Journal articles on the topic 'Church musician'
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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.
Abstract:
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.
3
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.
Abstract:
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.
Abstract:
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.
Abstract:
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.
Abstract:
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.
Abstract:
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.
8
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.
Abstract:
"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.
Abstract:
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.
10
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.
Abstract:
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.
11
Kierska-Witczak, Marta. "The Called. Church Musicians in the Face of Cultural Changes." Pro Musica Sacra 20 (November 23, 2022): 9–28. http://dx.doi.org/10.15633/pms.2001.
Abstract:
The article is an attempt to diagnose selected cultural and social threats and to relate them to the everyday life of church musicians and their profession. In this regard, the reflection is based on the analysis presented in the book Kłopot za kłopotem. Katolik w dryfującej Europie [Trouble follows trouble. A Catholic in a drifting Europe] by Fr Maciej Zięba OP. In the second part, the article refers to the tripartite model of sacred music, consisting of feeling, aesthetics and mystery, proposed by an eminent theologian, member of the Pontifical Academy of Theology, Professor Inos Biffi. This model should provide answers to quetions of interest to us: How can a Christian musician plan and shape his professional future? Can he face the growing problems, and if so, then how?
12
Greene-Hayes, Ahmad. "Black Church Rumor." GLQ: A Journal of Lesbian and Gay Studies 28, no. 1 (January 1, 2022): 115–43. http://dx.doi.org/10.1215/10642684-9449121.
Abstract:
Abstract In 1992, Jet published “James Cleveland Infected L.A. Youth with HIV, $9 Mil. Lawsuit Claims,” which detailed how the Chicago-born gospel musician had not only allegedly sexually abused his foster son, Christopher B. Harris, but had also “[given] him the AIDS virus.” This article takes this incident of rumor or accusation as a critical opportunity to think about the archival reality of Black queer sexuality, on one hand, and sexual violence in Black gospel music history on the other. Using the legal documents from Christopher B. Harris v. Irwin Goldring as Special Administrator of the Estate of James Cleveland and commentary from Cleveland's contemporaries, it exhumes Cleveland from dusty church closets for consideration in the history of HIV and AIDS in African American Protestant church and gospel communities and in Black queer studies, ethnomusicology, and gender and sexuality studies. Further, it theorizes “Black church rumor” as a lens for Black queer religious studies and argues that Cleveland's perceived queer sexuality distracted from Harris's allegations of sexual abuse. Thus, it situates Cleveland—the person, the preacher, and the gospel legend—in the literature on “down low” sexuality and explicates the implications of Cleveland's legacy and role in Black gospel music production.
13
Miroshnichenko, S. V. "WHAT THE ARCHIVE HAS TOLD ABOUT. UNKNOWN ABOUT THE FAMOUS MUSICIAN: I. G. AGAFONNIKOV — STUDENT OF THE MOSCOW CONSERVATORY." Arts education and science 1, no. 30 (2022): 114–18. http://dx.doi.org/10.36871/hon.202201013.
Abstract:
This article documents the student path of Igor Germanovich Agafonnikov, based on his personal file, stored in the archive of the Moscow State Tchaikovsky Conservatory. 23 sheets of archival material reveal new facets of the talent of the choral conductor. The article for the first time presents his documents: student record book, application, autobiography, examination sheet, student's study card and individual study plan, indicating the musical programme of each semester. First published pages of his introductory essay testify to the literary giftedness of the young musician. Extensive information is provided on the Agafonnikov Dynasty, prominent figures of the Russian Church. In particular, on the holy martyr Fr. Nikolay of Podolsk, a subtle connoisseur of church singing art. The article contains excerpts from the orders on the Conservatory testifying to its great organizational and sports activity, the minutes of the meeting of the State Examination Commission and graduation characteristic of I. G. Agafonnikov.
14
Achikeh, Cordis-Mariae, and Raphael Umeugochukwu. "The value of good liturgical music." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 133–50. http://dx.doi.org/10.4314/ujah.v20i3.8.
Abstract:
It is disturbing that in recent times, the worshiping community in the capacity of some church ministers, composers and musicians have deviated from the specifications of liturgical music even as recommended by Vatican Council II (The Constitution of The Sacred Liturgy). Also misunderstood and misappropriated is the idea of inculturation that permits composers in different countries to write music using the language of the locality as well as the indigenous instruments. This is partly due to inadequate enlightenment and training on the part of the liturgical music practitioners on the real meaning of liturgical music. A lot ofproblems have come up from these misconceptions and misinterpretations which include but a few making noise in place of music, negligence of the core features of liturgical music ranging from little or no attention to the solemn nature of the liturgy to relevance for some unimaginable selfish interests. In remedying these challenges, the researcher has made lots of recommendations. One of them is that the practitioners of liturgical music be exposed through seminars and workshops to relevant church documents on liturgical music from time to time. It is necessary and most pertinent that the church retains its solemnity in worship as against the recent mediocrity which has come to envelop the liturgical music making practices. The great value of good liturgical music needs to be sustained.
Keywords: Liturgical Music, Gregorian Chant, Sacred Polyphony, Instrumental Music, Catholic Church, Liturgical Musician, Choir, Congregation
15
Holm, Sebastian. "Acoustical modelling of a Swedish 13th century church ruin, and its use for musical production." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 6 (August 1, 2021): 752–56. http://dx.doi.org/10.3397/in-2021-1640.
Abstract:
Visby is an old hanseatic town on the island of Gotland in Sweden. The town has a large number of old church ruins, one of which goes by the name of St. Lars. The church is believed to be a 13-century orthodox church, and abandoned in the 16 century, all that is left today are the stone walls and parts of the inner ceiling vaults. Through collaboration with the local museum, St.Lars has now been measured and 3D-modelled by the author, Sebastian Holm from Efterklang, who is also a part-time musician. The model has been fitted with what is assumed to be an historically accurate ceiling structure and materials as well as windows, doors, various furnishings and a make-up stage. With acoustical modelling and auralisations made in Odeon, various source and receiver positions has been tested for acoustical qualities, and the impulse responses are now used for musical production for the medieval band known as Patrask. The mixing process uses the impulse response from left and right side of the stage to produce a stereo reverb, and the results are compared to auralisations of the music made with Odeon. The overall process is discussed, with links to the music itself.
16
Bagarič, Alenka. "Musical Topography of the First World War in Slovenia." Musicological Annual 53, no. 2 (November 27, 2017): 23–49. http://dx.doi.org/10.4312/mz.53.2.23-49.
Abstract:
The image and role of music among soldiers and civilians during the First World War on the territory of the present Slovenia is depicted by comparing the music sources and preserved documents. Music unveiled intimate lives of individuals as well as their imparted feelings of belonging to a community, nation and country. The article focuses on the description of situations and ways of singing military folk songs, the meaning and impact of the journal Church Musician, and the patriotic role of marches.
17
Shevtsova, Olga. "Archival materials of V. F. Odoevsky at the Russian national museum of music." St. Tikhons' University Review. Series V. Christian Art 52 (December 29, 2023): 33–43. http://dx.doi.org/10.15382/sturv202352.33-43.
Abstract:
This article is dedicated to the materials of the archives of Prince V. F. Odoevsky, a remarkable Russian musician-researcher, author of the first publications on the theory of znamenny chant. Talking about the manuscripts of V. F. Odoevsky, the author dwells in more detail on those that are in the Russian National Museum of Music and makes a general overview of the fund and its history. The collection of V.F. Odoyevsky's RNMM includes the Prince's musical compositions, materials for the study of folk songs and church hymns, theoretical works on harmony, acoustics, Odoyevsky's letters, notebooks, bills, receipts, photographic materials, handwritten notes from Odoyevsky's library, printed materials and programs, as well as literary manuscripts and other materials by various authors. In general, most of the completed works on Old Russian art by V.F. Odoevsky have been published. A huge number of different drafts and excerpts often represent different versions of the same works. The article goes on to describe the manuscript "Russian Ancient Church Hymn" (f. 73 No. 219), it was not completed by Odoevsky and was not published. It touches on most of the provisions expressed by Odoevsky in published articles, in particular, articles for the Archaeological Congress in Moscow.
18
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.
Abstract:
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).
19
Bing, Richard J. "Composing Music and the Science of the Heart: How to Serve Two Masters." Leonardo 41, no. 4 (August 2008): 365–66. http://dx.doi.org/10.1162/leon.2008.41.4.365.
Abstract:
The author, both a composer and a physician, chronicles his development as a musician—from his childhood fascination with improvising on the piano to the eventual performance of one of his compositions in the church of Saint Stefan in Vienna—and his career as a medical doctor studying heart disease and researching new cures. He finds that the common denominator in composing music and doing medical research is the creative impulse. In his life, music and medicine have never been in competition. Rather, when frustrated by difficulties in medical research, the author has found renewal in composing music.
20
Noden, Shelagh. "Songs of the spirit from Dufftown." Innes Review 70, no. 1 (May 2019): 36–54. http://dx.doi.org/10.3366/inr.2019.0201.
Abstract:
Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.
21
Pransinartha. "Strategi Pembinaan Musik Gereja Dalam Upaya Meningkatkan Musikalitas Pemuda GKE Pandohop." Danum Pambelum: Jurnal Teologi Dan Musik Gereja 1, no. 2 (November 30, 2021): 144–57. http://dx.doi.org/10.54170/dp.v1i2.55.
Abstract:
Gereja Kalimantan Evangelis (GKE) Pandohop is one of the pioneer churches located in Kecamatan Mantangai Kabupaten Kapuas which is experiencing a shortage of musician resources. Besides that, the musicality of the musicians in this church are not maximal because of the lack of ability to read musical notation, to sing and also to accompany the congregational songs which is affecting the worship. It makes the worship become less attractive and monotonous. One of the methods held by GKE Pandohop is making a special strategy through music development for youth so that the vision and mission of GKE Pandohop can be achieved, such as: witness, fellowship and serve. In addition, by using this strategy is expected to increase youth musicality and to increase youth participation in church services. The method used by the authors in this research is a descriptive method with a qualitative approach that aims to provide an overview and explanation of the music development strategy in order to increase youth musicality in GKE Pandohop Kecamatan Mantangai Kabupaten Kapuas.
Gereja Kalimantan evangelis (GKE) Pandohop merupakan salah satu gereja pioner yang berada di Kecamatan Mantangai Kabupaten Kapuas yang sedang mengalami kekurangan sumber daya pemusik. Selain itu, musikalitas yang dimiliki oleh pemusik di gereja ini juga belum maksimal karena keterbatasan kemampuan dalam membaca notasi angka, bernyanyi dan mengiringi nyanyian jemaat yang berdampak kepada Ibadah. Hal ini membuat ibadah menjadi kurang menarik dan monoton. Salah satu cara yang dilakukan pada saat ini oleh GKE Pandohop untuk mengatasi kendala tersebut yaitu dengan membuat strategi khusus melalui pembinaan musik bagi pemuda agar visi dan misi GKE Pandohop dapat tercapai yaitu bersaksi, bersekutu dan melayani. Selain itu, dengan penggunaan strategi ini diharapkan musikalitas pemuda akan meningkat serta meningkatkan partisipasi pemuda dalam pelayanan gereja. Metode yang digunakan oleh penulis pada penelitian ini adalah metode deskriptif dengan pendekatan kualitatif yang ditujukan untuk memberikan gambaran dan penjelasan mengenai strategi pembinaan musik dalam upaya meningkatkan musikalitas pemuda GKE Pandohop Kecamatan Mantangai Kabupaten Kapuas.
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Pankina, Elena V. "Musical Interpretations Of Amor, Se Vuo’ Ch’i’torni Al Giogo Anticho By Petrarch in Canzones by Bartolomeo Tromboncino, Bernardo Pisano and Sebastiano Festa." Contemporary Musicology, no. 1 (2022): 4–22. http://dx.doi.org/10.56620/2587-9731-2022-1-004-022.
Abstract:
The development of poetic Petrarchism in the first decade of the 16th century entailed the flourishing of Petrachism in music. During the transformation of poetic and musical composition due to the development of madrigal, musicians resorted to Petrarch’s poems as a way to free themselves from the dictate of normative song forms and language and to find new ways of musical expression. Among them are Bartolomeo Tromboncino, Bernardo Pisano, and Sebastiano Festa and their focus on Petrarch’s canzone Amor, se vuo’ ch’i’torni al giogo anticho. All the works were published within a short time span. The earliest is the canzone by Tromboncino, included in the Eleventh Book of Frottole by Ottaviano Petrucci (Fossombrone, 1514). Next came Pisano with a work from his author’s collection, also published by Petrucci (Venice, 1510). Finally, the composition of Festa became part of the First Book of Frottole, published by Giovanni Giacomo Pasoti and Valerio Dorico (Rome, 1526). In all the three cases the first stanza of the Petrarch’s canzone is set to music. Tromboncino’s version clearly shows the reliance on the frottola style and the possibility of a solo performance by cantore al liuto. Pisano creates a canzone-motet in a sublime contrapuntal style with a deep intonationbased elaboration of the text. Festa’s interpretation is based on his experience as a church musician. He has a penchant for complex texture, yet, in general, opts for a declamatory presentation of the text. In this way, the three stylistic interpretations of Petrarch’s canzone reflect both the creative individuality of each author and the general evolutionary trends of the first decades of the Cinquecento and its concepts about high secular vocal composition.
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Wangermée, Robert. "Franz Liszt, un virtuose «mal assis»." Bulletin de la Classe des Beaux-Arts 6, no. 1 (1995): 163–85. http://dx.doi.org/10.3406/barb.1995.20269.
Abstract:
The 1830s were a golden age of instrumental virtuosity. With the end of the Ancien Régime, musicians -composers and players alike - were no longer the paid servants of princes or the Church. They had acquired their freedom, but the need to earn a living often led them to produce music which pandered to the tastes of an audience which now included new layers of the bourgeoisie, and to sell it like merchandise. Franz Liszt, one of the most illustrious of these virtuosi, was torn between the desire to affirm himself as the greatest virtuoso of his day and the wish to win recognition from the intelligentsia of philosophers, poets, painters and innovative composers (Berlioz, Schumann,...) as a successor to Beethoven. His «cultural» aspirations are expressed in several series of articles inspired variously by Saint-Simon, Lamennais and Ballanche. In them, he presents a lucid criticism of the musical institutions, the lyrical theatres, concerts and music teaching of his time, and sets out proposals for reform. What is ambiguous in Liszt's attitude is that, for all this, he did not renounce his ambitions as a piano athlete. These contratst did not fail to strike lucid minds, provoking in particular the irony of Heinrich Heine, who saw in him a pianist "badly seated" between contradictory options, and ill at ease with his success as a virtuoso. It was only from 1847 onwards, as Kapellmeister of the Duke of Weimar, that Liszt escaped form the temptations of commercializing his art. However, with artists having lost their clearly defined social function, he was no longer a paid musician-servant as under the Ancien Régime. From that time on, it was clear that music which wanted to escape from market constraints could survive only by subsidies and support from public or private benefactors. 1847 onwards, as Kapellmeister of the Duke of Weimar, that Liszt escaped form the temptations of commercializing his art. However, with artists having lost their clearly defined social function, he was no longer a paid musician-servant as under the Ancien Régime. From that time on, it was clear that music which wanted to escape from market constraints could survive only by subsidies and support from public or private benefactors.
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Maver, Igor. "Slovene poetry in the U.S.A.: the case of Ivan Zorman." Acta Neophilologica 32 (December 1, 1999): 77–84. http://dx.doi.org/10.4312/an.32.0.77-84.
Abstract:
Ivan Zorman was both a musician and a poet, born in 1889 in Šmarje near Grosuplje and died in 1957 in Cleveland (Ohio). In 1893 his family emigrated to the United States of America, first to Ely, Calumet, Cleveland and then to some other American towns. After a brief return to Slovenia in 1898/9, where Zorman attended elementary school in Velesovo near Kranj, they finally settled down in 1904 in Cleveland. In 1907 Zorman took up the study of modern languages (English, French and Italian), history and music at Western Reserve University and graduated only in music in 1912. For a number of years, during 1908 and 1956, he was chief organist and choir leader (like his father) at the parish church of Sv. Lovrenc in Newburgh near Cleveland. During 1920 and 1925 he was professional director of the "Zorman Philharmonic". Not only was he known as a musician, he was very much present in the public life of the Slovene community living in Cleveland, as the enthusiastic teacher of Slovene literature in the Slovene school of the "Slovenski narodni dom", as a poet, translator and public speaker.
25
Maver, Igor. "Slovene poetry in the U.S.A.: the case of Ivan Zorman." Acta Neophilologica 32 (December 1, 1999): 77–84. http://dx.doi.org/10.4312/an.32.1.77-84.
Abstract:
Ivan Zorman was both a musician and a poet, born in 1889 in Šmarje near Grosuplje and died in 1957 in Cleveland (Ohio). In 1893 his family emigrated to the United States of America, first to Ely, Calumet, Cleveland and then to some other American towns. After a brief return to Slovenia in 1898/9, where Zorman attended elementary school in Velesovo near Kranj, they finally settled down in 1904 in Cleveland. In 1907 Zorman took up the study of modern languages (English, French and Italian), history and music at Western Reserve University and graduated only in music in 1912. For a number of years, during 1908 and 1956, he was chief organist and choir leader (like his father) at the parish church of Sv. Lovrenc in Newburgh near Cleveland. During 1920 and 1925 he was professional director of the "Zorman Philharmonic". Not only was he known as a musician, he was very much present in the public life of the Slovene community living in Cleveland, as the enthusiastic teacher of Slovene literature in the Slovene school of the "Slovenski narodni dom", as a poet, translator and public speaker.
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Akatrini, V. "“VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 116–29. http://dx.doi.org/10.33989/2226-4051.2022.26.273126.
Abstract:
The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a significant event – receiving a scholarship at the competition of young talents in Leipzig, which was a significant financial support for his further studies at the University of Vienna. The “Viennese” period of E. Mandyczewski’s creativity, which lasted 54 years, is characterized. In Vienna, he studied German studies, philosophy, literature, art history, musical disciplines; his teachers were music critic Eduard Hanslick, musicologist Martin Gustav Notteb, composer Robert Fuchs. E. Mandyczewski’s professional growth was connected with activities at the Vienna Academy of Music, the Vienna Conservatory; he was the conductor of various choirs and orchestras, archivist and bibliographer of the Viennese “Society of Friends of Music” - one of the significant centers of European musical life.
It was found that during many years of teaching activity, the Maestro trained a whole galaxy of composers, musicologists, teachers, most of whom became stars of the musical world of Austria, Italy, England, America... Among his students are Hans Gall, Karl Behm, Hilarion Verenko, Manolis Calomiris, George Sell, Leone Sinigaglia, Karel Prochazka (senior), Marcian Negria, Joseph Alois Krieps, Julius Patzak, Ferdinand Rebay, Rosario Scalero, Gustav Uwe Yenner, and Arthur Schnabel, Karl Garinger, Ignaz Brühl, Henry Kimball Hadlita, and others. The Austrian press deservedly called the honorary citizen of Vienna E. Mandyczewski “a living musical encyclopedia”. As a theoretician, he wrote many scientific studies on the work of W. Mozart, L. Beethoven, L. Bach, K. Czerny, A. Bruckner, Strauss, etc., compiled a complete edition of the works of J. Haydn, F. Schubert (in 42 volumes), J. Brahms (in 26 volumes). It is emphasized that E. Mandyczewski is the author of 11 Ukrainian choirs, the canon for three voices “And the day goes, and the night goes...” (to the words by T. Shevchenko), music to the lyrics by Yu. Fedkovich “Wake up, Boian!”, “Kobzar’s dawn” etc., vocal works written to the texts of Serbian, Hungarian, Ukrainian, Moldovan folk songs, author’s works written to the texts by Romanian and Moldovan poets M. Eminescu, H. Koshbuk, V. Aleksandr, O. Vlahutse, etc. Research attention is focused on the authorship of vocal works of a secular and spiritual nature, among which the most significant are: “Greek Mass” for solo, choir and orchestra, the cycle “Tuscan Songs”, church works – 12 liturgies, “Cherub” for mixed choir, “Our Father” for two children’s voices, carol “Silent night, holy night”, psalms, etc.
On the basis of primary factual sources, the influence of E. Mandyczewski on the development of musical culture and education in Bukovyna is characterized.
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Wardhani, Agnes Ayu, Hartono Hartono, and Yurina Gustanti. "Bentuk Lagu Liturgi Lumen Christi di Perayaan Ekaristi Paskah Gereja Santo Yohanes Penginjil Jakarta." JoLLA: Journal of Language, Literature, and Arts 3, no. 5 (May 31, 2023): 724–38. http://dx.doi.org/10.17977/um064v3i52023p724-738.
Abstract:
Lagu liturgi “Lumen Christi” merupakan lagu sederhana yang selalu dibawakan dalam perayaan Ekaristi Paskah di gereja Katolik pada malam paskah. Bentuk lagu pada penelitian ini terdiri atas bagian, motif, frase, melodi, birama dan makna. Tujuan penelitian ini adalah melakukan deskripsi dan analisis lagu liturgi yang berjudul Lumen Christi di Gereja Santo Yohanes Penginjil Jakarta. Selain itu, untuk mengetahui bagian, motif, frase, melodi, birama dan makna pada lagu tersebut digunakan metode penelitian deskriptif kualitatif dengan data yang berupa hasil wawancara narasumber dan dokumentasi. Narasumber utama dalam penelitian ini adalah Pastor Aluisius Pramudya Daniswara dan musisi koor gereja Albertus Djoko Muljanto. Subjek penelitian ini ditujukan pada Pastor dan musisi koor gereja karena telah lama mengabdi di gereja dan mengetahui aturan musik pada lagu liturgi. Observasi penelitian ini dilakukan dengan mentranskrip lagu Lumen Christi ke dalam notasi balok dan menganalisis makna lagu tersebut untuk memperoleh data-data dari lagu tersebut. Hasil penelitian menunjukkan bahwa bentuk lagu Lumen Christi mempunyai 1 bagian yang terdiri atas 4 motif, 2 frase dengan 4m yaitu frase antedens dan frase konsekuen, dengan tempo adagio. Kata kunci: bentuk lagu, Liturgi, Ekaristi Paskah, Lumen Christi. Forms Liturgical Lumen Christi Song at Santo Yohanes Penginjil Jakarta Church's Easter Eucharist The liturgical song Lumen Christi is a simple song that is always sung in the celebration of the Easter Eucharist at the Catholic church on Easter night. The form of the song in this study consists of parts, motifs, phrases, melodies, bars and meanings. The purpose of this research is to describe and analyze the liturgical song Lumen Christi at the Church of Santo Yohanes Penginjil, Jakarta. In addition, to find out the parts, motives, phrases, melodies, bars and meanings of the song. The research method used is descriptive qualitative with data in the form of interviews with sources and documentation. The main informants in this study were Pastor Aluisius Pramudya Daniswara and church choir musician Albertus Djoko Muljanto. The subject of this research is aimed at church choir musicians and pastors because they have served in the church for a long time and know the rules of music in liturgical songs. Observations of this research were carried out by transcribing the song "Lumen Christi" into block notation and analyzing the meaning of the song to obtain data from the song. The results showed that the form of the song "Lumen Christi" has 1 part consisting of 4 motifs, 2 phrases with 4m, namely the antecedent phrase and the consequent phrase, with an adagio tempo. Keywords: forms song, Liturgical, Easter Eucharist, Lumen Christi.
28
Локотьянова, Д. Е. "Choral Activities of Anton Bruckner. Secular Vocal Works." OPERA MUSICOLOGICA 15 / 3, no. 15/3 (2023) (September 12, 2023): 206–31. http://dx.doi.org/10.26156/om.2023.15.3.012.
Abstract:
Австрийский композитор Антон Брукнер (1824–1896) занял прочное место на «симфоническом олимпе» в мировой музыкальной культуре, а также еще при жизни снискал славу виртуозного органиста-импровизатора. Сегодня у слушателей вызывают восхищение и его церковные сочинения (масштабные вокально-инструментальные опусы Te Deum, Месса ми минор, мотеты Ave Maria, Locus iste, Os justi), вошедшие в историю хоровой музыки. Именно эти три сферы (Брукнер-симфонист, Брукнер-органист, Брукнер-церковный музыкант) чаще всего попадают в поле внимания исследователей. Светская же хоровая музыка композитора (как и его хоровая деятельность в целом) незаслуженно оказалась в тени. Между тем, данное направление всегда занимало важное место в жизни Брукнера: великий симфонист начинал свой путь как певчий монастырского хора, затем он был участником и руководителем хоровых коллективов, в том числе широко известного Liedertafel Frohsinn. Хоры (как церковные, так и светские) композитор писал на протяжении всей жизни; сохранилось более 40 светских вокальных (хоровых, ансамблевых) произведений, созданных мастером. Эти пьесы варьируются от кратких фанфар без сопровождения до развернутых по форме кантат. По ним сегодня можно судить об эволюции творческих поисков музыканта, о связях его хоровых сочинений с другими областями композиторского наследия. В статье впервые в отечественном музыкознании осуществляется попытка осветить хоровую практику Брукнера (включая создание его светских хоров) в историческом контексте. The Austrian composer Anton Bruckner (1824–1896) has taken a strong place on the symphonic Olympus in the world musical culture, and even gained life fame both as a virtuoso and an organist-improviser. Today, listeners also admire his church choirs (for example, the famous vocal opuses Te Deum, Mass in E minor, motets Ave Maria, Locus iste, Os justi), which have become manuals in the field of choral music. It is these three areas (Bruckner as an organist, Bruckner as a symphonist, Bruckner as a church musician) that often draw attention of many researchers of his art. Secular choral music, however, like all his choral activities, was undeservedly in the shadow of the artist’s creative biography. Meanwhile, this area in the life of Bruckner always occupied an important place: the great symphonist began his career as a chorister of the monastery choir, then he was a member and leader of choral groups, including the well-known Liedertafel Frohsinn. The composer created (both church and secular) choirs throughout his life. Many secular vocal opuses (more than 40) created by the master have been preserved. These pieces range from short, unaccompanied mottos to extended cantatas. According to them, today one can judge the evolution of the musician’s creative endeavors, the musical ties with other areas of the composer’s heritage. This article is the first attempt in Russian musicology to highlight Bruckner’s choral activities (including creation of his secular choirs) in the historical context.
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Boorman, Stanley. "The 500th anniversary of the first music printing: a history of patronage and taste in the early years." Musicological Annual 37, no. 1 (December 1, 2001): 33–49. http://dx.doi.org/10.4312/mz.37.1.33-49.
Abstract:
Ottaviano Petrucci published his first book of music, the Odhecaton A, sometime in the summer of 1501, 500 years ago. Since it was the first, Petrucci faced a number of special problems. Some were financial, for he could not know how many people would buy printed music, or how many books they would want. Consequently, there was a danger that he might not sell as many books as he needed to cover his costs. A related set of problems concerned the choice of music to print: would his books be bought by professional musicians and their institutions, or by dilettantes, courtiers and amateurs? Could chansons be expected to sell better than church music? Petrucci's answers to these problems would depend on whether he had to finance his editions himself, or whether some patron or musician would offer to underwrite an edition for him. Using bibliographical and biographical data, this paper argues that some of Petrucci's earliest editions were speculative ventures on the part of his partners and himself, while others were probably commissioned from Petrucci by an outside patron. Petrucci seems to have had to balance speculative with commissioned editions throughout his career: the market may not have been big enough to support only speculative editions. It was certainly not big enough to support more than one publisher of music. This situation seems to have continued well into the 1530s arguing that the big expansion in amateur musicians did not occur until then.
30
Bambrough, Renford. "Question Time." Royal Institute of Philosophy Supplement 38 (March 1995): 189–201. http://dx.doi.org/10.1017/s1358246100007360.
Abstract:
It makes straightforward sense to ask a person ‘Why did you decide to become a solicitor?’ (or a carpenter, shopkeeper, teacher or professional musician). There is no mystery about the question ‘Why did you decide to become a British citizen?’ (or a member of the Liberal Party, the Roman Catholic Church or the Aristotelian Society). It may be difficult to answer any of these questions. We may not remember, or may be unable to articulate, what first led us to seek ordination, join the Army or stand for Parliament; but the questions themselves are clear, and they ask for fair comment on matters of public or private interest. There are other questions that sound like these but raise difficulties of another order.
31
Jasper, David. "The Artist and Religion in the Contemporary World." Text Matters, no. 1 (November 23, 2011): 216–27. http://dx.doi.org/10.2478/v10231-011-0016-5.
Abstract:
Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as most tragically in the case of Beethoven, hear their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church.
32
Hammond, Joseph W. "Daniel Hendrickson of Middletown, New Jersey: An Eighteenth-Century Farmer, Entrepreneur, and Artist in the Limner Tradition." New Jersey Studies: An Interdisciplinary Journal 8, no. 1 (January 27, 2022): 69–151. http://dx.doi.org/10.14713/njs.v8i1.265.
Abstract:
In every generation there are individuals who succeed in a wide variety of activities that are seemingly unrelated to each other. Today we might describe them as overachievers, or perhaps some sort of so-called Renaissance personality endowed with a Midas touch. Daniel Hendrickson, an eighteenth-century entrepreneur from Middletown, Monmouth County, New Jersey, was just such a person. He engaged in farming, coastwise shipping, milling, distilling, and many other business endeavors. He also became an author in print, a musician, a deacon in the Reformed Dutch Church, and a very versatile artist in the limner tradition, which by definition means an early painter with little or no formal training. This essay touches on the many aspects of Hendrickson’s extraordinary life, then focuses primarily on his artistic career.
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Berehova, Olena, and Elena Yermakova. "INTERPRETATION OF GENRE OF THE MARIAN ANTIPHONS IN CONTEMPORARY UKRAINIAN MUSIC (on the example of the cycle «Mariologia» by A. Retynsky)." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 104–13. http://dx.doi.org/10.33287/222038.
Abstract:
The purpose of this scientific article is to learning Marian antiphons as a fundamentally important musical attribute of church liturgical spiritual practice and as an essentially specific genre of composition into the contemporary Ukrainian music on the example of the artistic work of a well-known Ukrainian composer Oleksiy Retynsky. There are methods of this signified research. The research of Marian antiphons is carried out using the methodology of historical musicology, holistic musicological analysis and musical hermeneutics. The scientific novelty of this represented investigative work is to introduce to the scientific circulation of Ukrainian musicology the cycle „Mariologia” for mixed choir and percussion instruments, by Oleksiy Retinsky (2017) and to reveal the features of interpretation of the medieval genre by composer of modern times. Conclusions. The artistically musical cycle „Mariologia” of distinguished Ukrainian musician, composer Oleksiy Retynsky for mixed choir and percussion instruments is analyzed, the place and significance of the work in modern performing practice are determined. It is emphasized that contemporary Ukrainian composers and choral groups are starting to get actively interested in medieval liturgical genres, trying to interpret them in accordance with the worldview and attitude of a person of the end XX – the beginning of the XXI centuries. The specificity of the interpretation of the ancient liturgical genre of Marian antiphons in the works of modern Ukrainian composers is considered. The role and specialized place of spiritual foundations as well as the internal direction of composers in writing musical works on canonical texts is discovered. The features of the use of psalmody and Gregorian chant in the context of modern worldview are revealed.
34
Schatkin Hettrick, Jane. "Johann Michael Haydn’s Missa Sancti Hieronymi: An Unusual Eighteenth-Century Tribute to Saint Jerome." Clotho 3, no. 2 (December 24, 2021): 129–44. http://dx.doi.org/10.4312/clotho.3.2.129-144.
Abstract:
Johann Michael Haydn (1737–1806), court musician to the prince-archbishop of Salzburg, composed the Missa Sancti Hieronymi in 1777, apparently intended to mark the name-day of his employer: 30 September, the feast-day of St. Jerome. Because of its wind-band scoring, this Mass is unique, not only among Haydn’s Masses, but also in the Mass repertoire of Salzburg, and apparently in that of all late eighteenth-century Austria. The present article discusses the environment in which Haydn functioned and its effect on the practice of church music in Salzburg and generally in Catholic Austria. Haydn’s employer, Archbishop Colloredo, was a proponent of Enlightenment thinking. He expressed in his Hirtenbrief of 1782 ideas opposed to the kind of sacred music then prevalent in Austria, in particular, the orchestral Mass. Reflective of the new Gottesdienstordnung promulgated by Emperor Joseph II, the proposed changes include the introduction of congregational hymns in the vernacular and severe reduction in numbers of liturgies and the amount of music allowed in them. Colloredo finds support for his ideas in the writings of St. Jerome and other church fathers. Given Haydn’s strong Catholic faith and dedication as a composer of sacred music, the article suggests that although he wrote the Missa as a dutiful servant of his employer, he meant it above all as a tribute to St. Jerome.
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Pawlina, Agata. "The Creation of an Ottoman Turkish Psalter. Ali Ufkî’s (Bobovius) Mezmûriyye (ca. 1665) and Maciej Rybiński’s Psalmy Dawidowe (1608)." Biblical Annals 13, no. 4 (October 27, 2023): 635–60. http://dx.doi.org/10.31743/biban.14575.
Abstract:
Wojciech Bobowski is better known in international academia under the Latinised version of his name: Albertus Bobovius and by his Turkish name: Ali Ufki. Most probably, he was born in Lviv, ca. 1610 and died in Constantinople, ca. 1675. He left for posterity numerous works that today we would classify as belonging to several fields of the humanities: musicology, linguistics, religious studies, cultural studies, political history and even ethnography. His best-known works include one of the earliest translations of the Bible into Turkish (1662–1664), an influential treatise on Islam (1690), a description of the Topkapı Palace (1665) – the main seat of the Ottoman sultan, where he lived and worked as a court musician – and collection of more than 500 Ottoman Turkish musical pieces written in European stave notation (ca. 1640–1650). In this paper, the author first presents outcomes of her current archival research on Bobowski’s early life in the Polish-Lithuanian Commonwealth. Then, she demonstrates the possibility that when working on Mezmuriyye – the Ottoman Turkish psalter, Ali Ufki took inspiration from the Polish translation of the Genevan Psalter from French by Maciej Rybiński, an influential bishop of the Reformed Church in the 17th-century Poland. This theory is based on the analysis of linguistic content of French, Polish and Ottoman Turkish lyrics, as well as the striking visual resemblance of Bobowski’s Mezmuriyye and one specific old-print of Rybiński’s Psalmy Dawidowe na melodie francuskie uczynione published in 1608.
36
Bailey, Candace. "Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177." Royal Musical Association Research Chronicle 32 (1999): 119–35. http://dx.doi.org/10.1080/14723808.1999.10540986.
Abstract:
The circumstances surrounding the compilation of many seventeenth-century English keyboard manuscripts remain unknown. The most concrete information exists for the early-seventeenth-century repertory, and scholars have also identified several copyists from sources dating from the end of the century. Without considering the question of repertory, the focus on the earlier manuscripts can be explained in part for the following reasons. A few volumes are associated in some way or another with famous composers (for example, Thomas Tomkins and his autograph Conservatoire National de Musique (in Bibliothèque Nationale), Paris, (F-Pc) MS Rés. 1122), and others are noteworthy for their expansive contents (Fitzwilham Museum, Cambridge MS Mu 128, the famous ‘Fitzwilliam Virginal Book‘). Others are well known because their copyists are familiar personalities, such as British Library, London (Lbl) RM MS 23.1.4 and F-Pc MS Rés. 1185—both connected with Benjamin Cosyn, organist of Dulwich College and conspicuous for his knowledge of John Bull's music. However, the copyists of most mid-century keyboard manuscripts remain unidentified. Concrete information concerning the copyists of a few sources exists, but most identified copyists are unknown men or women—keyboard music in the hand of a prominent musician is quite rare.
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Addison, Paul. "Alex Wiseman: reluctant architect?" Architectural History Aotearoa 14 (December 5, 2017): 17–25. http://dx.doi.org/10.26686/aha.v14i.7788.
Abstract:
The Auckland Ferry Building, completed in 1912, is still a significant landmark in downtown Auckland today. However, its architect, Alex Wiseman, remains less well-known and more enigmatic. Born in Auckland in 1865 into a prominent Methodist family, Wiseman was apprenticed at 16 years of age to noted architect Edward Bartley for a term of four years. Wiseman then practised as a draughtsman for a period, before moving to Victoria, Australia, to follow his first love, music, making his living as a music teacher and organist. After marrying and starting a family, the lot of an impecunious musician may have held less appeal, and in 1903 Wiseman returned to Auckland. He established his own architectural practice and, over the next 12 years until his death at the age of just 50, he received, often with the aid of familial and church connections, several high-profile commissions, including the ferry building, the YMCA building and Auckland Training College (both in Wellesley Street), and "Greenacres," the home of James Gunson, later mayor of Auckland.
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Lindgren, Lowell, and Colin Timms. "The Correspondence of Agostino Steffani and Giuseppe Riva, 1720–1728, and Related Correspondence with J.P.F. von Schönborn and S.B. Pallavicini." Royal Musical Association Research Chronicle 36 (2003): 1–173. http://dx.doi.org/10.1080/14723808.2003.10541002.
Abstract:
The ‘Venetian’ composer Agostino Steffani and the Modenese diplomat Giuseppe Riva became acquainted at Hanover in 1719. Steffani had first resided there between 1688 and 1703, when he served the Hanoverian Duke Ernst August and his son Georg Ludwig as a musician and special envoy (he went to Vienna, for example, to negotiate the elevation of Hanover to an electorate, a distinction approved by the emperor in 1692). He had been ordained a Catholic priest at Munich in 1680, received a sinecure appointment as an abbot in 1683 and been made an apostolic prothonotary by 1695. His diplomatic and evangelical achievements on behalf of the church were recognized in 1706, when he was named Bishop of Spiga, and 1709, when he was appointed Apostolic Vicar of North Germany. His home in 1703–9 was in Düsseldorf, where he served as chief councillor to Johann Wilhelm, the Catholic Elector Palatine, but in November 1709 he returned to Hanover, a Lutheran city in Lower Saxony nearer the centre of his extensive vicariate.
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Janawati, Janawati, and Kornelius Gulo. "MUSIK DAN PERANANNYA DALAM IBADAH." Inculco Journal of Christian Education 2, no. 3 (September 19, 2022): 268–80. http://dx.doi.org/10.59404/ijce.v2i3.109.
Abstract:
Abstrak: Artikel ini adalah suatu pengangkatan judul yang dilatar belakangi oleh, keinginan seorang Penulis untuk mengetahui apa yang menjadi peran musik, yang digunakan dalam setiap Ibadah Kristen, serta bagaimana supaya musik yang dimainkan oleh seorang musisi, boleh menjadi musik yang berjalan tidak sebagai simbol saja, tetapi ada fungsi dan tujuan dari musik yang dimainkan. Berbicara tentang musik dan peranannya dalam ibadah bukanlah sesuatu hal yang asing lagi, sebab banyak gereja yang sudah menggunakan musik dalam melaksanakan ibadah, baik itu dari aliran Injili, Protestan, Karismatik atau Pantekosta. Artikel ini bertujuan menjawab 1. Apa peranan musik gereja dalam ibadah? 2. Bagaimana musik yang berkenan bagi Tuhan? 3. Apa itu Musik Gereja dan bagaimana Liturgi Nyayian Jemaat dalam Ibadah? Dengan hasil: 1. Peranan musik menjadi sebuah pertempuran krisis, kuasa penyembahan, memulihkan pelayanan. 2. Musik yang berkenan kepada Tuhan adalah musik yang penuh dengan ketaatan, yang berisi ucapan syukur. 3. Musik gereja yang karena isinya serta dengan pernyataan Iman penciptanya atau orang yang menampilkan karya tersebut, dalam liturgi ibadah meliputi berarti perayaan iman, termasuk dalam liturgi adalah tata ruang, tata Ibadah, tata waktu, simbol-simbol, pembacaan Alkitab, musik gereja dan sebagainya. Abstract: This article is an appointment of a title based on the desire of an author to know what is the role of music, which is used in every Christian worship, and how the music played by a musician may become music that operates not only as a symbol , but there is a function and purpose of the music being played. Talking about music and its role in worship is not something new, because many churches already use music in carrying out their services, whether they are from Evangelical, Protestant, Charismatic or Pentecostal. This article aims to answer 1. What is the role of church music in worship? 2. How is music pleasing to God? 3. What is Church Music and how is the Liturgy of Congregational Singing in Worship? With the results: 1. The role of music becomes a crisis battle, the power of worship, restoring ministry. 2. Music that pleases God is music that is full of obedience, which contains thanksgiving. 3. Church music which, because of its content and the statement of faith by the creator or the person performing the work, in the liturgy of worship includes the meaning of the celebration of faith, including in the liturgy are spatial planning, worship arrangements, timing, symbols, Bible readings, church music and etc.
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Бабий, Александр Николаевич, and Татьяна Суреновна Кюрегян. "Yury Nikolaevich Kholopov and His Ryazan Background." Научный вестник Московской консерватории, no. 3(50) (September 28, 2022): 448–73. http://dx.doi.org/10.26176/mosconsv.2022.50.3.01.
Abstract:
Прижизненный авторитет Ю.Н. Холопова как выдающегося ученого приобрел за двадцать лет после кончины, с публикацией прежде не изданных фундаментальных трудов, новое измерение. Его огромный вклад в развитие отечественной музыкальной теории заставляет задуматься о почве, взрастившей природное дарование музыканта. Выходец из русской глубинки, Холопов прошел путь, весьма показательный для России. То, как происходило восхождение от дедов-крестьян к интеллектуальным вершинам столичной и мировой научной мысли,- вопрос не только личной биографии Холопова, но и специфики русской культуры. В ее музыкальном основании сплелись народная песня, церковное пение и классическое искусство. Причем носители классики, от просвещенных дилетантов до высокообразованных профессионалов, в силу разных исторических причин были не только сосредоточены в крупнейших городах, но и рассеяны по просторам огромной страны. Названное триединство прямо влияло на становление музыкального сознания Холопова. В семейном хоре разветвленного рода Холоповых-Стариковых собиралось до 50 человек, и дети с малых лет погружались в хоровое многоголосие. Родители (параллельно с основным жизненным занятием) практически всю жизнь пели в храме и были способны руководить певчими. Развитие музыкального образования в послереволюционные годы (подготовленное деятельностью Рязанского музыкального общества), создание музыкальных школ и Рязанского музыкального училища (с выпускниками столичных консерваторий среди преподавателей) открыло возможность серьезной профессиональной подготовки. Возникшая от слияния этих глубинных сил энергия и вывела Холопова на просторы мировой науки о музыке. The authority of Yu. N. Kholopov as an outstanding scholar obtained in his lifetime has gained new dimension during 20 years that have passed since his death, due to the publication of his fundamental works earlier unprinted. His depth makes us think about the background that fostered natural gift of the musician. Being a native of the Russian province, Kholopov traveled a path that is quite representative for Russia. The way in which rising from peasant ancestors to intellectual heights of capital and world scientific thinking took place is the issue not only of personal biography of Kholopov but of Russian culture specifics as well. Folk song, church singing and classical art interlaced in his musical formation. It is notable that representatives of classics - from enlightened amateurs to highly educated professionals - due to various historic reasons were not only concentrated in big cities but were also scattered through the enormous country. The triunity indicated had direct influence on the formation of Kholopov’s musical perception. Up to 50 people gathered in the family choir of the branched family of Kholopovs-Starikovs, and children from the early age got immersed into the choir polyphony. Parents virtually all their lives sang in a church choir (in parallel with their basic occupation) and were able to conduct choristers. The development of musical education in post-revolutionary years (prepared by the work of Ryazan musical society), the establishment of music schools and Ryazan music college (with graduates of capital conservatories among educators) enabled serious professional training. Energy that emerged thanks to the fusion of these profound powers led Kholopov to the space of world musical science.
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Johnson, Bret. "ARCHITECT OF CATHEDRAL MUSIC: AN INTERVIEW WITH PHILIP MOORE." Tempo 65, no. 257 (July 2011): 63–67. http://dx.doi.org/10.1017/s0040298211000271.
Abstract:
Philip Moore (b. 1943) has had a distinguished career as a cathedral musician, organist and, increasingly in recent years, as a composer. He began his career as a music master at Eton College and subsequently held a number of important positions, firstly at Canterbury and Guildford Cathedrals and latterly as Master of the Music at York Minster (1983–2008). His impressive catalogue of 400 works contains a substantial body of church music, but he has also written instrumental music and some larger works with orchestra including an organ concerto. His music draws on a wide sphere of influences with a strong tilt towards Vaughan Williams, Howells and Britten, plainchant and Duruflé and those whom he regards as the great classical architects of music: Bach, Brahms, Mozart and Hindemith amongst many others. On 20 November 2010 his new cantata Ode to St Cecilia was premièred in Guildford Cathedral. The composer has said that the genesis and design of the work derives from Britten's St Nicholas to which he hopes it will be seen as complementary. This interview took place in October 2009 before a recital devoted entirely to Moore's organ music at St Paul's Cathedral in London.
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Tabyisova, Fedosia W. "To the perfect instruments of Arnolt Schlick." Contemporary Musicology, no. 1 (2020): 3–22. http://dx.doi.org/10.56620/2587-9731-2020-1-003-022.
Abstract:
Arnolt Schlick was a Palatine organist, composer and organ expert of the Renaissance who is best known for Spiegel der Orgelmacher und Organisten (1511), a treatise on building organs. In this work he presented a certain ideal of the organ seen from his own perspective. Schlick also published Tabulaturen etlicher Lobgesang (1512), a collection that enjoyed an imperial privilege and featured organ works of great originality of skill so much different from his Italian, French and Dutch contemporaries. Schlick demonstrates an even more bizarre technique in a later manuscript of compositions marking the coronation of the Holy Roman Emperor Charles V (1520). The article is an attempt to establish a relationship between Schlick's organ writing and the features of the instrument his works were written for. What instrument did the famous blind musician write for? Did he write for the ideal instrument he described in his treatise Spiegel der Orgelmacher und Organisten? Was it the one he played until the end of his life after landing a lifetime contract with the Palatine court in 1509? The next aspect of the study, which may be of special interest to organists, focuses on the interpretation and execution of Schlick’s organ works. The South German organ tradition, with its heyday in the Renaissance, is still little studied by Russian and international musicologists alike. Only a few 135 delightful church instruments have survived since that time. They usually feature original organ cases, while all other structural parts are dated later. No less rare is the organ music of that period which does not only spark an interest, but also creates a certain difficulty for researchers. The methodology of the study combines historical and cultural approaches as well as the tradition of studying ancient musical art based on historically informed performance. The research findings contribute to the development of musicology and may inform music performers.
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Tsuranova, Oksana. "The role of N. Ilminsky and S. Rachinsky in the formation of the personality of S. Smolensky." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 10–25. http://dx.doi.org/10.34064/khnum2-16.01.
Abstract:
Background. The modern system of national education, including music, is on the path of reorganization and reformation. Creating new educational models, it is useful to refer to the samples, time-tested, created by people whose names are permanently inscribed in the European cultural and historical fund. This confirms the life and work of Stepan Vasilyevich Smolensky (1848–1909) – teacher, medievalist, composer, regent, reformer of the music education system, public and cultural figure, ideologist of the New Direction of Orthodox Music of the late XIX – first half of the XX centuries. The formation of the ideology of the musician-teacher, the approval of his convictions became possible in many ways thanks to the support of two of his contemporaries, outstanding pedagogical figures – N. Ilminsky and S. Rachinsky. Objectives. The purpose of the article is to reveal the personal interaction of S. Smolensky with N. Ilminsky, S. Rachinsky, to appraise the contribution of the latter to the formation and development of his ideological positions, which determined the direction of further professional activity. Methods. The article uses the method of historicism, which allows us to consider the phenomena of artistic culture, enlightenment and education in the dynamics of their formation. Results. The formation of S. Smolensky took place in the Kazan period of life under the influence of Nikolai Ilminsky and Sergey Rachinsky. Nikolai Ivanovich Ilminsky (1822–1891) – orientologist, mission temissionary-teacher, biblical scholar, takes a special place in the biography of Stepan Vasilyevich Smolensky. The scientific works of N. Ilminsky cover a wide area of knowledge, like that: theology, linguistics, foreign translation, pedagogy and missionary work. His scientific studies, their practical implementation, which have not lost their relevance even nowadays, put Nikolai Ivanovich in a row of prominent figures of the Orthodox enlightenment of small peoples of the Volga region, Ural region and Siberia. The merits of N. Ilmisnky belongs to the founding of the first schools for small nations of the Volga region, as well as the teachers’ seminary in Kazan, where S. Smolensky was invited to the post of teacher of singing, history and geography. Church singing was considered in the missionary policy of the government as an important strategic element of introducing baptized aliens to orthodoxy. To this end, S. Smolensky was involved in a large-scale project of translating religious chants into the languages of the national small peoples of the Volga region, which determined the direction of his entire musical and singing work. Fully sharing the beliefs of N. Ilminsky, the young teacher focused on teaching church singing, in the moral and educational significance of which he infinitely believed. The lack of a methodical program for this discipline in public schools made S. Smolensky delve into this area of knowledge, as a result of which he developed the author’s system of teaching the named subject. In his pedagogical activity, S. Smolensky made extensive use of the methodological manuals created by him, which became an indispensable teaching material for future teachers. Here in Kazan, with the assistance of N. Ilminsky was opened a new page in the life of S. Smolensky, his deep immersion in the field of paleographic research. In Kazan, in the period of close cooperation with N. Ilminsky, typical features of S. Smolensky’s future activity were outlined, which received its brilliant application in the next Moscow period of life, during his leadership and reforming the Synodal School of Church Singing and Choir. S. Smolensky called his last teacher Sergei Alexandrovich Rachinsky (1833–1902) – professor and founder of the Department of Plant Physiology, Moscow University, a teacher, corresponding member of the Imperial St.-Petersburg Academy of Sciences. The acquaintance of S. Smolensky and S. Rachinsky occurred on the basis of the folk soil, based on Orthodox ideals. Foresight of judgment and deep knowledge of ancient church chants gave S. Rachinsky the right to take an active part in the scientific and educational activities of S. Smolensky. This confirms the extensive work carried out by S. Smolensky on the harmonization of the main Orthodox chants, undertaken at the insistence of his elder friend. The reforms carried out by S. Smolensky in Moscow and St.-Petersburg were fundamentally based on the education system of S. Rachinsky, aimed at developing the national element. Conclusions. A powerful monolith in the face of the polyglot and the manager N. Ilminsky, set off by the elegance of the artistic, but at the same time «meekly obstinate» nature of the educator-creator S. Rachinsky multiplied to the personality of Stepan Vasilyevich. In turn, the example of the life and work of S. Smolensky set a high tone and indicated a movement vector for many respectable professionals of musicians, teachers, choir masters, and scientists. Faith S. Smolensky, by lifeblood of the folk song and znamenny chant, inspired a wide range of composers, including P. Chesnokov, A. Kastalsky, S. Rachmaninov, A. Grechaninov, A. Nikolsky, N. Golovanov, K. Shvedov, Vik. Kalinnikov and others. Becoming one of the founders of medievalism in the area of church music, S. Smolensky outlined the main components of a scientific search in the history and theory of ortodox church singing, in the course of which A. Preobrazhensky, A. Nikolsky and others. A gifted teacher and organizer, S. Smolensky showed an example of the work of exemplary musical institutions whose school was attended by the greatest choirmaster of the last century: P. Chesnokov, N. Golovanov, N. Danilin, S. Zharov, A. Egorov and others. What has been said gives the right to assert that we can be fruitful in history, provided, like S. Smolensky, we will with intense effort learn from our forefathers, carefully looking at the value of their professional and life experience.
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Rosidy, Tony Anwar, Aton Rustandi Mulyana, and Yayi Suryo Prabandari. "The ethical dimensions of Mong Kinemong in music performance in catholic worship: a phenomenological analysis of first Friday night eucharist musicians at Ganjuran Church." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 18, no. 2 (November 3, 2023): 123–33. http://dx.doi.org/10.33153/dewaruci.v18i2.4723.
Abstract:
In the context of Catholic worship at Ganjuran Church, music and musicians play vital roles in enhancing the spiritual experience of worshippers. This research employs a qualitative and phenomenological approach to explore the ethical aspects related to musical performances during the First Friday Night Eucharist. Through careful observation, interviews, and documentation, the study analyzes the musicians' practices using Marc Benamou's theory of Rasa and Keontjoroningrat's insights on religious emotion. The findings reveal that musicians at Ganjuran Church embody the ethical principle of 'Mong Kinemong,' demonstrating a profound ethos of mutual care deeply embedded in their musical practice. This ethical commitment is bolstered by the musicians' intense experience of religious emotion, evoking feelings of majesty and serenity among choir members. Additionally, instrumentalists, referred to as 'pengrawit,' express heightened veneration, describing their peak moments as 'semu' (joyful), 'nges' (serene and good), and 'dados' (fulfilling expectations). Importantly, this 'Mong Kinemong' ethos harmoniously integrates with musical elements, enhancing the overall worship experience. This study contributes to a deeper understanding of ethics in musical performance within the Catholic liturgy context, shedding light on the significance of mutual care, emotional resonance, and harmonious musical expression in enriching the spiritual dimension of worship.
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Thomas, Cathy. "Reverberations of the Black Feminist Breathing Chorus." Resonance 2, no. 2 (2021): 281–95. http://dx.doi.org/10.1525/res.2021.2.2.281.
Abstract:
Alexis Pauline Gumbs is a writer, poet, activist, and independent scholar whose experimental triptych (Spill, M Archive, Dub) offers both mundane and unearthly interventions for humanity’s struggles against histories of ecological extraction and Black feminist refusals. Sangodare is a multimedia artist, musician, and theologian drawing from Black feminist writings and African Diaspora wisdom. They are co-founders of several multi-platform undertakings such as the Mobile Homecoming Project that birthed the Black Feminist Breathing Chorus (BFBC). It is one of many online and in-person spaces supporting QPOC and Black feminist communities. The BFBC, in particular, blends theory, meditation, music, poetics, and Black church traditions. In this asynchronous mantra practice, hundreds of participants receive daily “ancestor” mantras via the Mobilehomecoming.org website. These mantras are shortened quotes from the diverse writings and speeches of figures such as Marsha P. Johnson, Zora Neale Hurston, Pat Parker, and Joseph Beam. The social, juridical, and digital records of violence against women, POC, queer, and non-binary bodies and communities is not new. However, as consequences of the COVID-19 pandemic have overlapped with conspicuous displays of anti-Black policing and asymmetric economies, the BFBC has provided an alternative space to rebuild and re-enchant social, political, and intellectual life through a remixed spiritual practice of amplifying voices. This interview highlights how race, gender, location, and time do not limit the quest for freedom. Thus, the primacy of Black queer positionality is instrumental in the chorus’s examination of both liberating and oppressive social hierarchies.
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Bradley, C. Randall. "Congregational Song as Shaper of Theology: A Contemporary Assessment." Review & Expositor 100, no. 3 (August 2003): 351–73. http://dx.doi.org/10.1177/003463730310000304.
Abstract:
The faith and identity of Christian communities are formed and defined in large degree by musical forms and patterns. Music shapes and conveys theology, and is a point of engagement with broader culture. This is especially true in Free Church evangelicalism, where musical styles have nearly replaced denominational distinctives as the demarcating lines among various groups. This essay argues that music and worship are “active theology.” Worship and its music should over time express the full range of Christian truth and form worshipers truthfully. The essay explores and catalogues principal influences and concerns pertaining to musical form, style, and content. Church musicians are encouraged to see themselves as shapers of contextual theology in their communities.
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Moormann, Bernhard, Henrike Schwerdtfeger, and Sascha Koller. "Die Kirchen und die GEMA." Kirche und Recht 24, no. 1 (2018): 123–35. http://dx.doi.org/10.35998/kur-2018-0009.
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Cho, BuWhan. "The development and decline of Mannheim School." Korean Society of Music Education Technology 31 (April 16, 2017): 121–34. http://dx.doi.org/10.30832/jems.2017.31.121.
Abstract:
The Mannheim School achieved variety of musical characteristics, balance between movements, and satisfaction of the function of individual movement within the four movements structure taking a minuet as the third movement. In terms of detailed formal and constitutive structure, they maintain dramatic tension through external and internal contrast, horizontal and vertical combination of musical sections with strong identity. In addition, such a dramatic tension is based on certain types of development and formal structure. The Mannheim Kapelle was mentioned in the music-history through the sponsorship of Carl Philipp and Carl Theodor. The Mannheim Kapelle with the musical patronage of Carl Theodor became much larger in the quality and size under his reign. He supported to the musicians financially and spiritually. The Court Music in the 18th century was performed at the Court events or the Carnival. The Court events involved church and secular ones. For the Church events, there were many Church services for the birthday and the day for the name of the king or the lord. There were many famous Mannheim musicians, most of whom proved their outstanding technique at the Concert Spirituel. These events were different due to the favor of lord and political instance, the Lord of the Mannheim Court realized the value of culture and art very well, so the musical culture was promoted in Mannheim at his days. On the contrary, cultural art is not developed when the political situation is out of joint and domestic economy ist unstable. And its uniform musical form caused that Mannheim School was forgotten.
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Iñigo-Chua, Maria Alexandra. "Hispano-Filipina Church Music in Intramuros, Manila in the Context of Nineteenth-Century Philippine Modernity (1858-1898)." Philippiniana Sacra 56, no. 167 (January 1, 2021): 203–32. http://dx.doi.org/10.55997/1006pslvi167a6.
Abstract:
Because conversion was Spain’s imperial project in all its colonies, the church, as an institution, became a major player in the colonial enterprise. Christianization became a constitutive force in the country’s colonial affairs as friars were sent to the archipelago to realize Spain’s mission of conversion. From early accounts, it can be surmised that it was the work of religious missionaries that became the most influential factor in the transformation of the cultural behavior of the people in acquiring a Westernized consciousness. The article looks at the conditions that underpinned the transformation of church music in nineteenth-century modernity in the colony, approached through the prism of published music scores. It brings to light both friars and non-religious church musicians who had an active role in transforming the musical life of the colonial capital, being prime movers in the musical scene of the city and contributing to the formation of the city’s sacred music culture. It is interesting to explore this construction within the musical milieu of Intramuros when the church got preoccupied with significant developments of modernity particularly that of lithographic music printing.
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Nugrahhu, Putra Andino, Ratih Sulistyowati, Ni Nyoman Astrini Utami, and Jose Ernest. "Striving for musical excellence: a study on the development of music players' skills for church worship accompaniment through ensemble training." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 18, no. 1 (June 25, 2023): 28–38. http://dx.doi.org/10.33153/dewaruci.v18i1.4456.
Abstract:
The connection between music and the church is integral, especially during worship, where hymns require musical accompaniment. The musical experience influences congregational engagement and emotions. Given the significance of musical accompaniment, diversity is essential. Coaching can enhance musicians' skills and contribute to varied worship experiences. This action research aims to guide music players at GKE Palangka I Palangka Raya to improve their music-playing skills, which are carried out in two cycles. Each cycle consists of four stages: planning, implementation, observation, and reflection. The subjects of this study were ten teenage music players. Data were collected through observation, documentation, and skill tests. The data were analyzed by processing scores of assessment aspects, including the ability to imitate sounds, read notation, tempo suitability, intonation accuracy, and fingering techniques. The results increase musicians' skills in playing music through ensemble music, with an increase in the average score of each participant from pre-cycle 52 to the first cycle 62 by 19% and from the first cycle 62 to the second cycle 77 by 24%. This research contributes to the significance of musical diversity in worship, the impact of musical instruments on congregational engagement, and the potential benefits of coaching in enhancing musicians' skills for diverse music presentations, particularly within small musical ensembles. Additionally, this research highlights the significance of a theological-oriented approach to training in music ministry and practice and the potential for collaborative music training to improve musical proficiency in the context of worship.