Bibliografías temáticas / Quiche Hymns

Literatura académica sobre el tema "Quiche Hymns"

Autor: Grafiati
Publicado: 26 de julio de 2024

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Libros sobre el tema "Quiche Hymns"

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Uzendoski, Michael A. y Edith Felicia Calapucha-Tapuy. The Twins and the Jaguars. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036569.003.0005.

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This chapter employs the verse analysis method developed by Dell Hymes to analyze an Amazonian Quichua myth-narrative, “The Twins and the Jaguars,” from the province of Napo. The narrative's theme, “becoming a jaguar,” is expressed through a rhetorical logic of onset, ongoing, and outcome that unfolds as a structural transformation relation between humans and mythical jaguars. This structural transformation relation is mediated by a third element, the twins, who not only lend movement to structure but also advance the development of drama by obviating previous relations as a dynamic synecdoche. The chapter demonstrates the major contours of performative complexity involved in Amazonian Quichua narration of traditional mythical knowledge and the importance of the jaguar as an active and dominant symbolic “sign” of “becoming” in Napo Runa cosmology and culture. It shows that narrative performance emerges as an important artistic, cultural, and religious tool for experiencing the “transcendence” of everyday human form.
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Capítulos de libros sobre el tema "Quiche Hymns"

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Hughes, Andrew. "British Rhymed Offices". En Music in the Medieval English Liturgy, 239–84. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780193161252.003.0009.

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Abstract A general introduction to rhymed offices, still quite the most extensive survey of the repertory, has appeared in the R volume of the Dictionary of the Middle Ages. The repertory consists of poetic texts and chants in thousands of proper offices for new feast-days and saints ’ days of the later middle ages, mostly between the tenth and sixteenth centuries, from all over Europe. The texts, newly compiled, are for the antiphons responsorics of the canonical hours: often the chants that accompany them arc also newly composed or borrowed and adapted from earlier models. Of the hymns, lessons, prayers, and dialogues that also form a part of these new offices, only the hymns are always poetic. They are normally not newly-composed but are standard hymns appropriate to the saint or feast; although occasionally a new antiphon text is identical with a stanza of a hymn, various features make it clear that hymns are not regarded as a part of the rhymed office proper. New lessons and prayers arc often closely related to the texts of the new office chants and would have to be taken into account in any detailed study of an individual office.
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2

Karpf, Juanita. "Prelude". En From Biblical Book to Musical Megahit, 7–32. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845740.003.0002.

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Familiarity with William B. Bradbury’s many talents and accomplishments is essential in order to fully appreciate the reception history of Esther, the Beautiful Queen. Many Protestants are undoubtedly familiar with Bradbury’s name as many of his celebrated hymns are still sung during church services. Yet, during his lifetime he achieved fame quite beyond that of a composer of popular hymns. His rise to prominence began in New York City where he established himself as an innovative music teacher and director of religious music. His early compositions included specialized pieces for the developing voices of children. He travelled throughout the eastern U.S. conducting concerts and promoting his educational philosophy and methods at events known as “musical conventions.” Desiring to expand his knowledge of music pedagogy, he spent two years in Europe and pusued studies at Leipzig Conservatory. Eventually, he added to his fame by establishing a piano manufacturing firm that, for a time, was one of the most successful in the country. A prolific writer, he published informative essays about teaching, and compiled dozens of tunebooks featuring his latest compositions.
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3

Tyson, John R. "/ Domestic Life". En Charles Wesley, 311–59. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195134858.003.0010.

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Abstract Quite unlike his older brother John, Charles Wesley was happily married, a devoted husband and doting father. Although his published journal is relatively silent about his private life, his hymns and correspondence intersect to form a revealing picture of the younger Wesley. Courtship and marriage were complicated matters in proper eighteenth-century England. In Charles’s case, affairs of the heart were further complicated by the public character of his work, by his tenuous financial situation, and by a covenant Charles and John Wesley had made not to marry without the other’s approval.
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4

Basham, A. L. "Early Speculations and the Later Sacrificial Cults". En The Origins And Development Of Classical Hinduism, editado por Kenneth G. Zysk, 20–35. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195073492.003.0002.

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Abstract Evidence of more speculative forms of thought comes at the end of a long tradition that saw humanity and the universe controlled by a host of divinities. These gods were not abandoned for philosophy but were revered in a cult that endeavoured to control cosmic forces by means of elaborate ritual sacrifices. In the last of the ten mandalas, or books, of the Rg-veda we find a number of hymns whose contents are quite different from the main corpus of the collection and which in most cases seem to be later than the main collection.
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5

Bortolani, Ljuba Merlina. "The Greek Magical Hymn to Hermes". En Tracking Hermes, Pursuing Mercury, 293–308. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198777342.003.0018.

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This paper investigates the so-called “magical hymn” to Hermes, a short hexametrical invocation preserved in the corpus of the Greek magical papyri (PGM) in three different papyri of different dates: PGM V 401–20, VII 668–80, and XVIIb (fourth, third, and second/third centuries CE respectively). Some of the most interesting features are analyzed in the light of both Greek and Egyptian traditions in order to illuminate the cultural background of the divine persona described by the hymn. Though the composition appears to address a quite balanced syncretistic deity, a more thorough examination reveals that the nature of the god addressed, despite the Greek meter, is closer to Hermes’ Egyptian counterpart, Thoth. Nevertheless, the hymn does not have to be the product of philosophical Hermetism (as it has often been argued), but it could just represent an earlier stage of translation of the Egyptian conception into Greek.
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Kurtzman, Jeffrey. "Compositions Based on a Cantus Firmus: The Hymn and the Sonata sopra Sancta Maria". En The Monteverdi Vespers Of 1610, 293–307. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198164098.003.0009.

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Abstract The treatment of the cantus firmus in the hymn Ave maris stella is quite different from its use in the psalms and the Magnificats. In the hymn, the plainchant always appears in the topmost part as the principal melody, harmonized in an essentially chordal fashion. This manner of setting the Ave maris stella melody can be traced all the way back to Dunstable’s alternatim version, which adds a modest degree of ornamentation to the plainchant. Monteverdi, however, adheres strictly to the notes of the chant itself, which is a first-mode melody evidently derived not from the Roman rite, but from the liturgy of Santa Barbara in Mantua, prepared specifically for the Gonzaga ducal church in the late sixteenth century.
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7

Weinrich, Ines. "‘Nashīd’ Between Islamic Chanting And Jihadi Hymns: Continuities and Transformations". En Jihadi Audiovisuality and its Entanglements, 249–72. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467513.003.0011.

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Nashīd in its English spelling nasheed and mediatised on the internet is a relatively new phenomenon. Nashīd as a musical practice, by contrast, is old. This chapter analyses nashīd as both a technical term and as a vocal genre. Today, the term nashīd may denote quite different sonic manifestations, ranging from traditional praise songs to the prophet Muḥammad and prayers to religious pop songs and military marches. The chapter focuses on the developments since the early twentieth century and examines the musical roots and styles of the different types of nashīd that are known today. It offers a brief glimpse into traditional practices of nashīd (i.e. inshād) and suggests a categorisation for the different manifestations of modern nashīd, based on musical characteristics and functions. These are (1) political hymns, (2) traditional inshād, (3) popularised nasheed and, finally, (4) the Jihadi anāshīd (sg. nashīd), which musically draw from all three preceding categories.
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8

Sifianou, Maria. "Politeness: Cross-cultural Perspectives". En Politeness Phenomena in England And Greece, 44–73. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198239727.003.0003.

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Abstract One of Brown and Levinson’s concerns has been the :,earch for universals in language usage. Extensive parallels across unrelated languages have convinced them that, in spite of cultural peculiarities, there are universal linguistic properties. The issue of universality in language is quite controversial and seems to be related to earlier considerations concerning the relationship of language, thought, and culture. Sapir and Whorf strongly advocated this interrelationship and the uniqueness and distinctiveness of each language on which the ‘real world’ or culture is built. This thesis c.:ime to be widely known as the ‘Sapir-Whorf hypothesis’, or ‘linguistic relativity’.1 Hymes (1966: u6) presents a different version of ‘linguistic relativity’ when he says that ‘cultural values and beliefs are in part constitutive of linguistic relativity,’ whereas for Whorf it was the structure of language which in part determined thought and culture.
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9

Giddins, Gary. "Tremolos and Elegies (Cyrus Chestnut)". En Weather Bird, 91–94. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0024.

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Abstract By their tunes ye shall know them. So in welcoming pianist Cyrus Chestnut as he emerges from the ranks of accompanists into the limelight of leadership, let’s begin with the tunes—those he writes and those he interprets. Last week he debuted with one trio at the Village Vanguard and with another on his first major album, Revelation (Atlantic). The 31year-old, Baltimore-born, Berklee-graduated, and widely apprenticed pianist is a prolific composer, and he favors his own material. But not exclusively. The album’s two exceptions suggest something about his range and taste. The jazz genealogy of Jules Massenet’s “Elegie” as one of Art Tatum’s pet morsels is well known. Tatum elaborated the tune with characteristic e´lan, his variations partaking of stride bass, supersonic arpeggios, and a rubato close, all underscoring the source melody. Chestnut is less respectful of the original. He begins improvising over a pedal-bass, then buttresses himself with a descending four-chord figure that suggests nothing so much as the turnback for “Sweet Georgia Brown,” which is his immediate set-up for Massenet’s tune. The pop reference is echoed in the introduction of a standard old-time four-note descending bass vamp. He wails on that and then on the chord changes he has adduced, kicking into overdrive with propulsive riffs and, unlike Tatum, completely escaping the gravitas of the original. Chestnut reprises the tune only at the end, as a head, incorporating the four-note vamp on piano before a quick and not inelegant fade. In stately contrast, “Sweet Hour of Prayer” is an old hymn sweetly played, peeled of all complexity, with a slow-motion Bach mordent as the kicker.
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