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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.
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Dean, Jeffrey J. "The Repertory of the Cappella Giulia in the 1560s." Journal of the American Musicological Society 41, no. 3 (1988): 465–90. http://dx.doi.org/10.2307/831461.
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An inventory has recently been discovered of the music books belonging to the Cappella Giulia (the choir of St Peter's Basilica in Rome), compiled by the singer Simon Prince some time between 1559 and 1566. The great majority of the books listed survive, either in the Cappella Giulia collection of the Vatican Library or (in the case of two prints) in other collections. Nearly half of the compositions contained in these books are the work of Carpentras, Festa, and Morales, the dominant composers of the Cappella Sistina from 1513 to 1548; the remainder show a bias towards French compositions and are virtually restricted to works composed before 1550. The conservativism of this repertory, paralleled by that of the Cappella Sistina, is emphasized by the fact that the books in Prince's inventory contain no music by Palestrina, though he had been chapel-master of the Cappella Giulia in 1551-54. It appears, in fact, that most of his sacred music was composed after he returned to the Cappella Giulia in 1571; this was probably in response to the Tridentine reform of the liturgy in 1568-70.
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Dănilă, Irina Zamfira. "Manuscript 105 from the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldova and Bucovina in Iasi - an exemplary document of adapting chants to Romanian in Moldova." Artes. Journal of Musicology 26, no. 1 (April 1, 2022): 129–60. http://dx.doi.org/10.2478/ajm-2022-0010.
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Abstract Ms 105 from the “Dumitru Stăniloae” Ecumenical Library is an extensive Chrysantean Anthologhion, consisting of 236 leaves, written in Romanian with Cyrillic characters by copyist Hariton Vasiliu from Horaita Monastery (Neamt County), between 1857-1879. The chant content is specific to the musical collection this codex belongs to, namely the service of Vespers, Matins, and the Divine Liturgy, freely organized in the manuscript; for this reason, the typical ritual order could not be observed. The musical sources of Ms. 105 are exclusively repertoire collections in the Romanian language, mainly the psaltic prints circulated during that period (about 50% of the total). Their composers are initiators of the implementation of the Chrysantine reform in the Romanian Principalities: Macarie the Hieromonk, Anton Pann, Nectarie Frimu, Dimitrie Suceveanu – they were all important personalities who, through their works, contributed significantly to the replacement of church chanting in Greek with chanting in the “mother tongue” (i.e. Romanian). The other set of chants in Ms. 105 (50% of the total) are, however, from local manuscript sources and are mainly composed by unknown musicians.
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Тарасова, Н. Ю., and П. В. Камуз. "CHRISTIAN DUALISM OF CONFESSION AND GLORIFICATION AS THE BASIS OF MUSICAL DRAMATURGY AND STYLISTIC FEATURES OF LITURGY OF ST. JOANNA ZLATOUST BY M. SKORYK." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 16–31. http://dx.doi.org/10.33287/22192.
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The aim of the article is detenction of dramaturgic role inherent toOrthodox liturgical canonical texts and motets of dualism of christianconfession and glorification on dramaturgic and stylistic levels of Liturgyof St. I. Zlatoust by M. Skoryk. The canonical structure of Liturgy ofSt. I. Zlatoust at the level of liturgical texts and motets is investigated; thefeatures of composer's interpretation of characteristic structuralcompositional, harmony mode, texture, thematic methods of transmissionof sense of liturgical texts and canonical motets are examined. Themethods of the research are based on the use of musically-culturological,comparatively-historical, theoretical-analytical, textological methods.Scientific novelty. For the first time the system analysis of LiturgySt. Joanna Zlatoust 1) in the context of authorial choral style of M. Skorik;2) in unity of neobargee, neoromantic and neofolklore stylistic principlesof composer’s thinking; 3) in the aspect of cooperation of harmonic, tonemode, form-building means of expression of music of the ХХ century;4) at symbolically-semantic level of work is carried out. Conclusions.Sacred choral music became a major landmark in creative heritage ofМ. Skoryk. Embodiment by the composer of sacral senses of Liturgy differs free character sent to opening of typical for Orthodox of dualismconfession and glorification, through experiencing of such fundamentalreligious states, as 1) is personality-dramatic confession, 2) is transcendentcontemplativeness, 3) is catharsis state, 4) is subjectively-lyric acceptanceof Divine will, 5) is glad glorification. Thus, in the process of analysis theoriginality of authorial interpretation of genre of Liturgy was educed at thelevel of composition, in correlation with the canonical following of textsand motets, at the level of musical style; connection of musical languageof Liturgy by М. Skoryk is argued with neofolklore principles, tone modeand harmonic receptions of music of the ХХ century.
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BOWERS, ROGER. "THE CHAPEL ROYAL, THE FIRST EDWARDIAN PRAYER BOOK, AND ELIZABETH'S SETTLEMENT OF RELIGION, 1559." Historical Journal 43, no. 2 (June 2000): 317–44. http://dx.doi.org/10.1017/s0018246x99001107.
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Already at the beginning of her reign Elizabeth I was resolved to effect at the earliest opportunity both the restoration of the Royal Supremacy and the replacement of the Latin liturgy by an existing Edwardian Prayer Book. Constrained by Marian legislation which she was firmly minded not to break, the queen signalled her intentions by conspicuous adoption in her Chapel Royal of such few and minor manifestations of Protestant liturgy and practice as fortuitously were still legitimate, amplified by certain early Edwardian practices (1547–9) originally introduced not by statute but by proclamation or injunction and therefore never formally de-legitimated by statutory repeal. That her initial intention was restoration of the Prayer Book of 1549 is indicated by the identity of certain texts set to music early in 1559 by her Chapel Royal composers, and by the response of Edmund Guest to a contemporary request that he undertake a revision of parts of the 1549 Book. Arising from her own personal convictions, Elizabeth's policy was not without merits; however, political pragmatism and ecclesiastical realities coerced her into agreeing instead to the restoration of the Book of 1552. She exacted a number of concessions to her own conservatism ; first discernible in the instructions given to Guest, these achieved their realization through the rubrics of the 1559 Prayer Book and certain of the 1559 Injunctions.
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Milsom, John. "English–texted chant before Merbecke." Plainsong and Medieval Music 1, no. 1 (April 1992): 77–92. http://dx.doi.org/10.1017/s0961137100000267.
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The first Book of Common Prayer, published in 1549, contains no music. This is not to say that many of the liturgical texts it contains were not intended to be sung or intoned, as they had been for centuries before the Reformation. That singing as well as speaking was permissible is made clear by the rubrics,1 but notation was not supplied, an omission that can only have perplexed English priests and choirs at a time of radical and inadequately prescribed liturgical reform. As E. H. Fellowes commented in 1941, ‘very little attention has been drawn to the problems that must have confronted precentors, organists, choirmasters and composers, when the Latin liturgy was replaced by the Book of Common Prayer issued in the vernacular tongue’.2 To that list he might have added celebrants; and however great these problems may have appeared at choral foundations which maintained close contact with the principal reformers, they must have seemed almost insuperable to the priests at remote parish churches throughout the country.
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Mariasina, Nonna. "The Divine Service of the Liturgy of Presanctified Gifts in works of composers of the New direction (the turn of the 19th century)." St.Tikhons' University Review. Series V. Christian Art 28 (December 31, 2017): 141–58. http://dx.doi.org/10.15382/sturv201728.141-158.
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Bowers, Roger. "The Vocal Scoring, Choral Balance and Performing Pitch of Latin Church Polyphony in England, c.1500-58." Journal of the Royal Musical Association 112, no. 1 (1987): 38–76. http://dx.doi.org/10.1093/jrma/112.1.38.
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Embedded into the approaches to their crafts adopted inescapably by the composers and performance directors of church polyphony in England during the century or so before the Reformation were a number of constraints imposed by extraneous factors over which they had no control, but which effected a decisive influence over both the resulting form and the sound of the music which they produced in their respective capacities. Looming large among these was the nature of the performing medium. Over most aspects of this neither composer nor director exercised any influence at all; in terms of, for instance, the simple number of executants, they were obliged to produce music for and from the medium which their ecclesiastical superiors saw fit to provide, and the principal priority of the latter was the realization not of occasional polyphony for the liturgy, but of its standard plainsong and ceremonial as laid down by the authorized service books. Within these predetermined numbers of priests, clerks and choristers, however, the principal musicians presumably enjoyed some scope for nominating the constituent numbers of executants of the various timbres of voice necessary for mounting a performance of polyphony. The decisions taken by the musicians themselves in an area such as this that lay probably within their discretion have much to reveal about the nature of the choral balance and of the vocal scoring that they envisaged as appropriate for their music, and also – by inference from the latter – its sounding pitch.
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Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.
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The research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A liturgy for a large orchestra and a solo viola “Bemoaned by the Wind” and “Styx” for viola, choir and orchestra by G. Kancheli), and the works by F.S. Druzhinin (Sonata for solo viola and Variations for solo viola). The works are considered from the position of a player’s influence on the composers’ interest in the solo manifestation of viola and its gradual development. The author defines the term “character-performer” corresponding with the image of a violist of the 20th century. The author denotes the new features of solo viola repertory as a result of the work of the above mentioned violists: the acknowledgement of a uniqueness of a viola voice, the establishment of a viola as a bright concert instrument, the expansion of a used range of a viola, the revelation of a mystic component of a viola timbre, the definition of a unique unifying ability of a viola timbre, a full technical liberation of an instrument, and the need for a co-author thinking of a player.
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Bennett, Peter. "Hearing King David in Early Modern France: Politics, Prayer, and Louis XIII's Musique de la Chambre." Journal of the American Musicological Society 69, no. 1 (2016): 47–109. http://dx.doi.org/10.1525/jams.2016.69.1.47.
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Scholars of Louis XIV have long recognized the “representational” strategy employed by the composers of the Chapelle Royale (and those who designed its liturgy), in which the words of the psalms (the work of poet-musician King David) allied to an elaborate musical setting (the grand motet) attested to the king's strength and power in both spiritual and temporal domains. By contrast, in the absence of a comparable repertory inspired by the psalms from an earlier period, the role of King David at the court of Louis XIII has received almost no attention. Yet, as this article shows, the biblical king did indeed play a central role at the court of Louis XIII, albeit in unexpected ways. The “public” voice of David—the voice of a warrior who defeated his enemies—spoke outside the confines of the court in orations, pamphlets, and psalm paraphrases (with simple musical settings), celebrating, in particular, the king's victory over the Huguenots at La Rochelle in 1628. On the other hand, study of the psalm-texted works composed for Louis XIII's Musique de la Chambre (recently identified in Bibliothèque Nationale de France, MS Vma rés. 571) reveals a “private” voice, a voice that reflected Louis's anxiety and penitence in the years around 1620 and that was heard only by the king's closest allies at court. By contextualizing this “private” voice it is also possible to account for the rise of the Domine salvum fac regem, a musical genre that originated in the same circumstances, and to suggest that Louis XIII and Louis XIV in fact had a common interest in David as supplicant.
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Gosfield, Avery. "I Sing it to an Italian Tune . . . Thoughts on Performing Sixteenth-Century Italian-Jewish Sung Poetry Today." European Journal of Jewish Studies 8, no. 1 (June 25, 2014): 9–52. http://dx.doi.org/10.1163/1872471x-12341256.
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Although we know that Jewish musicians and composers were active in Renaissance Italy, very few compositions by Jewish authors or music specifically destined for the Jewish community has survived. There are few exceptions: Salamone Rossi’s works, the tunes from Guglielmo Ebreo da Pesaro’s dance manuals, Ercole Bottrigari’s transcriptions of Jewish liturgy, a handful of fragments. If we limit the list to pieces with specifically Jewish content, it becomes shorter still: Rossi’s HaShirim asher liShlomo and Bottrigari’s fieldwork. However, next to these rare musical sources, there are hundreds of poems by Jewish authors that, although preserved in text-only form, were probably performed vocally. Written in Italian, Hebrew and Yiddish, they usually combine Italian form with Jewish content. The constant transposition and transformation of form, language and content found in works such as Josef Tzarfati’s Hebrew translation of Tu dormi, io veglio, Elye Bokher’s Bovo Bukh, or Moses of Rieti’s Miqdash Me’at (an artful reworking of Dante’s Divina Commedia) mirror the shared and separate spaces that defined Jewish life in sixteenth-century Italy. None of these poems have come down to us with musical notation. However, several have extant melodic models, while others have indications, or are written in meters—like the ottava or terza rima—that point to their being sung, probably often to orally transmitted melodies. Even if it is sometimes impossible to ascertain the exact tune used in performance, sung poetry’s predominance in Jewish musical life remains undeniable. HaShirim asher liShlomo, usually considered the most important collection of Jewish Renaissance music, might not have ever been performed during its composer’s lifetime, while Rieti’s Miqdash Me’at survives in over fifty manuscripts, including four Italian translations. In one of these, translator/author Lazzaro of Viterbo writes, tellingly, about looking forward to hearing his verses sung by his dedicatee, Donna Corcos.
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Angelovskaya, S. "The originality of the modern Ukrainian church oeuvre: on an example of the chants «All-night Vigil» Olena Yunek. Formulation of the problem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 85–99. http://dx.doi.org/10.34064/khnum2-49.06.
Full textAbstract:
The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M. Skoryk, V. Stepurko, G. Havrylets) and new authors of church chants - Volodymyr Feiner and Olena Yunek. Olena Yunek’s creativity is an example of liturgical as a secular concert application of the church repertoire. The education of a mistress’s personality took place on the basis of the Orthodox worldview. Her preferences of Ukrainian choral music from childhood were combined with participation in church-singing practice. The vast majority of works - spiritual content in the composer’s work refinement of the O. Yunek. The purpose of the article is to detect the identity of modern church music of young Ukrainian composers, whose works are becoming more popular in the choral performance of secular and spiritual collectives. The object of research – the work of Ukrainian church composers at the present stage; the subject – features of the individual composing style of O. Yunek, that been found on the material of the chants of the cycle "All-night vigil" (2007-2015). Research methodology. The presented material is the result of the interaction of musicological approaches to composing text (genre, composition, style, functional) and liturgical-theological discourse. Analysis of recent publications on research topic. A problem of author’s reading of canonical text by Ukrainian composers at the end of the XX - XXI centuries finds a solution in the thesis of O. Tyshchenko in terms of the correlation of the rite and genre [6]. The measure of the preservation of canonical features in the works of Ukrainian and Russian composers is determined in the work of N. Sereda on the material of the cycles of the Liturgy [4]. However, the cycle of "All-night vigil" in the works of contemporary Ukrainian composers has not yet become the subject of scientific interest on the part of musicology. The author of the article considered the problem of forming an individual style on the example of the All- Nightly V. Feiner, in which the original stylistic features of the polyphony of the Renaissance and the Ukrainian choral concert were originally combined [1]; The study of the work of O. Yunek in the master’s thesis was initiated. Presenting main material. When compiling their own church compositions Olena Yunek relied on the history of such outstanding artists as O. Yunek Georgy Sviridov, Sergei Rachmaninov, Arvo Pyart, Valery Kalistratov, Oleksiy Larin, Moris Duryuflie, Lesya Dichko. «All-night Vigil» is written for mixed choir. It consists of 19 chants, each of which is a separate independent composition, which can be performed independently of others. In the sequence of chants there are no traceable patterns associated with the dramatic organization of the whole. According to the author, she did not plan to create a separate cycle at the beginning, but in the process of composer’s searches, as well as through participation in the church choir at different times, a number of major chants of this cycle were created. Written at different times, the works do not have a common tonality. In general, mineral complexes predominate. The leitmotif system in the loop is absent, however, a number of composer techniques and means of expressiveness, combining works, can be traced. The article provides a holistic analysis of three chants from the cycle: Psalm 103, «O gladsome light», «From my youth». By their example, the presence of the melo-formula – singing, and constantly repeating rhythmic groups is clearly demonstrated. A detailed analysis of the harmonic sequences, the change of texture and the course of melodic lines made it possible to identify certain features of the composer’s individual style and the methods of writing that he uses to create church compositions. A comparative analysis of the canonical text and its interpretation in compositions by O. Yunek is presented. Conclusions. O. Yunek’s personal style is characterized by a high level of possession of the technique of choral writing: the variety of harmonious, timbralregister and textural means while preserving the canonical liturgical text, a careful attitude towards it. The choral style of sounding differs by the ease, the availability of perception. In her compositions, the words of the chants are completely audible - without bills, overlays; no sharp contrasts in the dynamics. The primary role among means of expressiveness is given to harmony. It is at its level that certain elements of the Eastern Slavic singing are found (plagiarism, the use of medial chords, the linear nature of the formation of the accordion), the West European classical type of harmony (chords of the main functions in typical relations) and modern musical language (the presence of dissonant consonants, not the classical sequence in the middle construction, accordion of the nontheric structure). The role of melodies is very important. Often harmonic changes occur due to the linear motion of the melody in separate voices. Layout intonations and rhythmic figures common to compositions contribute to the integrity of the cycle and allow it to be perceived as such. In particular, it is observed in conducting the main melody frequent use of singing, gradual mirror-symmetric movement of voices, passage and auxiliary non-chord sounds. These melodic cells have the same features with the sounds of a significant singing, which confirms the composer’s tendency to the ancient chants. Similar rhythmic patterns (dashed rhythm, two sixteenth and eighth, eighth and two sixteenth, fourteenth and sixteenth), osintato also contributes to the integration of the cycle. The choral texture is characterized by flexibility and richness of presentation. Often there is a chord composition with elements of singing in separate voices, as well as contrasting fragments of unison («Blessed man»), chanting (two voices) («Virgin Mary, rejoice», «Praise the Name of the Lord», «Blessed art Thou, O Lord»). Changing the invoice occurs organically and appropriately to the performance requirements, which indicates the professional approach and knowledge of the composer’s choral writing. Consequently, all the inventions and means of expressiveness that were invented during the analysis show that the work of the contemporary composer of Kharkov, Olena Yunek, is an example of an original author’s reading of the canon in the field of church music. Together with the embodiment of the church canon, the principles of individual thinking operate and a modern link of church-composing creativity is formed.
22
Angelovskaya, S. "The originality of the modern Ukrainian church oeuvre: on an example of the chants «All-night Vigil» Olena Yunek. Formulation of the problem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 85–99. http://dx.doi.org/10.34064/khnum1-49.06.
Full textAbstract:
The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M. Skoryk, V. Stepurko, G. Havrylets) and new authors of church chants - Volodymyr Feiner and Olena Yunek. Olena Yunek’s creativity is an example of liturgical as a secular concert application of the church repertoire. The education of a mistress’s personality took place on the basis of the Orthodox worldview. Her preferences of Ukrainian choral music from childhood were combined with participation in church-singing practice. The vast majority of works - spiritual content in the composer’s work refinement of the O. Yunek. The purpose of the article is to detect the identity of modern church music of young Ukrainian composers, whose works are becoming more popular in the choral performance of secular and spiritual collectives. The object of research – the work of Ukrainian church composers at the present stage; the subject – features of the individual composing style of O. Yunek, that been found on the material of the chants of the cycle "All-night vigil" (2007-2015). Research methodology. The presented material is the result of the interaction of musicological approaches to composing text (genre, composition, style, functional) and liturgical-theological discourse. Analysis of recent publications on research topic. A problem of author’s reading of canonical text by Ukrainian composers at the end of the XX - XXI centuries finds a solution in the thesis of O. Tyshchenko in terms of the correlation of the rite and genre [6]. The measure of the preservation of canonical features in the works of Ukrainian and Russian composers is determined in the work of N. Sereda on the material of the cycles of the Liturgy [4]. However, the cycle of "All-night vigil" in the works of contemporary Ukrainian composers has not yet become the subject of scientific interest on the part of musicology. The author of the article considered the problem of forming an individual style on the example of the All- Nightly V. Feiner, in which the original stylistic features of the polyphony of the Renaissance and the Ukrainian choral concert were originally combined [1]; The study of the work of O. Yunek in the master’s thesis was initiated. Presenting main material. When compiling their own church compositions Olena Yunek relied on the history of such outstanding artists as O. Yunek Georgy Sviridov, Sergei Rachmaninov, Arvo Pyart, Valery Kalistratov, Oleksiy Larin, Moris Duryuflie, Lesya Dichko. «All-night Vigil» is written for mixed choir. It consists of 19 chants, each of which is a separate independent composition, which can be performed independently of others. In the sequence of chants there are no traceable patterns associated with the dramatic organization of the whole. According to the author, she did not plan to create a separate cycle at the beginning, but in the process of composer’s searches, as well as through participation in the church choir at different times, a number of major chants of this cycle were created. Written at different times, the works do not have a common tonality. In general, mineral complexes predominate. The leitmotif system in the loop is absent, however, a number of composer techniques and means of expressiveness, combining works, can be traced. The article provides a holistic analysis of three chants from the cycle: Psalm 103, «O gladsome light», «From my youth». By their example, the presence of the melo-formula – singing, and constantly repeating rhythmic groups is clearly demonstrated. A detailed analysis of the harmonic sequences, the change of texture and the course of melodic lines made it possible to identify certain features of the composer’s individual style and the methods of writing that he uses to create church compositions. A comparative analysis of the canonical text and its interpretation in compositions by O. Yunek is presented. Conclusions. O. Yunek’s personal style is characterized by a high level of possession of the technique of choral writing: the variety of harmonious, timbralregister and textural means while preserving the canonical liturgical text, a careful attitude towards it. The choral style of sounding differs by the ease, the availability of perception. In her compositions, the words of the chants are completely audible - without bills, overlays; no sharp contrasts in the dynamics. The primary role among means of expressiveness is given to harmony. It is at its level that certain elements of the Eastern Slavic singing are found (plagiarism, the use of medial chords, the linear nature of the formation of the accordion), the West European classical type of harmony (chords of the main functions in typical relations) and modern musical language (the presence of dissonant consonants, not the classical sequence in the middle construction, accordion of the nontheric structure). The role of melodies is very important. Often harmonic changes occur due to the linear motion of the melody in separate voices. Layout intonations and rhythmic figures common to compositions contribute to the integrity of the cycle and allow it to be perceived as such. In particular, it is observed in conducting the main melody frequent use of singing, gradual mirror-symmetric movement of voices, passage and auxiliary non-chord sounds. These melodic cells have the same features with the sounds of a significant singing, which confirms the composer’s tendency to the ancient chants. Similar rhythmic patterns (dashed rhythm, two sixteenth and eighth, eighth and two sixteenth, fourteenth and sixteenth), osintato also contributes to the integration of the cycle. The choral texture is characterized by flexibility and richness of presentation. Often there is a chord composition with elements of singing in separate voices, as well as contrasting fragments of unison («Blessed man»), chanting (two voices) («Virgin Mary, rejoice», «Praise the Name of the Lord», «Blessed art Thou, O Lord»). Changing the invoice occurs organically and appropriately to the performance requirements, which indicates the professional approach and knowledge of the composer’s choral writing. Consequently, all the inventions and means of expressiveness that were invented during the analysis show that the work of the contemporary composer of Kharkov, Olena Yunek, is an example of an original author’s reading of the canon in the field of church music. Together with the embodiment of the church canon, the principles of individual thinking operate and a modern link of church-composing creativity is formed.
23
Dănilă, Irina Zamfira. "An Account of the Works of Nektarios Protopsaltis and Nektarios Frimu in Manuscript no. 7 from the “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 150–74. http://dx.doi.org/10.2478/ajm-2019-0008.
Full textAbstract:
Abstract The “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina (reffered to below as LMCMB) from Iasi has an invaluable collection of theological books and documents, consisting of more than 100,000 items. The library also has an important number of rare books – 35 of which are psaltic music manuscripts. Manuscript no. 7 from LMCMB is a psaltic Antologhion with Chrysantine notation, written in Romanian using the Cyrillic alphabet. The copyist and the place where it was copied are unknown, but it is possible that it was written at Mount Athos, between 1877 and 1882 (Apud Bucescu, 2009, p. 108). Manuscript no. 7 mainly contains chants for various services, translated and adapted by Nektarios Protopsaltes (1804-1899). Nektarios was one of the best known psalm singers and Romanian composers, founder of a psaltic music school, who was active at the Holy Mountain in the second half of the nineteenth century. Manuscript no. 7 also contains a rarer variant of the Doxastikon Lord, the fallen woman, attributed to another Moldavian composer – Nektarios Frimu (†1856). Like Nektarios Protopsaltis, he was also born in Husi (Moldavia, Romania) – but lived and worked in Iasi. For his achievements, he is honoured with the title of “hierarch of Tripoleos”. He authored the Anthology – Collection of psaltic chants for the Liturgy, (1840) and Collection of Psaltic Chants for Vespers and Matins (1846), one of the first works of its kind in Chrysantine notation in the Romanian language; these volumes were greatly valued during the second half of the nineteenth century. The present paper, which is part of the ampler project of cataloguing the entire collection of psaltic music manuscripts from LMCMB, focuses on the codicological presentation of the manuscript and its musical and liturgical content. The work will also present the authors, the Greek sources the chants were based on, also emphasizing the importance of this codex in the context of the LMCMB collection.
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Roshchenko, Olena, and Nataliya Byelik-Zolotaryova. "The Roman Catholic Liturgy and Its Role in the Composer's Missa Formation." Anastasis. Research in Medieval Culture and Art 8, no. 1 (May 29, 2021): 39–50. http://dx.doi.org/10.35218/armca.2021.1.02.
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Dănilă, Irina Zamfira. "Psaltic repertoire, authors and transcribers of Ms. Rom.- Greek 23 Anthologhion from the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldova and Bukovina in Iasi." Artes. Journal of Musicology 22, no. 1 (March 1, 2020): 312–35. http://dx.doi.org/10.2478/ajm-2020-0017.
Full textAbstract:
AbstractThe present study concerns the musical repertoire in the Romanian-Greek manuscript inventory number 23 from the ‘Dumitru Stăniloae’ Ecumenical Library of of the Metropolitan Church of Moldavia and Bukovina in Iasi, its authors, and the musical sources these authors used. The musical content of the manuscript is comparatively rich; there are mainly chants from the Holy Liturgy, Vespers and Matins. From the service of the Holy Liturgy, it stands out the group of “extensive” style cherouvika composed by Konstantinos Potopsaltis, translated in Romanian version, less commonly found in the Moldavian manuscripts. Among the chants of the Vespers, the psalm Blessed be the man is noteworthy. The present version belongs to Chiril the Monk from the Bisericani Monastery (Neamt County), who was active in the first half of the nineteenth century. Also prominent in the manuscript is a type of chant belonging to the Matins, the polyeleos. A good word, one such polyeleos, devoted to the feast of the Theotokon, is found in three versions. One of them, authored by Chiril the Monk, is in the third mode, while the other two are in the fourth mode, legetos. The first fourth mode polyeleos can be traced back to a source by Greek composer Chourmouzios the Archivist, but the Romanian author of the musical adaptation is not specified. The second one, in the “abridged”, “syntoma” style, was composed by Dimitrie Suceveanu. The fourth polyeleos in the Ms. no. 23, By the River of Babylon is one specific of the Great Lent. This polyeleos is distinct from the pieces that was musically translated by the Romanian composer Nektarios Frimu in the first volume of his Antology (published in 1846). Ms. no. 23 is significant because of its repertoire, but also because it is part of a group of five manuscripts, belonging to different documentary funds, yet each was compiled by the same talented copyist and composer, the monk Chiril from the Bisericani Monastery of Neamt county, as Byzantinologist Alexie Buzera also notes in one of his studies (1998). It must also be mentioned that the musical variants authored by Chiril the Monk were published only fragmentarily.
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Moody, Ivan. "‘THE SPACE OF THE SOUL’: AN INTERVIEW WITH SOFIA GUBAIDULINA." Tempo 66, no. 259 (January 2012): 31–35. http://dx.doi.org/10.1017/s0040298212000046.
Full textAbstract:
AbstractIn this interview Gubaidulina discusses her understanding of religion and the way in which it relates to her music, by means of symbolism and metaphor. In particular she speaks of her understanding of the Apocalypse as a book of light, greatly influenced by the writings of Fr Aleksandr Men. She talks about the symbolism of instruments in her work, notably percussion, which she sees as a way to the subconscious; her understanding of the role of modernism in music, and the way in which her work connects with this historical process; and also her use of the Fibonacci sequence. The relationship of her music to liturgy is discussed, as is the double path, apparently contradictory, of the artist who composes both liturgical and concert music. The experience of the composer during the profound changes in music during the 20th century, specifically as regards possible intersections between modernism and spirituality, are also discussed.
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Antishkin, Andrei V. "The problem of understanding liturgical texts and its solution on the example of Gregory of Corinth’s exegesis." Issues of Theology 3, no. 3 (2021): 322–32. http://dx.doi.org/10.21638/spbu28.2021.303.
Full textAbstract:
The orthodox liturgy was finally established during the 8th and 9th centuries. The two stepbrothers and eminent Byzantine poets St. Cosmas of Maiuma and St. John of Damascus greatly contributed to its development. They composed the majority of the irmi and troparia that are still performed during the liturgy today. During their lives, however, worshippers were facing certain difficulties in understanding the meaning of church odes. This is also true today when orthodox liturgy occasionally becomes an obstacle on the path to God for the worshippers. Greater efforts are also required in order to understand the liturgy and this is not always easy. One of the reasons for this is an incorrect translation of many odes into Russian and Slavonic. Comments from 12th century Byzantine writers and poets can help us clarify their meaning. Gregory of Corinth and his 23 commentaries on the liturgical canons are particularly noteworthy. In the current article, a philological analysis is conducted of two complex, “obscure” and unclear passages from the Canon of Pentecost. At the same time, Metropolitan Gregory’s exegeses of these extracts, which can help us better understand the meaning not only of these passages but also of the whole celebration, are cited.
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GRIER, JAMES. "The music is the message II: Adémar de Chabannes' music for the apostolic Office of Saint Martial." Plainsong and Medieval Music 15, no. 1 (April 2006): 43–54. http://dx.doi.org/10.1017/s0961137106000246.
Full textAbstract:
When in 1028–9 Adémar de Chabannes created his apostolic liturgy for Saint Martial, patron saint of the abbey that bears his name in Limoges, he preserved most items in the Divine Office from the existing liturgy for the saint that venerated him as a confessor-bishop. For the last two responsories of the third nocturn of Matins, however, Adémar provided new compositions that depart from the prevailing style of this genre: the penultimate responsory, Gloriosus est, is entirely newly composed, while the final responsory, O sancte dei apostole, consists of a new introduction that is prefixed to the existing final responsory of Matins, O Marcialis princeps. The newly composed material contains music that is much more dramatic in conception in comparison with the typical undulating style of the genre, and with this music, Adémar makes a strong statement about Martial's new status as an apostle.
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Peno, Vesna. "Communion songs not regulated by the typicon in the recent tradition of Serbian church singing." Muzikologija, no. 4 (2004): 121–52. http://dx.doi.org/10.2298/muz0404121p.
Full textAbstract:
In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.
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Bloxam, M. Jennifer. "In Praise of Spurious Saints: The Missae Floruit egregiis by Pipelare and La Rue." Journal of the American Musicological Society 44, no. 2 (1991): 163–220. http://dx.doi.org/10.2307/831603.
Full textAbstract:
The cult of saints exerted a profound influence on the liturgy and plainsong of the Roman Catholic church in the later Middle Ages, as individual churches evolved local traditions of liturgy and plainsong to celebrate saints held dear by certain communities. Sacred polyphonic composition during this period also reflects the stimulation to musical creativity engendered by the veneration of special saints. This study explores a particularly fine example of the intersection of liturgy, chant, and polyphony inspired by the adoration of saints in the late Middle Ages. The introduction of a new local saint, Livinus, to the liturgy of the Flemish city of Ghent during the eleventh century provides the starting point for the investigation, which introduces a newly-discovered body of plainsong in his honor, notably a rhymed Office, preserved in manuscripts spanning the twelfth through the sixteenth centuries. From this corpus of plainsong the composer Mattheus Pipelare (c. 1450-c. 1515?) selected no fewer than sixteen chants for inclusion in his four-voiced Missa Floruit egregiis infans Livinus; the identification of these heretofore unknown cantus firmi prompts a fresh look at the provenance, style and structure of this remarkable Mass, which proves to be a musical historia akin to other multiple cantus firmus Masses of the period, notably those by Jacob Obrecht. The essay concludes with an examination of the Missa de Sancto Job by Pierre de la Rue, whose debt to Pipelare's Missa de Sancto Livino is elucidated through a discussion of its background and compositional technique.
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Huaichao, Zhao. "BEHIND THE MASK OF IRONY AND BRAVADO HE HID HIS TRAGIC FACE." Arts education and science 1, no. 30 (2022): 186–96. http://dx.doi.org/10.36871/hon.202201022.
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The article is devoted to the work of the outstanding Russian composer Nikolay Nikolayevich Sidelnikov (1930–1992), who made a great contribution to modern Russian music. The composer worked in various genres, each time choosing an extraordinary interpretation for them. The musician's erudition, which was especially noted by his friends, colleagues and students, allowed him to address the topics from various literary sources, whether from the ancient Russian chronicles of the XIIth – XVIth centuries (the oratorio "The Sword Raised"), F. Engels' philosophical work "Dialectics of Nature" (the symphony "Hymn to Nature") or poetic texts (a vocal cycle of lyrical poems to the verses by Spanish poet F. G. Lorca, the "Sichuan Elegies" dilogy to the poems by Chinese Medieval poet Du Fu, the vocal symphony "The Rebellious World of the Poet" to verses by M. Yu. Lermontov). A special place in Sidelnikov's oeuvre belongs to vocal and choral works, including spiritual compositions, among which "The Liturgy of St. John Chrysostom", dedicated to the 1000th anniversary of the Baptism of Rus, and the Spiritual Concerto for a cappella choir stand out. The genres of church music concentrated all the main constants of his style, nurtured on the fusion of Znamenny chant and folklore origins, expressed in the trichordism of the thematicism. Such a synthesis, carried out within the framework of polystylistics and harmony, appeals to secular musical culture up to the elements of jazz, which demonstrates the composer's freedom in mastering the styles of different eras. At the same time, all of Sidelnikov's works, including spiritual pieces, are permeated with personal emotional overtones.
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Kristanto, Alfa. "KONTEKSTUALISASI GAMELAN JAWA DI GEREJA BAPTIS INDONESIA (GBI) NGEMBAK." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 19–31. http://dx.doi.org/10.37368/tonika.v2i1.40.
Full textAbstract:
This thesis aims to examine contextualization of Javanese gamelan in the liturgy of the worship at the Indonesian Baptist Church (GBI) Ngembak Tembalang. The approach used is interdisciplinary, using qualitative research methods, and interpretative case study research design. The research data was collected by observation technique, interview, and document study, and source triangulation technique to maintain its validity. Data analysis technique is done through the process of reduction, presentation, and conclusion (verification). The results of this study show that, the form of Javanese gamelan accompaniment music in liturgical worship at GBI Ngembak Tembalang is composed of two elements, namely the element of time and melody. Contextualization of Javanese gamelan in the liturgy of the worship at the Indonesian Baptist Church (GBI) Ngembak Tembalang consists of one model, namely model translation. On the model of translation is done through the efforts of Christian identity preservation, keeping mindful of the culture, history and social change, which is owned by the Baptist Church Indonesia (GBI) Ngembak Tembalang.
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NARDINI, LUISA. "Aliens in disguise: Byzantine and Gallican chants in the Latin liturgy." Plainsong and Medieval Music 16, no. 2 (October 2007): 145–72. http://dx.doi.org/10.1017/s096113710700068x.
Full textAbstract:
AbstractComparison of a considerable number of Gregorian sources dating from the tenth to the thirteenth centuries reveals a handful of Mass Proper items that do not belong to the standard repertory and show possible ties with the Byzantine and/or Gallican traditions. These pieces are not recorded in most of the earliest French and German sources of the Gregorian tradition. Some of them seem to have been composed in Italy (but not in Rome), while others would appear to have Eastern or Frankish ties. Comparative melodic analysis, along with the discussion of their position in the liturgical year, discloses insights about their origin, date, routes of transmission and the ways to compare chants belonging to different liturgical families.
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HAMILTON, SARAH. "LITURGY AS HISTORY: THE ORIGINS OF THE EXETER MARTYROLOGY." Traditio 74 (2019): 179–222. http://dx.doi.org/10.1017/tdo.2019.11.
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Through an Anglo-Norman case study, this article highlights the value of normative liturgical material for scholars interested in the role that saints’ cults played in the history and identity of religious communities. The records of Anglo-Saxon cults are largely the work of Anglo-Norman monks. Historians exploring why this was the case have therefore concentrated upon hagiographical texts about individual Anglo-Saxon saints composed in and for monastic communities in the post-Conquest period. This article shifts the focus away from the monastic to those secular clerical communities that did not commission specific accounts, and away from individual cults, to uncover the potential of historical martyrologies for showing how such secular communities remembered and understood their own past through the cult of saints. Exeter Cathedral Library, MS 3518, is a copy of the martyrology by the ninth-century Frankish monk, Usuard of Saint-Germain-des-Prés, written in and for Exeter cathedral's canons in the mid-twelfth century. Through investigation of the context in which it was produced and how its contents were adapted to this locality, this article uncovers the various different layers of the past behind its compilation. It further suggests that this manuscript is based on a pre-Conquest model, pointing to the textual debt Anglo-Norman churchmen owed to their Anglo-Saxon predecessors.
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Moiseev, Grigory A. "Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich: A Posthumous Dialogue." Observatory of Culture 17, no. 5 (November 12, 2020): 496–509. http://dx.doi.org/10.25281/2072-3156-2020-17-5-496-509.
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Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich (the august poet K. R.) were linked by many years of friendship and creative cooperation. After the composer’s death (October 25, 1893), K. R. became involved in the process of perpetuating his memory. The posthumous dialogue was manifested in various forms: Grand Duke Konstantin Konstantinovich’s participation in church and secular memorial ceremonies, private commemorations, and his close communication with M.I. Tchaikovsky and V.L. Davydov — the composer’s brother and nephew. In addition, K. R. reexamined his creative and epistolary communication with the composer, whose memory he would pass on to his children. These and other aspects are considered in three sections of the proposed article: 1) “Under the Sign of the Liturgy Op. 41” (this spiritual and musical work runs through the whole life of the Grand Duke); 2) “The Grand Duke and M.I. Tchaikovsky” (a key figure in the “human” aspect); 3) “K. R. Reads ‘The Life of Pyotr Ilyich Tchaikovsky’” (one of the most important findings was a copy of the book ‘The Life of Pyotr Ilyich Tchaikovsky’, which belonged to Grand Duke and bears his notes; they retrospectively reflect the process of in-depth family reading). The article is based on documentary materials from Russian and foreign collections (including the State Archive of the Russian Federation and the Library of Congress, USA), many of which are introduced into scientific use for the first time. The article uses methods of comparative source studies. The materials of the article can be used in a course of the history of Russian music, as well as in a modern commented edition of the epistolary heritage and diaries of P.I. Tchaikovsky, M.I. Tchaikovsky and Grand Duke Konstantin Konstantinovich.
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Is Natonis, Rolfi Junyanto. "Strategi Pengelolaan Pusat Musik Liturgi Yogyakarta." JURNAL TATA KELOLA SENI 2, no. 2 (December 21, 2017): 66–80. http://dx.doi.org/10.24821/jtks.v2i2.1852.
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Dalam penelitian ini menggunakan metode deskriptif kualitatif. Langkah yang digunakanyaitu melakukan analisis data dan analisis SWOT. Hasil penelitian pertama, berdasarkan matrik IE dalam strategi PML Yogyakarta yang digunakan pada pengelolaan musik liturgiberada pada posisi V yaitu hold and maintaind, (pertahankan dan pelihara). Strategi umumyang dipakai adalah menjaga dan mempertahankan posisi internal yaitu memiliki jaringankerja sama dengan komponis-komponis gereja lokal dalam menjalankan lokakarya mengenai musik liturgi yang selama ini sudah diraih. Kedua berdasarkan kuadran analisis SWOTpengelolaan PML Yogyakarta menunjukkan posisinya berada pada kuadran III. Stability,yaitu suatu lembaga menghadapi peluang pasar yang sangat besar, tetapi dilain pihakmenghadapi beberapa kendala dalam internal seperti regenerasi yang belum memadaisehingga masih bergantung pada figur pendiri, keterbatasan tenaga pengelola baik dari segikuantitas maupun kualitas, dan kegiatan lokakarya belum menjangkau semua budaya yang ada di nusantara. Ketiga berdasarkan analisis SWOT strategi umum yang diperoleh yaituadalah penetrasi pasar dan pengembangan produk. Posisi tersebut mengarah pada menambah karya musik atau nyanyian nusantara dalam musik liturgi dan memberikan penataran dalamsetiap tahun di gereja-gereja Katolik yang belum memahami tentang musik liturgi dalaminkulturasi dan memberikan pengetahuan dan penerjemah kepada pengelola sehingga cukup memadai. In this research using qualitative descriptive method, The step used is doing data analysis and SWOT analysis. The first result of the research, based on the matrix of IE in PML Yogyakarta strategy used in the management of liturgical music is in position V that is hold and maintaind. General strategy used is to maintain and maintain internal position that has a network of cooperation with composers the local church in running a workshop on liturgical music that has been achieved. The second is based on quadrant of SWOT analysis of PML Yogyakarta management showing its position is in quadrant III Stability, that is an institution facing huge market opportunity, but on the other hand facing some internal constraints such as regeneration that is not enough so that still depends on founder figure, both in terms of quantity and quality, and workshop activities have not yet reached all the cultures in the archipelago. Third based on the SWOT analysis the general strategies obtained are market penetration and product development. The position leads to; adding musical works or chants of the archipelago to liturgical music and giving up in every year catholic churches that have not understood the liturgical music in inculturation and providing knowledge and translators to the manager so that it is sufficient.
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Макарова, А. В. "Stylistic Features of Works for Choir A Cappella by Dmitry Smirnov on the Example of Choir Concerto “Insomnia”." OPERA MUSICOLOGICA, no. 2021 (September 15, 2021): 38–57. http://dx.doi.org/10.26156/om.2021.13.3.003.
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В творчестве современного петербургского композитора Дмитрия Валентиновича Смирнова (р. 1952) хоровые сочинения занимают особое место. В жанровом отношении именно концерт для хора представляет собой своеобразное «зеркало» творческого поиска композитора. Начиная с ранних сочинений начала 1980-х годов («Приявший мир», «Рождение крыла», Концерт для хора на стихи Н. Некрасова) и вплоть до созданного в 2006 году цикла «Набоковские песнопения» многочастные композиции хоровых концертов играли ключевую роль в процессе становления и постепенного усложнения хорового письма автора. Хоровой концерт «Бессонница» (1986) открывает новый этап в творчестве композитора. В этот период происходит окончательное формирование устойчивой системы стилистических особенностей музыкального языка; композитор обращается к созданию сложных многочастных композиций для хора a cappella. К данному периоду можно отнести такие сочинения, как Концерт для хора на стихи И. Анненского «Кипарисовый ларец», Концерт для хора на стихи О. Мандельштама «Я рожден в девяносто четвертом, я рожден в девяносто втором…» и «Молитвословия» из Литургии Св. Иоанна Златоуста. Сочинения указанного периода отличает многоуровневая смысловая полифоничность, которая находит свое отражение в усложнении драматургии цикла и значительном расширении комплекса музыкально-выразительных средств композиторского письма. Таким образом, происходит окончательное формирование основных стилистических особенностей хорового языка Дмитрия Смирнова. Choral works occupy a special place in the work of the contemporary Petersburg composer Dmitry V. Smirnov (born 1952). In terms of genre, it is the concert for choir that is a kind of “mirror” of the composer’s creative search. Beginning with the early compositions of the early 1980s (“The One Who Accepted the World”, “Birth of Wing”, Concerto for Choir on poems by Nikolay Nekrasov) and up to the cycle “Nabokov’s chants”, multi-movement compositions of choral concerts played a key role in the formation and gradual complication of the author's choral writing. The choir concerto “Insomnia” (1986) opens a new stage in the composer’s work. This is a period of final formation of a stable system of stylistic features of the musical language; the composer turns to creation of complex multi-movement compositions for a cappella choir. This period includes such compositions as Concerto for Choir on the poems of Innokentiy Annensky “Cypress Casket”, a Concerto for Choir on the verses of Osip Mandelstam “I was born in the ninety-fourth, I was born in the ninety-second...” (1989) and “Prayers” from the Liturgy of St. John Chrysostom (1992). The works of this period are distinguished by multilevel semantic polyphony, which is reflected in complication of the cycle's drama and a significant expansion of the complex of musical and expressive means of composer writing. Thus, the final formation of the main stylistic features of the choral language of Dmitry Smirnov takes place.
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Cashner, Andrew A. "Imitating Africans, Listening for Angels." Journal of Musicology 38, no. 2 (2021): 141–82. http://dx.doi.org/10.1525/jm.2021.38.2.141.
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Church ensembles of Spaniards across the Spanish Empire regularly impersonated African and other non-Castilian characters in the villancicos they performed in the Christmas Matins liturgy. Although some scholars and performers still mistakenly assume that ethnic villancicos preserve authentic Black or Native voices, and others have critiqued them as Spaniards’ racist caricatures, there have been few studies of the actual music or of specific local contexts. This article analyzes Al establo más dichoso (At the happiest stable), an ensaladilla composed by Juan Gutiérrez de Padilla for Christmas 1652 at Puebla Cathedral. In this performance his ensemble impersonated an array of characters coming to Christ’s mangers, including Indian farm laborers and African slaves. The composer uses rhythm to differentiate the speech and movement of each group, and at the climax he even has the Angolans and the angels sing together—but in different meters. Based on the first edition of this music, the article interprets this villancico within the social and theological context of colonial Puebla and its new cathedral, consecrated in 1649. I argue that through this music, members of the Spanish elite performed their own vision of a hierarchical and harmonious society. Gutiérrez de Padilla was himself both a priest and a slaveholder, and his music elevates its characters in certain ways while paradoxically also mocking them and reinforcing their lowly status. Building on Paul Ricoeur’s concept of the “three worlds of the text,” the article compares the representations imagined within the musical performance with archival evidence for the social history of the people represented and the composer’s own relationships with them (the world behind the text). Looking to the world projected “in front of” the text, I argue that these caricatured representations both reflected and shaped Spaniards’ attitudes toward their subjects in ways that actively affected the people represented. At the same time, I argue that Spanish representations mirrored practices of impersonation among Native American and African communities, especially the Christmastide Black Kings festivals, pointing to a more complex and contradictory vision of colonial society than what we can see from the slaveholder’s musical fantasy alone.
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Ivanov, Anton M. "Сhorus as a Form of Implementation of Sacral Contents and a Symbol of Orthodox Faith in Rodion Shchedrin’s Creation." Observatory of Culture, no. 5 (October 28, 2014): 51–57. http://dx.doi.org/10.25281/2072-3156-2014-0-5-51-57.
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Deals with choir compositions by Rodion Shchedrin. Starting from the mid 1980s, the sacred music gradually revived in Russia and it is within this context that the author considers Shchedrin’s works. The three most significant scores are chosen, in which the sacral theme is put in the forefront: “The Sealed Angel” Russian liturgy, “The Enchanted Wanderer” and “Boyarina Morozova” operas. The abovementioned scores were written during the different periods of time but each contains the spiritual meaning; each of them represents composer’s thoughts on the eternal questions of belief, life and death, sin and atonement. Shchedrin developed semantics of his choral instruments throughout life, the evolution of which the author reveals by drawing semantic, musical and artistic parallels between his three significant compositions with chorus participation.
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Münz-Manor, Ophir. "Liturgical Poetry in the Late Antique Near East." Journal of Ancient Judaism 1, no. 3 (May 6, 2010): 336–61. http://dx.doi.org/10.30965/21967954-00103005.
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The article presents a contemporary view of the study of piyyut, demonstrating that Jewish poetry of late antiquity (in Hebrew and Aramaic) was closely related to Christian liturgical poetry (both Syriac and Greek) and Samaritan liturgy. These relations were expressed primarily by common poetic and prosodic characteristics, derived on the one hand from ancient Semitic poetry (mainly biblical poetry), and on the other from innovations of the period. The significant connections of content between the different genres of poetry reveal the importance of comparative study. Thus the poetry composed in late antiquity provides additional evidence for the lively cultural dialogue that took place at that time.
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Ihnat, Kati. "Early Evidence for the Cult of Anne in Twelfth-Century England." Traditio 69 (2014): 1–44. http://dx.doi.org/10.1017/s0362152900001902.
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Despite scholarly attention on its later medieval popularity, the feast of Anne, the mother of the Virgin Mary, first appeared in the West in twelfth-century England. The earliest surviving liturgical texts for the feast were composed in the 1130s by Osbert of Clare, prior of Westminster, for Worcester Cathedral. They attest to the novelty of the celebration and the process by which a saintly identity was constructed for Anne, an apocryphal figure. To understand why Anne began to be celebrated at this time and how her liturgy was crafted, this article explores Osbert's texts in their devotional context. A lively monastic cult of the Virgin Mary in England provides an important backdrop to the emergence of the celebration of Anne. Debates about the Anglo-Saxon feast of Mary's Conception were especially influential, and a comparison between the liturgical texts for the feast of the Conception and the feast of Anne yields striking parallels. This suggests that the liturgy for Anne both drew on and supported the contentious feast of the Conception. At the same time, Anne was presented as a monastic role model, a virtuous and chaste woman with special appeal for nuns. The history and identity of Anne were therefore deeply embedded in trends of monastic devotion to Mary as Anne was shaped into a deserving mother of her illustrious offspring but also as a worthy saint in her own right.
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Pshenychnyi, T. "UKRAINIANIZATION OF THE LITURGICAL LIFE IN 1917–1918." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 146 (2020): 63–67. http://dx.doi.org/10.17721/1728-2640.2020.146.11.
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Socio-political transformations caused by the Ukrainian revolution of 1917–1921, made not only political issues relevant but also cultural and even ideological. In the struggle for statehood could not be ignored church problems that became very popular in society not in 1917, but only in 1918. It is this year that the autocephalous movement in the Ukrainian church space of the centre-region, whose members declared their desire to create a Ukrainian Orthodox Church independent of the Russian Orthodox Church, is appearing and actualized. The article reflects the process of Ukrainianization of liturgical life as an integral part of the autocephalous movement. An example of the activities of Ukrainian composers at the beginning of the 20th century shows their place in the creation of church works in Ukrainian, which became part of the spiritual heritage of Ukraine and the world. In addition, the authors point to the educational movement, which was caused by Ukrainianization of church life and its scale. The Ukrainian church tradition is the heritage of the Ukrainian people. It has been formed for centuries and belongs today to the national cultural heritage of the state. It is based on the spiritual experience of generations, which at the genetic level affects the formation of the mentality of the nation. This metaphysical process goes beyond the limits of human rationality and empiricity and is practically not always guided. Domestic cultural space of Ukraine was formed under the influence of various factors. One of them was the church. The place of the church in the life of the Ukrainian people, of course, should not be underestimated. Soviet historiography attempted to deny this fact, to interpret it in its own, ideologically atheistic dogmas, and order. However, from a historic retrospective, today we have a great opportunity to see that, to a large extent, it was in the church environment that we managed to preserve the original traditions of the Ukrainian people, its sacred legacy, language. The authors aim is to show the phenomenon of Ukrainianization of liturgical life in Ukraine in one of the most dramatic periods in the national history of the twentieth century. 1917 became the frontier in the modern history of Ukraine. Revolutionary events intensified the initiatives of the Ukrainian intelligentsia that long settled on the margins of social consciousness. Competitions for statehood brought to the general churchreligious issues. The All-Ukrainian Orthodox Church Council in 1918, which gave rise to political battles of the time, frankly testified to the presence in the Ukrainian society of the population who sought ecclesiastical autocephaly for the Ukrainian Orthodox Church. In this regard, the national idea was closely intertwined with the Christian tradition of the people, since the latter was firmly rooted in national culture. Despite all the difficulties that arose during discussions about the theme of the independence of the domestic church space from the Russian Orthodox Church, the Third, the last and the key, the session of the Council became the most significant for the Ukrainian church in the search for its own national identity. She was tried to show through the prism of various factors, in particular – spiritual music and liturgical ritual. Thus, a special Commission on Ukrainianization of the Liturgy was created, which considered the reform of church chants, which included both leading musicians and priests. An urgent issue that was discussed during the meetings of the commission on the Ukrainianization of liturgical life in the Ukrainian church was the introduction of universal church singing in Ukrainian churches. Ultimately, one of the key consequences of the church debate during the First All-Ukrainian Church Council was the question of Ukrainianization of the Ukrainian church in general and its clear separation from the Russian cultural space. Thus, analyzing the entire spectrum of socio-political processes at the end of 1917 – early 1919, we can state the fact that for the first time in many decades Ukrainians have had a real chance to declare themselves on the geographical and political map of Europe.
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Grier, James. "The music is the message: music in the apostolic liturgy of Saint Martial." Plainsong and Medieval Music 12, no. 1 (April 2003): 1–14. http://dx.doi.org/10.1017/s0961137103003012.
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On 3 August 1029, Adémar de Chabannes inaugurated his newly-composed liturgy for the Feast of Saint Martial that recognized Martial, patron saint of the abbey that bears his name in Limoges, as an apostle. The Mass of the day was celebrated at the cathedral of Saint Stephen in Limoges, with the full support of Odolric, abbot of Saint Martial, and Jordan, the city's bishop. Adémar created a grand musical canvas to form part of the spectacular ceremony that took place that day. Among the original compositions he created for the Mass are several in which the literary text moves far into the background behind elaborate melismatic settings, and, in one case, the offertory of the Mass, the text virtually disappears. With these gestures, Adémar seems to be stepping beyond the verbal text to address the non-Latin speaking populace of Limoges directly in melody, to convince them of the necessity of acknowledging what most of them knew to be untrue: that Martial, their patron saint, was an apostle.
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Andreev, Aleksandr, and Hieromonk Dalmat (Yudin). "Kata Stichon Hymnography in the East Slavic Tradition." Religions 13, no. 1 (December 31, 2021): 40. http://dx.doi.org/10.3390/rel13010040.
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The kata stichon hymns are a peculiar genre of hymnography occurring as part of nocturnal prayer in early sources for the Byzantine Liturgy of the Hours. The use of these hymns in traditions on the Byzantine periphery remains in need of study. In this paper, the authors identify kata stichon hymns translated into Church Slavonic found in early East Slavic Horologia as well as in later Slavonic collections of private prayer used in Russia up to the 17th century. The authors also identify hymns with no known Greek analogs, as well as hymns reflecting the kata stichon genre composed in Church Slavonic. The liturgical function of these hymns is studied and hypotheses are proposed for their origin and continued popularity in Russian nocturnal worship and private cell prayer.
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Lieber, Laura S. "Forever Let it Be Said." Journal of Ancient Judaism 7, no. 2 (May 14, 2016): 249–68. http://dx.doi.org/10.30965/21967954-00702006.
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Abstract: In this article, an exploration of the performative phenomenon labeled here as “multi-authorial vocality” will serve to highlight both the richness of the Samaritan poetic tradition on its own terms and to suggest significant future directions for comparative study that can integrate Samaritan hymnography and the Samaritan liturgy into their works. This analysis primarily underscores how scholars need to address the essential complexity of liturgical poetry as a performed genre. “Multi-authorial vocality” refers to the process by which multiple authors shape the received experience and significance of the composition as a whole. A single Samaritan hymn by Marqa, “This is His Great Writing,” provides a subject for the analysis, and a translation of the hymn is provided as an appendix. The rhetorical-performative dynamic examined here is not in any way unique to this poem, nor is it distinctive to Samaritans; it is precisely this more “universal” element of liturgical poetry that enables comparative (beyond noting parallel or divergent motifs, themes, and intertextual allusions) to be done. In Marqa’s poem, some figures are explicitly identified as authors or tradents, while others assume that role implicitly. The approach to liturgical texts modeled here does not deny the importance of the author to our text but raises our awareness of how complicated his role is. The poet is, to use an analogy, as much a conductor as a composer; he orchestrates the liturgical experience, but relies on other participants to complete it. Subsequent performers create their own arrangements of the existing words on the page but likewise need the involvement – physical, conceptual, and psychological – of the other participants for the liturgy to “work.” At the same time, it also argues for the importance of integrating Samaritan liturgical traditions into the larger comparative hymnography discussions now underway.
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Keefer, Sarah Larratt, and David R. Burrows. "Hebrew and the Hebraicum in late Anglo-Saxon England." Anglo-Saxon England 19 (December 1990): 67–80. http://dx.doi.org/10.1017/s0263675100001605.
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St Jerome's third Latin translation of the Sefer Tehillim or ‘Book of Psalms’ is called the iuxta Hebraeos or Hebraicum, because he based it on the original Hebrew in which it was composed in order to obtain the greatest authenticity possible. Preceded by the so-called Romanum version of c. 384, which was primarily a translation of the Greek Septuagint, and the Gallicanum of c.392 which was a revision of it based on Origen's hexaplaric Septuagint text, the Hebraicum version of c. 400 represents an attempt by Jerome to produce a Latin translation as close as possible to the Hebrew text. However, despite its greater accuracy with respect to the Hebrew original, the Hebraicum was apparently never used in the liturgy, and was preserved solely as a patristic text in bibles or psalters for scholarly use.
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Mews, Constant J. "Liturgists and Dance in the Twelfth Century: The Witness of John Beleth and Sicard of Cremona." Church History 78, no. 3 (August 21, 2009): 512–48. http://dx.doi.org/10.1017/s0009640709990412.
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Dancing is not often associated with Christian liturgy, at least in modern experience. Yet according to theMitralis de Officioof Sicard, bishop of Cremona (1185–1215), composed about 1200, the circular dance (chorea) provides a key metaphor for understanding the liturgy of Easter. Sicard here draws together two earlier discussions of the subject, both from the twelfth century and of enormously wide influence, manifesting a more positive attitude toward dance than found in many early medieval commentators on the liturgy: theGemma animae(Jewel of the soul) of Honorius Augustodunensis, composed for a monastic audience in the early twelfth century, probably in Germany, and theDe ecclesiasticis officiisof John Beleth, a secular cleric writing probably in Pariscirca1150–1160. While many scholars have observed the renewal of interest in the pagan authors within a literary context in the twelfth century, the witness of liturgical commentaries from the period has been little noticed. Sicard implies that the festivities of the pagan Saturnalia and its associated freedom of expression (the so-called “December freedom”) can legitimately be used to explain the festivities that take place at Easter:All Christians ought to come together freely at the above mentioned daily offices to celebrate the glory of the resurrection, which will be revealed in us. This solemnity is therefore the jubilee of Christians, when quarrels are settled, offenses forgiven. Let those who had sinned be reconciled, let debts be canceled. Let work places not be opened, merchandise not displayed for sale except for those things without which a meal cannot take place. Let prisoners be freed, shepherds and servants not forced to service so that they are able to enjoy freedom and to delight in the festivity of future joy. Thus it is that in the cloisters of certain churches even bishops enjoy the December freedom with their clerics, even to descending to the game of the circular dance or ball (ludum choreae vel pilae)—although it seems more praiseworthy not to play; this “December freedom” is so called in that in the month of December, shepherds, servants, and maidservants were governed among the gentiles with a kind of freedom by their masters, so that they could celebrate with them after the harvest was collected. And note that the gentiles established circular dances to honor idols, so that they might praise their gods by voice and serve them with their whole body, wanting to foreshadow in them in their own way something of the mystery. For through the circling, they understood the revolution of the firmament; through the joining of hands, the interconnection of the elements, through the gestures of bodies, the motions of the signs or planets; through the melodies of singers, the harmonies of the planets; through the clapping of hands and the stamping of feet, the sounding of thunder; but what those people showed to their idols, the worshipers of the one God converted to his praise. For the people who crossed from the Red Sea are said to have led a circular dance, Mary is reported to have sung with the tambourine; and David danced before the ark with all his strength and composed psalms with his harp, and Solomon placed singers around the altar, who are said to have created sound with voice, trumpet, cymbals, organs, and other musical instruments.
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Vukoszávlyev, Zoran. "Obvious or hidden." Actas de Arquitectura Religiosa Contemporánea 3 (October 2, 2015): 64–71. http://dx.doi.org/10.17979/aarc.2013.3.0.5086.
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Studies examining the orientation of Christian sacred spaces have appeared at the beginning of the 20th century. The reinterpretation of the relationship between functional elements placed in space has also investigated the issue of hierarchy. The symbolic position of these sacral space-elements is decisive also within the community engaged in the liturgy. With the changing liturgical concepts, the issue of central or longitudinal use of space has determined the whole 20th century. At the same time, around the turn of the millennium an intensified need has emerged, which used the symbolism of hidden secret in the concept of the access to sacral spaces instead of a direct approach that had previously been usual for hundreds of years. The indirect path, designed with changes of direction, was composed with the logic of discovery and gradual understanding. It is particularly interesting that this architectural composition appears typically in ephemeral—like temporary buildings or in small sacral spaces formed simply, only with a few architectural means.
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Ben-Lulu, Elazar. "“Teach Your Daughters to Wail and One Another to Lament”: Jewish Prayers and Liturgical Texts for Female Victims of Sexual Assault." Open Theology 7, no. 1 (January 1, 2021): 631–53. http://dx.doi.org/10.1515/opth-2020-0184.
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Abstract Throughout generations, various prayers have been composed to express religious and cultural experiences of the Jewish community, such as holidays life-cycle and national tragedies. However, some social issues, such as sexual assault, have been excluded from this canon. This article uncovers Jewish prayers and liturgical texts dedicated to female victims of sexual assault. Drawing on a qualitative inquiry based on content analysis and interviews with the prayers’ authors, I demonstrate how these texts (re)position sexual assault victims in Jewish liturgy by including new phrasings and references to God; by removing masculine violence related to God; by mentioning biblical female characters who experienced sexual harassment; by denouncing of patriarchal abuse; or by sanctifying the woman’s painful body, which is incorporated as an important agent in the ritual’s structure. Therefore, I suggest considering these texts a political mean to voice women’s traumas and to incorporate them into the religious sphere, thereby rectifying a long-silenced discourse.
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Cabral, Newton Darwin de Andrade. "AS CERIMÔNIAS DE COROAÇÃO DE NOSSA SENHORA: MEMÓRIAS E ANÁLISE DE UMA PRÁTICA DEVOCIONAL MARIANA." PARALELLUS Revista de Estudos de Religião - UNICAP 8, no. 17 (December 22, 2017): 173. http://dx.doi.org/10.25247/paralellus.2017.v8n17.p173-190.
Full textAbstract:
Partindo de uma descrição originada das memórias do autor, às quais são acrescentadas análises a partir da bibliografia a que tivemos acesso (destaque para obras de Francisco van der Poel, Afonso Murad e Ivany Coutinho), o artigo enfatiza os elementos cênicos e musicais componentes da cerimônia que, não obstante continuar sendo realizada na cidade locus da rememoração, já sofre mutações, uma vez que o hino tradicionalmente cantado – que marcava todo o ritmo da coroação – foi substituído por outros considerados mais modernos. Diferenças entre liturgia e devoção, aplicadas ao culto a Maria, são também abordadas. No artigo, ainda chamamos a atenção para algumas orientações rituais, disponibilizadas na rede mundial de computação, algumas delas visando a corrigir distorções que percebíamos presentes na cidade do interior potiguar cuja forma de organizar a cerimônia baseia a discussão apresentada neste trabalho. Concluímos afirmando a validade daquelas cerimônias que, embora sejam alvo de críticas por parte de alguns agentes do sagrado, em outras instâncias reveladoras de posturas mais condizentes com o respeito às tradições religiosas populares, são orientadas no sentido de delas serem eliminadas imprecisões ou exageros.Palavras-chave: Igreja Católica. Religiosidade popular. Devoção mariana. Mariologia. AbstractParting from a description originated from the author’s memory, to which are added analyses parting from the bibliography we had access to (principally works by Francisco van der Poel, Afonso Murad and Ivany Coutinho), the article emphasizes the scenic and musical elements which compose the ceremony and which, though it keeps being celebrated in the city which is the place of the remembrance, has already suffered changes, since the hymn traditionally sung – which marked the complete rhythm of the coronation – was substituted for others considered more modern. Differences between the liturgy and the devotion applied to the cult of Mary are also being approached. In the article, we further call the attention to some ritual orientations made available in the worldwide internet, some of them aiming to correct distortions we noticed in the city of the interior potiguar, whose way of organizing the ceremony is the basis of the discussion presented in this work. We conclude affirming the value of those ceremonies which, though they are the aim of criticism from some of the agents of the sacred, in other instances, that show more respect for the religious traditions of the people, are advised to eliminate imprecisions and exaggerations from them.Key-words: Catholic Church. Popular religiosity. Devotion to Mary. Mariology.