Academic literature on the topic 'Composers’ Liturgy'
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Journal articles on the topic "Composers’ Liturgy"
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Тарасова, Н. Ю., and А. В. Дубина. "Individuality of the implementation concerning the principles of the New direction from the choral music in the late 19th – the early 20th centuries into the Liturgy of St. John Chrysostom by P. Chesnokov." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 76–90. http://dx.doi.org/10.33287/22196.
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The purpose of this article is composed by scientists into identifyingthe ways for individualizing the principles of the New direction in choral art from the late 19th– the early 20th centuries on the analytical material ofthe Liturgy of Svyatnor John Chrysostom P. Chesnokov. The methods areconceptually based on the ideas of human spiritual confession ofN. Berdyaev and P. Florensky, the ideas of human spiritual confession inthe culture of Kievan Rus and the theory of poetics and anthropologicalmeasurement of the spiritual ancient Russian literature and music ofD. Likhachev and S. Averintsev. The main research tools served historical,dialectical, phenomenological, systemic, hermeneutic-interpretative,comparative-analytical methods. Scientific novelty of the publication isdetermined by 1) referring to the little-studied spiritual choral music of oneof the original composers of the New Direction P. Chesnokov, 2) byanalytic revealing the formative role at different levels of musical integrityof the Liturgy of the elements of folk song thinking and influence of thesynodal singing style; 3) by the appearance of individual means andmethods of composerʼs reading of the literature of the canon. Conclusions.The liturgy of St. John of Zlatoust P. Chesnokov is an original example ofthe embodiment of the aesthetic orientations of the composers of the NewDirection. In the Liturgy of Chesnokov late-romantic ways, the principlesof folk song melodic plasticity, melodic romance intonation, areimplemented song variance and linear-singing polyphonic principles forthe development of a key intonation complex, palatal logic plug-in ofbuilding a „dome-centric” cycle structure and horizontal-verticalinteractions, diatonicity as a way to create lyric-contemplative imagery,song rethinking of the Byzantine rosévian basis of the foundation of thefounding body spheres, singing and melodic leitmotive way of combiningintegrity. The defining singing features of the Chesnokov Liturgy are the„transparent” expressiveness, purity and simplicity, the principle ofregister contrast of texture and coloristic timbre comparisons inherent inthe synodal style.
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Drewniak, Janusz. "Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań." Ruch Biblijny i Liturgiczny 63, no. 4 (December 31, 2010): 327. http://dx.doi.org/10.21906/rbl.181.
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The millennium hymn Te Deum has been known and sung in Poland for over forty years. The author of this dissertation presents the complicated circumstances revolving around the creation of this hymn. The inspiration were incorrect notes about the composer of the hymn, which had been published in song-books. In past years it lead people to believe that Te Deum was composed by the priest Antoni Chlondowski. The author, who based his research on that of Maria Wacholc, opposed the idea that the priest Chlondowski had composed the hymn. This article presents analysis of the composing style and the biography of the priest Chlondowski, which contradict his authorship. Next, in the following part of this article the author presented some facts which helped him to find the authentic composers. According to the author of this dissertation the authentic composers of Te Deum were Józef Furmanik and Franciszek Wesołowski. The aim of this article is to emphasize the necessity of the correction of the mistaken information about the composer in the song-books which will be published in the future.This article has the following structure: Te Deum in the history of the Catholic Church; Polish language version of Te Deum used in the liturgy in the XXth century; Polish millennium Te Deum; The controversy around the authorship of the priest Antoni Chlondowski; The controversy around the authorship of Franciszek Wesołowski; The authentic composers – Józef Furmanik and Franciszek Wesołowski.
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Mocanu, Daniel. "Religious Chants – The Diversity of Church Hymns Types." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 193–224. http://dx.doi.org/10.24193/subbmusica.2020.2.13.
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"In the Romanian musical space, in the Orthodox Church hymns’ repertoire, there is a great variety of non-liturgical chants intended to be sung in different moments of the liturgy. The moments these chants can be introduced are during the kinonikón, the believers’ communion and the end of the liturgy. Either they are called kinonikón, hymns, Calophonic Hirmos, spiritual or liturgical chants; the religious chants became a part of the Orthodox rite, training the Christians ‘community in the church chant. Having appeared in diverse historical contexts and being written by Byzantine music composers, by priests, by church singers and local liturgical communities, these religious chants have deeply been rooted both in the ancient liturgy ritual, and in the different moments of religious activities, pilgrimages, conferences, spiritual gatherings. Having an extremely accessible melodic line and being constructed on doxological, doctrinarian and moralizing character texts, the religious chants are an efficient means of making the Christian communities more dynamic. Keywords: kinonikón, hymn, religious chants "
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Rimaud, Didier. "The Collaboration of a Poet with Composers for Contemporary Catholic Liturgy in the French Language." Studia Liturgica 28, no. 2 (September 1998): 152–65. http://dx.doi.org/10.1177/003932079802800203.
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Sîrbu, Adrian. "The “spirit” of the old communion chants." Artes. Journal of Musicology 17, no. 1 (January 1, 2018): 1–23. http://dx.doi.org/10.2478/ajm-2018-0001.
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Abstract Byzantine music is the chanted prayer of the Orthodox Church left to us as a spiritual legacy by the holy masters of hymnography and hymnology ever since the early centuries. This music serves a precise purpose, i.e. to enhance the mood of prayer and to lift man closer to God. The Holy Liturgy, the mystical centre and the reference point of a man’s entire existence, represents man’s private meeting and communion with Christ, and the moment of this meeting is steeped in an atmosphere of meditation and inwardness created by a series of ample, slow, and vocalization-rich chants, called koinonika. It is a moment of ultimate inner appeasement and preparation. Early composers managed to capture this meditation effect in their koinonika, both through their compositional techniques and, especially, through an inner state of grace. However, in the 19th century, two phenomena became apparent: on the one hand, some of the new composers no longer succeeded in attaining the same ethos as the old masters, and, on the other hand (particularly from Ioan Popescu-Pasărea on), the music tastes of the time caused these ample chants to be replaced with simpler melodies, which, often, were even harmonized. This study has a threefold aim: first, it reasserts the fundamental role played by the koinonikon in the Holy Liturgy, by arguments that underline the ancientness of this practice as well as its survival in other Orthodox areas (such as Mount Athos and Greece). Second, the paper signals the publication, next year, of the first Romanian collection of koinonika signed by Byzantine and post-Byzantine composers (13th-19th centuries). Third, our study aims to show that these ancient chants have a special ethos, representing melodic as well as aesthetic archetypes and, par excellence, the true Classicism of Byzantine melos.
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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.
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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
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Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (October 22, 2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.
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Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of worship bulletins, personal interviews with art music composers, choirmasters and pastors within the denomination. Textual analysis of art music compositions reveals that there are four different modes of communication in the drama of worship: Kerigmatic, Leitourgic, Koinonia, and Reflexive. The emergence and performance of art music compositions in the drama of worship have facilitated communication, indigenisation and acculturation of Christian worship among Baptists in Nigeria.
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Scott, Allen. "Simon Lyra and the Lutheran liturgy in the second half-century of the Reformation in Breslau." Muzyka 65, no. 1 (April 2, 2020): 3–18. http://dx.doi.org/10.36744/m.309.
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In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and devotional songs. The music in the collections contain all of the items necessary for use in the liturgies performed in the St. Elisabeth Church and Gymnasium in the last quarter of the sixteenth century. This list provides valuable clues into the musical life of a well-established Lutheran church and school at the end of the sixteenth century.
When studying collections of prints and manuscripts, I believe it is helpful to make a distinction between two types of use. Printed music represents possibilities. In other words, they are collections from which a cantor could make choices. In Lyra’s case, we can view his recommendations as general examples of what he considered liturgically and aesthetically appropriate for his time and position. On the other hand, manuscripts represent choices. The musical works in the six Bohn manuscripts associated with Lyra are the result of specific decisions to copy and place them in particular collections in a particular order. Therefore, they can provide clues as to what works were performed on which occasions. In other words, manuscripts provide a truer picture of a musical culture in a particular location.
According to my analysis of Lyra’s recommendations, by the time he arrived at St. Elisabeth the liturgies, especially the mass, still followed Luther's Latin "Formula Missae" adopted in the 1520s. The music for the services consisted of Latin masses and motets by the most highly regarded, international composers of the first half of the sixteenth century. During his time as Signator and cantor, he updated the church and school choir repertory with music of his contemporaries, primarily composers from Central Europe. Three of these composers, Gregor Lange, Johann Knoefel, and Jacob Handl, may have been his friends and/or colleagues. In addition, some of the manuscripts collected under his direction provide evidence that the Breslau liturgies were beginning to change in the direction of the seventeenth-century Lutheran service in which the "Latin choir" gave way to more German-texted sacred music and greater congregational participation.
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Tulyantsev, Andrey, and Ekaterina Guskova. "Cherub chants of M. Berezovsky, D. Bortnyansky, A. Wedel: from innovation to tradition." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 39–49. http://dx.doi.org/10.33287/222016.
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The article examines the Cherubim chants written by Ukrainian composers of the musical classicism era – by Maxim Berezovsky, Dmitry Bortnyansky and Artemy Wedel. These composers wrote mainly spiritual music, so they did not omit the Cherubim chant – one of the songs in musical part during the Orthodox Liturgy. The purpose of this article is to reveal an innovative view on the musical embodiment of Cherubim songs by Ukrainian composers of the Classicism era, which, compared to previous cherubim chants, appears at the level of musical style and musical form, and the difference from pieces of music in concert genre, which had been influenced by everyday status of Cherubim chants. The research methods are based on the ways of musical-theoretical and stylistic analysis, as well as on the comparative manner. The method of musical-theoretical analysis contributed to the study of musical texts in Cherubim chants, the analytical method became the basis for identifying the stylistic belonging of pieces of music, comparative – to compare with the songs of previous and subsequent eras. The scientific novelty lies in the Cherubim chants separation from the creative heritage of Ukrainian composers of the Classicism era and their analysis as an independent line of creativity, which embodied an individual approach to the musical perusal of the canonical text. In the process of analysis it was concluded that the Cherubim chants written by M. Berezovsky, D. Bortnyansky and A. Wedel are striking examples of the new style, they can reveal features of musical classicism. Cherubim chants belong to everyday chant and, unlike choral concerts, have a more unified manner of musical presentation, but some chants reflect the features of individual thinking of their authors. At one time, the cherubim chants of these composers became an undoubted breakthrough, and later became a tradition.
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Brobeck, John T. "Musical Patronage in the Royal Chapel of France under Francis I (r. 1515-1547)." Journal of the American Musicological Society 48, no. 2 (1995): 187–239. http://dx.doi.org/10.2307/3128814.
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Recently uncovered archival and historical documents suggest new linkages between the musical patronage of the French royal court and the development of the polyphonic repertory of Francis I's personal chapel as represented in the publications of Pierre Attaingnant. The union in 1514 of the chapels of Anne of Brittany and Louis XII made possible a reorganization of the Chapelle du roi into discrete groups of singers responsible for either the chanting of the chapel's public liturgy or the performance of polyphonic music. As early as the 1490s, however, the French kings began to favor the celebration of private Low Masses en musique, a development seemingly reflected in the increased production of motets by Claudin de Sermisy and other royal court composers.
Dissertations / Theses on the topic "Composers’ Liturgy"
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Scot, Stefan Anthony. "Text and context : The provision of music and ceremonial in the services of the first Book of Common Prayer (1549)." Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297933.
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Sander, Katherine Joan. "Johann Walter and Martin Luther, theology and music in the early lutheran church." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ28907.pdf.
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Середа, Наталія Вікторівна. "Жанровий канон Православної Літургії (на матеріалі авторських Літургій українських та російських композиторів кінця XIX – початку ХХ століть)." Thesis, Національна музична академія України ім. П. І. Чайковського, 2004. http://repository.kpi.kharkov.ua/handle/KhPI-Press/17852.
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Дисертація на здобуття наукового ступеня кандидата мистецтвознавства за спеціальністю 17.00.03 – музичне мистецтво. – Національна музична академія України ім. П. І. Чайковського, Київ, 2004.
В дисертації розглянуто Літургію як цілісне явище: вивчення Літургії як музичного жанру здійснюється з урахуванням основ православного віровчення, усього комплексу церковних дисциплін, а також сутності і структури текстової та обрядової сторін чинопослідування. В роботі запропоновано застосовувати до церковної музики термін "жанровий канон", дано визначення поняття "жанровий канон Літургії". Розглянуто ієрархічну багаторівневу структуру жанрового канону Літургії: текст і чинопослідування, трирівневу будову плану змісту (верхнього ярусу моделі жанрового канону), комплекс універсальних характеристик, властивих духовній музиці в цілому, і зокрема, Літургії, що складають над-рівень, метасмисл жанрового канону. Всі драматургічні рівні унаочнюються у розроблених в дисертації типологічних схемах, які дозволяють в подальшому при роботі з конкретними зразками жанру виявити міру збереження канонічних ознак. Аналіз Літургії монодичної традиції (знаменного і київського розспівів) визначив канонічні закономірності трьох рівнів плану вираження (нижнього ярусу моделі жанрового канону). Побудований таким чином повний жанровий канон Літургії використаний як своєрідна матриця для порівняння з ним авторських Літургій українських та російських композиторів рубежу XIX-XX століть. Міра співвідношення нормативних та анормативних рис є головним критерієм при класифікації зазначених творів.The dissertation for the degree of Art Criticism Science Candidate on speciality 17.00.03 – Music Art. – Tchaikovsky National Music Academy of Ukraine, Kyiv, 2004. In the thesis the Liturgy is reviewed as a complete phenomenon: the analysis of Liturgy as a musical genre is based on the orthodox doctrinal statement, all complex of church disciplines, and also on the es-sence and structure of the text and rite parties. In the dissertation it is offered to apply in relation to church music a concept "a genre canon", the definition of the term "a genre canon of Liturgy" is given. The hier-archical all-level structure of a Liturgy genre canon pattern is reviewed: the text and rite, three-level con-stitution of the contents plan (upper circle of a genre canon model), a complex of the universal character-istics intrinsic to a sacred music as a whole, and in particular to Liturgy, which makes an above-level of a genre canon. All dramaturgy levels receive a visual expression in the designed typological schemes in the thesis. In further, by activity with concrete samples of a genre, the schemes allow to reveal a measure of preservation of canonical tags. The analysis of the monody tradition Liturgy (znamenniy and kyiv chants) has determined canonical legitimacies of three levels of the expression plan (lower circle of a genre canon model). The built thus full model of a genre canon of a Liturgy is utilised as a peculiar matrix for matching with it Ukrainian and Russian composers’ Liturgies of the boundary of the XIX-XXth centuries with the purpose of detection and ratio normative and unnormative features, that has submitted a capability to make classification of the indicated works.
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Kim, Hong Soo. "Mass for AILM by Geonyong Lee the composer and the elements of Asian music /." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9844.
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Wong, Chien-Hui. "An Analysis of Style and Influence in Mario Castelnuovo-Tedesco's Le Danze del Re David." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299681234.
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Goudesenne, Jean-François. "Les offices historiques ou "Historiae" composés pour les fêtes des saints du VIIIe au XIe siècle dans la province ecclésiastique de Reims : (Belgica secunda : diocèses d'Amiens, Arras, Beauvais, Cambrai, Châlons, Laon, Noyon, Reims, Senlis, Soissons, Therouanne, Tournai." Tours, 1997. http://www.theses.fr/1997TOUR2005.
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Selon R. Crocker et D. Hiley, les offices composés par les Francs pour compléter le "vieux-fonds" romain n'ont guère été étudiés depuis les Analecta hymnica et Wagner vers 1900. La thèse de Ritva Jonsson, « historia : études sur la genèse des offices versifiés » nous a sérieusement aidé pour ce projet qui a beneficié par ailleurs des travaux de Corbin, Brou, Escudier, etc. Des sources liturgiques et musicales exceptionnelles ont permis une édition critique complète des offices locaux contenus dans les deux plus anciens antiphonaires d'Occident, celui de Charles de Chauve (ca 870) et celui de Noyon (Xe s. ), mais aussi dans d'autres recueils hagiographiques : S. Remi, S. Amand, S. Vaast, Ss. Crépin & Crépinien, Ss. Fuscien, Victoric & Gentien, S. Nicaise, S. Thierry, S. Gervais & Protais, S. Médard. . . L'analyse, innovante par ses "mises en perspectives" pluridisciplinaires, grâce à la prise en compte de la liturgie, de l'histoire et surtout l'hagiographique, évalue le degré de convergence de ces différentes disciplines. C’est la musicologie et surtout l'hagiographie qui cadrent nos réflexions. L’élaboration des offices a donc commencé dès le VIIIe siècle et s'est effectuée sur le modèle des offices romains, plus anciens ; ils ont ainsi constitué la part principale des additions franques à l'office romain en Gaule ; c'est à ce titre qu'ils méritent d'être réévalués quant à leur rôle dans la synthèse romano-franque. Reims et Elnone ressortent très nettement pour la première renaissance carolingienne (750-840), influencées par l'abbaye de Saint-Denis. On relève de prestigieuses plumes : Alcuin, Hilduin, Hincmar. Dans la deuxième renaissance (840-877), l'activité des centres s'accroit à Saint-Vaast d'Arras, à Amiens, Beauvais, Elnone encore, avec Milon et surtout Hucbald à Saint-Médard de Soissons. . . Pour la troisième renaissance (900-1050) des écoles locales comme Sithiu ou Corbie vont s'ajouter aux précédentes pour contribuer à une floraison artistique.
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Ancillotti, Lorenzo. "Alessandro Esposito (1913-1981) : l'éclectisme infatigable d'un organiste-compositeur confronté aux antagonismes d'une époque." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL177.
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Cette thèse se fonde sur le principe d’une reconstruction biographique et dans le même temps sur l’analyse d’un contexte culturel dans lequel le protagoniste naît, se forme et œuvre. La vie d’Alessandro Esposito, ses expériences, ses rencontres deviennent la source d’un intérêt scientifique grâce à une fine recherche, finalisée à une contextualisation historique, géographique et musicologique. Parallèlement à cette chronologie, plusieurs sentiers ont été tracés, mettant à la lumière une multitude de situations hétérogènes, consacrées au monde de l’orgue, illustrées grâce à la découverte d’une documentation riche. L’identification, la classement et l’analyse de tous ces témoins, ont débouché sur plusieurs domaines de recherche qui ont concerné le parcours du protagoniste : sa formation et sa spécialisation, répondant à une période qui s’étend de 1924 à 1942 ; son activité de concertiste (1926-1981), son répertoire et sa manière d’interpréter la musique ; son activité de compositeur (1926-1978), particulièrement consacrée à l’orgue et à son répertoire liturgique et de concerts ; son activité d’enseignant (1941-1978) et son activité pour l’édition (1956-1976). Le facteur transversal et constant qui s’est posé lors de cette recherche a été de trouver la pensée d’Alessandro Esposito sur la conception de l’orgue et sur son activité d’animateur du débat relatif à l’interprétation de la littérature et aux progrès dans l’art de la facture d’orgue. L’aptitude de cet homme, intéressé à tous les domaines concernant le monde de l’orgue et de sa musique, se vouant à concilier avec engagement et succès des activités aussi différentes, nous révèle sa prédisposition à un éclectisme qui nous permet, donc, de nous pencher sur un monde hétérogène, qui recueille des opinions et des points de vue divergents, qui réunit des pensées et des méthodes différentes concernant le roi des instruments, lequel devient un véritable protagoniste de ce travailThis thesis is based on the principle of biographical reconstruction and, at the same time, on the analysis of a cultural context into which the protagonist was born, studied and operated. Alessandro Esposito’s life, his experiences and his enconunters become a source of scientific interest thanks to a meticulous research, aimed at a historical, geographical and musicological contextualization. Parallel to this chronology, numerous paths are traced that highlight a series of heterogeneous situations addressed to the world of the organ, illustrated thanks to the discovery of a rich documentation. Identification, classification and analysis of these witnesses led the reflection towards the different research areas encountered by the protagonist in his human path : training and specialization, relating to a period that extends from 1924 to 1942, the concert activity (1926-1981), the repertoire and the interpretative characteristics; the activity of composer (1926-1978), particularly dedicated to the organ in its liturgical and concertistic role; the didactic activity (1941-1978) and the editorial one (1956-1976). The transversal and constant factor that stems from this research is the identification of Alessandro Esposito's thinking about the concept of the organ, through the observation of his activity as an animator of the debate concerning the interpretation of literature and progress in the art of organ building. This man’s fascination with every area of the world of the organ and music related to it, allows him to combine many different activities, which reveal a predisposition and an eclecticism that permits a reflection about the complex world, rich in opinions and divergent points of view concerning the king of instruments, the true protagonist of this work
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Michl, Jakub. "Hudební kultura v konventu alžbětinek na Novém Městě Pražském." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390377.
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Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...
Books on the topic "Composers’ Liturgy"
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Milwaukee Symposia for Church Composers. The Milwaukee Symposia for Church Composers: A ten-year report, July 9, 1992. Washington, D.C: National Association of Pastoral Musicians, 1992.
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Voshi, Lois A. Martin Luther, reformer and musician. Silver Spring, Md: Shazco, 1988.
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Joseph Gelineau, pionnier du chant liturgique en Français: La redécouverte des formes. Turnhout: Brepols, 2004.
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The Milwaukee Symposia for Church Composers: A Ten Year Report. National Association of Pastoral Musicians, 1992.
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The Heart of Our Music : Practical Considerations: Reflections on Music and Liturgy by Members of the Liturgical Composers Forum. Liturgical Press, 2015.
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The Heart of Our Music : Digging Deeper: Reflections on Music and Liturgy by Members of the Liturgical Composers Forum. Liturgical Press, 2015.
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Nardini, Luisa. Chants, Hypertext, and Prosulas. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197514139.001.0001.
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The liturgical chant that was sung in the churches of southern Italy between the ninth and the thirteenth centuries reflects the multiculturalism of a territory in which Roman, Franks, Lombards, Byzantines, Normans, Jews, and Muslims were present at various times and with different political roles. This book examines a specific genre, the prosulas that were composed to embellish and expand preexisting liturgical chants of the liturgy of mass. Widespread in medieval Europe, prosulas were highly cultivated in southern Italy, especially by the nuns, monks, and clerics in the city of Benevento. They shed light on the creativity of local cantors to provide new meanings to the liturgy in accordance with contemporary waves of religious spirituality and to experiment with a novel musical style in which a syllabic setting is paired with the free-flowing melody of the parent chant. In their representing an epistemological “beyond” and because of their interconnectedness with the parent chant, they can be likened to modern hypertexts. The emphasis on universal saints of ancient lineage stressed the perceived links with the cradles of Christianity, Africa and West Asia, and the center of the papal power, Rome, while the high number of Christological prosulas in manuscripts used in nunneries might be tied to the devotion to Jesus as “spiritual spouse” that was typical of female religiosity. Full editions of texts, melodies, and manuscript facsimiles in the companion website enrich the study of the stylistic features and the cultural components of this fascinating genre.
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Koester, Craig R., ed. The Oxford Handbook of the Book of Revelation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190655433.001.0001.
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The Oxford Handbook of the Book of Revelation is the premier reference work for the study of Revelation. Part 1 gives attention to the literary features of the book, including its narrative and rhetorical aspects, imagery, hymns, use of the Old Testament and distinctive Greek style. Part 2 considers the social context in which Revelation was composed and first read, including its relation to Roman rule, Jewish communities, Greco-Roman religions, and various groups of Jesus followers. Part 3 explores major topics in theology and ethics, including God, Jesus, and the Spirit; perspectives on creation, evil, and violence; and the portrayal of Babylon, new Jerusalem, and the people of God. Part 4 deals with the book’s history of reception and influence, including the transmission of the Greek text and inclusion in the New Testament canon, patterns of interpretation in antiquity, middle ages, and modern period, and Revelation’s impact on liturgy and music. Part 5 turns to emerging trends in interpretation, including the use of feminist, African American, and post-colonial perspectives. With contributions from leading international scholars, the volume offers authoritative essays on the current state of research that will help to shape the direction of future studies in the field.
Book chapters on the topic "Composers’ Liturgy"
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Gardner, Matthew. "Maurice Greene and the English Church Music Tradition." In The Edinburgh Companion to Literature and Music, 311–17. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0031.
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In early eighteenth-century London the church remained an important employer of musicians. One of the leading composers of English church music was Maurice Greene, whose canticles and anthems display his talent for vivid musical settings of the texts. Greene therefore serves as an ideal example of how an eighteenth-century composer could engage with biblical texts within the liturgy of the Anglican Church.
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Tyrała, Robert. "Muzyka podczas papieskich pielgrzymek w archidiecezji krakowskiej w latach 1997–2016." In Horyzonty wolności, 93–102. Uniwersytet Papieski Jana Pawła II w Krakowie. Wydawnictwo Naukowe, 2019. http://dx.doi.org/10.15633/9788374388320.09.
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The papal pilgrimages in the Cracow Archdiocese were always a huge challenge and a significant event for the faithful. Hence there is a need of basing the subject on a certain assumption. It suggests that the entire collected material on the subject, thus this study should refer not only to the music (compositions) as such but also to the people who cre-ated it, namely: music committees of the pope’s pilgrimages, composers commissioned by the Church, performing artists (scholae, choirs, orchestras, soloists, cantors, conductors). Naturally, we cannot forget about the faithful participating in prayers. Music, be an inte-gral part of solemn liturgy (SC 112) during the papal pilgrimages of: John Paul II, Benedict XVI and Pope Francis have been properly prepared and experienced both at liturgies and at other events. Pope John Paul II visited the Cracow Archdiocese in the following years: 1979 (Cracow, Kalwaria Zebrzydowska, Wadowice, Nowy Targ), 1983 (Kraków), 1987 (Kraków), 1991 (twice: Cracow in June and Cracow, Wadowice in August), 1997 (Cracow, Zakopane, Ludźmierz), 1999 (Cracow), 2002 (Cracow). Pope Benedict XVI came to Poland once in 2006, staying in Cracow and Wadowice. Pope Francis visited Poland on the World Youth Day in 2016. In total there were 10 papal visits to Cracow. This study presents only those which have been paid to Cracow since 199734
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White, Harry. "The Virtuoso of Submissiveness." In The Musical Discourse of Servitude, 60–109. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190903879.003.0003.
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This chapter turns to Fux’s engagement with the imperial liturgy and his vigilant custodianship of its received musical traditions. It argues that the principal reception history of Fux as a composer, vested in the ongoing Complete Edition of his works (Gesamtausgabe) inadequately comprehends his actual significance because it privileges his compositions as self-standing musical works. By deconstructing this reception history we can distinguish between Fux’s habitual obedience to the dynastic style (which resulted in a large but blandly-achieved corpus of liturgical music) and two agents of musical refuge which satisfied (by contrast) the composer’s longing for musical form. The first of these is Palestrina and the “stile antico,” through which Fux achieved a much finer corpus of sacred works. The second is the Da capo aria as a model of tonal discourse through which Fux discovered an alternative to the restless changes of texture and technique demanded by the imperial liturgy. Both agents draw Fux into the orbit of Bach. This chapter closes with a comparative analysis of three Da capo arias by each composer. This analysis affirms that the intimacy between musical servitude and imaginative autonomy is of no less significance than the difference between them.
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Stokes, Laura K. T. "Mendelssohn’s Deutsche Liturgie in the Context of the Prussian Agende of 1829." In Rethinking Mendelssohn, 346–75. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611781.003.0016.
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Felix Mendelssohn’s 1846 setting of the Deutsche Liturgie is among the least understood of his sacred compositions. Far from being an isolated instance of music intended for the liturgy of the Prussian Union Church, Mendelssohn’s work participates in and responds to a tradition of such settings that can be traced back to the 1829 Prussian Agende, whose Musik-Anhang was compiled by Mendelssohn’s teacher Carl Friedrich Zelter. A comparison of Mendelssohn’s setting with those composed by Eduard Grell and Wilhelm Taubert offers a context for reappraising Mendelssohn’s sacred music in light of the historicist values of mid-nineteenth-century Berlin and for nuancing our understanding of Mendelssohn’s aesthetics, creative choices, and intellectual approach to sacred music.
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Meconi, Honey. "Liturgy and Shorter Genres." In Hildegard of Bingen, 100–112. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252033155.003.0009.
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The chapter opens with an overview of monastic liturgy in Hildegard’s time, providing an explanation of the Temporale and Sanctorale, Proper and Ordinary texts, the eight daily Offices, and composed chant versus liturgical recitative. Hildegard’s works are then placed in the context of the liturgical year, with anomalies indicated. A survey of the genres she used is followed by discussion of her shorter works: the Kyrie, her forty-three antiphons (with special attention to O tu illustrata), and the eighteen responsories. The norms for each genre are described, including formal expectations, and the ways in which Hildegard’s compositions meet or differ from these norms is indicated.
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Desby, Frank. "Growth of Liturgical Music in the Iakovian Era 1." In Greek Music in America, 53–70. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0003.
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Little has been written about the considerable changes in Greek Orthodox sacred music in America. In the late nineteenth and early twentieth centuries, the two most common types of Greek music performed were Byzantine and demotika. Byzantine chants were performed as part of the Greek Orthodox Liturgy. However, in America priests and others began to compose new liturgical music, some of which abandoned the traditional Byzantine modes and single vocal line. The new music with European scales was often presented in a westernized style through choirs accompanied by organs. Based at St. Sophia Cathedral in Los Angeles, author Frank Desby (1922-1992) was part of a second generation of academically trained Greek Orthodox Church musicians who created the westernized body of liturgical music.
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Weinberger, Leon J. "Cantor-Rabbis in Italy, Franco-Germany and England." In Jewish Hymnography, 136–92. Liverpool University Press, 1997. http://dx.doi.org/10.3828/liverpool/9781874774303.003.0004.
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This chapter studies the ninth- and tenth-century payṭanim in Byzantine Italy, looking at Aḥimaʻaṣ b. Palṭiel (b. 1017) and his Scroll (Megillaṭ ’Aḥimaʻaṣ), which chronicles the life and times of his family. His memoir provides knowledge about the early Italian hymnists, including the versatile Amittai b. Šefatyah of Oria (in Apulia). Amittai is credited with pioneering the genial side of the liturgy in his mock-serious dialogue between the vine and the tree. The mid-tenth century found a neo-classical revival in Italy. Solomon Ha-Bavli of Rome reintroduced the Qilliric two-root-consonant rhyme, a practice that had been neglected by less gifted poets because of its severe constraints. In the twelfth century, Italian poets began to reflect the influence of their Andalusian colleagues. Yeraḥmiel b. Solomon (12th c.) was probably the first Italian poet to compose hymns for the synagogue in Arabic-style quantitative metres. The chapter also explores the hymnography of Rhineland rabbi-poets and English synagogue poets.
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Tuszewicki, Marek. "Festivals and Rituals." In A Frog Under the Tongue, 180–210. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781906764982.003.0011.
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This chapter covers that dimension of Jewish therapeutic practices which encompassed daily and annual rites, rituals, and customs. Among the customs and traditions mentioned in the chapter is the interesting folk rite Pesach, which involved young men roaming the streets of their town looking for fellow residents with skin diseases. Anyone who answered to the description would be presented with a train ticket accompanied by the recommendation that they pack their bags quickly because the train to Egypt would not be waiting long. The chapter also talks about the Seder meal. Certain traditions connected with the Seder were interpreted specifically as prophylactic. It also talks about the cycle of autumn festivals which is of great importance for matters of health. It mentions the Days of Awe and the widespread custom of measuring the cemetery and graves with string to be later used to make wicks for candles. It also talks about the solemn significance and the Four species, a bundle composed of four types of plant: a date palm frond (lulav), three myrtle branches, and two willow branches, all bound up with palm rings, and an etrog (citron). The chapter discusses human life, understood by traditional Jewish society as being divided into successive stages, each of which was marked by important ritual events. It looks at the health-related justifications for the rituals that God-fearing Jews were required to perform, and it emphasizes the ubiquity in Jewish folk medicine of elements of the sabbath and festival liturgy, and of objects used in religious rites.