Journal articles on the topic 'Sacred vocal music'
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Ward, M. "Renaissance sacred vocal music." Early Music 40, no. 1 (February 1, 2012): 137–39. http://dx.doi.org/10.1093/em/cas010.
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Gosine, C. Jane. "François Couperin: sacred vocal music." Early Music XXVI, no. 1 (February 1998): 153–56. http://dx.doi.org/10.1093/earlyj/xxvi.1.153.
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Tunley, David. "Sacred Vocal Works, and: Three Sacred Cantatas: Esther, Susanne, Judith, and: Secular Vocal Works (review)." Notes 64, no. 1 (2007): 141–44. http://dx.doi.org/10.1353/not.2007.0131.
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Vella, Francesca. "Bridging Divides: Verdi's Requiem in Post-Unification Italy." Journal of the Royal Musical Association 140, no. 2 (2015): 313–42. http://dx.doi.org/10.1080/02690403.2015.1075809.
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ABSTRACTThis article addresses the early Italian reception of Verdi's Messa da Requiem (1874), premièred in Milan on the first anniversary of the death of the novelist Alessandro Manzoni. Previous literature has focused on issues of musical genre and the work's political implications (particularly its connections with Manzoni and with late nineteenth-century Italian revivals of ‘old’ sacred music). The article examines, instead, the curiously pluralistic concerns of contemporary critics, as well as certain aspects of Verdi's vocal writing, with the aim of destabilizing traditional dichotomies such as old/new, sacred/operatic, vocal/instrumental and progress/crisis. It argues for more broad-ranging political resonances of Verdi's work, suggesting that the negotiation of a variety of boundaries both in Verdi's music and in its contemporary discussion made the Requiem dovetail with wider cultural attempts to define Italian identity.
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Phillips, Peter, and Byrd's. "Byrd's Nest. Peter Phillips on Performing Byrd's Sacred Vocal Music." Musical Times 134, no. 1809 (November 1993): 628. http://dx.doi.org/10.2307/1002799.
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Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.
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Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary with Handel to produce such a quantity and variety of ‘Italian’ vocal music, and these compositions, which evidence a very good knowledge of the Italian language and Italian musical style, are of a quality to match their Handelian counterparts. They are subtle, responsive to the text and in certain respects very distinctive and original.
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Irlandini, Luigi Antonio. "An introduction to the poetics of sacred sound in twentieth-century music." Revista Vórtex 1, no. 2 (December 30, 2013): 65–86. http://dx.doi.org/10.33871/23179937.2013.1.2.430.
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Along the twentieth century has occurred the beginning of a fusion between two very different horizons: Western musical composition and Hindu sonic theology. The essential content of this theology and the changes in Western musical language and aesthetics, society and culture which have allowed this fusion to take place are briefly outlined. Instrumental and vocal works by Karlheinz Stockhausen, Giacinto Scelsi, Michael Vetter and David Hykes provide specific examples and, in particular, raise the predicament between mysticism and rationalism, manifested in the dichotomy ècriture/inspiration. The study proceeds investigating the connections between music and meditation. In this context, overtone singing appears as a musical and meditative practice. The incorporation of this non-European or ancient vocal technique is evaluated as a dawning horizon in Western music. Overtone singing has required a practical emphasis through improvisation, suggesting a new musical praxis that does not separate composition from performance.
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Roche, Jerome. "Alessandro Grandi: A Case Study in the Choice of Texts for Motets." Journal of the Royal Musical Association 113, no. 2 (1988): 274–305. http://dx.doi.org/10.1093/jrma/113.2.274.
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It is perhaps still true that research into sacred types of music in early seventeenth-century Italy lags behind that into madrigal, monody and opera; it is certainly the case that the textual aspects of sacred music, themselves closely bound up with liturgical questions, have not so far received the kind of study that has been taken for granted with regard to the literary texts of opera and of secular vocal music. This is hardly to be wondered at: unlike great madrigal poetry or the work of the best librettists, sacred texts do not include much that can be valued as art in its own right. Nevertheless, if we are to understand better the context of the motet – as distinct from the musical setting of liturgical entities such as Mass, Vespers or Compline – we need a clearer view of the types of text that were set, the way in which composers exercised their choice, and the way such taste was itself changing in relation to the development of musical styles. For the motet was the one form of sacred music in which an Italian composer of the early decades of the seventeenth century could combine a certain freedom of textual choice with an adventurousness of musical idiom.
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Mcmahon, Paul. "Tudor and Jacobean England: Observations on Secular and Sacred Vocal Music." Musicology Australia 37, no. 1 (January 2, 2015): 85–89. http://dx.doi.org/10.1080/08145857.2015.1035203.
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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.
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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.
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Leverett, Adelyn Peck. "Song masses in the Trent Codices: the Austrian connection." Early Music History 14 (October 1995): 205–56. http://dx.doi.org/10.1017/s0261127900001479.
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The seven Trent Codices preserve much of the sacred vocal polyphony that has survived from the middle decades of the fifteenth century. With some 1500 individual pieces, the collection is a rich compendium of liturgical and paraliturgical genres, large and small. The codices are perhaps most valuable, however, as sources for the cyclic mass Ordinary, the most ambitious of fifteenth-century polyphonic forms.
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Hulková, Marta. "Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)." Studia Musicologica 56, no. 1 (March 2015): 3–37. http://dx.doi.org/10.1556/6.2015.56.1.1.
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Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.
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Reuland, Jamie. "Voicing the Doge’s Sacred Image." Journal of Musicology 32, no. 2 (2015): 198–245. http://dx.doi.org/10.1525/jm.2015.32.2.198.
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During the fourteenth century, Venetian chronicles, art, and ceremony fostered provocative analogies between angelic annunciation and the political voice of the Venetian populace. Such analogies imagined a city whose civic and heavenly members were united through the sound of unanimity. At the intersection of the state’s civic and celestial bodies stood the doge, considered to be the image of the Republic and of its patron, Saint Mark. A complex of sung ceremonies and musical compositions addressed to the doge dramatized the notion that the voice, as a ritual instrument, could engender real political or spiritual change in the state and its leaders. Performances of acclamations to the doge positioned him within Venice’s sacred and civic hierarchies, while state art and ceremony forged symbolic resemblances between ducal acclamation and angelic annunciation. A repertory of occasional motets evidences polyphonic play with the notion that vocal rituals centered on the doge could activate the spiritual ideals of the state: the anonymous Marce, Marcum imitaris (c. 1365) draws a sonic analogy between spiritual likeness and musical imitation in order to dramatize the concept of the doge as Mark’s image, whereas Johannes Ciconia’s Venecie mundi splendor/Michael qui Stena domus elides a text dedicated to the Annunciate Virgin with one addressed to the doge, creating musical echoes and simultaneities in its praises of Venice’s temporal and celestial leaders.
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Charteris, R. "A Neglected Anthology of Sacred Vocal Music Dating from the Sixteenth Century." Music and Letters 90, no. 1 (February 1, 2009): 1–34. http://dx.doi.org/10.1093/ml/gcn047.
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Bertolino, Luca. "„Bach in die Synagogen!“. Erlösende Noten in Franz Rosenzweig." Naharaim 14, no. 2 (December 16, 2020): 209–23. http://dx.doi.org/10.1515/naha-2019-0009.
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AbstractStarting with theoretical considerations on redemption in Rosenzweig’s Der Stern der Erlösung, this paper highlights the connection between redemption and choral form in Church music (e.g. in Bach’s Passions and in musical mass). Therefore, according to Rosenzweig, one can clearly distinguish between sacred/religious (geistlich) and spiritual/intellectual (geistig) music. Rosenzweig also writes about renewing Jewish worship through Bach’s vocal music, but we are given scant hints about this. “Bach in die Synagogen!” is nevertheless important, not only as an example for interreligious dialogue, but above all as an invitation to think about redemption in the postmodern condition.
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Chatterjee, Sebanti. "Performing Bollywood Broadway: Shillong Chamber Choir as Bollywood’s Other." Society and Culture in South Asia 6, no. 2 (July 2020): 304–27. http://dx.doi.org/10.1177/2393861720923812.
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This article attempts to explore the performativity that surrounds choral music in contemporary India. 1 1 Choral music was discovered in Western civilization and Christianity. As a starting point, it had the Gregorian reforms of the 6th century. Choir primarily refers to a vocal ensemble practising sacred music inside church settings as opposed to chorus which indicates vocal ensembles performing in secular environments. Multiple singers rendered sacred polyphony 1430 onwards. By the end of the century a standardized four-part range of three octaves or more became a feature. The vocal parts were called superius (later, soprano), altus, tenor (from its function of ‘holding’ the cantus-firmus) and bassus (Unger 2010, 2–3). Moving beyond its religious functions, the Shillong Chamber Choir locates itself within various sounds. Hailing from Meghalaya in the north- eastern part of India, the Shillong Chamber Choir has many folksy and original compositions in languages such as Khasi, Nagamese, Assamese and Malayalam. However, what brought them national fame was the Bollywoodisation 2 2 Bollywood refers to the South Asian film industry situated in Mumbai. The term also includes its film music and scores. of the choir. With its win in the reality TV Show, India’s Got Talent 3 3 India’s Got Talent is a reality TV series on Colors television network founded by Sakib Zakir Ahmed, part of Global British Got Talent franchise. in 2010, the Shillong Chamber Choir introduced two things to the Indian sound-scape—reproducing and inhabiting the Bollywood sound within a choral structure, and introducing to the Indian audience a medley of songs that could be termed ‘popular’, but which ultimately acquired a more eclectic framework. Medley is explored as a genre. The purpose of this article is to understand how ‘Bollywood Broadway’ is the mode through which choral renditions and more mainstream forms of entertainment are coming together.
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Bowers, Roger. "The ‘votive antiphon’ among other sacred textual forms." Early Music 48, no. 2 (May 2020): 147–55. http://dx.doi.org/10.1093/em/caaa021.
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Abstract Alongside settings of liturgical texts effected in manners strictly consistent with liturgical performance, there survive large numbers of early vocal pieces engaging Latin words of a religious or devotional nature all commonly subsumed together, both then and now, under the ‘catch-all’ term of ‘motet’. These, however, encompassed a remarkably diverse range of textual content, each destined for a distinct performance occasion and purpose no less likely to have been domestic than ecclesiastical; and these textual types, in turn, possess potential to have been reflected in corresponding distinctions of musical style and texture. Except in isolated instances, modern scholarship has paid only limited attention to these diversities of text and function, with the result that many musical works are classified together with little examination of the criteria by which compositional distinctions apparent between them might be explained. This article examines the category of ‘votive antiphon’ alongside other categories of Latin composition, and reflects upon the need to ask, of any such piece, the question ‘what was it for?’.
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Végh, Mónika. "Antecedents, and Development of the Sacred Choral Concerto in Russia." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 173–92. http://dx.doi.org/10.24193/subbmusica.2020.2.12.
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"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composers of the 17th and 18th centuries, who contributed to the genre with their own works. We will receive a detailed description about concertante techniques used in European vocal music, and about their appearance in the 18th century Russia, which was unique to a cappella choral concerto. We will also get to know more about the structure and characteristics of the duhovny kontsert, while taking a glance at the historical background. In the final part of the study, we will see how the genre influenced subsequent eras, and how the stylistic marks and techniques appear in the choral oeuvre of Rachmaninoff. Keywords: Russia, 18th century, church music, choral concerto, Bortniansky, Berezovsky"
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Shreffler, Anne C. ""Mein Weg geht jetzt vorüber": The Vocal Origins of Webern's Twelve-Tone Composition." Journal of the American Musicological Society 47, no. 2 (1994): 275–339. http://dx.doi.org/10.2307/3128880.
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The essay explores Anton Webern's earliest encounters with the twelve-tone method in the context of his previous decade-long preoccupation with vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16, Three Traditional Rhymes, op. 17, Three Songs, op. 18, and sketches and drafts from 1922 to 1925 suggests that Webern did not accept Arnold Schoenberg's method uncritically, but alternately rejected and embraced it. The religious and folk texts that Webern set during these years, hardly anonymous ciphers, were essential in helping him to articulate his own twelve-tone technique.
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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (January 29, 2019): 85. http://dx.doi.org/10.3390/rel10020085.
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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.
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Linfield, Eva, Diane Parr Walker, and Paul Walker. "German Sacred Polyphonic Vocal Music between Schutz and Bach: Sources and Critical Editions." Notes 50, no. 2 (December 1993): 563. http://dx.doi.org/10.2307/898455.
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Charteris, Richard. "An Early-Seventeenth-Century Collection of Sacred Vocal Music and Its Augsburg Connections." Notes 58, no. 3 (2002): 511–35. http://dx.doi.org/10.1353/not.2002.0011.
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Missfelder, Jan-Friedrich. "From Choir to Chamber: Negotiating Vocal Music in the Zurich Reformation." Journal of Early Modern Christianity 10, no. 2 (November 1, 2023): 187–214. http://dx.doi.org/10.1515/jemc-2023-2044.
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Abstract This article discusses the role of music, singing and voice in the development of the Zurich Reformation. It argues that the silencing of musical elements in the course of the Zwinglian liturgical reform was due to a new understanding of devotion, prayer and both individual and communal agency in church services. Zwingli and the Zurich reformers took issue with Gregorian chant in particular and applied a decidedly Erasmian understanding of religious communication as inward, silent devotion. Musical religiosity was transferred from the sacred space of the choir (kor) to the private homes of believers (kämerlin). Moreover, by simultaneously extending the notion of devotion and prayer to practices of everyday urban life, the liturgical reforms contributed to a sacralization and Christianization of the city as an urban space.
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Burtsev, Mуkyta. "Christian images in chamber vocal music of Western Europe of the 19–20th centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (April 9, 2023): 27–41. http://dx.doi.org/10.34064/khnum1-66.02.
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Statement of the problem. The development and popularization of vocal genres in performance practice of the 19th century was accompanied by a tendency to move liturgical singing to concert halls. Its consequence was the appearance of a new genre variety – “sacred song”. This is a chamber composition for the voice and piano with a brightly pronounced sacred meaning of the poetic base (sometimes borrowing texts from the Bible). Despite the fact, that vocal music was dominated by secular themes at that time (sometimes even demonic, as evidenced by the popularity of the image of Mephistopheles), religious spirituality remained in a place of honour and had an important mission. Carl Dalhaus explained the departure of the Church from the “mainstream” of musical history in the 19th century as follows: “...the sociopsychological roots of the ideal of church music as an escape from the world can be seen in the bourgeois tendency to separate these two spheres and drive religion into the ghetto, thus protecting it from ‘reality’ and, at the same time, not allowing it to interfere with this reality” (Dalhaus, 1989: 179). Thus, the tendency to hide religion from life into a “reserve” had a significant impact on the sacred music of the 19th century. However, composers who appealed to divine meanings in their compositions acted contrary to this tendency. The essence of romanticism required a personal experience of religious feelings passed through the “crucibles” of one’s own experience, and this is what endowed spiritual genres with a missionary role in the art of the society of that time. Objectives, methods, and novelty of the research. Elucidation of Christian meanings in the chamber vocal genre is a new and understudied musicological problem. Although the works of L. Beethoven, F. Schubert, A. Dvořák, J. Brahms, and R. Vaughan-Williams considered in the article are well-known and in the repertoire, scientific works very rarely focus specifically on the Christian content of these songs and vocal cycles. The purpose of the research is to trace Christian meanings in the chamber vocal work of prominent Western European composers of the 19th–20th centuries. The application of the historiographical method highlights the retrospective of development of the chamber-vocal music of Western Europe of the 19th–20th centuries; the genrestylistic method allows to reveal the characteristic features of the composer’s interpretation of religious images; the textological one reveals the linguistic features of the selected samples; the performance analysis defines the specific creative tasks facing the singer. Research results and conclusion. The practical result of the research should be an increase in the level of awareness of the performers regarding the substantive and stylistic components of the composer’s idea in order to create an interpretation adequate to it. Based on the analysis of selected chamber and vocal works with Christian themes, their typology is proposed, which depends mainly on the text used. The first type is songs based on Biblical texts (psalms or direct quotations of fragments of the Old and New Testaments), which imitate the style of church chants (F. Schubert’s “Evangelium Johannis”, A. Dvořák’s 10 “Biblical Songs”, J. Brahms’s “Four Serious Songs”). The second type is the lyrics of the hymn on verses glorifying God, which can be used at divine services. Songs of this type quite often contain quotations from church music (L. Beethoven’s “Bitten”, “Die Liebe des Nächsten”, “Vom Tode”, “Die Ehre aus der Natur” and “Gottes Macht und Vorsehung”, F. Schubert’s “Das grosse Halleluja”, R. Vaughan-Williams’s “Easter”, “The call” and “Antiphone”). The third type includes chamber-vocal works on lyrical texts of an intimate, reflective nature, where confession, human communication with God, and philosophical questions are present (L. Beethoven’s “Buβlied”, F. Schubert’s “Im Abendrot”, R. Vaughan-Williams’s “I Got Me Flowers” and “Love Bade Me Welcome”). The development of a typology of chamber-vocal works of Christian themes seems necessary to facilitate the creative work of vocalists-interpreters, which should meet the modern level of requirements for the general culture of musical performance.
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AQUILINA, FREDERICK. "A SHORT BIOGRAPHY OF BENIGNO ZERAFA (1726-1804): A MID-EIGHTEENTH-CENTURY MALTESE COMPOSER OF SACRED MUSIC." Eighteenth Century Music 4, no. 1 (March 2007): 107–18. http://dx.doi.org/10.1017/s1478570607000723.
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The outstanding (though still insufficiently recognized) development of Maltese sacred music in the mid-eighteenth century culminated in the works of Benigno Zerafa (1726–1804), a highly talented priest-composer who served as maestro di cappella at the Cathedral of St Paul at Mdina from 1744 to 1786. Zerafa’s entire collection of sacred vocal works, with one exception, was discovered in 1969 by the then-curator of the Archives of Mdina, Mgr Rev John Azzopardi. The collection, comprising, among others, masses, Credo settings, psalms, graduals, offertories, litanies, hymns, sequences, antiphons, Holy Week responsories and motets, was transferred to the archives of the cathedral, where it was professionally catalogued and shelved. One work, a recently discovered Requiem Mass for four voices and organ, is preserved in the Archivio Crypta Sancti Pauli (CSP) at Rabat. The compositions, numbering 148, are divided into two categories – (1) for voices and instruments (104), and (2) for voices and organ (44) – and range, in scoring, from works for eight, five, four, three and two voices, to others for solo voice. This essay aims to provide information on Benigno Zerafa’s life.
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Judd, Cristle Collins. "Modal Types and Ut, Re, Mi Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500." Journal of the American Musicological Society 45, no. 3 (1992): 428–67. http://dx.doi.org/10.2307/831714.
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An evaluation of Pietro Aron's understanding of "mode in polyphony" (Trattato della Natura et Cognitione di tutti gli tuoni [1525]) coupled with an analytical examination of Josquin's motet oeuvre leads to a new theory of tonal coherence in sacred vocal polyphony from about 1500. This theory provides a designation for, and identifies the markers of, the tonalities represented in the motets of Josquin; it is based on a nomenclature derived from the technical vocabulary of modal theory and the exigencies of a musical tradition rooted in plainchant, hexachordal manipulation of the gamut, and counterpoint. Three main tonal categories are defined and identified by hexachordal function of final as Ut, Re, and Mi tonalities. Comments by Glarean (Dodecachordon [1547]) support the essentially practical basis of these tonal designations. Each of these tonalities consists of, and is defined by, a distinct collection of "modal types," melodic-contrapuntal paradigms of tonal coherence that are identifiable in a variety of structural guises, from simple contrapuntal contexts to more abstract frameworks. Analytical examples from Josquin's motets illustrate procedural similarities in works belonging to different modal categories and structural distinctions within the same category, as well as demonstrating why diverse analytical approaches have seemed successful with certain works but inappropriate to others.
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Judd, Cristle Collins. "Modal Types and "Ut, Re, Mi" Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500." Journal of the American Musicological Society 45, no. 3 (October 1992): 428–67. http://dx.doi.org/10.1525/jams.1992.45.3.03a00030.
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Гирфанова, М. Е. "The Small Imitation Form in the Sacred Chorale Concertos by Samuel Scheidt." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 107–19. http://dx.doi.org/10.26156/om.2020.12.5.007.
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Известный немецкий теоретик музыки XVII века Вольфганг Каспар Принц в труде „Historische Beschreibung der edelen Sing- und Kling-Kunst“ («Историческое описание благородного искусства вокальной и инструментальной музыки», 1690) назвал Генриха Шютца, Иоганна Германа Шейна и Самуэля Шейдта тремя лучшими композиторами их времени в Германии. Композиторское письмо двух из упомянутых Принцем персон, Шейна и Шейдта, остается малоизученным в отечественном музыкознании. В статье рассматривается малая имитационная форма в хоральных концертах Шейдта из собрания „Geistliche Concerte“ («Духовные концерты»), четыре части которого были опубликованы в 1631, 1634, 1635 и 1640 годах. Тридцатилетняя война (1618–1648), непосредственно коснувшаяся Шейдта, стала причиной обращения композитора к разновидности вокального духовного концерта для небольшого состава, включающего несколько вокальных голосов (в концертах Шейдта это, как правило, три партии) и бассо континуо. Исследуются тексто-музыкальные единицы, образующиеся на основе строки или сегмента строки хорала и становящиеся материалом для имитации, раскрываются особенности имитационной техники, выявляется связь свободной части малой имитационной формы с типом обработки — Cantionalsatz, типологизируются структуры, различающиеся порядком поступления материала строки в малую имитационную форму. В конце статьи прослеживаются изменения, которые претерпевает малая имитационная форма в хоральных концертах по сравнению с хоральными мотетами из первого собрания вокальной музыки Шейдта “Cantiones sacrae” («Священные песнопения», 1620). The famous German music theorist of the 17th century, Wolfgang Caspar Printz, in his work „Historische Beschreibung der edelen Sing- und Kling-Kunst“ (“Historical Description of the Noble Art of Vocal and Instrumental Music”, 1690) named Heinrich Schütz, Johann Hermann Schein and Samuel Scheidt as the three best composers of their time in Germany, the compositional technique of two of them, Schein and Scheidt, remaining poorly studied in Russian musicology. The article examines the small imitation form in Scheidt’s chorale concertos from the „Geistliche Concerte“ (“Sacred Concertos”) collection, four parts of which were published in 1631, 1634, 1635 and 1640. The Thirty Years’ War (1618–1648), which directly affected Scheidt, caused the composer to turn to a kind of vocal sacred concerto for a small cast, including few voices (in Scheidt’s concertos, these are, as a rule, three parts) and basso continuo in the organ. The textual-and-musical units that are formed on the basis of a chorale line or a segment of a line and become the material for imitation are investigated; the features of the imitation technique are revealed; a connection of the free part with the type of arrangement — Cantionalsatz, is established, mapping the structures that differ in the order in which the line material arrives in the small imitation form. At the end of the article, the changes are traced that the small imitation form has undergone in chorale concertos in comparison with chorale motets from Scheidt’s first collection of vocal music “Cantiones sacrae” (“Sacred chants”, 1620).
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Laferrière, Carolyn M. "Sacred Sounds: The Cult of Pan and the Nymphs in the Vari Cave." Classical Antiquity 38, no. 2 (October 1, 2019): 185–216. http://dx.doi.org/10.1525/ca.2019.38.2.185.
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Religious ritual in ancient Greece regularly incorporated music, so much so that certain instruments or vocal genres frequently became associated with the religious veneration of specific gods. The Attic cult of Pan and the Nymphs should also be included among this group: though little is often known about the specific ritual practices, the literary and visual evidence associated with the cults make repeated reference to music performed on the panpipes—and to auditory and sensory stimuli more generally—as a prominent feature of the worship of these gods. I consider the Vari Cave, sacred to Pan and the Nymphs, together with the surviving marble votive reliefs from that space, to explore the sounds and sensations associated with the veneration of the rural gods. I argue that the sensory experience offered by the cave and the images within it would have enhanced the worshiper's experience of the ritual and the gods for whom they were performed. In this way, visual and auditory perceptions blurred together to create a powerful experience of the divine.
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Karpf, Juanita. "The Possibility of Theomusicology: William Bradbury’s Esther, the Beautiful Queen." Religion and the Arts 16, no. 1-2 (2012): 1–28. http://dx.doi.org/10.1163/156852912x615865.
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AbstractAfrican-American scholar, theologian, and musician Jon Michael Spencer issued his initial publications on his theory of theomusicology in 1986. As an alternative to more traditional musicologies, Spencer specifies theomusicology as a theoretical model of theologically, biblically, and spiritually-informed historical and analytical studies in music, of particular appropriateness to African-American music making. Theomusicology redirects the analytical and critical objectivity of musicologies to facilitate concentration on iterations of ethical, religious, and mythological beliefs, regardless of their medium, location, and cultural function. It seeks ways to describe the synthesis of the sacred and profane—the meshing of seeming opposites. This article explores the application of theomusicology to African-American performances of a popular large-scale vocal work entitled,Esther, the Beautiful Queen, written in 1856 by U.S. composer William Bradbury.
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TALBOT, MICHAEL. "RECOVERING VIVALDI’S LOST PSALM." Eighteenth Century Music 1, no. 1 (March 2004): 61–77. http://dx.doi.org/10.1017/s1478570604000041.
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In 1739, two years before his death, Vivaldi sold a group of five psalms to the Ospedale della Pietà in Venice. All but one of these psalms had been identified and located prior to May 2003, when the missing work, a Nisi Dominus in A major for three solo singers, five obbligato instruments and strings, turned up in Dresden as the unexpected by-product of a routine inspection. Like one of the other psalms belonging to the same group, the Beatus vir rv795, this new discovery, rv803, is attributed in its Dresden source to Baldassarre Galuppi. The misattribution appears to have been an act of deliberate falsification by the Venetian copyist Iseppo Baldan, who slipped the two Vivaldi compositions in to a large consignment of sacred vocal works, mainly by Galuppi, dispatched to the Saxon Hofkapelle in the late 1750s. The new Nisi Dominus is noteworthy for the high level of vocal virtuosity that all eight movements demand and for its use of rare instruments (viola d’amore, tenor chalumeau and violino in tromba marina) to lend added colour in individual movements. It is also a striking example of Vivaldi’s ‘late’ manner, which, although influenced by the galant style of younger composers, remains true to his personal idiom. At the same time, it rivals the oratorio Juditha triumphans as a showcase for the diverse talents of the Pietà’s female musicians.
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Штром, А. А. "On Tone-Painting Elements of Music Language in Vocal Chamber Music by Nikolai Medtner." Музыкальная академия, no. 1(769) (March 29, 2020): 14–23. http://dx.doi.org/10.34690/32.
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Целью данной статьи является рассмотрение камерно-вокального творчества Н. К. Метнера с точки зрения живописности и звукоизобразительности. Автор вступает в полемику с критиками начала XX века, которые воспринимали метнеровскую музыку как бескрасочную и лишенную колорита. Опираясь на высказывания самого композитора в его книге «Муза и мода», проводя исполнительский анализ как фортепианной, так и вокальной партий романсов, автор статьи высвечивает звуковой образ метнеровского творчества с позиции звукописи: раскрывает звукоизобразительные элементы в фактуре таких романсов, как «Арион» op. 36 № 6, «Песнь ночи» op. 45 № 3; демонстрирует неистощимость композиторской фантазии в ритмической организации нотного текста в романсах «Телега жизни» op. 45 № 2 и «Священное место» op. 46 № 2, в повторяющихся ритмоформулах («Тишь на море» op. 15 № 7), в создании такта высшего порядка - сложного образования из тактов разного размера, расположенных друг за другом в определенной последовательности («Сумерки» op. 24 № 4), в реализации поэтического образа через лейтфактуру («Бессонница» ор. 37 № 1). В заключение статьи автор дает примеры тонкого использования как правой, так и левой педали, помогающих воплощать в музыке образы, связанные с колористической задачей. The aim of the paper is to consider vocal chamber music by N. Medtner in relation to picturesqueness and tone-painting. The author enters the debate with music critics of the beginning of the 20th century, who perceive Medtner’s music as lacking colours, i. e. non-coloristic. To confute this opinion the author refers to the composer’s statements given in his book “Muse and Fashion” and also undertakes the analyses of Medtner’s pieces from the standpoint of tone-painting. Such analyses allows to highlight pictorial elements in the texture of “Arion” (Op. 36 No. 6) and “Night Song” (Op. 45 No. 3) and to demonstrate the inexhaustibleness of the composer’s fantasy in rhythmic organization of “The Cart of Life” (Op. 45 No. 2) and “Sacred Place” (Op. 46 No. 2), in inventing iterative rhythmic formulas in “Calm Sea” (Op. 15 No. 7), in forming of “higher-order bar” — a complex unity of bars with different time-signatures placed one after another in definite succession (“Twilight” Op. 24 No. 4), in realization of poetical image by means of leit-texture (“Vigilance” Op. 37 No. 1). In conclusion the author gives examples of exquisite coloristic use of both pedals by Medtner.
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Crosby, Brian. "Private Concerts on Land and Water: The Musical Activities of the Sharp Family, c.1750–c. 1790." Royal Musical Association Research Chronicle 34 (2001): 1–118. http://dx.doi.org/10.1080/14723808.2001.10540993.
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Hitherto there have only been glimpses into the musical activities of William, James and Granville Sharp in London during the second half of the eighteenth century. These have been afforded by Prince Hoare's Memoirs of Granville Sharp, William Shield's anecdotal review of Granville's A Short Introduction to Vocal Music, the brothers' own catalogue of their music and the Leigh and Sotheby Sale Catalogue of 1814 which marked that music's dispersal, and, more recently, by the publication of the memoirs of R.J.S. Stevens who sang as a treble at the Sharps' concerts in 1772. From these sources it transpired that the three Sharps were capable amateur musicians who hosted private concerts of sacred music in their homes, and that at different times many of the leading professional musicians of the period either played or sang on one of Sharps' vessels on the Thames. These shadowy images gained bodily form in 1978 when the National Portrait Gallery acquired on indefinite loan ‘The Sharp Family’ by Johann Zoffany, a portrait which revealed that the three brothers were but part of a larger musical family.
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GRIMMINGER, DANIEL JAY. "EIGHTEENTH- AND NINETEENTH-CENTURY SACRED VOCAL MUSIC IN PENNSYLVANIA CULTURE, SCHWENKFELDER LIBRARY AND HERITAGE CENTER, PENNSBURG, PENNSYLVANIA, 20 JUNE 2009." Eighteenth Century Music 7, no. 1 (January 21, 2010): 187–89. http://dx.doi.org/10.1017/s1478570609990820.
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Mailes, Alana. "Singing Nuns and Soft Power: British Diplomats as Music Tourists in Seicento Venice." Religions 13, no. 4 (April 6, 2022): 330. http://dx.doi.org/10.3390/rel13040330.
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Historians of early modern statecraft and confessional politics have traditionally treated the arts as peripheral to the more official bureaucratic concerns of government agents. Meanwhile, musicological scholarship rarely centers the experiences and exploits of politicians who participated in early modern musical events. This case study on British envoys to Venice in the early Stuart period illustrates how musical activity and political work were, in fact, thoroughly imbricated within the daily mechanics of cross-confessional ambassadorship. Drawing on seventeenth-century diplomatic sources, I detail how both English and Northern Italian politicians made strategic use of sacred music-making—particularly vocal performance in local nunneries—to influence their dealings with foreign states, as well as how English diplomats in the Italian peninsula surveilled Catholic musical devotions in their covert correspondences to communicate information about international affairs. In revealing these moments of interconnection between music, religion, and geopolitics, I seek to further recent efforts in the New Diplomatic History to highlight the contributions of women and artistic practice within histories of international relations.
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Štefancová, Dagmar. "The Cantional of Ondřej Kopydlanský of Sedlčany in a New Context." Musicalia 14, no. 1-2 (2022): 56–95. http://dx.doi.org/10.37520/muscz.2022.002.
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The cantional of Ondřej Kopydlanský of Sedlčany (NM-ČMH AZ 34) is one of the polyphonic artefacts of Czech Renaissance music with a complete set of the vocal parts. The study of archival materials, comparisons with similar cantionals, and discoveries made during the source’s restoring in 2007 have led to new conclusions with a revision of the source’s dating and new information about the circumstances of its creation. The manuscript probably dates from the 1610s from a small town in central Bohemia. It preserved not only period arrangements of sacred songs, but also the practical use of older repertoire in an interesting manner. This gives us a clearer picture of Ondřej Kopydlanský’s standing as a cantor and scribe associated with the activities of Sedlčany’s confraternity of literati and as the “editor” of the cantional.
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STOCKIGT, JANICE B., and MICHAEL TALBOT. "TWO MORE NEW VIVALDI FINDS IN DRESDEN." Eighteenth Century Music 3, no. 1 (March 2006): 35–61. http://dx.doi.org/10.1017/s1478570606000480.
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Two further unknown sacred vocal compositions by Vivaldi, a Dixit Dominus and a Lauda Jerusalem, have turned up in a collection that has already witnessed two similar discoveries in recent decades: that of the former Saxon Hofkapelle, today in the Sächsische Landesbibliothek / Staats- und Universitätsbibliothek Dresden. Like their predecessors, the newly discovered works were acquired between the mid-1750s and early 1760s from the copying shop of Iseppo Baldan in Venice, who falsified the attribution on the title page to make the composer Galuppi instead of Vivaldi. Whereas the Lauda Jerusalem is an arrangement by Vivaldi of an anonymous stile antico setting of the same psalm in his own collection (and in turn the model for his own Credidi propter quod, rv605), the Dixit Dominus, scored for choir, soloists and orchestra, is an entirely original composition of outstanding musical quality that dates from the composer’s late period. This article explores the background to the Hofkapelle’s purchases from Baldan and provides a description of the new compositions, together with several arguments (based on musical concordances, general stylistic features and notational characteristics) for their attribution to Vivaldi.
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Azarova, Valentina Vladimirovna. "On the organization of sound space in "The Tidings brought by Mary" by Paul Claudel, 1912 edition." Культура и искусство, no. 4 (April 2022): 141–63. http://dx.doi.org/10.7256/2454-0625.2022.4.37912.
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The article examines the words and the meaning, as well as the dramaturgy of sound in the first edition of the mystery "The Tidings brought by Mary" by Paul Claudel. Understanding the synthesis of verbal and vocal intonation leads the author of the article to discover new ways of solving the problem of stage music in mystery drama by Claudel. The discrete nature of the design of the sound space of the mystery in the first edition represents the concept of separately performed fragments, in which the episodes integrated into the action in liturgical Latin are united by a common spiritual meaning. At the same time, the design of the sound space in the 2nd scene of Act III (the dramatic climax, the sacred space of the mystery) is characterized by novelty. Based on the interaction of theatrical-dramatic and musical structural elements, the composition of the scene is subordinated to the principle of end-to-end, continuous vocal-dramatic development of the action. Conclusions are drawn: during the 1910s, Claudel's idea of music in mystery drama was transformed - instead of musical fragments of an "applied" nature, a new compositional idea of stage music arose. The lyrical intonation of the author's voice is found in the sound space of the work. The mirror of Claudel's mystery reflects the principles of sound design of dramatic productions of traditional Japanese theater (Bunraku, Kabuki, Noh), as well as images of poetry of China and Japan. In the sound of the "The Tidings brought to Mary", the semantic and dramatic functions are performed by the verses of the songs "Oriole sings" and "Margarita, clear May!" performed by children's voices. Claudel's mystery drama formed a new understanding of the universal meaning of the mystery in the twentieth century.
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Hidayatullah, Panakajaya. "GLUNDHÂNGAN AND PIGEON IN SOCIOCULTURAL PRACTICES OF MADURESE PEOPLE." Journal of Urban Society's Arts 6, no. 1 (August 9, 2019): 39–55. http://dx.doi.org/10.24821/jousa.v6i1.2575.
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Glundhangan is an ensemble of wooden gamelan played by Madurese people. Glundhangan music is believed as archaic music of Madurese people. It even existed before era of metallophone gamelan. In Jember, glundhângan is closely related to pigeon and usually used for nyata and totta’an dhârâ events. Nyata is an event when a pigeon master succeeds to get his opponent’s pigeon. While totta’an dhârâ is a match of releasing pigeons together and then they, pigeons, come back to pajhudhun (pigeon house) of their masters. Glundhângan is a music which becomes winning signifier of pigeon’s master when he gets his opponent’s pigeon, and it is an accompanying music for pigeons release and return to home. Glundhângan consists of some wooden musical instruments like glundhâng, dhung-dhung, tong-tong, tek-tek, nèng-nèng and ghâghâmbhâng, and they are accompanied by vocal of tembhâng mamaca (ancient version) and kèjhungan (modern version). Every pajhudhun and pigeon master must have musical instruments dhung-dhung or tong-tong in a form of various kentongan made by wood. The music instrument is used by a master as means of communication to pigeons and people. Dhung-dhung instrument of the pigeon master is commonly sacred as other relics like keris. Commonly, the master supplies himself and pigeons with mythical power. It is dhung-dhung itself which becomes identity of glundângan music. For Madurese people, pigeon is treated as special animal. Pigeon is also a manifestation of supernatural power of its master. Glundhângan music and pigeons are articulations of Madurese people that represent social degree, pride at stake, symbol of masculinity and productive distribution of conflict desire among people.
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Tyler, Linda. "Aria as drama: A sketch from Mozart's Der Schauspieldirektor." Cambridge Opera Journal 2, no. 3 (November 1990): 251–67. http://dx.doi.org/10.1017/s095458670000327x.
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There are few opportunities to compare differing readings by Mozart of the same text. Except in his sacred music, Mozart rarely had occasion to return to texts that he had already set, and relatively few sketches, drafts or heavily revised autographs offer extended alternative versions of other settings. Although most of the surviving sketches and drafts for operas and other vocal pieces do not diverge significantly from the final versions, some of these preliminary materials reveal Mozart reconsidering a text-setting, and thus offer important glimpses into his dramatic imagination. Such is the case with a draft for ‘Da schlägt die Abschiedsstunde’, the first aria of Der Schauspieldirektor. The draft and final autograph present related yet significantly different conceptions of the same number, enabling us to examine Mozart's revision of one particular aria, and his reconciliation of an individual solo number with the larger dramatic argument of the opera.
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Kyfenko, Anna, and Khrystyna Holian. "METHODS OF PARALITURGICAL CHORAL COMPOSITIONS IN STUDENT CHOIR CLASSES." Modern Higher Education Review, no. 7 (2022): 80–89. http://dx.doi.org/10.28925/2518-7635.2022.76.
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The article focuses on revealing the methodology methods of paraliturgical choral compositions in student choir classes, namely, phonetic features of Church Slavonic hymns, nature of sound production, dynamic ensemble, vocal and timbre ensemble, and phrasing. The role of religious and spiritual culture, spiritual choral art is highlighted. The importance of spiritual choral music in the repertoire of the student choir is substantiated, and the system of Christian values is singled out. It was determined that currently, one of the urgent issues of art education is the revival of the spirituality of the nation, the search for new landmarks, a new system of values. The positive effect of spiritual singing on a person has been proven as well. It was determined that paraliturgical chants have a pedagogical and psychotherapeutic effect on the formation of personality, occupy an important place in the repertoire of student choirs. The interdisciplinary connections between the study of paraliturgical choral works and the subjects of the musical cycle are analysed, e.g., history of music, solfeggio, harmony, voice production, conducting. It was emphasized that in working on paraliturgical choral works, it is important for leaders of educational choral groups to master the special skills and abilities. Choral singing is a carrier of enormous informational and educational potential, containing interdisciplinary communicative connections of the main subjects of the musical cycle: solfeggio, music theory, harmony, polyphony, history of music, analysis of musical forms, solo singing, conducting. The article examines the main problem in the work of choirmasters, namely, the lack of knowledge of the traditional style of sacred music, its genre affiliation, and stylistic features.
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Shmiher, Taras V. "MUSICAL DIMENSIONS OF QUALITY JUDGEMENTS IN LITURGICAL TRANSLATION." Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, no. 23 (July 17, 2022): 88–96. http://dx.doi.org/10.31392/npu-nc.series9.2022.23.08.
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The paper is dedicated to the issues of how translation quality assessment can deal with the musical aspects of liturgical praxis. It is not limited to the matters of melody and isosyllabism (which partially overlap with the theory of verse translation), but it has also to cover the issues of functionality, perception and reception (which are integrated in translation sociology and criticism). The study consists of three foci: singability and melody (isosyllabism and local chants, collective and individual creativity), historicism (hidden interpretations, functional censorship) and phonetic and semantic prosody (problems of subjectivist perception, churchly interventions, modulations of poetic texts for liturgical use). The problem of relay translation looks very unusual: although all liturgical texts came from the same language (Patristic Greek), vernacular believers receive their national texts which were translated via the mediating language (Latin or Church Slavonic, or even more languages). The main text of the analysis is the Paschal Troparion (in the Greek, Church Slavonic, Ukrainian, Polish, and English versions), but observations over other various liturgical texts are included. The juxtaposition of the Roman and Byzantine Rites shows how great the role of vocal music is in both rites and how attentively the ecclesiastical authorities cherished the sacred music for the propaganda of ecumenical moral dogmas.
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Font-Navarrete, David. "Writing Orisha Music: Text, Tradition, and Creativity in Afro-Cuban Liturgy." Religions 12, no. 11 (November 3, 2021): 964. http://dx.doi.org/10.3390/rel12110964.
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This essay examines the flow of music associated with orisha—anthropomorphic deities—across networks defined variously by art, scholarship, folklore, and religion, all of which overlap and nourish each other. Transmitted via oral tradition, written texts, and multimedia technologies, a handful of orisha-themed songs are analyzed as case studies in the subtle nexus of liturgy and cultural authenticity. Taken together, the songs shed light on a broader phenomenon in which creatively-minded, ostensibly-secular iterations of culture play a significant role in the dissemination and ongoing codification of ritual orthodoxy. Orisha music traditions are analyzed as a fertile ground for a multitude of devotional and/or artistic expressions, many of which have a particularly ambiguous relationship to the concept of religion. In this context, the fluid movements of orisha music between ostensibly sacred and secular contexts can be usefully understood as not only common, but as a conspicuous and characteristic aspect of the tradition. The essay’s structure and rhetorical strategies offer distinct layers of cultural and historical commentary, reflecting a multi-vocal tradition of exchanges among orisha music scholars, artists, and ritual experts. The essay’s historical analysis of orisha music further suggests that a host of subtle, seldom-discussed phenomena—multilingualism, liturgical ambiguity, and transmission via multimedia technologies—are not necessarily aberrant or irregular, but rather vital themes which have resonated clearly across the Afro-Atlantic for at least a century. By obligating us to attend to both musical meaning and cultural context, the essay’s case studies of orisha music shed light on the mingling and synthesis of elements from varied historical sources, languages, and cultural idioms, each of which represent distinct notions of tradition, creativity, religiosity, and secularism.
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Aleksandrova, Oksana, and Mariia Chertoryzhska. "Spiritual-semantic approach as a methodological basis for the analysing religious music (on the example of V. Stepurko’s cycle “Monologues of the Ages”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, no. 69 (December 28, 2023): 56–86. http://dx.doi.org/10.34064/khnum1-69.03.
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Statement of the problem. A characteristic feature of the work of contemporary composers is their sustained interest in sacred themes. Today, there is a need to develop methods and approaches that would contribute to an in-depth understanding of the specifics of religious musical language and works with sacred themes in general. One of them is the spiritual-semantic approach aimed at analysing music as a sign system. This method allows us to more fully characterise the worldview of composers in the context of their style and to reveal the sacred semantics of musical language, as well as the functions of the poetic word (if any) as the basis for religious symbols and meanings in vocal and choral works. Objectives, methods, and novelty of the research. The purpose of the study is to substantiate the spiritual-semantic approach as a cognitive model for analysing musical works with religious themes on the basis of the vocal and choral work by Victor Stepurko, a bright figure in the modern musical art of Ukraine. The spiritual-semantic approach, which is key to understanding a musical work as a sign system, was first applied to the analysis of the religious semantics of the composer’s cycle “Monologues of the Ages”. Within the limits of the mentioned approach, such research methods were used: systematic typological to identify and classify the semantic features of the cycle; genre and stylistic for characterizing its musical language, which realizes the genre potential laid down by the definition of “Psalmody” in the title of the work; value and semantic to understand the spiritual and substantive foundations of V. Stepurko’s compositional style, worldview, philosophical and religious aspects of his music in general and the cycle “Monologues of the Ages” in particular. Research results and conclusion. It was established that the spiritual-semantic approach to the analysis of the work helps to reveal the specifics of the embodiment of the religious theme and symbolism at different levels of the musical-poetic text: the title, genre poetics, interpretation of the canonical verbal basis (texts of the “Psalter”), timbre and numerical parameters, dramaturgy of the composition. Thus, the genre definition of “psalmody” finds a holistic embodiment as the composer’s orientation to an established literary and musical archetype with a certain text and sound organization (religious moralistic content of the verbal text, its rhythmically free melodic recitation (psalmody), symbolism of the arrangement and intonation of the psalms, instrumental accompaniment, prayer state). V. Stepurko demonstrates a thoughtful approach to the interpretation of the texts of the “Psalter” and a thorough knowledge of the theological tradition, selects the most vivid stanzas of the psalms, strives to reveal and emphasize the meaning of words, images, and symbols in the most accurate way thanks to rhetorical and sound-painting techniques. The choice of timbres carries a semantic load (duduk, flute, trumpet as “Old Testament” instruments, etc.); the number and arrangement of movements of the cycle are also subject to the Biblical symbolism of the numbers 14, 7, 3, 4; spiritual semantics can also be traced in the dramaturgy of the work at the macro and micro levels: the cycle is built as one comprehensive sermon that appeals to the events of the entire Biblical history, at the same time, each of its parts reveals a specific Christian theme; the idea of communion and personal prayer are organically combined. The spiritual-semantic approach to the analysis of musical works with a religious theme is aimed at a deeper understanding of them and expands the range of established musicological analytical methods, which allows it to be considered a promising cognitive tool. This approach helps to comprehend not only V. Stepurko’s sacred music, but also of many other artists of the late 20th and early 21st centuries, whose work is connected with the Christian worldview, as well as the mission of the contemporary artist – to influence the spiritual consciousness of society through art.
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Petrov, Aleksei K. "“ALL-NIGHT VIGIL” BY S. V. RACHMANINOFF: PERFORMANCE ASPECTS OF “HISTORICAL RECONSTRUCTION”." Arts education and science 3, no. 36 (2023): 105–12. http://dx.doi.org/10.36871/hon.202303105.
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The article is devoted to the “All-Night Vigil” by S. V. Rachmaninoff as one of the unsurpassed masterpieces of Russian sacred music from the standpoint of modern choral performance. The research attention is focused on the topic of “historical reconstruction” of the premiere performances of the work in 150 by the Moscow Synodal Сhoir under the direction of the great regent Nikolai Mikhailovich Danilin, which is relevant in the anniversary season (1915 years since the composer's birth). The author considers the specific vocal organization of one of the best pre-revolutionary Russian choirs, which consisted exclusively of boys and men, and reveals the relationship between the performing skills of the group and the superbly developed methodology of music education of young singers. On the example of concert performances by contemporary choirs, significant differences between the “historical” and modern approaches to the performance of Rachmaninoff's “All-Night Vigil” are indicated. The reasons for the socio-cultural, organizational, technical and purely artistic problems that arise for today's choirs and their leaders aiming at the “historical reconstruction” of this work, are analyzed in detail. Along with the rationale for the need to study deeply the principles of performance characteristic of the Synodal Сhoir of the period 1910–1917, possible ways of returning to the best singing traditions of the pre-revolutionary period are outlined.
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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (January 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.
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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.
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Sarno, Megan. "Reflection, Representation, Religion: André Caplet’s Le Miroir de Jésus." 19th-Century Music 44, no. 1 (2020): 36–58. http://dx.doi.org/10.1525/ncm.2020.44.1.36.
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André Caplet’s Le Miroir de Jésus (1923), a song cycle scored for mezzo soprano soloist, women’s choir, string quartet, and two harps, has a lush sound world and dramatic vocal declamation, and it was immediately recognized as a masterpiece by the Parisian musical press. The work’s religious topic—mysteries of the rosary—has long been taken as the unambiguous sign that the piece and its composer were unapologetically Catholic, like the author of the poems, the convert Henri Ghéon. In the context of a secular French nation, unambiguous Catholicism can easily signal reactionary politics. Moreover, since it does not project images of anarchy, flappers, or committed nonchalance toward morality, when interpreted vis-à-vis the narrative of French musical aesthetics in the 1920s, the work’s status changed from masterpiece to footnote. Yet, though the work’s early reception by Catholic writers cemented its classification as a sacred work, Caplet’s own goals were less clear. Through a comparative musical analysis of characteristics that Le Miroir shares with Caplet’s secular works whose themes come from classicism or mystery, I demonstrate his agnostic aesthetic. Through an investigation of archival sources relating to Caplet’s smaller contemporaneous projects, including a 1923 setting of a poem by Baudelaire, his contribution to La Revue musicale’s 1924 Le Tombeau de Ronsard, and his response to a 1924 survey about “new music,” Caplet’s interest in classicism emerges as a salient context for understanding his largest postwar composition. Additionally Caplet’s real-time documentation of his creative process and goals in detailed correspondence with his wife, Geneviève, contributes further evidence of Caplet’s pragmatism. Rather than moralistic and reactionary, Le Miroir can be understood in the context of postwar artists attempting to render spirituality less institutional and more personal.
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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.
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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.
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Godziemba-Trytek, Szymon. "The Symbolism of the Caravaca Cross in the Work “Crux Christi Salva Nos” by Szymon Godziemba-Trytek." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 139–51. http://dx.doi.org/10.31318/2522-4190.2021.132.249996.
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Relevance of the study. The author’s commentary of Szymon Godziemba-Trytek concerns the role of sacred symbol in his work “Crux Christi Salva Nos” for mixed choir, soloists, horns, double basses and percussion (2017). This study for the first time acquaints the Ukrainian audience with the creativity of a modern Polish composer, who fruitfully works in the field of symphonic, chamber, and especially vocal and choral music.
Main Objective of the article is to show the author’s way of interpreting sacred symbols in the composition and drama of his work; to reveal the role of a symbol as a tool for integrating a composition into an intercultural context that arises on the basis of musical and extra-musical listening experience.
Methodology/How the study was done. The empirical and analytical methods used in the research reflect the two sides of the author’s activity — he is a composer and a scientist. From the Christian symbol of Caravaca Cross that inspired him — to the compositional idea and its implementation in sounds: these are the stages of the creative process described in the article.
Results/Findings and Conclusions. The composition of the work «Crux Christi Salva Nos» was determined by two aspects of the European Christian symbol Caravaca Cross — its graphics and the history of its existence in culture. The external feature of the Caravaca Cross is the mnemonic signs applied to its surface, they fix the sequence of prayer lines. The sequence of the placement of these signs forms the architectonics of Godziemba-Trytek’s musical work. The symmetry in the arrangement of the signs corresponds to the symmetry of the music composition. In the history of the existence of Caravaca Cross in European culture, the composer is most attracted by the emergence of various religious cults associated with it. They origins often are in folklore. Reflections on the process of acceptance of theological ideas among the people led the composer to some decisions in the field of drama, performing resources, stylistics. Specially, composer use the text of the Polish traditional Lent Song as the epilogue of his work. This epilogue becomes the quiet climax of the composition. The choir’s location and the way haw it is used in the work are also symbolic: within each subsequent movement, the choir is situated closer to the listener. Stylistic means reflect the idea of giving the dogmas of faith a human dimension.
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ." World Science 3, no. 8(48) (August 31, 2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.
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Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his interest in European civilization and artistic attainment. On the other hand, he tends to synthesize arts. As you know, the phenomenon of synthesis of the arts also comes from antiquity. According to the Greek mythology, Parnassus is the home of gods and also the residence of the nine muses – the patronesses of arts and sciences.The first piece «Clio» (the muse of history) is aimed at improvisation. At the same time the author accompanies every miniature with remarks concerning instrumentation, manner, tempo, rhythm, provides detailed notes as to the sound dynamics, etc.The second piece «Euterpe» (the muse of lyrical poetry and music) is marked by the lack of lilt organization. Music theme has abundant rhythmics, abrupt texture and dynamic changes.The third and the fourth pieces «Thalia» (the muse of comedy) and «Melpomene» (the muse of tragedy) expose quite the opposite images and emotions of the Greek theatre genres. However, the composer applies means of humorous and tragic music spheres of different epochs.The fifth piece «Polyhymnia» (the muse of sacred poetry and pantomime) is based on the intonations of antique chants. Melody develops gradually, has narrow range, but in the middle of the piece reaches significant dramatic effect. The sixth miniature «Urania» (the muse of astronomy) is the illustration of a starry night. Quiet and peaceful sounding dominates, short motives are directed upwards.In the seventh piece «Terpsichore» (the muse of dance and choral singing), with the help of antiphonous sounding of imaginary male and female groups of singers, the author reproduces the model of an ancient syncretic roundelay. The eighth miniature «Erato» (the muse of love lyrics) resembles the second piece (Euterpe) in images’ character and exposition.The last piece «Calliope» (the muse of epos) reflects V. Manyk’s aspiration to generalize the contents of the entire cycle. That’s why short reminiscences of all previous pieces are quite prominent here.The cycle of short miniatures is enriched with the wide range of historic, cultural and even philosophical connotations. Programme plot embodies by means of expression such as improvisation of musical texture, s broad range articulation, characteristic contrast melodies and motifs, the uniqueness semantic structure work.