Relevant bibliographies by topics / Church musician

Academic literature on the topic 'Church musician'

Author: Grafiati
Published: 7 July 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Journal articles on the topic "Church musician":

1

Tantra, Carolien Eunice, and Mark Peters. "J. S. Bach’s Church Cantatas and Church Music Today." Veritas: Jurnal Teologi dan Pelayanan 20, no. 1 (July 19, 2021): 137–52. http://dx.doi.org/10.36421/veritas.v20i1.473.

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How do we as Christians today learn about worship and church music? How do we think about not only what music we will sing in Christian worship, but also the principles that should guide us in choosing and leading church music? Certainly, there are many different ways we answer that question: we study the Bible, we sing the words of the Scriptures, we read what theologians, worship leaders, and scholars of church music are writing today, we attend lectures and conferences by scholars and practitioners of church music. In this article, I offer and explore yet another example of how we live out God’s call in leading music for the Christian church: by studying the example of a faithful Christian musician from the past. My particular example for this article is the German composer and church musician Johann Sebastian Bach (1685-1750). I want to clarify from the start that I am not arguing that J. S. Bach is the best example of a Christian church musician and certainly not that he is the only example. But Bach does offer us one example of a musician who dedicated most of his life to creating and leading music for the Christian church and sought to do so faithfully, creatively, and skillfully.
2

Groce, Stephen B., Lewis A. Groce, and Rebecca L. Young. "Pathways to Becoming a Church Musician." Sociological Spectrum 33, no. 3 (May 2013): 276–93. http://dx.doi.org/10.1080/02732173.2013.732907.

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Daniel, Daniel, and Octa Maria Sihombing. "Guitar Instrumentalization, Education-Stewardship, and Musician Subject Ethics." Journal of Student Research 2, no. 1 (December 22, 2023): 69–93. http://dx.doi.org/10.55606/jsr.v2i1.2460.

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Underlying this research begins with a critical reflection on the subject's experience as a musician in a church located in Palangka Raya as a church clergy guitarist as well as seeing complex rhythmic stretches when encountering expression, stewardship, phonemes, worship works, ethics and self-ability. This research method uses qualitative research methods by searching data through secondary sources, namely through recent journals (the last five years) that relate to guitarists, guitars, educational stewardship based on the critical reflection of the researchers. The results of this study show that the church music guitarist embraces humility, sharing sounds/phonemes by eliminating the dominance of the guitar sound when collaborating with non-guitar instrumentalists. It then becomes a space for critical reflection when researchers retell it in the philosophical, theological and liturgical landscape of the church
4

Pinatih, Ketut Tadeus Max Nurcahya, and I. Made Wiranadha. "CHARACTERISTICS OF HEARING THINGS ON MUSIC PLAYERS AT GPT BAITHANI DENPASAR." E-Jurnal Medika Udayana 11, no. 9 (September 19, 2022): 25. http://dx.doi.org/10.24843/mu.2022.v11.i9.p05.

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Background: Noise Induced Hearing Loss (NIHL) is hearing loss due to exposure to loud enough noise for a long period of time. The deafness characteristic of noise-induced hearing loss is that cochlear sensorineural deafness that cannot be treated. Playing music is one of the important risk factors that can lead to noise-induced hearing loss among musicians. Musicians in the church regularly play music for every worship event at the church. Therefore, researchers want to know the threshold of hearing among musicians at GPT Baithani Denpasar. Methods: This study is a descriptive study using a cross sectional design, by taking primary data from history taking, physical examination and audiometric examination. Samples were taken by means of total sampling. Data analysis was carried out using the SPSS 24 program and the research results were presented in the form of tables and narratives which were then described descriptively to describe the characteristics of the subjects and research variables. Result: This study involved 18 samples, all male (100%). The age range of music players is between 18-40 years, and they have been playing music for more than 5 years. Music players consist of 5 instruments, namely three keyboards (16.7%), six bass players (33.3%), four guitars (22.2%), four drums (22.2%), and one violin (5.5%). The incidence of NIHL found one musician with a duration of practice seven times per week (5.6%), one musician with a six times per week (5.6%), and one musician four times per week (5, 6%). Conclusion: There is a mild degree of hearing loss as many as three music players (16.7%). One music player has interference in the left ear, one music player has interference in the right ear, and one music player has interference in both ears Keyword: Noice Induce Hearing Loss (NIHL), music
5

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.
6

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

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During its long Byzantine and Post-Byzantine history Constantinople was the center for church art in general, but especially for music. This old city on the Bosporus maintained its prime position until the beginning of the 20th century when, because of new political and social conditions, the Greek people started to acquire their independence and freedom, and Athens became the new capital in the cultural as well as the political sense. During the first decades of the 20th century the Athenian music scene was marked by an intensive dispute between those musicians who leaned towards the European musical heritage and its methods in musical pedagogy, and those who called themselves traditionalists and were engaged in the preservation of traditional values of church and folk music. The best insight into the circumstances in which Greek musical life was getting a new direction are offered by the numerous musical journals published in Athens before the First World War. Among them, The Formigs is of the special interest, firstly because of the long period during which it was published (1901-1912), and secondly because of its main orientation. The editor Ioannes Tsoklis, a church chanter, and his main collaborator, the famous Constantinopolitan musician and theorist and later Principal of the Department for Byzantine music at Athens musical school Konstantinos Psahos, with other associates firmly represented the traditional position. That is why most of the published articles and the orientation of the journal generally were dedicated to the controversial problems and current musical events that were attracting public attention. The editorial board believed that there was a connection between the preservation of musical traditions and their development on one side, and foreign musical influences that were evident in the promotion of polyphonic church music, which had been totally foreign to the Greek Orthodox church until the end of the 19th century, on the other. Tsoklis and Psahos were resolved to provide enough reliable documented articles and theoretical and historical studies on church and folk music to pull up the church chanters and in such a way contribute to their better musical education. They assured that this would be the best way to attract and recruit church chanters struggling to maintain their own musical heredity. The Formigs thus served primarily in the so-called Greek music question, actuated with the aim of eliminating polyphonic music from liturgical practice. However, it also assisted in national endeavors to ensure that church and folk music would obtain separate status in official Greek musical education, which had been significantly changed by non-traditional, European methodology.
7

Morucci, Valerio. "Music, patronage and reform in 16th-century Italy: new light on Cardinal Carlo Borromeo." Early Music 47, no. 4 (November 2019): 499–513. http://dx.doi.org/10.1093/em/caz071.

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Abstract Music historians are certainly familiar with the figure of Cardinal Carlo Borromeo. Important research has illuminated his association with the composer Vincenzo Ruffo, his reform of female convents, and, more generally, his influence over the musical life of Milan, including local churches and confraternities; more recently, Borromeo’s relationship with the musician Tomás Luis de Victoria has been closely examined. However, our knowledge of his role as a promoter of the so-called ‘Counter-Reformation’ in music is fragmentary. In particular, a comprehensive investigation of Borromeo’s private correspondence is lacking. In order to fill this lacuna, this article uses newly discovered letters (housed in the Biblioteca Ambrosiana, Milan) to illuminate several interrelated aspects of Borromeo’s activity as a patron and reformer in the aftermath of the Council of Trent: firstly, his support for musicians and the much discussed issue of textual intelligibility, and secondly, the prohibition of musical instruments in church and his directives against public musical entertainments.
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Brie, Mihai. "Das Gebet „Vaterunser” in der komponistischen Sicht von Ciprian Porumbescu – theologische und musikologische Aspekte." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 229–42. http://dx.doi.org/10.24193/subbmusica.2022.1.15.

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"The Messianic model of prayer uttered on the Mount of Olives, which has become a standard for the entire treasury of the later church, is our interdisciplinary research today. Given that it was uttered by Jesus Christ himself, it becomes relevant to any believer who wants his daily life to be in continual communion with God. In the liturgical richness of the Christian church of all times, the Lord’s Prayer (Our Father) is an integral part of any time of the day, morning, noon, or evening, because it represents the quintessence of the key words that every Christian visionary must have in his vocabulary. daily. In the following I have prepared research meant to attract the musician or theologian, or the contemporary scientist in the pragmatization of the manipulative requests contained in this grandiose prayer. Thus, we combined theological research with musicological research in an exceptional composition from the old Romanian space. In the history of the local culture and civilization, famous names have remained that have shaped the Romanian academic space from all times. One of these names of scientific relevance was Ciprian Porumbescu. Endowed natively with hard work, he succeeds and confirms over time his passage through time. A plurivalent musician, but also a poet and essayist, he manages to imprint in the history of the second half of the 19th century a unique perspective on the religious and folkloric and patriotic treasure of Bucovina. All this treasure is haloed by its vast improvement in Chernivtsi and Vienna, inscribing itself in the memory of the musical times of the end of the 19th century both far from the native places and especially capitalizing on them with their whole load of centuries in a vision. unique, complex, representative musician of Romanian choral music. Keywords: Jesus Christ, religion, church, Porumbescu, culture, choir, folklore, music, history "
9

Dukaļska, Iveta. "MUSIC-MAKING IN A FAMILY – THE LIFELONG LEARNING TRADITIONS AND CHALLENGES OF HOME-LEARNING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 78–89. http://dx.doi.org/10.17770/sie2021vol4.6424.

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The aim of the present study is to compare the training of folk musical instrument play within families until 1960s in the traditional cultural environment of Latvia’s countryside to the opportunities of the same training in the early 21st century – outside the formal education but within the context of life-long learning.Data for the research were acquired in field study, questionnaires in the virtual environment, and also the information from the Internet on the offer of music schools and institutions of non-formal education in the field of musical instrument play was used.Until 1950s and ‘60s the basics of the musical instrument play were acquired by children within their respective families, with the musicians of the elderly generation being their tutors. The aspirations to become a musician were sparked by family traditions, the high esteem of a musician as a personality by the local community, as well as the child’s own willingness and perseverance in acquisition of an instrument’s technique. The field-study interviews show musicians always referring to past experience and family tradition, namely, some member of the family already was a musician – granddad, dad, uncle – while granny or mother have been good singers. In the cultural environment of 1960s’ countryside the two traditions – singing and music-making – are separated. The tradition of singing (both everyday and church) and its functioning in the local community was mainly sustained by the women, while playing the instruments was the part of the men. The children started to acquire the technique of a musical instrument roughly at the age of 6–10 years, while the full status of a musician within a community could be acquired by the aspiring player as early as at the age of 16, after having played for several times at some community events (an open-air dance “zaļumballe” or an evening get-together „večerinka” in Latgale). During that period the playing skills were acquired without the ability to read score, based on musical memory.At the end of the 20th century and the early 21st most frequently the playing skills of an instrument (like violin, clarinet or accordion) are acquired attending some institution of music education, while both children and adults have an opportunity to learn the technique of some folk instrument (zither, harmonica, little drum, etc.) within some non-formal education setting or that of an amateur group.The present study analysis the factors either helping or hindering the continuation of the folk music- making tradition in the cultural environment of the 21st century, based on the opportunities for learning the techniques within the home-learning and life-long learning contexts.
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ORUJOV, İgbal, and Taravat ORUJOVA. "ORTA ÇAĞ DÖNEMİ’NDE NEFESLİ ENSTRÜMANLAR SANATI." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 26 (February 20, 2021): 85–95. http://dx.doi.org/10.31623/iksad072607.

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Medieval musical instruments are closely related to the types of palace and city culture that were active at that time. Church rituals, music, song, and dance styles of the urban settlements were based on the vocal and instrumental skills of the musicians. The emergence of new instrument types compared to the heritage of antiquity was due to several factors. The most important change in the social status of the musician: the traveling artists are replaced by an instrumentalist striving for "establishedness". This trend led to the formation of professional-musicians working in the service of the city magicians and performing their duties in terms of "music economy". The oldest medieval musical instrument was the human voice. The spread of Christianity in the Dark Ages and early Middle Ages led to the popularity of hymns and secular songs. Many musical instruments of the Middle Ages were the predecessors of modern musical instruments. Wind instruments are the oldest type of musical instruments from the Ancient Ages to the Middle Ages. However, in the process of development and formation of medieval Western civilization, the scope of application of wind instruments greatly expanded: for example, some instruments such as the olifant belonged to the palaces of the nobility, others - the flutes - were used both in the folk setting and among professional musicians, while others such as trumpets were only become military musical instruments.
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Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Church musician":

1

Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.

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xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski
2

Henrichs, Michael William. "The life and work of Paul Otto Manz as church musician within the context of American Lutheranism in the twentieth century." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Mesplé, Pierre. "Les musiciens d’Église au XVIIIe siècle : acteurs, circulations, réseaux (diocèses de Blois, Chartres, Évreux, Orléans, Rouen)." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2023. http://www.theses.fr/2023UCFA0135.

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Cette recherche définit un groupe social, les musiciens d'églises cathédrales et collégiales, dans un espace circonscrit (cinq diocèses, Blois, Chartres, Évreux, Orléans, Rouen) de la fin du XVIIe siècle à la Révolution. On s'attachera à dégager leurs conditions de vie (en interrogeant en particulier les notions de salariat, d'itinérance), mais aussi les réseaux qu'ils peuvent former face aux chanoines qui les emploient et au reste de la société. On cherchera enfin à décrire et comprendre la place que la société leur accorde dans le fonctionnement du culte
This research defines a social group, the musicians of cathedral and collegiate churches, in a circumscribed space (five dioceses, Blois, Chartres, Évreux, Orléans, Rouen) from the end of the 17th century to the Revolution. We will endeavor to identify their living conditions (by questioning in particular the notions of employment and itinerancy), but also the networks that they can form in relation to the canons who employ them and the rest of society. Finally, we will seek to describe and understand the place that society grants them in the functioning of worship
4

Stemmermann, Nell. "Church's Musical Visitor, 1871-1897: Class, Nationalism, and Musical Taste." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404428.

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

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Lorenzetti, Michelle Arype Girardi. "Aprender e ensinar música na igreja católica : um estudo de caso em porto Alegre/RS." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/114671.

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Este estudo tem como objetivo investigar as relações educativo-musicais presentes na Igreja Católica de Porto Alegre. A questão norteadora indaga como ocorreu a aprendizagem musical de pessoas que atuam neste contexto e como o ensino de música é desenvolvido. Para realizar esta pesquisa, optei pela abordagem qualitativa, realizando um estudo de caso. Para elaboração do referencial, foram consultados Souza (2004; 2014), Setton (2008; 2012) e Petitat (2011). De um total de 240 pessoas envolvidas com música na igreja, foram selecionadas doze que atuavam como professores e/ou formadores de música. Sobre a aprendizagem musical, identificaram-se diversos processos que não ocorrem fixos nem isolados, mas de maneira dinâmica, estando interligados inclusive com outras instâncias formativas. Descreveram-se: a aprendizagem que ocorria na prática (aprender fazendo); o aprender no grupo; a autoaprendizagem; o aprender em cursos, ensaios e festivais na igreja. Sobre o ensino e a atuação, analisaram-se concepções do ser músico na igreja, as diferenças entre o profissional remunerado e o voluntário; o ser professor e/ou formador. Foram pontuadas questões referentes à divulgação e à captação de alunos, ao local das aulas, às escolhas didáticas. Esta pesquisa contribui para a reflexão de como os processos de educação musical ocorrem na Igreja Católica e amplia o olhar sobre o aprender e o ensinar música.
The purpose of this study was objective to investigate the educational-musical relations present in the Catholic church of Porto Alegre. The leading question was how the musical formation of people who work in this context occurred and how the musical teaching was executed. To accomplish this research, I opted for a qualitative approach, conducting a case study. The authors Souza (2004; 2014), Setton (2008; 2012) and Petitat (2011) were included in the framework. From a total of 240 people who worked with music in the Church, twelve were selected because they worked as teachers and/or music trainers. Several processes about musical learning were identified, which do not occur isolated and fixed, but in a dynamic and interconnected way, also in relation with other formative instances. It was possible to describe: the process of learning, which occurred in practice (to learn while doing); learning in group; self learning; learning in courses, rechearsals and church festivals. About the teaching and performance, it was possible to analyze conceptions of being a Church musician, the differences between the paid professional and the volunteer; and about being a teacher and/or trainer, highlighting questions related to disclosure and recruitment of pupils, class locations, and selection of didactic activities. This research contributes to the reflection about how these processes of musical education occur in the Catholic Church, thus increasing how to see learning and teaching music.
7

Cataylo, Vilma May Chavez. "Musical works built on the native language to bring about musical knowledge and cultural development /." Access Digital Full Text version, 1986. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10624090.

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Thesis (Ed. D.)--Teachers College, Columbia University, 1986.
Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore Pogonowski. Bibliography: leaves 291-295.
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Stone, Justin. "The changing fortunes of the organ: the viewpoints of church organists in the Anglican churches of Port Elizabeth." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/23502.

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This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.
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Beal, John C. "An introduction to the musical octoechos of the Georgian Orthodox Church." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Palionis, Solveiga. "Formation of pastoral musicians in Lithuania pastoral project : intensive one week summer course /." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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Books on the topic "Church musician":

1

Westermeyer, Paul. The church musician. San Francisco: Harper & Row, 1988.

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Westermeyer, Paul. The church musician. Minneapolis: Augsburg Fortress, 1997.

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Southern Baptist Convention. Sunday School Board. The Church musician today. Nashville, Tenn: Sunday School Board of the Southern Baptist Convention., 1997.

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Music, David W. William J. Reynolds: Church musician. Macon, GA: Smyth & Helwys Publishing, 2013.

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Cave, Donald. Percy Jones: Priest, musician, teacher. Melbourne: Melbourne University Press, 1988.

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Grindle, W. H. Reprise: An Irish church musician looks back. Belfast: Harry Grindle, 2009.

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Voshi, Lois A. Martin Luther, reformer and musician. Silver Spring, Md: Shazco, 1988.

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Commission, Episcopal Church Diocese of Connecticut Music. When a church calls a musician: A handbook for parish churches and pastoral musicians. 2nd ed. Hartford, CT (1335 Asylum Ave., Hartford 06105-2295): Music Commission, the Episcopal Diocese of Connecticut, 1992.

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Episcopal Church. Diocese of Connecticut. Music Commission. When a church calls a musician: A handbook for parish churches and pastoral musicians. 3rd ed. Hartford, CT: Music Commission, the Episcopal Diocese of Connecticut, 1994.

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Dakers, Lionel. Places where they sing: Memoirs of a church musician. Norwich: Canterbury Press, 1996.

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Book chapters on the topic "Church musician":

1

McCarthy, Daniel, and Ralph Turek. "The Church Modes." In Singing and Dictation for Today#x2019;s Musician, 7–11. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367814984-3.

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Clarke, Martin V. "Church musicians in nineteenth-century Durham." In The Music Profession in Britain, 1780–1920, 90–109. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Music in nineteenth-century Britain: Routledge, 2018. http://dx.doi.org/10.4324/9781315265001-6.

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Huynh, Tina A. "Musical Childhoods in the Church." In Remembering Musical Childhoods in Vietnam, 115–35. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003363187-6.

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Šárovcová, Martina. "Illuminated Musical Manuscripts in the Bohemian Reformation." In Medieval Church Studies, 281–304. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.mcs-eb.5.110912.

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Kujumdzieva, Svetlana. "“Bulgarian” Chants in Musical Manuscripts Revisited." In Studies on Eastern Orthodox Church Chant, 181–96. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003377238-19.

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Steward, Theresa Parvin. "A Muslim in a Baptist Church." In The Routledge Companion to Women and Musical Leadership, 509–19. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003024767-41.

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Kujumdzieva, Svetlana. "Indications of Musical Performance From the Fifteenth Century." In Studies on Eastern Orthodox Church Chant, 171–80. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003377238-18.

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Küster, Konrad. "Protestant Church Cantata: Poetical and Musical Challenges Around 1700." In Anthropological Reformations - Anthropology in the Era of Reformation, 341–48. Göttingen: Vandenhoeck & Ruprecht, 2015. http://dx.doi.org/10.13109/9783666550584.341.

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SENN, FRANK C. "The Pastor and the Church Musician." In Thine the Amen, 241–58. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvzcz3q4.17.

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"The Pastor and the Church Musician:." In Singing the Church's Song, 89–98. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvzcz4kn.11.

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Conference papers on the topic "Church musician":

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

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Teacher, conductor, Byzantine musicologist, Gheorghe C. Ionescu (1920- 1999) devoted the last years of his life to researching the history of Romanian Byzantine music and published in specialized journals several comprehensive papers that address various topics and bring back in focus personalities of the past. Due to his solid musical and theological training, guided by prestigious teachers from the interwar period, the distinguished musician had a rich artistic and cultural contribution to the second half of the previous century. The change of the political regime in Romania allowed him to return to the pursuits of his adolescence and youth and to continue his research of Orthodox church music in Romania. Along with his papers at various scientific events and the published studies, his tireless work materialized, soon after 1989, in the writing of a lexicon dedicated exclusively to those who had researched Romanian Byzantine music, in 1997. It was followed by a chronological dictionary, the foreword of which was written by the academician Virgil Cândea, who appreciated the importance of the book and the quality of Teacher Ionescu’s work. Entitled Muzica bizantină în România [Byzantine Music in Romania], the book appeared posthumously, through the care of his family, in 2003. Although the centenary of his birth passed almost unnoticed, both productions are valuable working tools for all those who will continue to value Orthodox church music in our country. One more reason to evoke this personality who put a lot of passion in illustrating the richness and beauty of music sung in Romanian churches, two decades after the book was printed.
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Gomes, Cláudio, Josue Da Silva, Marco Leal, and Thiago Nascimento. "3A: mAchine learning Algorithm Applied to emotions in melodies." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.

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At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.
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Antić, Vladimir. "KARAKTERISTIKE SRPSKOG BOGOSLUŽENjA I POJANjA NA POČETKU XIV VEKA PREMA NIKODIMOVOM TIPIKU." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.287a.

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The Typikon of Archbishop Nicodemus is a significant source for understanding the worship and chant of the Serbian archdiocese at the beginning of the 14th century. Chant has always been considered one of the most important elements of worship, which is why its development has always been carefully controlled by the Church. The typikons of the earliest times are carefully prescribed what will be used in worship, but with equal precision and care, also point out how Psalms, hymns, etc. were singing. Typikon accurately determines the musical characteristics of the hymns themselves, primarily determining what melody needs to be chanted in a church song. Analysis of the testimony of Nicodemus Tipika, knowledge of the development of the Church only in the Serbian church during this period will be deepened.
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Ayres, José Eduardo, Pedro Arthur, Vitor Rolla, and Luiz Velho. "Procedural Music in Games." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10462.

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This workshop will bring to the audience an introduction to the Chuck audio programming language, to the Unity game engine within a hands-on experience how one can use such technologies to achieve a new level of immersion through procedural generated sounds responding to game events and visual effects. The workshop is intended to a broad audience ranging from programmers to ones with little to no knowledge in the field.
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Karelina, Inna B., and Karina A. Smirnova. "Stimulation of speech development in young children with delayed speech development." In Специальное образование: методология, практика, исследования. Yaroslavl state pedagogical university named after К. D. Ushinsky, 2021. http://dx.doi.org/10.20323/978-5-00089-532-0-2021-261-266.

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The article reflects the experience of volunteer speech therapy work with young children on the basis of a Sunday school at the Church of the Epiphany in the city of Yaroslavl. The results of the examination of the speech development of children with delayed speech development at an early age are presented. The author describes a cycle of lessons developed by the authors to activate the speech of children with speech retardation using musical games, an analysis of the results after the lessons is given.
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Purba, Berehme, Lidya Kandowangko, Siguti Sianipar, and Erwin Sianturi. "The Transformation of Hymn Song in Local Church: a Study of Musical Style in Manado." In Proceedings of the First International Conference on Christian and Inter Religious Studies, ICCIRS 2019, December 11-14 2019, Manado, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.11-12-2019.2302108.

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Rašković, Ana. "SLUŽBA SVETOM KRALjU STEFANU MILUTINU U RUSKIM BOGOSLUŽBENIM RUKOPISIMA XVI–XIX VEKA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.319r.

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The cult of the Serbian Holy king Stephan Milutin existed in the Russian Orthodox Church from the second half of 16th to the beginning of the 19th century. This is evidenced by 12 liturgical manuscripts (Festal Menaions and various types of Sticherarions) from the most significant Russian monasteries – The Holy Trinity St. Sergius Monastery, Kirillo-Beloyersky Monastery and Moscow, in which the Holy king is mentioned under the date of October the 30th. Nine of the manuscripts (two menaions and seven sticherarions with Russian neumatic notation) preserved the Service to the Holy king Milutin by Danilo Bansky or its parts (usually sticheras prosomoions). The analysis of the texts showed that the hymongraphic composition and textual content in the Russian manuscripts did not change significantly in comparing to the Serbian transcripts. The Serbian transcript of the Service to the Holy king reached the Moscow Metropolitanate in 1550 and became a protograph from which the Russian transcripts were made. However, the spread of the cult of the Holy King Milutin and the multiplication of the transcripts of Service in his honor in Russia was stopped by the reform of Patriarch Nikon in the middle of the 17th century when, due to revision of the calendar and reduction of holidays, many books were destroyed and cults were abolished. For that reason, the Service to the Holy king Milutin did not enter the Russian written and old printed Menaions for October, just as the mention of the Holy king did not find a place in the calendar of the printed editions of the Jerusalem Typikon. In post-Nikon epoch, the cult of the Holy king Milutin continued to live in the old believer’s communities, where the hymnography in his honor was preserved in musical manuscripts until the beginning of the 19th century. The entire historical development of the cult of the Serbian Holy king Stephan Milutin in Russian Church shows how important topic he was not only in Russian liturgical literature, but also in church-singing art.
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Szymanska-Stulka, Katarzyna. "SPACE PERFORMS FOR SACRED AMONG MUSIC AND ARCHITECTURE. THE CASE OF STABAT MATER??S MOTIF IN POLISH CONTEMPORARY MUSICAL WORKS BY PAWEL LUKASZEWSKI AND IGNACY ZALEWSKI." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.09.

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

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