Relevant bibliographies by topics / Church Music Society

Academic literature on the topic 'Church Music Society'

Author: Grafiati
Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Church Music Society"

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Călin Boba, Adrian. "CHURCH CHORAL SINGING IN HISTORICAL BANAT." ИСХОДИШТА 9, no. 1 (July 5, 2023): 27–35. http://dx.doi.org/10.46630/ish.9.2023.2.

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If some very well-documented treatises have been written about Romanian choral church music from Banat, which will also support the scientific research of some of the works that will be born according to this plan, instead of Serbian church music, an integral part of church choral music from Banat, we have too little data on in the Romanian language, thus feeling, over time, the lack of specialized discussions (be it biographies or analyzes of the work of Serbian composers, musicologists or systematizers) that would become bigger and more acute, deals in depth with this important aspect of church choral music in Banat. Moreover, about how the two branches first evolved separately, then together, and again separately from the 19th century, how they influenced each other, how they passed on to their descendants an almost unchanged heritage, there are too few writings and specialty studies, which led to the decision to address this topic. Studying the work of the first known musicologists, composers and systematizers of Serbian choral church music in the 19th and 20th centuries. century (I. Marinković, Kornelije Stanković and especially St. Stojanović Mokranjac) we believe that the academic treatment of the personalities and activities of these musicians as well as the scientific presentation of their contribution in the reading, saving, preserving and transmitting all data related to Banat church music, up-to-date from the point of view of musicological research, is more than desirable. The beginnings of the choral activity of the Serbs in the Romanian Banat can be found in the fourth decade of the 19th century, first in Timisoara (1836), with the establishment of the Serbian Orthodox Cathedral Choir and the Serbian Singing Society, then in 1876. (according to some authors in 1896) Society of Serbian songs from Arad.
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Akande, Sunday. "Engaging the Efficacy of Nigerian Popular Gospel Music and Pentecostalism for Nigerian Church Growth." NIU Journal of Humanities 8, no. 4 (December 31, 2023): 209–15. http://dx.doi.org/10.58709/niujhu.v8i4.1745.

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In the 1970s and 1980s there was the emergence of Pentecostalism that gave rise to the establishment of many Churches in Nigeria. Among the churches that were established are ; Deeper Life Bible Church, New Living Faith Church also known as Winners Chapel, The Redeemed Christian Church of God, Gospel Faith Mission and many others. The rate at which other churches are springing up and the founding of many other branches is alarming till date. The Proliferation of churches led to the existence of churches everywhere in Nigerian society. However, the numeric increase or proliferation of Churches in Nigeria is not attributed only to the mode of worship, prayers and to signs and miracles introduced to Churches through Pentecostalism but also influenced by music. The value of music should never be lost sight of in worship. The relationship between music and Pentecostalism cannot be undermined as music cannot be separated from worship. This paper examines the efficacy of contributions of music in genre, form and performance practice in Church growth, specifically in Nigeria. This research reviewed the history and explosion of Pentecostalism in Nigeria. The materials used in this research were sourced from books, journals, magazines and Internet. Historical research design was used for this study. This paper concludes that the mystic effect and intrinsic value of music affects church growth and should be considered as a viable tool together with Pentecostalism for Church growth in Nigeria. Keywords: Efficacy, Music, Pentecostalism, Church Growth
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Devalve, John R. "Gobal and Local: Worship Music and the ‘Logophonic’ Principle, or Lessons from the Songhai." Transformation: An International Journal of Holistic Mission Studies 36, no. 4 (September 10, 2019): 219–32. http://dx.doi.org/10.1177/0265378819867835.

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The Christian church has always lived in tension between its global and its local identities, between gospel and culture. One aspect in which this tension plays out is in worship music. As the gospel came to them, many African churches adopted a North American/European form of song, ignoring or neglecting their local, traditional music. They opted for a more global identity and minimized their local identity. The church amongst the Songhai of West Africa is an example of this phenomenon. A church that neglects its local identity, however, has little appeal to the surrounding society and loses its prophetic voice to the community. Resolving the tension between the two identities is an important matter for every church. Thinking through worship music practices plays a key part in resolving this tension. A tool called the ‘logophonic’ principle may be of help in this regard. The tool looks at both words (lyrics) and sounds (accompaniment) to reexamine and renew worship practices and craft new music for congregations. This article explains how this tool might work and urges the necessity of good theological thinking and about worship and worship music.
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Chircev, Elena. "The Influence of Political Regimes on Romanian Psaltic Music in the Second Half of the 20thCentury." Musicology Papers 35, no. 1 (November 1, 2020): 7–34. http://dx.doi.org/10.47809/mp.2020.35.01.01.

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During the second half of the 20th century, the Romanian society was marked by two events that had a profound impact on its destiny: the establishment of the communist regime after the abdication of King Michael I in 1948, and the Romanian Revolution of 1989, which marked the end of this regime. The Byzantine monody has had a millenary tradition in this part of Europe, and the contribution of the local chanters to the perpetuation of Orthodox church music – also through their own compositions – is evidenced by the numerous manuscripts written by Romanian authors and by the works printed in the last two centuries. In 20th-century Romania, the music written in neumatic notation specific to the Orthodox Church manifested itself discontinuously due to the historical events mentioned above. The church chant in the traditional psaltic style managed to survive, despite being affected by the Communist Party’s decisions regarding the Church, namely the attempt to standardize the church chant. This paper captures the way in which the preservation of tradition and the perpetuation of church music succeeded through the difficult times of the communist period, with special emphasis on the religious music written in neumatic notation and on certain peculiarities of the period, due to the political regime. The musicians trained before the establishment of Communism – by teachers concerned with the preservation of the good tradition of church chanting, in monastic schools and prestigious theological seminaries of the interwar period – were the binding forces who ensured the rapid revival of the music of Byzantine tradition in the last decade of the 20thcentury and who enriched the repertoire of the Romanian churches with valuable original works.
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Barrett, Richard. "The International Society for Orthodox Church Music 2015: A Travel Essay." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 476–78. http://dx.doi.org/10.1515/ress-2015-0037.

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Chircev, Elena. "Romanian Music of Byzantine Tradition Between 1918 and 2018." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 124–49. http://dx.doi.org/10.2478/ajm-2019-0007.

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Abstract Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918-1947; b.1948-1989; c.1990-2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.
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Bisu, Luka Markus. "Secular Music and Psycho-Spiritual Wellbeing: A Case of Youths, St. John The Evangelist Catholic Parish Karen, Nairobi-Kenya." International Journal of Research and Innovation in Social Science VII, no. VI (2023): 277–88. http://dx.doi.org/10.47772/ijriss.2023.7620.

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Secular music is common in every society and those who listen to it mostly are youths. Lyrical contents of many secular music today seem to have caused damage than good among youths. In our society today there is a widespread concern about the use of illicit drugs, increase violence which has become a public health problem with lifelong impact on the physical, social, psychological, and even spiritual life of many in the society. The rate of criminality seems to be on the increase, illicit sex is rampant in the society which often results in unwanted pregnancies, unprepared marriage, hence violent relationship. The research aimed at looking at secular music and psycho-spiritual wellbeing: A case of youths, St. John’s the Evangelist Catholic parish Karen, Nairobi-Kenya. The embedded mixed method design was deployed by the researcher. Responding to Likert-type survey creature for the research, 105 participants provided vital information (quantitative and qualitative) that were used for the research. The Statistical Package for Social Sciences (SPSS) helped in analyzing the data collected from the participants. The findings of this research may help the youths at different levels in the Church and beyond to evaluate themselves to see the negative influence of secular music on their psycho-spiritual well-being and how to manage them. The findings of the research showed that listening to secular music had both positive and negative effects on the lives of the youths of St. John the Evangelist Catholic Church Karen-Nairobi, Kenya. Psychologically, the findings showed that secular music help the youths as it relaxes the mind, while spiritually, listening to secular music does not help the youths improve in their spiritual wellbeing as it affects their time.
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Chircev, Elena. "Romanian musical creation of Bizantine source in the period 1918–2018." Arta 30, no. 2 (December 2021): 22–31. http://dx.doi.org/10.52603/arta.2021.30-2.03.

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Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918–1947; b. 1948–1989; c. 1990–2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.
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GETMAN, JESSICA L. "A Series on the Edge: Social Tension in Star Trek's Title Cue—ADDENDUM." Journal of the Society for American Music 9, no. 4 (November 2015): 522. http://dx.doi.org/10.1017/s1752196315000486.

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Permission to use notation for the theme from “Star Trek” was received after the article by Getman in the August 2015 issue of Journal of the Society for American Music was published. The captions for Examples 1, 2, and 4 should carry the following credit:Theme from “Star Trek(R),” words by Gene Roddenberry, music by Alexander Courage. © 1966, 1970 Bruin Music Company. Copyright renewed. This arrangement © 2015 Bruin Music Company. All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Corporation.
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US, M. "THE ACTIVITIES OF THE HOLY FATHERS IN ESTABLISHING THE SPIRITUAL TRADITIONS OF ORTHODOX SINGING." Pedagogical Sciences, no. 82 (December 28, 2023): 122–25. http://dx.doi.org/10.33989/2524-2474.2023.82.295114.

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In the modern world, there is a problem of the young generation’s loss of spiritual landmarks, which is manifested in the dominance of pragmatism, focus on obtaining material goods, indifference to the feelings of other people, including loved ones. Education of moral qualities of an individual cannot be effective if all social institutions are not involved in it: family, school, cultural institutions, church. Nowadays, the importance of religious education is gaining a high status in the domestic society - children and teenagers get used to attending church, study in Sunday schools, where they participate in choir singing. Musical spiritual works today are not limited to church life, but are included in the repertoires of singing groups of general secondary and primary music education institutions, are offered for listening to music at school, etc. (Rostovskyi, 2003). (Rostovskyi, 2003). The urgent task of preserving the traditions of Orthodoxy in its competition with the Catholic and Uniate influences on the Ukrainian community determines the special interest of teachers and scientists in the educational possibilities of Orthodox music (Afonina, 2012).
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Dissertations / Theses on the topic "Church Music Society"

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Cagle, Caroline Woodell. "Technology in Society: The Pipe Organ in Early Modern England." Diss., Virginia Tech, 2002. http://scholar.lib.vt.edu/theses/available/etd-04172003-005110.

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Jones, Todd R. "The Relationship Between Lowell Mason and the Boston Handel and Haydn Society, 1815-1827." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/83.

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The relationship between Lowell Mason (1792–1872) and the Boston Handel and Haydn Society (est. 1815) has long been recognized as a crucial development in the history of American music. In 1821, Mason and the HHS contracted to publish a collection of church music that Mason had edited. While living in Savannah, GA, Mason had imported several recent British collections that adapted for church tunes works by Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Ignaz Pleyel. His study with German émigré Frederick L. Abel allowed him to harmonize older tunes in standard counterpoint. In the historiography of American music, the collection has ever since been named as one of the chief forces establishing standard counterpoint in the mainstream of American music. The collection’s profits also helped the HHS survive the next several years, and the prestige of eventually being known as the collection’s editor helped launch Mason’s influential career in church music, music education, and music publishing. In 1827, that career took a dramatic turn when Mason returned to Boston to assume the presidency of the HHS and the care of music in several churches. This project shows that the social ties between Mason and the HHS begin earlier and are far more indebted to Calvinist orthodox Christianity than previous studies have shown. With special attention to Mason’s personal papers housed at Yale University, to the HHS records held at the Boston Public Library, and to newly indexed Savannah newspapers, it shows that Mason’s relationship with the Society grew from relationships begun before he left his native Massachusetts in 1812. The depth of the relationship grew steadily until 1827, marked at first by indirect contact and in 1821 by Mason’s trip to Boston. Mason’s 1827 return to Boston, often surprising to scholars, appears here as a logical consequence of the support given by the Society’s previous president, Amasa Winchester, for Mason’s work in church music. Mason’s departure from the Society seems to be based on his zeal, closely related to his evangelical goals, for universal music education.
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Stillman, Amy K. "Hīmene Tahiti ethnoscientific and ethnohistorical perspectives on choral singing and Protestant hymnody in the Society Islands, French Polynesia /." 1991. http://catalog.hathitrust.org/api/volumes/oclc/30132860.html.

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Steinert, Claudio. "Towards a "liturgical missiology": perspectives on music in Lutheran mission work in South Africa." Thesis, 2003. http://hdl.handle.net/10500/1774.

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This doctoral thesis claims the vital significance of music in mission work, particularly from the Lutheran point of view. It, therefore, calls for a liturgical missiology which would positively affect missionary efforts, especially in the African mission context. After giving a theological foundation - the doctrine of the Trinity - and the concept of the missio Dei as its missiological basis, the thesis investigates its topic from different angles: Luther and music, music in the work of the Hermannsburg Mission in the region of the ELCSA-Western Diocese, the role of music in African culture and spirituality, some qualities of music relevant to mission and a few musical steps to approach the future of music in mission. These analyses corroborate music's importance in future Lutheran mission designed for the African context. Examining Luther's stance towards music, a strong affinity to music is recognised, both theoretically and practically. While interpreting music theologically, Luther employs music in his liturgical, educational and reforming efforts. However, the example of the Lutheran Hermannsburg Mission shows a usage of music without a proper theoretical foundation, as well as only partial efforts at contextualisation. In Africa, music plays a prominent role in the interpretation and expression of life and religion indicated in the Tswana choruses; music represents the wholeness of African existence symbolising the paradigm of harmony. Further, in mission, music's qualities, such as its cultural-social, symbolic, ritualistic and community-building qualities, support the integration of the convert into a fundamental relationship between the missio Dei and the missiones ecclesiae. With the help of a musica missionis, which includes missiological music and missionary music, the practice of future mission can be approached successfully; for instance, through the Africanisation of the Lutheran mission liturgy based on a context-musicology. Thus, a liturgically orientated theology of mission, meditating deeply on music's qualities (music being one essential element of Lutheran worship), has the potential to develop into a future liturgical missiology. This musical-liturgical approach to mission is encouraged by this thesis.
Christian Spirituality, Church History and Missiology
D.Th. (Missiology)
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Books on the topic "Church Music Society"

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Kristanto, Billy. The place of music in the church and in society. Singapore: Sower Publishers, 2018.

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Susan, Rankin, Hiley David, and Plainsong and Mediaeval Music Society (Great Britain), eds. Music in the medieval English liturgy: Plainsong & Mediaeval Music Society centennial essays. Oxford [England]: Clarendon Press, 1993.

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Daly, Kieran Anthony. Catholic church music in Ireland, 1878-1903: The Cecilian reform movement. Blackrock, Co. Dublin, Ireland: Four Courts Press, 1995.

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Daly, Kieran Anthony. Catholic Church music in Ireland, 1878-1903 [i.e. 1923]: The Cecilian reform movement. Blackrock, Co. Dublin: Four Courts Press, 1993.

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Mendelssohn-Bartholdy, Felix. Toronto Philharmonic Society: Music Hall, Wednesday and Thursday evenings, April 29th & 30th, 1874 : Elijah, an oratorio, the English version by W. Bartholomew, the music composed by Dr. Felix Mendelssohn Bartholdy .. [Toronto?: s.n., 1987.

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Kevorkian, Tanya. Baroque piety: Religion, society, and music in Leipzig, 1650-1750. Aldershot: Ashgate, 2007.

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Ceciliae, Societas Universalis Sanctae. Catalogo delle edizioni musicali (1947-1975). Trento: Provincia autonoma di Trento, Servizio beni culturali, 1989.

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Marleen, Hengelaar-Rookmaaker, ed. Modern art and the death of a culture. Carlisle, U.K: Piquant, 2002.

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Modern art and the death of a culture. Wheaton, Ill: Crossway Books, 1994.

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Kim, Chun-bae. Ilbon munhŏn sok ŭi Yi Sun-sin p'yosang: The image of Yi Sun-sin in Japanese literature. 8th ed. Sŏul: Minsogwŏn, 2022.

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Book chapters on the topic "Church Music Society"

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Rice, Albert R. "Baroque Clarinet in Society." In The Baroque Clarinet and Chalumeau, 190–220. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0006.

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The evidence for the acceptance and use of the Baroque clarinet in 18th-century society is discussed: in iconographical representations (engravings, paintings, etchings, mezzotints, stucco); by traveling musicians (August Freudenfeld, Francis Rosenberg, Mr. Charles); in court and aristocratic music (Stuttgart, Rastaat, Koblenz, Merseburg, Berleburg, Gotha, Karlsruhe, Mainz, Rudolstadt, Cologne, Paris, Olmütz, Darmstadt, Würzburg, Zweibrücken); in church and civic music (Nuremberg, Venice, Antwerp, Kremsmünster, Greiz, Kempten, London, Frankfurt, Salzburg, Schlosshof, Marienberg); and military music (Rastatt, London, New York, Paris, Stockholm, Salzburg). Newspaper advertisements include clarinet concerts; archival documents indicate the dates of clarinetists in court and monastery orchestras, and clarinets purchased by aristocrats and courts.
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Wilson, Blake. "The Social Context." In Music and Merchants, 5–36. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198161769.003.0002.

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Abstract Throughout the history of republican Florence conflict has been both a debilitating and a generative force. The ceaseless clash of factions was a constant source of both private and public misery to Florentines, yet this strife could also be transformed in a society that drew vitality from the ebb and flow of a highly politicized environment. One of the most generative conflicts of this society was, broadly speaking, that between sacred and secular forces, between a church shaped to the needs of a feudal, rural society, and a burgeoning mercantile, urban society that required a fundamental redefinition of religious practice and belief The inhabitants of Europe’s young cities, and above all the most numerous and characteristic of them, the guildsmen, proposed an entirely new ordo to late medieval society.
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Botvar, Pål Ketil. "CHAPTER 4 When the Wind is the Answer: The Use of Bob Dylan Songs in Worship Services in Protestant Churches." In A God of Time and Space, 119–40. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.74.ch4.

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The songs of Bob Dylan are often used in the worship services of Protestant, and especially Lutheran, churches in Scandinavia. Since the mid-1990s more than 100 so-called Dylan masses have been celebrated in Norway alone. This can be explained partly by the fact that Dylan has been recognized as a major artist in all sections of society, and partly by the fact that the national Lutheran churches have accepted popular music as a natural part of their worship. In this article, I look more closely at the reasons behind the use of Bob Dylan’s music in worship in Scandinavia and examine the discussion around this that has been going on within church communities. My empirical basis consists of interviews with ten ministers and church musicians. The material shows that different types of argumentation are used with regard to the use of Dylan’s music in the church, and that this is related to the respondent’s approach to popular culture in general and the way in which they regard the worship service.
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Strohm, Reinhard. "The City and the Court." In Music in Late Medieval Bruges, 74–101. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193164185.003.0005.

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Abstract Professional musicians of the later Middle Ages who were neither clerics nor employed by the church are usually referred to as ‘minstrels’.’ Although society needed them for many different purposes, and although their skills were as varied as were their lifestyles and aesthetic views, it is essentially correct to use a common name for all these people. In the historical sources, the following terms are, on the whole, interchangeable: menestrel (ministruel, ministrer, etc.); jongleur (gokelare, joculator, juglar); spilman (speelman, gleoman); histrio; mimus. As the pro fession always had to struggle for social recognition, which the church, in particular, denied to it, the terminology sometimes reflected social differentiation. There could be a wide gap between a travelling minstrel without regular employment–the histrio – and the courtly valet de chambre or faiseur (a creative poet and composer). But over longer periods of time, and wider areas, the terminology is not consistent; it rather depends, in each document, on the social status of the writer himself, the language used, and on the function of the document (church and court accounts, city registers, narrative sources, poetry, and so on).
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Mann, Joseph Arthur. "Music as Propaganda for the Church of England after the Toleration Act." In Printed Musical Propaganda in Early Modern England, 185–92. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979237.003.0005.

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The passage of the Toleration Act meant religious freedom for non-Anglican Protestants but signaled a fundamental shift in the position of the Church of England in English society. Prior, the Church of England benefited from a government-backed monopoly on legal religious practice in England. The loss of these legal inducements meant that the Church of England had to compete equally, for the first time, in a marketplace of religious ideas. Chapter four exposes how the Church of England responded to this change with pro-music pamphlets advertising the joyful nature of the Anglican service in contrast to the austere practices of other Protestant denominations. It argues that while nonconformists wrote massive treatises arguing fine theological points about music in divine worship, Anglicans produced pamphlets that were addressed to the average reader in terms they could understand. It also connects these pro-music pamphlets to other accessible works written by Anglican propagandists that promote the Church of England in this new marketplace of ideas. Overall, the chapter reveals the previously-unknown propaganda functions of these Anglican music pamphlets and reveals that they were part of a larger, equally unknown, pro-Anglican propaganda campaign that directly responded to the results of the Toleration Act.
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McManners, John. "The Great Chapters: Architecture and Music." In Church and Society in Eighteenth-Century France Volume 1: The Clerical Establishment and its Social Ramifications, 434–71. Oxford University Press, 1999. http://dx.doi.org/10.1093/0198270038.003.0016.

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Frühauf, Tina. "Regenerating a Choral Music Culture." In Transcending Dystopia, 155–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197532973.003.0012.

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In the course of the 1950s and 1960s, different trends emerged with regard to choral music culture in the Jewish communities (and continued thereafter): New synagogue choirs formed and there were several children’s and youth choirs which sang during liturgy and nonritual contexts. If this suggests a lively choral music soundscape in the Jewish communities, the opposite was the case. Choral music held a complicated stance therein. Due to the difficulties of establishing and maintaining synagogue choirs, some communities relied on visiting choirs that operated as independent (concert) choirs and on local secular and even church choirs. The repertoire largely reveals an adherence to prewar aesthetics. As such, choral music culture offered an opportunity to approach and define the communities’ musical identity both in the context of worship and in relation to mainstream society.
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Faucett, Bill F. "Musical Awakenings." In John Sullivan Dwight, 31—C2P70. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197684184.003.0003.

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Abstract After schooling at the historic Boston Latin School, Dwight matriculated at Harvard University. There he read constantly and immersed himself in his studies. The German language especially was a subject of tremendous interest. But besides academics, there was at Harvard an underground network of music enthusiasts, and, although not officially sanctioned, music contributed substantially to the life of the university. Dwight learned several instruments and led the Arionic Society and the Pierian Sodality, Harvard’s nascent music clubs. Following a nine-month stay in Meadville, Pennsylvania, where he tutored and briefly ran the local lyceum, Dwight continued his education at Harvard Divinity School and published “On the Proper Character of Poetry and Music for Public Worship,” an advocacy piece that insists on higher standards for church music and changes to the rituals of the contemporary church. Dwight’s tastes and expectations for good music were quickly rising.
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Kildea, Paul. "Introduction And Chronology." In Britten on Music, 135–39. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0045.

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Abstract If Britten’s journey in the period 1946-55 was metaphorical-a hurried elevation into a society he had spent his twenties openly disparaging or implicitly criticizing-his journey in 1956 to the Far East was as real as it was fruitful. Here he encountered sounds and cultures hitherto largely unknown to him. His reaction to Japan and Bali was registered immediately in his music, much as it had been for Holst, Bart6k, Debussy, and Szymanowski in their encounters with the exoticism of the East. But there were philosophical and dramaturgical consequences as well. This trip was the beginning of a new phase in Britten’s life, in which his retreat from the London performance scene, begun after the unsuccessful premiere of Gloriana and completed in the 1960s, directly affected both his music activities and the subject matter or narrative structure of the works he composed. Eastern sounds and dramaturgy shaped works as diverse as Prince of the Pagodas (1956), the Church Parables (1964, 1966, 1968), and A Midsummer Night’s Dream (1960). His interest in the poetry and metaphors of night, latent since the Serenade, was reignited. His inversion of the balance between forest world and the courtly palace in A Midsummer Night’s Dream the former attracting his sympathies and most beautiful music, the latter depicted either fractiously or in the briefest of sketches-was a form of magical realism left largely unexplored in his previous stage works, one partly suggested by what he saw as the exotic/erotic promise of the East.
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10

Saylor, Eric. "The Music of 1902–1908." In Vaughan Williams, 41–54. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190918569.003.0004.

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Vaughan Williams’s creative efforts were enriched, directly and tangentially, by his engagement with musical styles, traditions, and performance practices beyond the academic curriculum and concert-hall repertory of his training, including those of the Anglican church, the Purcell Society, and amateur choristers, though none had a greater long-term impact than English folk music. But while folk songs consumed much of his time and energy, they were not his sole focus in the early 1900s. Vocal music—including solo songs, duets, part songs, and a cantata (Willow-Wood)—accounted for seventeen of Vaughan Williams’s twenty-one stand-alone works published or first performed between 1902 and 1903. The variety of music that he wrote and edited over the next several years, however, was enormous: orchestral works (such as the Fantasia for Piano and Orchestra, In the Fen Country, the three Norfolk Rhapsodies, and the Four Orchestral Impressions), choral music (Toward the Unknown Region, The English Hymnal), stage works (including incidental music for Pan’s Anniversary and scenes from The Pilgrim’s Progress), and a smattering of chamber pieces. The impact of some of these works would be felt for many years to come—such as The English Hymnal, the Pilgrim’s Progress music, and The Solent (one of the Four Orchestral Impressions)—and collectively, they helped advance Vaughan Williams to the front line of younger British composers.
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Conference papers on the topic "Church Music Society"

1

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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