based upon what Luther and Walter said (compiled from different theoretical writings) as well as the possibility to use Geistliches Gerangbüchlein as the source of repertoire for modern instrumentalists and singers, especially the ones specialising in historical performance of Renaissance polyphony. A particularly interesting aspect for the author is the possibility to use Walter’s polyphonic arrangements by organists drawing inspiration from 16th century techniques (intavolation, diminutions), the patterns of which are included e.g. in The Organ Tabulature of John of Lublin, which was written almost in parallel to the reformation publications from the Wittenberg circle and which used them as well. Among the performance-related topics touched on in this article, the extensive fragment of Walter’s poem of 1564 entitled Lob und Preiss der Himmlichen Kunst Musica is what deserves special attention as it is devoted to polyphonic music and presents the characteristics and hierarchy of functions of each voice described in the following order: Tenor, Discantus, Basus, Altus and Vagans (in reference to 5-voice compositions that constitute a substantial portion of Geistliches Gerangbüchlein after all).The author of the article also points out that, apart from practical importance, Geistliches Gerangbüchlein today has a great hymnological value and constitutes the earliest source of many chorale melodies which have become part of a “canon” of a sort and are mostly used today in the liturgy of Protestant churches.
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Saurama, Anna, and Titus Hjelm. "Jesus and Metal Music Don’t Mix? The Controversy over the ‘Metal Mass’ in Finland." Journal of Religion in Europe 12, no. 1 (November 18, 2019): 27–48. http://dx.doi.org/10.1163/18748929-01201002.
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In 2006, a Metal Mass—a regular Lutheran mass with accompanying metal music—was celebrated in Helsinki and created a controversy on several online forums. On the one hand, the focus was the appropriateness of metal music in the context of a Christian mass. On the other hand, the issue at stake was the appropriateness of Christianity in the context of metal music and culture. In this article, we concentrate on how the controversy over the boundaries of ‘good’ religion is constructed in discourse about the appropriateness of metal music in the context of a national church and its services. We argue that the controversy over the Metal Mass is a case of broader negotiation between the function and performance of religious actors in contemporary Finland, yet when it happens within a secularized context, the temporarily full pews turn out to be an anomaly rather than a sign of revival.
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Moberg, Marcus. "Popular Music Divine Services in the Evangelical Lutheran Church of Finland: Concept, Rationale, and Participants." Journal of Religion and Popular Culture 30, no. 1 (March 2018): 35–48. http://dx.doi.org/10.3138/jrpc.2017.0032.r1.
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Borghesi, Maria. "Movement in Italian Dramatizations of J. S. Bach's Passions: From the Church to the Theater and Back." BACH: Journal of the Riemenschneider Bach Institute 54, no. 2 (2023): 237–72. http://dx.doi.org/10.1353/bach.2023.a907242.
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Abstract: The dramatization of J. S. Bach's Passions is now an accepted fact among audiences and music critics, but what were the beginnings of this tradition? This article examines the first two stagings of the St. John Passion and the St. Matthew Passion . These appeared in 1984–1985, staged by Pier Luigi Pizzi and Jurij Ljubimov, respectively, in two major Italian theaters (Teatro la Fenice in Venice and Teatro alla Scala in Milan) on the occasion of Bach's 300th anniversary and the European Year of Music. The focus is on the dimension of movement and the interaction among stage space, those involved in the production, and the audience. Using the available materials, I sketch the contours of the performance spaces, define the role of the actors on stage, and attempt to reconstruct their movements in relation to Bach's music and the Gospel narrative. These two case studies are related to other experiences with the dramatization of Bach's Passions in the Italian context by Edward Gordon Craig (1913, 1933), Ferruccio Busoni (1924), and Vittorio Biagi (1974, 1983, 1985). The aim is to identify common issues related to the staging of the Passions, and to clarify the ways in which macroand micro-movements were important for mediating Lutheran works such as the Passions for Catholicism.
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Agapova-Strizhakova, Elena A. "Gregorian Chant in Organ Sonatas by J.-N. Lemmens." Contemporary Musicology, no. 2 (2022): 107–19. http://dx.doi.org/10.56620/2587-9731-2022-2-107-119.
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The 1860s played a special role in the history of organ music in Belgium and France. This period was marked by the active development of substantive repertory and the establishment of the Franco-Belgian organ school. All the advances of this period could not be possible without the contribution of the Belgian composer, organist and teacher Jacques-Nicolas Lemmens. Brought up on the traditional for Catholic Belgium Gregorian chants and the organ works by Johann Sebastian Bach, Lemmens managed to organically transfer Bach's principles of working with Lutheran chant to completely different material of Gregorian hymns. Lemmens is also credited for the foundation of the first educational institution that trained church musicians. The three organ sonatas became the pinnacle of his work and the first examples of the synthesis of liturgical content and a secular form. The article reveals general patterns in the choice of themes from the large-scale corpus of Gregorian chants. The melody of the chorale can also be traced in parts in which no chorale is indicated. It shows a deep connection between Lemmens’s heritage and a thousand-year-old church musical tradition.
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Pidhorbunskyi, Mykola. "The Spread of Lutherance in the Grand Duchy of Lithuania and Its Influence on the Education Development and Music Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (December 3, 2021): 248–61. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245808.
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The purpose of the article is to determine the influence of Lutheranism on education and musical culture in the Grand Duchy of Lithuania. The research methodology includes cultural and historical analysis, which made it possible to analyze and investigate the influence of Lutheranism on musical culture in the Grand Duchy of Lithuania. Source studies and music-theoretical methods were used during the search and analysis of church-singing collections. The biographical method of research was used to systematize information about the life and work of theologians, composers and theorists. The scientific novelty of the research is the thorough analysis of the Lutheranism influence on education, book publishing and musical art. The first church chanting collections have been identified, in which a gradual transition from monody to polyphony is traced. Conclusions. In the process of studying the influence of Lutheranism on education and musical culture in the Grand Duchy of Lithuania, it was established that one of the main ways of introducing Protestant ideas was the education of gentry and bourgeois Ukrainian youth in Western European Lutheran universities. The competition between Orthodox, Catholic and Protestant schools that existed in the Grand Duchy of Lithuania contributed to the development of education in the country. In the 16th century, Vilno was a printing centre of the Grand Duchy of Lithuania, where printers competed with each other, publishing books in different languages and with opposite religious positions. During this period, thanks to the Lithuanian Protestants, church chanting collections were published. The chants in the first collections combined the stylistic tendencies of Protestant chorales, Czech reformers, and the traditions of local craftsmen.
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Rose, Stephen. "PATRIOTIC PURIFICATION: CLEANSING ITALIAN SECULAR VOCAL MUSIC IN THURINGIA, 1575–1600." Early Music History 35 (September 28, 2016): 203–60. http://dx.doi.org/10.1017/s0261127916000048.
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In German-speaking lands until the 1580s, Italian secular vocal music was mainly cultivated by a narrow elite of aristocrats and merchants who valued its exclusivity. Yet some German patriots – teachers, clergy and humanists – regarded such foreign imports as emasculating luxuries that would corrupt their national character. This article examines four collections of contrafacta of Italian villanellas and madrigals that were published in Erfurt and have been neglected by modern scholars: the Cantiones suavissimae (1576 and 1580), Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas (1587) and Amorum filii Dei decades duae (1598). According to the prefatory material of these anthologies, their editors were motivated by a patriotic agenda of purifying Italian secular song and by a Lutheran belief in the intrinsic holiness of music. This article provides the first comprehensive identification of the originals of the contrafacta, showing that the latest Italian secular repertory travelled as speedily to Thuringian towns as to the better-known publishing centre of Nuremberg. The process of transformation in the contrafacta is discussed, including examples where church officials ruled that the change of text was insufficient to cleanse the tunes of their lascivious connotations.
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Taylor, Kristín Jónína. "Now the Sun Sinks in the Sea: The Sacred Works of Þorkell Sigurbjörnsson." Athens Journal of Humanities & Arts 9, no. 4 (September 27, 2022): 291–306. http://dx.doi.org/10.30958/ajha.9-4-2.
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Þorkell Sigurbjörnsson’s contributions to Icelandic music were manifold, encompassing teaching, composition, arts administration, music criticism, radio program hosting, solo and chamber performance, conducting, and countless other accomplishments. He remains the most prolific of all Icelandic composers with over 350 compositions. Those works for which Þorkell is best known are his exquisite sacred works, of which there are at least fifty. For that reason, this paper will focus on Þorkell’s sacred works and the diversity of approaches he utilized. Þorkell had familial connections with the Iceland Lutheran Church. A number of his compositions were settings of his father's poetry, including the hymn Nú hverfur sól í haf. The most notable and famous of his hymns is Heyr, himna smiður, a setting of a 13th century hymn text by Kolbeinn Tumason. Other prominent works include several choral settings of Psalms of David, a Missa Brevis, and the oratorio Immanúel, which was based on text by Þorkell’s brother Bishop Karl Sigurbjörnsson. The sacred works Þorkell wrote are not restricted to choral compositions, as there are several instrumental works (including Blessed Be the Feet of the Peacemaker for organ pedals).
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Hellberg, Jan. "To worship God in our way: disaffection and localisation in the music culture of the Evangelical Lutheran Church in Namibia." Journal of Musical Arts in Africa 7, no. 1 (December 2010): 17–50. http://dx.doi.org/10.2989/18121004.2010.575987.
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Woźniak, Alan. "Rola pieśni w języku polskim według Piotra Artomiusza i Michała Marcina Mioduszewskiego." Copernicus. De Musica 1, no. 1 (2022): 101–7. http://dx.doi.org/10.15804/cdm.2022.1.11.
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The article attempts at answering the question concerning the role attributed to religious songs in the native language by Piotr Artomiusz, a Lutheran pastor and author of the hymnal, and Michał Marcin Mioduszewski, a Catholic priest and a collector of religious music. Their works – the Hymnal of Artomiusz and the Songbook… of Mioduszewski, played a significant role in the then religious communities and serve as a valuable example of transmission of a religious song in Polish. Statements provided by both authors in their collections allow the author to discuss their purpose; the role of the vernacular and the song in Polish in the liturgy and personal piety; the addressees of the collections, as well as the function of Polish translations of psalms. The juxtaposition of authors’ statements reveals similarities and differences in the perception of language and vernacular song in Church. The examination of those statements is crucial for a better understanding of the role of songs in the native language, especially of the song in Polish that became an important element of the tradition of Polish Lutheranism.
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Bachul-Cienciała, Ewelina. "The song of faith on the organ – the musical heritage of Karol Hławiczka and Adam Hławiczka." Notes Muzyczny 2, no. 20 (December 31, 2023): 97–120. http://dx.doi.org/10.5604/01.3001.0053.9950.
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The Hławiczka Brothers, Karol (1894-1976) and Adam (1908-1995), were composers and organists connected with Cieszyn Silesia. Their rich creative output covers organ pieces, a great majority of which used melodies taken from the Lutheran chorale. The way they treated musical themes originating from church songs is the main aspect touched on in the analyses of their compositions presented in this article. The Hławiczka brothers intentionally fit their works into the liturgical music trend, which had been present in the organ literature since the 15th century. Even though they primarily refer to the Romanticism, in many aspects their pieces bear resemblance to earlier musical styles.The present article is a documentation of the author’s previous studies on organ music in Cieszyn Silesia, especially works written by the Hławiczka brothers. The aim of these studies was to promote the little-known music of these Silesian composers among organists and to encourage performers to search for and discover forgotten sources of Polish music. The article outlines the historical and cultural context of that region, presents the biographies of both composers, discusses their organ compositions and – based on the performed analysis of selected works – it characterises the style features of each creator. The author relied solely on the currently available sheet music editions, which only contain selected pieces by these composers. Other variants of the already published pieces, which very likely exist in a form of manuscripts, as well as unpublished compositions provide a space for further discovery and analysis and perhaps – after re-editing music sheets – re-issuing the edition of organ pieces by the Hławiczka brothers, thanks to which their music would certainly gain more interest among performers.
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Illenseer, Louis Marcelo. "LINGUAGEM INCLUSIVA: RELATO DE DUAS EXPERIÊNCIAS SOBRE A COMPOSIÇÃO MUSICAL SACRA E JUSTIÇA DE GÊNERO." REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 12, no. 19 (June 26, 2018): 39. http://dx.doi.org/10.20890/reflexus.v12i19.715.
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Este artigo apresenta, analisa e discute questões relacionadas à justiça de gênero utilizando como critério transversal a utilização de linguagem inclusiva de gênero nos processos de composição de música sacra. Para tanto, são apresentados relatos referentes a dois eventos distintos que envolvem a temática: 1) o Musisacra, festival de música sacra do Sínodo Espírito Santo a Belém, da Igreja Evangélica de Confissão Luterana no Brasil (IECLB); e 2) encontros de produção de recursos litúrgicos da organização ecumênica Red Crearte. Os relatos demonstram a importância e a necessidade do tratamento transversal da linguagem inclusiva nos processos de criação musical como ferramenta para a construção da justiça de gênero nas relações entre mulheres e homens.This article presents, analyzes and discusses questions related to gender justice, using as a transversal criterion the use of gender inclusive language in the processes of sacred music composition. For this purpose, reports on two different events involving the theme are presented: 1) Musisacra, sacred music festival of the Espírito Santo Synod to Belém, of the Evangelical Church of Lutheran Confession in Brazil (IECLB); and 2) meetings for the production of liturgical resources of the ecumenical organization Red Crearte. The reports demonstrate the importance and necessity of the transversal treatment of inclusive language in the processes of musical creation as a tool for the construction of gender justice in the relations between women and men.
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Przybyszewska-Jarmińska, Barbara. "The Polish Contribution to Central European Musical Culture in the Seventeenth Century. The Case of Marcin Mielczewski." Musicological Annual 40, no. 1-2 (December 17, 2021): 137–48. http://dx.doi.org/10.4312/mz.40.1-2.137-148.
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The seventeenth-century Commonwealth of Poland and Lithuania, embracing the lands of the Polish Crown (together with the territory of present-day Ukraine) and the Grand Duchy of Lithuania, belonged geographically to both Central and Eastern Europe. It was a multiethnic and multiconfessional state, in which the Latin and Greek cultures were mutually interactive. With regard to the musical culture of the royal court, however, itwas the close ties with Italy that were of the greatest significance. The Polish kings of the Vasa dynasty (above ali Zygmunt III and Władysław IV) maintained music chapels consisting to a considerable extent of Italian musicians, among whom were Luca Marenzio, Giulio Cesare Gabussi, Asprilio Pacelli, Giovanni Francesco Anerio and Tarquinio Merula. Thanks to the Polish patronage, they not only composed newworks, but also trained musicians of various nations belonging to the royal ensembles. Among the composers trained at the Polish court was the Italian Marco Scacchi (d. 1662), chapel-master to Władysław IV, the composer of operas staged in the royal theatre, and also a music theorist – the author of a classification of musical genres which was produced during Scacchi's dispute over music theory with the Gdansk organist Paul Siefert. This dispute contributed to the popularisation across Europe of the works of Scacchi and also of other musicians associated with the court of the Polish Vasas. Extant handwritten sources of Silesian provenance (belonging to the Emil Bohn collection, currently held in the Staatsbibliothek Preussischer Kulturbesitz in Berlin) testify the considerable interest in this region (now within the Polish borders, but in the seventeenth century constituting a dominion of the Empire) in the religious compositions of Marcin Mielczewski (d. 1651), musician to Władysław IV (until 1644) and subsequently, until his death, chapel-master to Karol Ferdinand Vasa, Bishop of Płock and Wrocław. Of Mielczewski's compositional output for the needs of the Roman Catholic Church, copyists from Lutheran circles in Wrocław chose primarily psalms that were universal to the Christian repertory, furnishing those works whose texts chimed with the doctrine of the Augsburg confession with more appropriate texts of German-language contrafacta. However, this method was not always successful in eliminating traces of Catholicism, which remained, for example, in the melodies of works based on pre-compositional material drawn by Mielczewski from Marian songs that were popular in Poland (e.g. the church concerto Audite gentes et exsultate, also preserved in a version with the text of a German-language contrafactum entitled Nun höret alle, based on the song O gloriosa Domina, which in the former Commonwealth was treated as a chivalrous hymn).
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Zhukova, Olena A. "Ukrainian baroque instrumental music in the context of European culture." Notes Muzyczny 1, no. 13 (June 9, 2020): 125–41. http://dx.doi.org/10.5604/01.3001.0014.1946.
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The study presents an overview of the history of instrumental music in Ukraine, where choir and solo singing has always played a prominent role. Singing was a substantive part of the church life and folklore of the city and countryside. Thus, the more prominent was the distribution of instrumental music, which embodied cultural links between Ukraine and other European countries. Instrumental music tradition, more common for Catholic and Lutheran countries, came to Ukraine and brought some remarkable examples of brilliant composers with great theoretical and performing skills. Many important names, which belong to Ukrainian musical culture, have been known in the Western Europe as ‘Russian’. For many foreign researchers ‘The Former Soviet Union’ remains a terra incognita, where the national origin of an artist is some- times forgotten. In the past, for many years the most talented Ukrainian musicians were invited or came for fame and money to other countries and became popular there. Although they often got music education in Ukraine, they were often considered as representatives of the Russian culture. For some time, Ukraine was the source of specialists for nearby countries, so it was the ‘in-between’ between the Western European and Slavonic musical cultures. Rediscovering it by research, performing and elaborating is a very important task for modern Ukrainian per- forming musicians as well as for scholars. Historically Informed Performance in Ukraine nowadays is also an important field for research and promotion among professionals and non- professionals. Achievements in the field of rediscovering of early music are often unknown in the wide circle of musicologists and performing musicians. At the same time, this knowledge can turn out useful not only for early music lovers, but also for musicians who play classical repertoire. This path easily creates many opportunities for collaboration between Ukrainian and European musicians and forms a positive image for Ukraine on the world scene. It also explains the importance of the study.
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Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.
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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai and Skuodas districts, the author of the article gathered material on this folk piety practice in religious feasts of Saint Mary Magdalene, Saint Roch, and Saint Anne etc. taking place in Grūstė, Ylakiai, Židikai, Vaičaičiai and elsewhere. These feasts take place in cemeteries, while the Mass, their main sacral highlight, is performed in the cemetery chapel or in a nearby church. People gather to the feasts in order to visit the graves of their diseased and meet with their relatives, inviting brass musicians to perform the ritual at the graveside. The ritual comprises several parts: intention, the sign of the cross in the beginning and at the end, prayers (the Lord’s Prayer, the Hail Mary, and “Eternal Rest”), a stanza from a popular traditional religious hymn, which is both sung and played, the prayer “Eternal Rest”, which is both sung and played antiphonally this time, and traditional Catholic greeting (“Honor be to Jesus Christ”). These parts make up a slightly varying “scenario”, which usually takes 3 to 3,5 minutes to perform. The structure of ensembles (from 2 to 4 musicians), their age (from 12 to 83 years old), the actual instruments (trumpets, tuba, tenor, baritone, saxophone, etc.), and style of performance also vary. The self-educated musicians of the elder generation usually play in the traditional way, i.e. loudly, slowly and inaccurately. The younger generation representatives, usually having acquired some professional music education, have adopted more esthetic style of performance, using reduced volume and “intermediate” fragments to fill in the pauses. In 2017, the tendency was noted of forgoing prayers and including several stanzas of a particularly popular modern hymn instead of one. This would indicate an attempt at changing the tradition in order to adapt to the popular culture, or even belonging to it. In search for roots of this custom of folk piety, the author of the article employs the historical sources from the 17th–18th centuries. According to her analysis, the main point of the ritual – the prayer “Eternal Rest” – was actively used not only in the rituals of the 19th–20th century, but also as early as the Baroque period, while its origins may reach back to the medieval teachings on purgatory. The last line of this prayer (“May they rest in peace. Amen”) was used as a quiver prayer. The arrow as symbol was highly favored in Baroque heraldic, poetry, panegyrics; it used to be compared not only to prayer, but also to the loud and powerful sound of the brass instruments. The brass instruments acted as a concurrent accompaniment of both religious and secular festivals of the time, playing an important role both in the Roman Catholic and in the Evangelical Lutheran traditions. While seeking to clarify the reasons for trumpets being played at cemeteries and the meaning of this ritual, it appeared that in the Catholic Samogitia there still survives a belief in the trumpet accompanied prayer to have the power of alleviating the suffering of souls in the purgatory. People inviting the brass musicians to play at the graveside even in the modern times believe that such prayer goes straight to heaven and easily reaches the God.
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Wetters, Brent. "Allegorical Erasmus: Bruno Maderna's Ritratto di Erasmo." Cambridge Opera Journal 24, no. 2 (July 2012): 159–76. http://dx.doi.org/10.1017/s0954586712000183.
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AbstractThis essay aims to find a unifying thread amid the eclectic works of Bruno Maderna, and also to situate his compositional philosophy in relation to his more famous colleagues of the Darmstadt Summer Courses. More than any of the other composers at Darmstadt, Maderna was committed to its ‘project’ and to the values it placed on musical discourse, in spite of the fact that he seemed to abstain from its often-heated polemics. In contrast to many of his colleagues, Maderna was not one to speak at length about his compositions, preferring to express himself through his music. However, one work – his 1969 radio documentary, Ritratto di Erasmo – makes a poignant statement both about his music and the post-war generation as a whole. By championing Erasmus's equivocation, the work reveals something of Maderna's relationship to the arguments at Darmstadt. Just as Erasmus was situated between Luther and the Catholic Church, Maderna seemed to sit silently in the middle, while the more ideologically inclined composers swarmed at the periphery.
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VARWIG, BETTINA. "JOYCE L. IRWIN , ED. AND TRANS. FORETASTES OF HEAVEN IN LUTHERAN CHURCH MUSIC TRADITION: JOHANN MATTHESON AND CHRISTOPH RAUPACH ON MUSIC IN TIME AND ETERNITY London: Rowman and Littlefield, 2015 pp. xlix + 162, isbn 978 1 442 23263 1." Eighteenth Century Music 15, no. 1 (March 2018): 63–65. http://dx.doi.org/10.1017/s1478570617000434.
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Lj. Мinic, Vesna, and Marija M. Jovanovic. "RELIGIOUS EDUCATION DURING THE FIRST CYCLE OF PRIMARY EDUCATION IN SERBIA." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (March 20, 2019): 373–77. http://dx.doi.org/10.35120/kij3002373m.
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Religious education as part of the modern society in Serbia is a subject of numerous interdisciplinary scientific studies. Modern education systems in countries where major socio-economic and political changes take place are undergoing major transformations and reforms. Their goal is to make changes to the education process and integrate it into the developmental trends of society, as well as to succeed in the affirmation of cultural and national values. Therefore, the relationship between religion and education, as a form of human consciousness and the need for a successful and fulfilled life in a given society, is very important. Transition processes in Europe have actualized the issue of religion and religious education as an integral part of the teaching process, and have contributed to a more intensive study of these topics. Christianity is the predominant religion in Serbia, or Orthodoxy, to be more accurate. However, there are other religious communities as well, such as: Islamic, Roman Catholic, Jewish, Protestant, etc. In primary and secondary schools in Serbia, religious education is being taught as an optional subject (students are given a choice between civic education and religious education), which is assessed descriptively and not included in the final grade. During the first cycle of primary education, subjects that teach about a particular religion are the following: Orthodox catechism (religious education), Islamic religious education, Catholic religious education, Evangelical Lutheran religious education of the Slovak Evangelical Church, Religious Education of the Christian Reformed Church, Jewish religious education. In addition to religious education, subjects containing religious topics are also: Serbian language, Nature and Society, Music Education, Visual Arts, Folk Tradition. The correlation and the link among the above-mentioned objects will make religious education more meaningful and more interesting for children. The main goal of teaching religion as an integral part of school subjects during the first cycle of primary education in Serbia is the preservation of religion. Religion is a very old social phenomenon which has not lost its significance and topicality to this day; on the contrary, it is becoming more and more present in people’s lives, and it represents a system of ideas, beliefs and practices, a specific type of behavior towards the world, society, man, nature. As such, it is equally significant as art, science, philosophy, etc. Besides the preservation of religion, another goal of religious education is to familiarize children with a certain religion, to teach them the basic characteristics of that religion, to teach them prayers, the significance of liturgy, and the customs of the religion children are learning about. It is important to emphasize that religious teaching should be in a form of an open and tolerant dialogue, while respecting other people’s religious beliefs, in order for it to be meaningful and worthwhile.
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Marynchak, A. V. "Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 213–29. http://dx.doi.org/10.34064/khnum2-18.12.
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The objectives of the research. The article is devoted to the study of the main parameters of the Marian theme embodiment in the art of music, with highlighting the aspects of history and genre stylistics. It is noted that the choice of the topic is related to the study of the works by the Kharkiv composer of Polish origin Konstanty Antoni Gorski, who worked in Kharkiv for many years (1880–1910) and belongs to the founders of his academic musical culture. The article lays the methodological basis for studying interpretation of the Marian theme in the works by this author, for that the analysis of the relevant sources (theological, musicological, etc.) has been carried out to derive the genre-stylistic classifications for this phenomenon (confessional, genre, national classifications). The results of the study. It is noted that the Marian theme in music can be classified as one of its central themes. This is due to the general ethical and natural content of the European music of the academic layer, which itself, as it is known, originated from the Church music and retained the features of high contemplation inherent in the cult genres, which determined the prospect line for the subsequent development of the Christian world music. The study emphasizes that the image of the Blessed Virgin Mary acts as a part and an important component of the New Testament, where two her main hypostases are presented. The Virgin Mary is honored and praised, firstly, as the Mother of the Son of God, who experienced suffering with him for the good of humanity, and secondly, as the intercessor and guardian of people who believe in her divine power and destiny. Here, the two interpretations of the Blessed Virgin’s image should be borne in mind, which are implemented at the confessional level – in the Catholic and Orthodox liturgical service. The whole branch of knowledge, called Mariology, is devoted to the study of these issues in the European theology and art history. The musical aspects of this field, presented in the monograph by O. Nemkova (2013), are closely related to religious teachings, as well as to their secular reflection at the level of the genre, style and stylistics of the musical works. The musical interpretation of the Blessed Virgin’s image, coming from Catholicism is based on the postulates of Her Divine destiny, which is reflected in the canonical texts in Latin, among which two main ones stand out – “Stabat Mater” and “Salve Regina”. These texts are realized in the cantata genre, the basis of which is the style of da chiesa, that is, the concerto itself in the church that accompanies the service in honor of Virgin Mary. The latter takes place in such holidays: Conception of Mary by Her mother Anna, Nativity of Mary, Presentation of Mary, Annunciation, Dormition of the Mother of God. The prayer “Ave Maria” is also very popular, and it has become for many European authors the basis of both applied religious and secular works, an example of which is the music of Early Baroque, Romanticism and Modern times. The secularization processes that began in the music of the Christian world on the turn of the Late Renaissance and Baroque (the watershed here is the 1600 year, the official year of the opera genre birth), called to life two groups of works on Marian themes: 1) the compositions nearby to the canonical original, as a rule, Latin texts (they were distributed among Catholics by religion and in Catholic countries); 2) the works modified, based on translations and free narrations of canonical texts given in the national languages and in suitable stylistics of one or another national culture (this is characteristic of Protestantism, as well as of Orthodoxy). There is also a deep line of interpretation of the Blessed Virgin’s image, personifying the eternal idea of motherhood and femininity, which is equally characteristic of many national musical cultures, in particular, the non-religious wave that manifested itself in Slavic music, first at the turn of the 19th – 20th centuries, and then – during the last two decades of the 20th century. It is noted that Gorski, remaining a devout Catholic by the nature of his activity in such interfaith cultural center as Kharkiv in the late 19th – the first two decades of the 20th centuries, embodied in his work the traditions and demands coming from the Polish (Catholic) as well as the Ukrainian (Orthodox) and French and German (Lutheran, Protestant) musical cultures. On this basis, three of his opuses devoted to Virgin Mary arose: the Catholic cantata “Salve Regina” (for voice, violin and organ), the concerto-cantata in French “Salutation a la Sainte Vierge” (for soprano accompanied by choir, organ, string quintet and two French horns), and the choral concerto for the Orthodox mixed choir “Zriaszcze mia bezglasna” on the Old Slavonic text. Each of these works is a special genre form, with which Gorski works as with a standard model equipped with a lexical layer of a certain musical stylistics, primarily national. The Polish song and romanza sources are traced in the first of the works, along with the obvious influence of the opera arias. In the cantata on the French text, echoes of not only opera scenes are heard, but also the elements of the programme music, story-telling, characteristic of French musical style. Finally, the Orthodox choral Concerto on the Old Slavonic text demonstrates the typical genre of the Ukrainian music – the large form intended for collective choral performance that was the equivalent of a symphony in the Western European musical culture. Conclusion. It is proved that, guided by the world experience, Konstanty Antoni Gorski embodies all these models in three Marian works – the canonical church cantata, the larger-scale secular cantata, the a cappella choral concerto, while remaining a composer with original and unique intonational thinking. Gorski in these three compositions appears as a neoclassic, subordinating the original genres to his own creative intentions, which makes the music of these compositions comprehensible and accessible to a wide audience. It was that for the purpose to popularize the opuses by Gorski this article has been written.
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Graham, Kenneth J. E. ""Clear as heav'n:" Herbert's Poetry and Rhetorical "Divinitie"." Renaissance and Reformation 41, no. 2-3 (January 1, 2005): 183–201. http://dx.doi.org/10.33137/rr.v41i2-3.9528.
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Cet article montre que George Herbert, tout comme d'autres interprètes de cette période, a probablement utilisé une herméneutique rhétorique dans le but de mettre en contexte et d'harmoniser des textes bibliques en apparence contradictoires. On donne premièrement des exemples de ce processus herméneutique à l'aide des réponses d'Érasme et Thomas Swynnerton au problème d'interprétation des textes bibliques sur le pouvoir de la volonté. On examine ensuite l'approche de Herbert dans son exégèse biblique du Country Parson et de la «Divinitie». On montre finalement que l'interprétation de Herbert des passages du Nouveau Testament sur le pouvoir des clés dans le «The Priesthood» et le «Church-Lock and Key», tout comme ceux de Luther, Calvin et Richard Hooker, suggère une influence des habitudes rhétoriques
de la pensée.
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Nikolajsen, Jeppe Bach. "Church, State, and Pluralistic Society." International Journal of Public Theology 15, no. 3 (October 27, 2021): 385–400. http://dx.doi.org/10.1163/15697320-01530006.
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Abstract This article demonstrates that Lutheran teaching on the two regiments can be drawn in different directions and how it was drawn in a particular direction for centuries so that it could provide a theoretical framework for mono-confessional Lutheran societies. It argues that the Lutheran two regiments theory can be developed along a different path, regaining some emphases in Luther’s early reflections: it can thereby contribute to an improved understanding of the role not only of the church but also of the state. While a number of Lutheran theologians believe that Lutheran teaching on the two regiments is particularly difficult to apply today, with some even contending that it should simply be abandoned, this article argues that Lutheran teaching on the two regiments could present a potential for a relevant understanding of the relationship between church, state, and society, and its ethical implications in a contemporary pluralistic society.
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Markkola, Pirjo. "The Long History of Lutheranism in Scandinavia. From State Religion to the People’s Church." Perichoresis 13, no. 2 (October 1, 2015): 3–15. http://dx.doi.org/10.1515/perc-2015-0007.
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Abstract As the main religion of Finland, but also of entire Scandinavia, Lutheranism has a centuries-long history. Until 1809 Finland formed the eastern part of the Swedish Kingdom, from 1809 to 1917 it was a Grand Duchy within the Russian Empire, and in 1917 Finland gained independence. In the 1520s the Lutheran Reformation reached the Swedish realm and gradually Lutheranism was made the state religion in Sweden. In the 19th century the Emperor in Russia recognized the official Lutheran confession and the status of the Lutheran Church as a state church in Finland. In the 20th century Lutheran church leaders preferred to use the concept people’s church. The Lutheran Church is still the majority church. In the beginning of 2015, some 74 percent of all Finns were members of the Evangelical Lutheran Church of Finland. In this issue of Perichoresis, Finnish historians interested in the role of church and Christian faith in society look at the religious history of Finland and Scandinavia. The articles are mainly organized in chronological order, starting from the early modern period and covering several centuries until the late 20th century and the building of the welfare state in Finland. This introductory article gives a brief overview of state-church relations in Finland and presents the overall theme of this issue focusing on Finnish Lutheranism. Our studies suggest that 16th and early 17th century Finland may not have been quite so devoutly Lutheran as is commonly claimed, and that late 20th century Finland may have been more Lutheran than is commonly realized.
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Marshall, Bruce. "Lutherans, Bishops, and the Divided Church." Ecclesiology 1, no. 2 (2005): 25–42. http://dx.doi.org/10.1177/1744136605051885.
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AbstractLutheran teaching on ministry, as embodied in the Lutheran Confessions, includes a strong preference for the traditional episcopate and threefold ministry of the Western church, while granting that the church can, if necessary, live without them. This teaching permits Lutheran churches that do not have episcopal succession to adopt it from churches (whether or not Lutheran) that do. As the ongoing controversy over the Lutheran/Anglican agreement in the US exemplifies, however, Lutheran churches have been highly resistant to this step. The reasons for this are not peculiar to Lutheranism, but lie in the assumption of denominational self-sufficiency which affects virtually all modern ecumenism.
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Edwards, Denis. "Synodality and primacy: Reflections from the Australian Lutheran/Roman Catholic Dialogue." Pacifica: Australasian Theological Studies 28, no. 2 (June 2015): 137–48. http://dx.doi.org/10.1177/1030570x16648972.
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A fundamental level of Receptive Ccumenism is that of the reception by a dialoguing church of an institutional charism of a partner church as a gift of the Spirit. It is proposed here that in the Lutheran/Roman Catholic Dialogue in Australia, this kind of receptivity has been evident in two ways. First, at least in part through this dialogue, the Lutheran Church of Australia has come to a new reception of episcopacy. Second, in and through this same dialogue, Roman Catholic participants have come to see that their church has much to receive from the Lutheran Church of Australia with regard to synodality, above all in fully involving the lay faithful in synodal structures of church life.
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Asta, Theodore W. "Sixteenth-Century Lutheran Church Orders." Liturgy 9, no. 4 (January 1991): 42–53. http://dx.doi.org/10.1080/04580639109408750.
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Siebein, Gary, Hyun Paek, and Joshua Fisher. "Grace Lutheran Church, Naples FL." Journal of the Acoustical Society of America 119, no. 5 (May 2006): 3370. http://dx.doi.org/10.1121/1.4786523.
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Eligator, Ronald. "Roseville Lutheran Church, Roseville, MN." Journal of the Acoustical Society of America 119, no. 5 (May 2006): 3399. http://dx.doi.org/10.1121/1.4786717.
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Schwarz, Hans. "The Lutheran Church and Lutheran Theology in Korea1." Dialog 50, no. 3 (September 2011): 289–96. http://dx.doi.org/10.1111/j.1540-6385.2011.00625.x.
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Imeldawati, Tiur, Rencan Charisma Marbun, and Warseto Freddy Sihombing. "Ekklesiologi Martin Luther Sebagai Dasar Tata Gereja Aliran Lutheran di Indonesia." Jurnal Teologi Cultivation 6, no. 2 (December 31, 2022): 18–31. http://dx.doi.org/10.46965/jtc.v6i2.1667.
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Martin Luther as a great theologian has left a theological view that has a wide influence in the world, especially for the Lutheran churches. Martin Luther's ecclesiology has also been used as the basis for the Lutheran church order. What did Luther believe about ecclesiology? This is what this research tries to examine, and Luther's view has become the basis for Lutheran churches to carry out church programs related to their marturia, koinonia and diakonia. Has anything changed after hundreds of years have passed and how do Lutheran churches live up to Luther's belief in church life? This is what is studied in the research conducted by the author. This is interesting because the great influence of a Luther has been recognized by the world church.
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Gruk, Wojciech. "Alle drey Ding vollkomen sind! On the Meaning of Naming the Church after Holy Trinity According to Josua Wegelin, Preacher in Pressburg, Anno 1640." Periodica Polytechnica Architecture 48, no. 1 (April 12, 2017): 23–27. http://dx.doi.org/10.3311/ppar.10125.
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Based on two erudite occasional prints from 1640, commemorating the consecration of the new Lutheran church in Bratislava, the article concerns the meaning of a church name in the mid-17th century Lutheran religious culture. The issue is set and discussed in the broader context of Lutheran theology regarding places of cult: what is a Lutheran place of cult, what is its sacredness, what is the relationship between church architecture and the worship space it determines. From the perspective of cultural studies, the article provides an insight into the process of imposing the architecture with symbolic meaning.
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Hiebsch, Sabine. "Dutch Lutheran Women on the Pulpit." Church History and Religious Culture 103, no. 3-4 (December 18, 2023): 259–84. http://dx.doi.org/10.1163/18712428-10303014.
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Abstract In the course of the Twentieth century, the roles for women in Protestant churches in Europe expanded to include the possibility of participating in the church office of minister. For the Evangelical-Lutheran Church in the Kingdom of the Netherlands, the year 2022 marked the centenary of women in the ordained ministry. On June 12, 1922, the Lutheran synod decided that, according to the existing regulations, women could also be admitted as candidates for the ministry. In 1929 Jantine Auguste Haumersen (1881–1967) became the first female Lutheran minister in the Netherlands and worldwide. This made the Lutheran church, after the Mennonites and the Remonstrants, the third denomination in the Netherlands where women could hold the office of minister. Utilizing a broad cultural analysis and based on recent extensive archival research this article describes the turning points in the development of women’s ordained ministry in the Lutheran Church in the Netherlands.
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Mashabela, James Kenokeno. "Lutheran Theological Education to Christian Education in (South) Africa: A Decolonial Conversion in the African Church." Religions 15, no. 4 (April 12, 2024): 479. http://dx.doi.org/10.3390/rel15040479.
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It can be debated whether a Lutheran identity is still relevant in the midst of ecumenical development in (South) Africa, with special reference to theological education and Christian education. The Lutheran Church is a unique body within the ecumenical family as it contributes to work on the mission of God. Theological education and Christian education are educational centres which aim to promote social justice towards community development. These two educational centres are branches of the Lutheran Church. Taking into account the fact that theological education and Christian education were introduced by European and American missionaries with various church traditions in (South) Africa as part of community development, the purpose of this article is to discuss the impact of Lutheran theological education and Christian education, to demonstrate their contribution in the church, and call for their decolonisation and contextualisation.
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Haapalainen, Anna. "An emerging trend of charismatic religiosity in the Evangelical Lutheran Church of Finland." Approaching Religion 5, no. 1 (May 26, 2015): 98–113. http://dx.doi.org/10.30664/ar.67568.
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The membership rates of the Evangelical Lutheran Church are declining; thus its position in society is becoming more and more precarious. This article focuses on a description of how charismatic religiosity, as one possible answer to the challenges faced, has gained a foothold inside the Evangelical Lutheran Church of Finland and what might be the premises that have made its emergence within an institutionalized Evangelical Lutheran religion possible. Because of the several decades of work done by the association known as Spiritual Renewal in Our Church, the publication of the Bishops’ Commendation, and the Church’s awakening to the ‘crisis of the folk church’, more doors have been opened to collaboration and the search for sources of inspiration.