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Călin Boba, Adrian. "CHURCH CHORAL SINGING IN HISTORICAL BANAT". ИСХОДИШТА 9, n.º 1 (5 de julio de 2023): 27–35. http://dx.doi.org/10.46630/ish.9.2023.2.
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If some very well-documented treatises have been written about Romanian choral church music from Banat, which will also support the scientific research of some of the works that will be born according to this plan, instead of Serbian church music, an integral part of church choral music from Banat, we have too little data on in the Romanian language, thus feeling, over time, the lack of specialized discussions (be it biographies or analyzes of the work of Serbian composers, musicologists or systematizers) that would become bigger and more acute, deals in depth with this important aspect of church choral music in Banat. Moreover, about how the two branches first evolved separately, then together, and again separately from the 19th century, how they influenced each other, how they passed on to their descendants an almost unchanged heritage, there are too few writings and specialty studies, which led to the decision to address this topic. Studying the work of the first known musicologists, composers and systematizers of Serbian choral church music in the 19th and 20th centuries. century (I. Marinković, Kornelije Stanković and especially St. Stojanović Mokranjac) we believe that the academic treatment of the personalities and activities of these musicians as well as the scientific presentation of their contribution in the reading, saving, preserving and transmitting all data related to Banat church music, up-to-date from the point of view of musicological research, is more than desirable. The beginnings of the choral activity of the Serbs in the Romanian Banat can be found in the fourth decade of the 19th century, first in Timisoara (1836), with the establishment of the Serbian Orthodox Cathedral Choir and the Serbian Singing Society, then in 1876. (according to some authors in 1896) Society of Serbian songs from Arad.
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Akande, Sunday. "Engaging the Efficacy of Nigerian Popular Gospel Music and Pentecostalism for Nigerian Church Growth". NIU Journal of Humanities 8, n.º 4 (31 de diciembre de 2023): 209–15. http://dx.doi.org/10.58709/niujhu.v8i4.1745.
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In the 1970s and 1980s there was the emergence of Pentecostalism that gave rise to the establishment of many Churches in Nigeria. Among the churches that were established are ; Deeper Life Bible Church, New Living Faith Church also known as Winners Chapel, The Redeemed Christian Church of God, Gospel Faith Mission and many others. The rate at which other churches are springing up and the founding of many other branches is alarming till date. The Proliferation of churches led to the existence of churches everywhere in Nigerian society. However, the numeric increase or proliferation of Churches in Nigeria is not attributed only to the mode of worship, prayers and to signs and miracles introduced to Churches through Pentecostalism but also influenced by music. The value of music should never be lost sight of in worship. The relationship between music and Pentecostalism cannot be undermined as music cannot be separated from worship. This paper examines the efficacy of contributions of music in genre, form and performance practice in Church growth, specifically in Nigeria. This research reviewed the history and explosion of Pentecostalism in Nigeria. The materials used in this research were sourced from books, journals, magazines and Internet. Historical research design was used for this study. This paper concludes that the mystic effect and intrinsic value of music affects church growth and should be considered as a viable tool together with Pentecostalism for Church growth in Nigeria. Keywords: Efficacy, Music, Pentecostalism, Church Growth
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Devalve, John R. "Gobal and Local: Worship Music and the ‘Logophonic’ Principle, or Lessons from the Songhai". Transformation: An International Journal of Holistic Mission Studies 36, n.º 4 (10 de septiembre de 2019): 219–32. http://dx.doi.org/10.1177/0265378819867835.
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The Christian church has always lived in tension between its global and its local identities, between gospel and culture. One aspect in which this tension plays out is in worship music. As the gospel came to them, many African churches adopted a North American/European form of song, ignoring or neglecting their local, traditional music. They opted for a more global identity and minimized their local identity. The church amongst the Songhai of West Africa is an example of this phenomenon. A church that neglects its local identity, however, has little appeal to the surrounding society and loses its prophetic voice to the community. Resolving the tension between the two identities is an important matter for every church. Thinking through worship music practices plays a key part in resolving this tension. A tool called the ‘logophonic’ principle may be of help in this regard. The tool looks at both words (lyrics) and sounds (accompaniment) to reexamine and renew worship practices and craft new music for congregations. This article explains how this tool might work and urges the necessity of good theological thinking and about worship and worship music.
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Chircev, Elena. "The Influence of Political Regimes on Romanian Psaltic Music in the Second Half of the 20thCentury". Musicology Papers 35, n.º 1 (1 de noviembre de 2020): 7–34. http://dx.doi.org/10.47809/mp.2020.35.01.01.
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During the second half of the 20th century, the Romanian society was marked by two events that had a profound impact on its destiny: the establishment of the communist regime after the abdication of King Michael I in 1948, and the Romanian Revolution of 1989, which marked the end of this regime. The Byzantine monody has had a millenary tradition in this part of Europe, and the contribution of the local chanters to the perpetuation of Orthodox church music – also through their own compositions – is evidenced by the numerous manuscripts written by Romanian authors and by the works printed in the last two centuries. In 20th-century Romania, the music written in neumatic notation specific to the Orthodox Church manifested itself discontinuously due to the historical events mentioned above. The church chant in the traditional psaltic style managed to survive, despite being affected by the Communist Party’s decisions regarding the Church, namely the attempt to standardize the church chant. This paper captures the way in which the preservation of tradition and the perpetuation of church music succeeded through the difficult times of the communist period, with special emphasis on the religious music written in neumatic notation and on certain peculiarities of the period, due to the political regime. The musicians trained before the establishment of Communism – by teachers concerned with the preservation of the good tradition of church chanting, in monastic schools and prestigious theological seminaries of the interwar period – were the binding forces who ensured the rapid revival of the music of Byzantine tradition in the last decade of the 20thcentury and who enriched the repertoire of the Romanian churches with valuable original works.
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Barrett, Richard. "The International Society for Orthodox Church Music 2015: A Travel Essay". Review of Ecumenical Studies Sibiu 7, n.º 3 (1 de diciembre de 2015): 476–78. http://dx.doi.org/10.1515/ress-2015-0037.
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Chircev, Elena. "Romanian Music of Byzantine Tradition Between 1918 and 2018". Artes. Journal of Musicology 19, n.º 1 (1 de marzo de 2019): 124–49. http://dx.doi.org/10.2478/ajm-2019-0007.
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Abstract Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918-1947; b.1948-1989; c.1990-2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.
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Bisu, Luka Markus. "Secular Music and Psycho-Spiritual Wellbeing: A Case of Youths, St. John The Evangelist Catholic Parish Karen, Nairobi-Kenya". International Journal of Research and Innovation in Social Science VII, n.º VI (2023): 277–88. http://dx.doi.org/10.47772/ijriss.2023.7620.
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Secular music is common in every society and those who listen to it mostly are youths. Lyrical contents of many secular music today seem to have caused damage than good among youths. In our society today there is a widespread concern about the use of illicit drugs, increase violence which has become a public health problem with lifelong impact on the physical, social, psychological, and even spiritual life of many in the society. The rate of criminality seems to be on the increase, illicit sex is rampant in the society which often results in unwanted pregnancies, unprepared marriage, hence violent relationship. The research aimed at looking at secular music and psycho-spiritual wellbeing: A case of youths, St. John’s the Evangelist Catholic parish Karen, Nairobi-Kenya. The embedded mixed method design was deployed by the researcher. Responding to Likert-type survey creature for the research, 105 participants provided vital information (quantitative and qualitative) that were used for the research. The Statistical Package for Social Sciences (SPSS) helped in analyzing the data collected from the participants. The findings of this research may help the youths at different levels in the Church and beyond to evaluate themselves to see the negative influence of secular music on their psycho-spiritual well-being and how to manage them. The findings of the research showed that listening to secular music had both positive and negative effects on the lives of the youths of St. John the Evangelist Catholic Church Karen-Nairobi, Kenya. Psychologically, the findings showed that secular music help the youths as it relaxes the mind, while spiritually, listening to secular music does not help the youths improve in their spiritual wellbeing as it affects their time.
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Chircev, Elena. "Romanian musical creation of Bizantine source in the period 1918–2018". Arta 30, n.º 2 (diciembre de 2021): 22–31. http://dx.doi.org/10.52603/arta.2021.30-2.03.
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Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918–1947; b. 1948–1989; c. 1990–2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.
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GETMAN, JESSICA L. "A Series on the Edge: Social Tension in Star Trek's Title Cue—ADDENDUM". Journal of the Society for American Music 9, n.º 4 (noviembre de 2015): 522. http://dx.doi.org/10.1017/s1752196315000486.
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Permission to use notation for the theme from “Star Trek” was received after the article by Getman in the August 2015 issue of Journal of the Society for American Music was published. The captions for Examples 1, 2, and 4 should carry the following credit:Theme from “Star Trek(R),” words by Gene Roddenberry, music by Alexander Courage. © 1966, 1970 Bruin Music Company. Copyright renewed. This arrangement © 2015 Bruin Music Company. All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Corporation.
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US, M. "THE ACTIVITIES OF THE HOLY FATHERS IN ESTABLISHING THE SPIRITUAL TRADITIONS OF ORTHODOX SINGING". Pedagogical Sciences, n.º 82 (28 de diciembre de 2023): 122–25. http://dx.doi.org/10.33989/2524-2474.2023.82.295114.
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In the modern world, there is a problem of the young generation’s loss of spiritual landmarks, which is manifested in the dominance of pragmatism, focus on obtaining material goods, indifference to the feelings of other people, including loved ones. Education of moral qualities of an individual cannot be effective if all social institutions are not involved in it: family, school, cultural institutions, church. Nowadays, the importance of religious education is gaining a high status in the domestic society - children and teenagers get used to attending church, study in Sunday schools, where they participate in choir singing. Musical spiritual works today are not limited to church life, but are included in the repertoires of singing groups of general secondary and primary music education institutions, are offered for listening to music at school, etc. (Rostovskyi, 2003). (Rostovskyi, 2003). The urgent task of preserving the traditions of Orthodoxy in its competition with the Catholic and Uniate influences on the Ukrainian community determines the special interest of teachers and scientists in the educational possibilities of Orthodox music (Afonina, 2012).
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Nikulina, A. A. "Women in Church Choirs: Discussion in the Periodical Press of the Turn of the 20th Century". Art & Culture Studies, n.º 4 (diciembre de 2022): 458–83. http://dx.doi.org/10.51678/2226-0072-2022-4-458-483.
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The purpose of the article is to consistently analyse the statements of contemporaries about the reform of church choirs in the Russian church and secular periodicals of the early 20th century, which have not been previously involved in musicological studies. At the beginning of the 20th century, the question of the role of women in society was considered in various publications, including periodicals on art. They discussed the position of women in musical professions and keenly debated the topic of women being involved in liturgical singing in the choir. Adherents of patriarchal views defended the inadmissibility of female singers in church, whereas innovators advocated their participation. The reform of church choirs in Russia was carried out gradually, under the influence of transformations in the structure of church life, the growth of social freedoms, and the spread of humanistic ideas in society related to the condemnation of child labour. Public discussion in the music and church press began in 1906. The topic of the church choir reform was raised at the All-Russian Congress of Church Singing Leaders in Moscow in 1908–1909, but the issue of women’s participation in liturgical singing in the choir was finally resolved only at the Local Council of the Russian Orthodox Church in 1918.
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Perkovic-Radak, Ivana. "′Education is our daily bread′: Church polyphony, educational processes and the Serbian national identity between 1830 and 1914". Muzikologija, n.º 7 (2007): 199–216. http://dx.doi.org/10.2298/muz0707199p.
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Choral church music had different functions in Serbian society of the 19th century. It was a part of many processes or even initiated them itself broadly affecting the sphere of culture. One of its purposes had strong educational and national implications. In this paper I do not study these as musical and historical elements emphasizing existent social tendencies, but rather as processes that generated certain components through church music (both in the educational sense and in the sphere of broader social structures). The early beginnings of church polyphony among Serbs were marked by choirs comprising older members and pupils. For example, members of the Serbian parish in Pest, who started working together in 1835 and sang the complete Divine Liturgy for the first time in 1838, were both pupils and students. In 1841 and 1842 students of Alexandar Morfidis-Nisis in Novi Sad sang in church, while in the same school year Belgrade high school first introduced choral singing. The comparison of the development of educational systems in states inhabited by Serbs in the 19th century is used as the basis for seeing historical and cultural positioning as one role of choral church music. Certain elements of the national program, such as progress comprehension of the nation as a community of individuals, distention of the individual, or the process of socialization were shared by church polyphonic singing. These elements are studied in the context of the development of European and Serbian educational systems, mostly from a historical perspective.
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Williams, Kesha Morant y Omotayo O. Banjo. "Fight the Power: Lecrae - a New Evangelical Archetype". Journal of Communication and Religion 41, n.º 1 (2018): 61–76. http://dx.doi.org/10.5840/jcr20184116.
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Whereas biblical texts were used to justify the practice of discrimination and prejudice, Christian principles have also been the motivation for social activism. However, today it is arguable that the Christian church has lost sight of this mission in light of other goals such as expansion and profit. Rapper Lecrae Moore has been the topic of controversy as his music aims to carry out the mission of social justice by intentionally challenging the assumptions of whiteness rooted in the institution of the American Christian Church. Using Stewart’s (1980) functional approach to the rhetoric of social movements, this study examines the extent to which Lecrae uses his music to transform perceptions of history, transform perceptions of society, and prescribe a course of action. The mission of this research and arguably of Lecrae’s work is to hold people of the Christian faith across all races accountable to the mission and biblical commands of unity and social justice often overlooked or dismissed in the American church.
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Glushkova, Olga R. "Features of Formation and Development of the Educational System Activities of the Moscow Conservatory from the Time of Its Foundation to the Turn of the XIX and XX Centuries". Musical Art and Education 8, n.º 1 (2020): 131–48. http://dx.doi.org/10.31862/2309-1428-2020-8-1-131-148.
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The article presents the results of studies of some aspects of the process of formation of educational activities of a non-state educational institution created by the Moscow Department of the Russian Musical Society – the Moscow Conservatory (1866). The organization of its educational process was based on the Charter of the Russian musical society of 1859 and the Charter of its first educational institution – the Music school (Conservatoire), opened in St. Petersburg in 1862. However, in the presence of a common concept of education for both conservatories, there were differences in its implementation, in particular, regarding the formation of the curriculum. In the Moscow Conservatory, the formation of the course was more slow and gradual than in St. Petersburg, in addition, the Moscow Conservatory originally had a subject that was not taught in the capital institution. This is the “History of Church singing” – the only discipline that covered the history of Russian sacred music from a scientific point of view. In connection with this course, the article deals with the topic of interaction between the Moscow Conservatory and the Synodal School of Church singing. The issue of the implementation of the curriculum is also highlighted and the peculiarities of its passage, which consisted in the assumption of a free order in the study and passing of exams in musical and non-musical disciplines, are revealed. It was revealed that such a practice was an effective way to solve the problem of training professional musicians from students of different ages who had different abilities for music. The article demonstrates the first experience of addressing this issue in the aspect of the formation of the educational work of the Moscow Conservatory of the Russian Musical Society.
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Leonhardmair, Teresa. "Leiturgía – Ort der musiké: Plädoyer für eine Perspektive auf Kirchen-Musik als heteromodales Ereignis". Review of Ecumenical Studies Sibiu 7, n.º 3 (1 de diciembre de 2015): 422–40. http://dx.doi.org/10.1515/ress-2015-0031.
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The meaning of music exceeds the mere acoustic noise. Liturgy clarifies that fact. Focusing aesthetic modes music is considered as defined by the ancient Greek term musiké, back then the union of movement/dance, sound, poetry. As performance musiké correlates with liturgy (performance as well) in a special way. The bodily and transcendent dimensions of musiké arise in liturgy – something performative, i.e. evolving from doing. Liturgy and music are connected with bodily presence (incarnation) and movement – the fundament of life. Both corporal actions and expressive dance in liturgy exist as a form of musiké. Using the example of resonance, listening, polyaisthesis, time/space it becomes apparent that musiké is movens, confronting us with the alien, carrying us to foreign spaces. Leiturgía is a specific aesthetic site where church music opens peculiar the human dimension of musiké. Our society is in need of such places.
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Gribenski, Fanny. "Powerful Sounds for Troubled Times". Journal of Musicology 41, n.º 1 (1 de enero de 2024): 41–72. http://dx.doi.org/10.1525/jm.2024.41.1.41.
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This article explores the role of the organ as a political tool in nineteenth-century France. Under the Napoleonic Concordat (1802–1905), which established Catholicism as the official religion of the nation while placing the Catholic church under the authority of the state, the organ epitomized the political situation of a country marked by the inextricable entanglement of politics and religion. Drawing on a wide range of materials, including national and local archives, instrument makers’ papers, and scientific and ecclesiastical reports on organ building, I analyze how governments and the clergy jointly orchestrated the construction of a metropolitan and colonial network of organs, before turning to the social motivations for such programs—the church and state’s eagerness to establish and maintain their authority over society in the wake of successive revolutions and political upheavals. I consider how these programs resulted in the imposition of new scientific, technological, and musical standards that generated controversies over the relationship between religion and modernity. In so doing, this article highlights the benefits of social history for a better understanding of the organ and its reciprocal heuristic value within broader histories of sound, culture, and politics.
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Thomson, Andrew. "Right hand up, left hand down: The New Satanists of rock n’ roll, evil and the underground war on the abject". Metal Music Studies 7, n.º 1 (1 de marzo de 2021): 43–60. http://dx.doi.org/10.1386/mms_00031_1.
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Satan has long served as the ultimate evil, the world’s primary scapegoat. The Devil’s role in music, especially extreme music and heavy metal, has been to shock, terrify and enrage. But what if the imagery and ideology of Satan is used to combat an immoral societal evil? Is it then possible that the radical evil could itself become a force for good? This article intends to examine the music and philosophy of three modern bands, dubbed The New Satanists: Ghost, Twin Temple and Zeal & Ardor. Each band uses varying degrees of satanic influence to raise awareness of their perceived objectionable and abject issues in society: a harsh and unjust patriarchy, the Christian conversions and role of religion during the era of American slavery and suppression of individuality from the Catholic Church. Through the examination of these bands, social issues and Jean Baudrillard’s concept of symbolic evil, this article will examine theories of traditional evil potentially becoming a force for good when it combats the moral sickness existent in society. An alternate perspective – that of Satan as a liberator – could serve as a cure for a gamut of ills.
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Glushkova, Olga. "V. M. Metallov — priest, scholar, educationalist". St. Tikhons' University Review. Series V. Christian Art 53 (29 de marzo de 2024): 133–58. http://dx.doi.org/10.15382/sturv202453.133-158.
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This article presents the experience of working in the genre of scientific biography of an outstanding representative of Russian culture at the turn of the XIX–XX centuries, priest Vasily Mikhailovich Metallov, who combined church service with scientific and pedagogical musical activity (to a lesser extent, composing).V.M. Metallov has come a long way from a provincial rural priest to the rector of the Kazan Church on Red Square in Moscow. Developing the talent of a research scientist, he achieved great results in the field of studying ancient Russian church music history, set forth in a number of fundamental works. In his extensive pedagogical activity, he sought to transfer his scientific knowledge to students of spiritual and secular educational institutions in Saratov and Moscow: the Saratov Theological Seminary, the Synodal School of Church Singing, the Moscow Conservatory of the Russian Musical Society, the Archaeological Institute.The central place in the secular ministry of V.M. Metallov was occupied by the Moscow Conservatory. In it, he continued the tradition of teaching the spiritual and musical training course «The History of Church Singing», the founder of which was Archpriest Dimitri Vasilyevich Razumovsky, and the successor Stepan Vasilyevich Smolensky. By his works and trying to preserve the presence of the spiritual and musical subject in the conditions of the reformation after 1917 of pre-revolutionary musical education at the Moscow Conservatory, V.M. In this way, he preserved the foundation, which in the future allowed the interest of musical researchers to revive in the national «monument» — the ancient Russian church music art.The article observes the chronological outline of the biography of V.M. Metallov, supplemented by a number of little-known details and documentary evidence discovered during the study of archival materials and documents.
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Shears, Barry. "Patriarchs, Pipers and Presidents: Gaelic Immigrant Funerary Customs and Music in North America". Genealogy 4, n.º 2 (4 de junio de 2020): 63. http://dx.doi.org/10.3390/genealogy4020063.
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One of the most moving tributes to the dead is the playing of the Highland bagpipes during funeral services, whether in the church or at the graveside. This custom has a long history both in Scotland and in areas of North America settled by Scottish immigrants over the past 300 years, and for lovers of bagpipe music it is an essential part of the funeral ritual. Throughout its history the piper’s lament has transcended social class structure and has been performed for paupers and presidents alike. Despite being deeply rooted in tradition, the music and function of this musical practice have changed over time. Drawing from printed texts of the 19th and 20th centuries, recent scholarship and local folklore surrounding funeral customs and music, this paper examines the origins of the funeral piping tradition in Gaelic Scotland and its evolution in North American society.
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Ward, James C. "The Lord Will Make a Way Somehow: Strategies for Cross-Cultural Music and Worship". Review & Expositor 109, n.º 1 (febrero de 2012): 39–50. http://dx.doi.org/10.1177/003463731210900106.
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With neighborhoods shifting racially and economically, churches are challenged with meeting the new population with relevant and culturally meaningful worship music. Ethnic groups are diverse within themselves as well, with black and Latino peoples having disparate tastes and traditions from Church of God in Christ to South American Evangelicals. Congregations must have strong pastoral leadership and competent, spiritually alert musicians and singers. Although the leadership may want more effective outreach through music, it requires trained musicians, often in jazz, to educate the musicians as well as the congregation. Vocalists must also be melded together, trained and untrained, into a vernacular blend in praise teams or choirs. Musicians must do research in the community for songs and resources that touch the “heart music” of the target population. The result of such a commitment is to see a congregation rally around a new mission and new friendships. Children growing up in such a cross-cultural worship have a more open view of the world. But bearing fruit in cross-cultural ministry is measured in decades and may not have overwhelming success like some homogeneous church plants. If we want to see the church's witness as credible before a watching world, racial reconciliation and justice fleshed out in the worshipping community must be a greater priority. In a society still plagued with racial alienation, this may be the toughest strategy of all.
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Biba, Otto. "Liebe und Tugend : Musik als eine moralische Institution". Musicologica Brunensia, n.º 1 (2023): 5–18. http://dx.doi.org/10.5817/mb2023-1-1.
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Love and virtue are present as a message in all varieties of modern musical creation, above all in opera, oratorio and cantata, but also in church and instrumental music from the 16th to the early 19th centuries: individually and as a couple, as alternatives or as opposites, as related feelings or those to be decided between, as good or bad. Building on traditions, the stage became an institution during the Enlightenment, can make visible the feelings, thoughts and problems of society, which is comparable to religion, because the jurisdiction of the stage begins where the influence of worldly courts ends, which is why the stage can and must be educational. This was transferred from the stage to other branches of literary and musical art. That is why the librettist became a moral institution who had to portray feelings in his texts and teach morals. The moral education inherent in the text has to be supported and, above all, conveyed by the music. The exponents of these feelings could be drawn from mythology or religion, in the Enlightenment also come from everyday life. For this reason, love and virtue are also a concern of church music, even of instrumental music in terms of program music, which – although without text – is a special form of dramatic music. During the Enlightenment, the stage was seen as a "moral institution" (Friedrich von Schiller), but it was also before that. The fact that musical stage works – in a broader sense also oratorios and cantatas – form the feelings, teach morality and have to follow an educational task, has the musical creation from the 17th to the early 19th century not disregarded, still less negated. Librettists and composers alike have fulfilled this task to a greater or lesser degree, sometimes demonstratively and sometimes subtly, which is particularly evident in the example of love and virtue. It is interesting to observe that the admonition to virtue and to true, not only sensual, love is often expressed or at least hinted at in the title of these musical stage works, oratorios and cantatas. In any case, they educate, even preach, just like church music with its liturgical, biblical or freely paraphrased texts. Opera, oratorio and cantatas were thus involved in a homiletic communication process up until the 19th century, which defined the character and meaning of love and virtue like other Christian values. Love and virtue are unquestionably prime examples of such musically mediated homiletics.
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Danyliuk, Mykola y Yana Danyliuk. "ACTIVITIES OF MUSIC EDUCATION CENTERS IN SLOBOZHANSHCHYNA IN THE CONTEXT OF CULTURAL AND EDUCATIONAL DEVELOPMENT OF THE REGION (the second half of the 19th – early 20th century)". Aspects of Historical Musicology 22, n.º 22 (2 de marzo de 2021): 54–71. http://dx.doi.org/10.34064/khnum2-22.03.
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The article highlights the problem of the formation of music education in Slobozhanshchyna in the second half of the 19th – early 20th centuries in the context of studying the general trends of cultural and educational development of the region. Based on the analysis of the results of previous studies, it has been proved that the development of music education in Ukraine in the second half of the 19th – early 20th centuries has been revealed in scientific publications. At the same time, it has been established that the problem of highlighting the main milestones and ways of institutionalization of music education in Slobozhanshchyna (Sloboda region) through the creation of special educational institutions of vocational music, as well as substantiation of opportunities to use cultural and educational experience at the turn of the century and raising children in the modern education system, requires further research and practical implementation. The aim of the article is to reveal the experience of formation and development of the system of music education in Slobozhanshchyna in the second half of the 19th – early 20th centuries in terms of analyzing the activities of music education centers and identifying ways of its modern use. The authors have used a set of research methods: system-structural and historical-genetic methods to assess the cultural situation in the region; general research methods to organize and generalize theoretical views of historical facts, clarify the problem in the dynamics, substantiate the main historical milestones; study of historical literature, archival, statistical, normative documents in order to generalize the practical experience of music education in educational institutions of the region. It has been found that the identity of cultural traditions of ethnic groups of Slobozhanshchyna has determined the specifics of the development of music education in the region, revealed the features of cultural and musical life in the region, the spread of private music education, public associations and creative associations (Kharkiv Society of Choral Singers, Music and Charity Kharkiv Music Group, Church Singing Society), the development of music education, which proved to be an important basis for the development and institutionalization of music education. The activity of music classes, evening classes at music classes, Sunday courses, the work of which was aimed at training church choir singers and music teachers, created under the auspices of public societies, is essential for the institutionalization of music education in Slobozhanshchyna. In the context of research of regional problems and difficulties of music education development, in particular concerning primary stage of work of Kharkiv music school in the studied period, the big role of the known music figure, teacher and the inspirer of process of institutionalization of music education in Slobozhanshchyna I. Slatin has been allocated. Based on the analysis of historical and pedagogical literature we have revealed the main milestones in the process of institutionalization of music education, identified a variety of forms of such education in the region (music classes, private music lessons, music lectures, courses for singers, performers and regents); the experience of creation of the first institution of music education in Slobozhanshchyna – music school has been analyzed, its activity has been characterized, the organizational conditions of activity of music school as the most important center of music education of youth in the region have been analyzed.
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Bergin (book author), Joseph y Mark Crane (review author). "Church, Society and Religious Change in France 1580–1730". Renaissance and Reformation 34, n.º 3 (26 de julio de 2012): 207–9. http://dx.doi.org/10.33137/rr.v34i3.17028.
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Vrzal, Miroslav. "Against the devil’s metal: Christian public discursive strategies against metal concerts and festivals in Czechia and Slovakia". Metal Music Studies 8, n.º 2 (1 de junio de 2022): 245–68. http://dx.doi.org/10.1386/mms_00077_1.
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In the context of a process of return of religion to the public sphere, this article deals with Christian discursive strategies in public struggles against selected metal concerts and festivals since 2013 in highly secularized Czechia and in Slovakia with a close connection of religion (especially the Catholic Church) to the state. Membership categorization analysis identified three main categories used in the construction of metal as an enemy: ‘religious struggle’, ‘danger for society/state’ and ‘danger for morality and health of individuals’. Christian opponents of metal use in their discourse sets of rhetorical tactics with both religious (i.e. fight against Satan) and secular pieces (i.e. supposed extremism of some bands) to mobilize Christian community and also to attract politics and the public. In Czechia it was targeted mainly to the Christian minority and local politics, while in Slovakia religious actors were able to mobilize broader networks against metal concerts/festivals, including nation-wide politics.
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Rugwiji, Temba T. "REREADING TEXTS OF MUSIC AND DANCE IN THE HEBREW BIBLE: THE SPIRITUALITY OF MUSIC AND DANCE IN ZIMBABWE". Journal for Semitics 25, n.º 1 (9 de mayo de 2017): 72–98. http://dx.doi.org/10.25159/1013-8471/2527.
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The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.
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Bertash, Alexander V. "A. Poleshchuk: Creative Biography of the Russian-Estonian Architect and a Retrospective Direction in Russian Church Architecture of the Early 20th Century". Vestnik of Saint Petersburg University. Arts 12, n.º 4 (2022): 647–65. http://dx.doi.org/10.21638/spbu15.2022.405.
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This article is devoted to the creative biography of the largest Russian-Estonian architect at the turn of the 19th–20th centuries A. Poleshchuk and retrospectivism in Russian church architecture at the beginning of the twentieth century, which was his main creative method. The works and biography of the great master are still poorly studied, scientific publications are practically not devoted to him. At the same time, being a pupil of the St Petersburg Academy of Arts, the architect was awarded the title of architecture academic, the position of professor, proved himself in the capital as the author of such monumental structures as the Geological Committee and the Church of St Isidor with the house of the St Petersburg Orthodox Estonian brotherhood. He owns the project of the most monumental Orthodox church in the Baltics of the twentieth century — the Assumption Cathedral of the Pyukhtitsa Monastery, where he worked from his student years under the guidance of his teacher prof. M. Preobrazhensky. A native of Estonia and an Estonian himself on the maternal side, the architect made an invaluable contribution to the formation of a professional architectural school in the country. He was the chairman of the Estland Engineering Society and the Estland Technical Society in Petrograd, then was actively involved in teaching in Tallinn as professor of architecture at Tallinn Polytechnic College and chief architect and educational adviser to the Construction Board. A. Poleshchuk is known as an architectural theorist, a specialist in the theory of vaults, the author of the fundamental courses “Lectures on the art of building” in 10 volumes, and a two-volume guide to bridge construction. The article examines in detail the main milestones in the creative path of A. Poleshchuk in the context of the history of architecture at the beginning of the 20th century, mainly, church retrospectivism. The features of his work, diverse in typology and stylistics (Russian style, neoclassicism, neo-Renaissance, neo-baroque), are analyzed. In conclusion, a stylistic classification of the retrospective directions of church architecture of the late 19th — early 20th centuries with examples of relevant monuments is proposed. The article is based both on little-known published materials and, mainly, on newly discovered archival documents from the depositories of St Petersburg, Tartu, Tallinn.
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Emelianova, Olga. "Congregational singing in St. Petersburg diocese at the turn of the 19–20th centuries". St. Tikhons' University Review. Series V. Christian Art 46 (30 de junio de 2022): 74–89. http://dx.doi.org/10.15382/sturv202246.74-89.
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In the Russian Empire at the turn of the 19th – 20th centuries, there is a great interest in the practice of congregational singing. The documents of the Russian Local Council of 1917-1918, choir congresses, reports on the activities of church brotherhoods and societies, as well as publications in the press allow to judge to what significant extent the congregational singing at divine services was organized. Definitely, the support of the higher church hierarchy played a special role, as it is demonstrated by the Decrees of the Holy Synod, issued back in 1804 and 1847. At the beginning of the 20th century a solid foundation which enabled a broad participation of the people in divine service through singing and reading church hymns in the St. Petersburg diocese, where for a long time professional church singing and author's liturgical music were actively supported and developed, as well as in other large dioceses (Moscow, Tambov, Kazan, etc.) was built. These were special church orders that dispose the clergy to new parish activities, teaching parishioners and students of parish schools church singing, publishing materials for nationwide liturgical singing (Liturgy, Vespers, Matins, Moleben, Panikhida). Priests Mikhail Dubensky, Konstantin Lorchenko, Nikolai Kurlov, as well as the Alexander - Nevsky Temperance society were active organizers and leaders of the congregational singing at the turn of the 19th and 20th centuries in the St. Petersburg diocese.There is no doubt that the study of the history of the congregational singing and the accumulated rich practical experience is of high importance precisely today, when this ancient tradition, which remains a powerful means of not only uniting people in the church, but also of enlightening and educating them in the Christian faith, is reviving and expanding.
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Nex, Jenny y Lance Whitehead. "A Copy of Ferdinand Weber's Account Book". Royal Musical Association Research Chronicle 33 (2000): 89–150. http://dx.doi.org/10.1080/14723808.2000.10540991.
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With a population of some 140,000 in 1760, Dublin was the second largest city in the British Isles. Although small in comparison to London, it had a thriving musical community which attracted the likes of George Frideric Handel (1685–1759), Thomas Arne (1710–1778), Niccolo Pasquali (c. 1718–1757) and the oboist Johann Fischer (1733–1800). Concerts took place at various venues across the city including Dublin Castle, Christ Church Cathedral and Fishamble Street Musick Hall. In addition, societies such as the Musical Academy (an aristocratic music society founded by the Earl of Mornington in 1757) supported charitable concerts such as those at the Rotunda, the concert venue attached to the Lying-in Hospital. Although instruments were imported from London throughout the century (John Snetzler, for example, supplied the organ for the Rotunda in 1767), there was a knot of local instrument builders working in the vicinity of Trinity College. However, in contrast to the concentration of keyboard instrument builders in the Soho area of London in the eighteenth century, the distribution of harpsichord makers in Dublin was more diffuse.
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Wathey, Andrew. "PHILIPPE DE VITRY, BISHOP OF MEAUX". Early Music History 38 (11 de septiembre de 2019): 215–68. http://dx.doi.org/10.1017/s0261127919000019.
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AbstractPhilippe de Vitry’s tenure of the bishopric of Meaux in the last decade of his life, 1351–61, the crowning event of his court and church career, has often been regarded as a period of retirement from creative activity. A reassessment of this judgement is timely, following new musical discoveries and literary work exposing links between Vitry and his contemporaries. Using new archival material, this article explores the geopolitical context of Vitry’s work in the diocese of Meaux; his engagement with political society, king and court; and his role in events under a national government fractured by the capture of Jean II at Poitiers in 1356. It examines the interplay of Vitry’s career, relationships and output, identifying the composer’s house in Paris, and exploring his family relationships, and his engagement with Pierre Bersuire, among others, in the creative circles of mid-fourteenth-century Paris. It also illuminates a context and opportunities for the continuation of his creative work into the late 1350s, some remnants of which survive in the literary miscellany Paris, BN Lat. 3343.
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Laube, Matthew. "‘The Harmony of One Choir’? Music and Social Unity in Reformation Heidelberg*". Past & Present 248, n.º 1 (29 de julio de 2020): 41–86. http://dx.doi.org/10.1093/pastj/gtz059.
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Abstract: From early in the Reformation, Protestant leaders viewed music as a powerful tool not only for educating their followers, but also for forging unity within diverse and dispersed communities. Such a belief found expression in official and unofficial religious contexts, and left its mark on printed devotional material, congregational hymn books, public policies of church authorities, and the musical activities of individual churches. At the same time, the manner in which a person accessed, experienced and produced music in a Reformation urban environment was conditioned as much by social factors such as age, gender, social station and personal contacts, as by confessional affiliation and policy. Using a corpus of previously unexploited sources from the Protestant city of Heidelberg, this article challenges the rhetorical and outdated binary notions of social ‘harmony’ and ‘discord’. It argues that music in a Reformation city — whether congregational song in churches, secular song in taverns, inns and streets, or domestic devotional song — could function as a powerful platform for emphasizing rather than dissolving a range of meaningful social differences, even as it created new kinds of unity across urban society.
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Clark, Gregory. "The Agrarian History of England and Wales. Volume VII, 1850–1914. Edited by E. J. T. Collins. Cambridge: Cambridge University Press, 2000. Pp. xl, 2277. $295.00." Journal of Economic History 61, n.º 4 (diciembre de 2001): 1110–11. http://dx.doi.org/10.1017/s0022050701005563.
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Excess, we learned as children in Glasgow, was the defining characteristic of Americans: big country, big cars, food served by the bucket, big talk, Texas, CGE models. Eccentricity identified the English: bird watching, Bovril, train spotting, the Archers, bus spotting, Women's Institute Teas, the standard-of-living debate. This book represents an interesting merger of all that is American with all that is English. With 2,317 pages devoted to English agrarian history between 1850 and 1914, completed 44 years after the series was initiated, and published only after the deaths of two of the principal authors, it screams American-style excess. But the loving care devoted to duck decoys, the Large Black Pig Society, Church of England music, sand dunes, malaria, Cupiss's Constitution Balls, golf courses, agrarian utopianism, ruderal [sic] habitats, the Rational Dress Society, and much, much more betrays an endearing eccentricity that could only be English.
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Ryabokin, Alina. "THE ESTABLISHMENT OF THE PROFESSIONAL CHRISTIAN MUSIC IN THE EARLY MEDIEVAL TIME". EUREKA: Social and Humanities 3 (31 de mayo de 2020): 36–40. http://dx.doi.org/10.21303/2504-5571.2020.001319.
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The article deals with the formation of sacred music by Christians in the early Middle Ages. Basing on the historical sources and scientific literature, the authors show a connection between the musical traditions of Rome, the Western Goths of Spain and the empire of Charlemagne. The teaching of professional church singers, the birth of Mass, the complexity of the musical pattern of Christian singing, the educational ideas of Isidore of Seville and Alcuin of York, the metriz school timely opened by Christian mentors – all of it contributed to the formation of the early medieval educational process. Alcuin is the author of many (about 380) Latin instructive, panegyric, hagiographic, and liturgical poems (among the most famous are The Cuckoo (lat. De cuculo) and The Primate and Saints of the York Church (lat. De pontificibus et sanctis Ecclesiae Eboracensis )). Alcuin also wrote puzzles in poetry and prose. Alkuin conducted the extensive correspondence (with Charles the Great, Anguilbert, Pope Leo III and many others, a total of 232 letters to various people); Alcuin's letters are an important source on the history of the Carolingian society. At the Palace Academy, Alquin taught trivium and quadrivia elements; in his work On True Philosophy, he restored the scheme of the seven liberal arts, following Kassiodor’s parallel between the seven arts and the seven pillars of the temple of Wisdom of Solomon. He compiled textbooks on various subjects (some in a dialogical form). The Art of Grammar (lat. Ars grammatica) and the Slovene of the Most Noble Young Man Pipin with Albin Scholastic (Lat. Disputatio regalis et nobilissimi juvenis Pippini cum Albino scholastico) became very famous. Alcuin’s textbooks on dialectics, dogmatics, rhetoric, and liturgy are also known.
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Anufrieva, N. I. y T. A. Lomakina. "Avant-Garde Appearance of Russian Folklore in the Vocal and Instrumental Works of Composers of the Second Half of the ХХth Century". Uchenye Zapiski RGSU 19, n.º 3 (30 de septiembre de 2020): 137–44. http://dx.doi.org/10.17922/2071-5323-2020-19-3-137-144.
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in the second half of the twentieth century, when the avant-garde proposed truly revolutionary principles for organizing the sound environment, not only the treasures of ancient Russian church music were rediscovered, but also the interest in Russian spiritual culture as a whole, including musical folklore, significantly increased. Russian society at the end of the century was engulfed in disbelief, disappointment, fatigue. Hence there are images of the “decaying” world, the end of the world. The apocalyptic situation manifested itself not only in the fire of civil wars, but also in the feeling of disharmony of people with themselves and with others. As a result, domestic culture began to return to the fold of universal human values, eternal problems and traditional ideas about peace and good. This article considers the basic principles of the implementation of musical folklore in the vocal and instrumental works of domestic avant-garde composers of the second half of the twentieth century. It is noted that neo-folklorism, which arose in domestic music in the 1980–1990s in connection with the idea of national revival, through the semantics of rite, cult archaic, means of folk musical language, strengthened the Russian roots of domestic culture and strengthened the national philosophical heritage embedded in folk music.
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Hodgkins (book author), Christopher y Mary Arshagouni Papazian (review author). "Authority, Church, and Society in George Herbert: Return to the Middle Way". Renaissance and Reformation 31, n.º 2 (23 de enero de 2009): 75–77. http://dx.doi.org/10.33137/rr.v31i2.11614.
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Thompson, Brian C. "Opera Production and Civic Musical Life in 1870s Montreal". Nineteenth-Century Music Review 11, n.º 2 (diciembre de 2014): 219–38. http://dx.doi.org/10.1017/s1479409814000354.
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This article explores the origins and productions of the Société Canadienne d'Opérette et d'Opéra de Montréal, a short-lived opera company active in the late 1870s. Headed by Calixa Lavallée and Frantz Jehin Prume, the Société was established in part as a result of a decree that forbade the use mixed choirs throughout the archdiocese, and consequently made obsolete Lavallée's choir at Saint-Jacques Church. Following the success of their first production, Lavallée and Prume realized that the company might be used as a stepping-stone to the creation of a government-funded music school, modelled on the Paris Conservatoire. This article explores the social and political context in which the Société was created, and details the staging and reception of its productions of Gounod's Jeanne d'Arc and Boieldieu's La Dame blanche. In selecting these works for performance, the organizers responded to demands and constraints of a society accustomed to popular entertainment from the US and under pressure from the conservative and influential Catholic Church. They were works that were feasible to produce and likely to be successful in a city whose population was divided by religion, language and cultural traditions.
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Czeglédy, André. "A New Christianity for a New South Africa: Charismatic Christians and the Post-Apartheid Order". Journal of Religion in Africa 38, n.º 3 (2008): 284–311. http://dx.doi.org/10.1163/157006608x323504.
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AbstractThe international growth of Pentecostalism has seen a rush of congregations in Africa, many of which have tapped into a range of both local and global trends ranging from neo-liberal capitalism to tele-evangelism to youth music. Based on ethnographic fieldwork, this discussion focuses on the main Johannesburg congregation of a grouping of churches that have successfully engaged with aspects of socio-economic transformation in post-apartheid South Africa. Such engagement has involved conspicuous alignment with aspects of contemporary South African society, including an acceptance of broader policy projects of the nation state. I argue that the use of a variety of symbolic and thematic elements of a secular nature in the Sunday services of this church reminds and inspires congregants to consider wider social perspectives without challenging the sacred realm of faith.
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Rakityanska, Liudmyla. "THE HISTORY OF WORLD MUSIC ART WITHIN THE CONTEXT OF RELATIONSHIP BETWEEN THE EMOTIONAL AND THE RATIONAL". Osvitolohiya, n.º 9 (2020): 21–28. http://dx.doi.org/10.28925/2226-3012.2020.9.3.
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The article presents the results of the analysis of musical art history in the context of the relationship between its emotional and rational constituents. The author traces the overall evolution of the world music, which in itself is a process of a complex dialectical relationship of the emotional and the rational, and which has been conditioned by the dominant philosophical worldview of a specific historical epoch, that determined the variability of artistic priorities, their emotional and intellectual balance or otherwise demarcating them by the dominating rational-mediated or emotional-sensory constituent. The research has established that the primitive culture is characterized by a syncretism of mythological and ideological ideas of the primitive human, which was reflected in the folk tradition; in the era of Ancient art, the Greek philosophers gave preference to reason while comprehending art, which went in line with the rational, philosophical and ideological orientation of the society at that time; in the Middle Ages era, this tendency fixed itself in the theological-rationalist search of the «fathers of the church», which was reflected in various genres of church music, that was religious, ascetically oriented, strictly regulated, as well as emotionally limited; the musical art of the Renaissance with its faith in the unlimited possibilities of harmonious human development is characterized by the unity and balance of the emotional and the intellectual; the New Age art was marked by new artistic trends, including Baroque and Classicism. The Baroque concept of musical art was consonant with the Renaissance tradition in terms of defining the main purpose of art as the need to reflect the sensuality of the real world; the art of the Classicism is subject to strict regulations, appealing to the human mind, instead of the senses, it is based on «rationalism», the prevailing philosophical worldview at the time; a harmonious combination of both emotional and personal experiences together with a deep intellectual comprehension of life is the leading feature of the art of the Romantic era; the modern music culture demonstrates the tendency to strengthen the rational constituent.
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Zhuk, Sergei I. "Popular Religiosity in the “Closed City” of Soviet Ukraine: Cultural Consumption and Religion during Late Socialism, 1959-1984". Russian History 40, n.º 2 (2013): 183–200. http://dx.doi.org/10.1163/18763316-04002003.
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Part of a larger research project about Soviet cultural consumption and identity formation, this article explores the connection between rock music and religiosity in the industrial city of Dnepropetrovsk, Ukraine, in the late socialist period. The Committee of State Security [Komitet gosudarstvennoi bezopasnosti, KGB] closed Dnepropetrovsk to foreigners in 1959 when one of the Soviet Union’s biggest missile factories opened there. Because of its “closed” nature, Dnepropetrovsk became a unique Soviet social and cultural laboratory where various patterns of late socialism collided with new Western cultural influences. The closed city of Dnepropetrovsk can be seen as a microcosm of Soviet society as a whole. Drawing from a wide variety of sources, including archival documents, periodicals, personal diaries and interviews, this article demonstrates how popular fascination for Western rock music, such as Andrew Lloyd Webber’s Jesus Christ Superstar, spurred interest in Christianity. Local Protestant and Orthodox church leaders skillfully promoted such interest, even as the Party bosses tried to quash it. This study stands as a reminder of the continued draw of Christianity in Orthodoxy’s heartland—even through alternative, modernizing media—despite the official promotion of atheism.
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Зверева, С. Г. "Sacred Music in the USSR and the Russia Abroad in the 1920s and 1930s". Научный вестник Московской консерватории, n.º 4(31) (21 de diciembre de 2017): 178–99. http://dx.doi.org/10.26176/mosconsv.2017.31.4.07.
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Cтатья посвящена истории русской православной духовной музыки в СССР и в русском зарубежье в 1920–1930-х годах. В ней уделяется внимание истории хоров и исполнению духовной музыки на богослужениях и в концертах, судьбам духовных композиторов и их творчеству. Ставится вопрос об истории в СССР и русском зарубежье Нового направления — передового творческого течения, возникшего в императорской России в конце XIX века. Обсуждаются новые тенденции в развитии духовной музыки, связанные с образованием национальных Православных Церквей за пределами СССР.Источники демонстрируют большое значение религиозной музыки в духовной жизни православного общества в периоды социально-политических и военных потрясений, а также верность этому виду искусства со стороны тех, кто стремился сохранить национальные традиции и идентичность. Материалы показывают преемственную связь между диаспорами и митрополией: русские музыканты за рубежом сыграли большую роль в развитии религиозного искусства в 1930-е годы, когда в СССР оно было практически остановлено. Возрождение духовной музыки, которое началось в России с конца 1980-х годов, вряд ли было бы столь триумфальным, если бы не вклад музыкантов русского зарубежья, а также стойкость и верность своему делу их коллег в Советском Союзе. The article concerns the history of Russian Orthodox sacred music in the 1920s and 30s in the USSR and the Russia Abroad. Attention is paid to the history of choirs and the performance of sacred music at church services and concerts, and the destinies of composers of sacred music and their work. The history in the USSR and the Russia Abroad of the New Direction — the leading creative current arising in Imperial Russia in the late 19th century — is discussed. New trends in the development of sacred music arising from the formation of national Orthodox churches outside the USSR are outlined.Sources demonstrate the great significance of religious music in the spiritual life of Orthodox society in periods of social and political turmoil and in wartime, as well as fidelity to this form of art on the part of those who strove to preserve national traditions and identity. Materials show the line of succession running through the diasporas and the mother country: Russian musicians abroad made a big contribution to the development of religious art in the 1930s, when in the USSR it came practically to a standstill. The revival of church music which began in Russia in the late 1980s would scarcely have been so triumphal had it not been for the contribution of musicians from the Russia Abroad to the common concern as well as for the tenacity and loyalty to the cause of their colleagues in the Soviet Union.
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Жуковская, Е. Е. "Training Church's Pastors for Life: Informations Mission of Church in Next Years. Problems and Prospects of Studying Media Software in Spiritual Schools". Праксис, n.º 1(6) (15 de junio de 2021): 106–15. http://dx.doi.org/10.31802/praxis.2021.6.1.008.
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В каждую историческую эпоху появлялись своевременные методы миссионерской работы. Во времена апостолов это было устное слово, перемещение по разным территориям земного шара лично апостолами и их последователями, составление объёмных письменных посланий и рассылка их в христианские общины. Чем сложнее становилось общество, тем больше форматов продвижения информации о Христе и Его Церкви осваивалось. В Средневековье, например, это не только тексты, но и изобразительное искусство, музыкальные произведения, многочасовые (и порой даже многодневные) мистерии. Информация передаётся разными способами, и сегодня мы наблюдаем, как в один и тот же миг через картинку, текст на ней, музыкальное сопровождение - и всё это на экране, например, часов, человек получает чёткий сигнал с упакованным смыслом. Какие перспективы в таких условиях жизни у миссии Церкви? Какими навыками должны обладать священнослужители, чтобы уметь вести миссионерскую деятельность своим современникам? С какими проблемами мы сталкиваемся при подготовке в духовных школах будущих церковно- и священнослужителей? Кандидат социологических наук Е.Е.Жуковская анализирует проблемное поле массмедиа Церкви и представляет четыре вектора информационализации общества, влияющих на профессиональную пригодность пастырей к служению в XXI в. New methods of mission have emerged in every historical time. In times of apostles it was a spoken word, transferred through different areas of the globe by apostles in person or their followers. They made big letters and sent them to Christian communities. The more complex the society became, the multiple types of promoting information about Christ and His Church opened up. In the Middle Ages, for example, not only texts WERE present, but also visual art, musical compositions, many hours long mysteries (and sometimes even many days). Nowadays Information can be transmitted in different ways. Today at the same time we can see a picture with text on it, hear background music - and all this available on the screen of a small device. A person receives a clear signal with a packed meaning. What are the prospects for the mission of the Church in such a setting? What skills should clergymen acquire in order to be able to missionize their contemporaries? What problems do we face educating future church and clergy members in theological schools? Ph.D. in Sociology Evgeniya E. Zhukovskaya analyzes the problem field of the Church mass media and presents four vectors of information-based society which influence competency of pastors in the 21st century.
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Cashner, Andrew A. "Imitating Africans, Listening for Angels". Journal of Musicology 38, n.º 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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Pshenychnyi, T. "UKRAINIANIZATION OF THE LITURGICAL LIFE IN 1917–1918". Bulletin of Taras Shevchenko National University of Kyiv. History, n.º 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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Yu, Feng, Qiming Zhang y Pham Minh Thuy. "A Study of the styles and characteristics of basic music theory textbooks in China in the past 100 years". Trans/Form/Ação 46, spe (2023): 117–44. http://dx.doi.org/10.1590/0101-3173.2023.v46esp.p117.
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Abstract: Due to various historical and realistic reasons, the development of basic music theory in China lags behind in the teaching system, teaching content and other aspects. It is an important task for Chinese music workers to revise or supplement the current basic music theory and related textbooks and then build a discipline system of basic music theory in China. This paper synthesizes the theories of music education and music history, music culture, music morphology and other related disciplines. It uses scientific, objective and rational values and holistic and comprehensive concepts. It takes the development of the basic music theory education of China as the research object and takes history as a mirror to further consider and prospect the construction of the basic music theory discipline system of China. The basic theory of Chinese Music can be roughly divided into three stages: (1) The basic music theory from the early 20th century to the founding of the People’s Republic of China; (2) From the founding of the People’s Republic of China to the period of reform and opening up; (3) Basic music theory compiled and published since the reform and opening up. It can be seen, from the development of the basic theory education of Chinese Music and its teaching materials, that the development of western music theory in China, before the founding of the People’s Republic of China, was a process from passive acceptance to active absorption. The scope of spreading western music theory was from the palace to the church, then to the school, and, finally, to the society, which made the music theory teaching in China gradually develop into a major and minor system as the leading mode. The basic theory of Chinese Music gradually deviated from its own track. With the deepening of music research after the founding of the People’s Republic of China, the discipline development of basic music theory has witnessed a prosperous situation, and the construction of basic music theory is moving towards the direction of diversification and deepening. Many musicologists and music educators have made contributions to the construction of basic music theory in China from different disciplines and research perspectives. Based on the principle of “combining history with the theory” and combing the development of basic music theory in China, the ideal model of Chinese music theory discipline construction is conceived to promote the integration between traditional music theory and modern music theory from a diachronic perspective What is relevant to strengthen the unity of the nation and the world in basic music theory from a synchronic perspective, and to pay attention to the connotation of technology and culture in music theory teaching. But also to strengthen the scientific and logical concept in music theory textbooks.
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Yip, Jeaney y Susan Ainsworth. "You need ‘help for the journey’: Freedom and regulation in a ‘market-friendly’ megachurch". Marketing Theory 20, n.º 1 (19 de junio de 2019): 103–21. http://dx.doi.org/10.1177/1470593119856654.
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One of the dominant trends in contemporary religion is a focus on individual freedom, choice and autonomy, all central tenets of mainstream consumer society. Rather than indicating a lack of religious regulation, we show how they can be the means through which regulation operates. Drawing on the theory of governmentality, which focuses on how power operates in discourse, we present a case study of a highly successful megachurch and global leader in Christian music – Hillsong – and show how this religious producer constructs a subject position for the consumer that promotes freedom and choice but nevertheless has regulatory implications by limiting what is thinkable and possible. Our findings show how Hillsong uses music and offers a worship experience that encourages continued reliance on the Church supported by its selective interpretation of the Pentecostal tradition. We trace how Hillsong claims knowledge of the religious consumer, identifying its central logic and contradictions. In doing so we show how religious regulation is taking new forms in contexts that may appear to be unregulated. We highlight the potential of this Foucauldian theory to not only enhance the understanding of current trends in religion but also to widen the repertoire used by critical marketing scholars to analyse how marketing discourse and practices are mobilized in specific contexts and with what effects.
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Dubrovnyi, T. M. "To sources of polysematics Kitch (on the example of the “spiritual song” of the XVII–XVIII centuries)". Culture of Ukraine, n.º 75 (21 de marzo de 2022): 78–84. http://dx.doi.org/10.31516/2410-5325.075.10.
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The article proposes a consideration of the phenomenon of Kitch in the context of the development of the culture of Western Europe, the flow of cultural processes of which was significantly different from the processes that occurred in the culture of the colonized part of Ukraine in the 17–19th centuries. The main reason for such differences was primarily in aristocratic imperatives and educational tendencies, which aggregately contributed to the development of art in the whole Europe. During this period, Ukraine was at the crossroards of Metropoles and, as a result of historical circumstances, was not able to develop similarly to Western European conditions. The lack of dominant role in society, and, in particular, the absence of universities, concentrated creative progress within church art and imitation of western samples, as well as the development of amateur art, which will form a whole layer of “Grassroots” culture. In fact, in the Baroque period in Ukraine only polyphony was introduced into the liturgical rite and a party concert on the Western model was staged. At the same time, the musically educated intelligentsia, which was concentrated at Kyiv-Mohyla Academy, composed chants, spiritual songs and brought them to the lower strata of society. Since all this was closely connected with the church rite, over time, the leading place in society was taken by the spiritual aristocracy, which gradually took over the educational mission of the people. The introduction of the practice of salons in Ukraine in the 19th century, the tradition of home music, in fact, had no resistance, because this tradition was nurtured mainly in the families of priests, who at that time had an authoritative influence on the processes taking place in society. On this basis, the use of means of “Kitch” was detected long before this term appeared with internal polysemantic characteristics in Germany of the XIX century. We believe that kitsch in music appeared when the society intuitively needed it, even in periods when this term did not yet exist, but the principles and methods that later became the basis of definition, and formed the basis of the conceptual structure of kitsch, had already been in existence. In essence, kitsch was a measure that balanced culture within different social strata and social needs, as well as disseminated it. Differences in the functioning of the kitsch phenomenon were observed: in European countries kitsch had negative semantics, in Ukraine, on the contrary, the most relevant examples of European cultural achievements were spread and interpreted in their own way. This blurred the border between “low” and “high” culture. Apparently, this is the main reason that the phenomenon of “kitsch” in Ukrainian culture played a positive role, helped to supplement the missing links and relieved tension in the confrontation between “an original” and “a copy”. This prepared a solid foundation for the emergence of Ukrainian professional art in the twentieth century.
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Boskovic, Dusan. "On enlightenment and taste: Outline of a research topic". Filozofija i drustvo 18, n.º 3 (2007): 271–81. http://dx.doi.org/10.2298/fid0703271b.
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The author puts forward a set of assumptions and possible context for examining the connection between the concepts of enlightenment and taste. Kant?s definition of enlightenment is accepted, with special emphasis on the sphere of religion. Applying this criterion, we may discern a powerful and influential religious current stemming from strictly speaking Church circles that denies the systematic and historical significance of the opus of Dositej Obradovic, who in his time was a protagonist of the European enlightenment. Such a revaluation has been accepted by the greater portion of the younger generation, which relies predominantly on the St. Sava Myth. With a change of worldview, undoubtedly, tastes change as well. The next section of the paper discusses the approach to taste of the Scottish philosopher David Hume representative of dispositional aesthetic. Finally it is argued that music as one of the arts, might be exemplary for appraising the condition of enlightenment in a society.
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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, n.º 66 (9 de abril de 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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Arkhipova, N. E. "John Damascus’s Church-Singing Brotherhood in Nizhny Novgorod at Beginning of 20th Century". Nauchnyi dialog, n.º 6 (24 de junio de 2021): 302–16. http://dx.doi.org/10.24224/2227-1295-2021-6-302-316.
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The organization, composition, financial condition and activities of the John Damascus’s singing brotherhood are considered. The relevance of the study is associated with the need to revive spiritual and moral values in modern Russian society. The novelty of the esearch lies in the fact that for the first time, according to the chronicle of the church press, the functioning of the brotherhood was reconstructed, the choir of which consisted of representatives of the city clergy, and the conductors were professional musicians. The author notes that, despite the increase in the number of performers in peacetime, the unstable composition of the choir did not allow them to achieve high performing skills. It is shown that the brotherhood performed organizational, missionary, spiritual, educational, charitable functions. It is proved that the work of the brotherhood contributed to the activation of concert and choral activities in the city, helped to preserve the ancient singing tradition, on the one hand, and introduced the audience to modern sacred music on the other hand. It is emphasized that in the conditions of the expansion of secularization at the beginning of the 20th century, charitable spiritual concerts organized by the brotherhood helped to maintain, strengthen and develop religious and moral feelings, thoughts, moods in listeners. It is concluded that the deteriorating living conditions during the war years, and then revolutionary events stopped the functioning of the organization.
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Krauciuc, Ioan George. "History and Traditions of the Orthodox Ukrainian Community in Maramureș". Roczniki Teologiczne 68, n.º 7 (27 de septiembre de 2021): 107–27. http://dx.doi.org/10.18290/rt21687-7.
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Maramureș County, located in the north-western part of Romania, has always represented one of the oldest religious centres of the ancient province of Transylvania. The first part of the present essay will illustrate the most relevant moments in the history of the Christian community of Orthodox Ukrainian people, who lived within the historical region of Maramureș, and also the structure and the evolution of the local Ukrainian Church. The second part will present and demonstrate the key role played by the Orthodox faith and beliefs in establishing mutual relations of friendship and collaboration between the smaller Ukrainian community and the larger Romanian population, within the boundaries of Maramureș County. These relations of friendship and mutual understanding must endure in order to fight against the newly emerging Antichristian ideology that has shaken the moral and Christian foundations of our society. By sharing the same faith and the same religious beliefs, members of the Ukrainian community have managed to preserve their customs and traditions, their traditional dress codes, music and dance and kept alive their spiritual heritage.
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Akatrini, V. "“VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY". Aesthetics and Ethics of Pedagogical Action, n.º 26 (25 de diciembre de 2022): 116–29. http://dx.doi.org/10.33989/2226-4051.2022.26.273126.
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The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a significant event – receiving a scholarship at the competition of young talents in Leipzig, which was a significant financial support for his further studies at the University of Vienna. The “Viennese” period of E. Mandyczewski’s creativity, which lasted 54 years, is characterized. In Vienna, he studied German studies, philosophy, literature, art history, musical disciplines; his teachers were music critic Eduard Hanslick, musicologist Martin Gustav Notteb, composer Robert Fuchs. E. Mandyczewski’s professional growth was connected with activities at the Vienna Academy of Music, the Vienna Conservatory; he was the conductor of various choirs and orchestras, archivist and bibliographer of the Viennese “Society of Friends of Music” - one of the significant centers of European musical life.
It was found that during many years of teaching activity, the Maestro trained a whole galaxy of composers, musicologists, teachers, most of whom became stars of the musical world of Austria, Italy, England, America... Among his students are Hans Gall, Karl Behm, Hilarion Verenko, Manolis Calomiris, George Sell, Leone Sinigaglia, Karel Prochazka (senior), Marcian Negria, Joseph Alois Krieps, Julius Patzak, Ferdinand Rebay, Rosario Scalero, Gustav Uwe Yenner, and Arthur Schnabel, Karl Garinger, Ignaz Brühl, Henry Kimball Hadlita, and others. The Austrian press deservedly called the honorary citizen of Vienna E. Mandyczewski “a living musical encyclopedia”. As a theoretician, he wrote many scientific studies on the work of W. Mozart, L. Beethoven, L. Bach, K. Czerny, A. Bruckner, Strauss, etc., compiled a complete edition of the works of J. Haydn, F. Schubert (in 42 volumes), J. Brahms (in 26 volumes). It is emphasized that E. Mandyczewski is the author of 11 Ukrainian choirs, the canon for three voices “And the day goes, and the night goes...” (to the words by T. Shevchenko), music to the lyrics by Yu. Fedkovich “Wake up, Boian!”, “Kobzar’s dawn” etc., vocal works written to the texts of Serbian, Hungarian, Ukrainian, Moldovan folk songs, author’s works written to the texts by Romanian and Moldovan poets M. Eminescu, H. Koshbuk, V. Aleksandr, O. Vlahutse, etc. Research attention is focused on the authorship of vocal works of a secular and spiritual nature, among which the most significant are: “Greek Mass” for solo, choir and orchestra, the cycle “Tuscan Songs”, church works – 12 liturgies, “Cherub” for mixed choir, “Our Father” for two children’s voices, carol “Silent night, holy night”, psalms, etc.
On the basis of primary factual sources, the influence of E. Mandyczewski on the development of musical culture and education in Bukovyna is characterized.