Bibliografías temáticas / Sacred vocal music

Literatura académica sobre el tema "Sacred vocal music"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 31 de julio de 2024

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Artículos de revistas sobre el tema "Sacred vocal music"

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Ward, M. "Renaissance sacred vocal music". Early Music 40, n.º 1 (1 de febrero de 2012): 137–39. http://dx.doi.org/10.1093/em/cas010.

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Gosine, C. Jane. "François Couperin: sacred vocal music". Early Music XXVI, n.º 1 (febrero de 1998): 153–56. http://dx.doi.org/10.1093/earlyj/xxvi.1.153.

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Tunley, David. "Sacred Vocal Works, and: Three Sacred Cantatas: Esther, Susanne, Judith, and: Secular Vocal Works (review)". Notes 64, n.º 1 (2007): 141–44. http://dx.doi.org/10.1353/not.2007.0131.

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Vella, Francesca. "Bridging Divides: Verdi's Requiem in Post-Unification Italy". Journal of the Royal Musical Association 140, n.º 2 (2015): 313–42. http://dx.doi.org/10.1080/02690403.2015.1075809.

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ABSTRACTThis article addresses the early Italian reception of Verdi's Messa da Requiem (1874), premièred in Milan on the first anniversary of the death of the novelist Alessandro Manzoni. Previous literature has focused on issues of musical genre and the work's political implications (particularly its connections with Manzoni and with late nineteenth-century Italian revivals of ‘old’ sacred music). The article examines, instead, the curiously pluralistic concerns of contemporary critics, as well as certain aspects of Verdi's vocal writing, with the aim of destabilizing traditional dichotomies such as old/new, sacred/operatic, vocal/instrumental and progress/crisis. It argues for more broad-ranging political resonances of Verdi's work, suggesting that the negotiation of a variety of boundaries both in Verdi's music and in its contemporary discussion made the Requiem dovetail with wider cultural attempts to define Italian identity.
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Phillips, Peter y Byrd's. "Byrd's Nest. Peter Phillips on Performing Byrd's Sacred Vocal Music". Musical Times 134, n.º 1809 (noviembre de 1993): 628. http://dx.doi.org/10.2307/1002799.

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Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts". Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.

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Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary with Handel to produce such a quantity and variety of ‘Italian’ vocal music, and these compositions, which evidence a very good knowledge of the Italian language and Italian musical style, are of a quality to match their Handelian counterparts. They are subtle, responsive to the text and in certain respects very distinctive and original.
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Irlandini, Luigi Antonio. "An introduction to the poetics of sacred sound in twentieth-century music". Revista Vórtex 1, n.º 2 (30 de diciembre de 2013): 65–86. http://dx.doi.org/10.33871/23179937.2013.1.2.430.

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Along the twentieth century has occurred the beginning of a fusion between two very different horizons: Western musical composition and Hindu sonic theology. The essential content of this theology and the changes in Western musical language and aesthetics, society and culture which have allowed this fusion to take place are briefly outlined. Instrumental and vocal works by Karlheinz Stockhausen, Giacinto Scelsi, Michael Vetter and David Hykes provide specific examples and, in particular, raise the predicament between mysticism and rationalism, manifested in the dichotomy ècriture/inspiration. The study proceeds investigating the connections between music and meditation. In this context, overtone singing appears as a musical and meditative practice. The incorporation of this non-European or ancient vocal technique is evaluated as a dawning horizon in Western music. Overtone singing has required a practical emphasis through improvisation, suggesting a new musical praxis that does not separate composition from performance.
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Roche, Jerome. "Alessandro Grandi: A Case Study in the Choice of Texts for Motets". Journal of the Royal Musical Association 113, n.º 2 (1988): 274–305. http://dx.doi.org/10.1093/jrma/113.2.274.

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It is perhaps still true that research into sacred types of music in early seventeenth-century Italy lags behind that into madrigal, monody and opera; it is certainly the case that the textual aspects of sacred music, themselves closely bound up with liturgical questions, have not so far received the kind of study that has been taken for granted with regard to the literary texts of opera and of secular vocal music. This is hardly to be wondered at: unlike great madrigal poetry or the work of the best librettists, sacred texts do not include much that can be valued as art in its own right. Nevertheless, if we are to understand better the context of the motet – as distinct from the musical setting of liturgical entities such as Mass, Vespers or Compline – we need a clearer view of the types of text that were set, the way in which composers exercised their choice, and the way such taste was itself changing in relation to the development of musical styles. For the motet was the one form of sacred music in which an Italian composer of the early decades of the seventeenth century could combine a certain freedom of textual choice with an adventurousness of musical idiom.
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Mcmahon, Paul. "Tudor and Jacobean England: Observations on Secular and Sacred Vocal Music". Musicology Australia 37, n.º 1 (2 de enero de 2015): 85–89. http://dx.doi.org/10.1080/08145857.2015.1035203.

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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater". Pedagogy and Psychology 42, n.º 1 (30 de marzo de 2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.

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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.
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Tesis sobre el tema "Sacred vocal music"

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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Steed, Janna T. "Duke Ellington's jazz testament the sacred concerts /". Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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Hafar, Matthew Alan. "The psalmody of Monteverdi : choral settings of the vesper psalms CX and CXI". Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/6031.

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Ziegler, Reinald. "Die Musikaliensammlung der Stadtkirche St. Nikolai in Schmölln/Thüringen repertoiregeschichtliche Studien und Katalog : ein Beitrag zur Musiküberlieferung im 16. und 17. Jahrhundert in Mitteldeutschland /". Tutzing : Schneider, 2003. http://catalog.hathitrust.org/api/volumes/oclc/51654880.html.

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Board, Ryan Everett William A. "Dietrich Buxtehude's Membra Jesu nostri a study in baroque affections and rhetoric /". Diss., UMK access, 2006.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
"A dissertation in conducting." Advisor: William Everett. Typescript. Vita. Description based on contents viewed Oct. 30, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 100-102). Online version of the print edition.
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Bunnell, John H. "An open-ended database guide to assist ministers of music and vocal soloists to select solos that will match and enhance the lectionary readings during the Easter cycle (year "A")". Theological Research Exchange Network (TREN), access this title online, 2006. http://dx.doi.org/10.2986/tren.089-0073.

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Greene, Charles F. "There came Jesus a choral depiction of Messiah's last days of earthly ministry /". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Gardner, David B. "Filled with the fullness of God a choral concert expressing God's design for mankind /". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Soga, Hector Ian. "The sacred vocal works of Gottfried August Homilius (1714-1785) with particular reference to his St. Mark Passion". Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/3961/.

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The chance discovery of a composer of whom the present writer had previously been unaware; who was allegedly a pupil of J.S. Bach; whose list of compositions occupied no small space in modern lexicographical entries, let alone in Eitner's now largely obsolete catalogue; who, according to Feder in his article entitled Decline and Restoration in Protestant Church Music - a History, though highly regarded in his day, had not received detailed consideration: such were the factors which gave impetus to the present day. No sooner was that study underway than it transpired that others, too, had been struck by the deficiency noted by Feder. Already in 1970, the American scholar Robert Ellis Snyder had prepared a doctoral thesis on the choral music of Gottfried August Homilius. More significantly, the East German scholar Hans Hohn had published a comprehensive survey of the composer's life and work which was subsequently published in a revised and shortened form in 1980. Far from undermining the work undertaken by the present writer, the above-mentioned studies helped to give it sharper focus. Snyder's contribution, valuable both for the attention drawn anew, through his editorial work in Volume 2, to the composer's music, and still more for his English translation of the Generalbass, nonetheless left room for deeper analysis and evaluation of Homilius' works. John's signal achievement, his painstaking collation of documentary evidence of the composer's life, remains largely inaccessible to the English reader who has no command of German. Further, his evaluation of the man and his compositions, based on an albeit rigorous survey, is vitiated by a tendency to play down the importance of theology in the formation of the composer's character and to portray him, in a one-sided way, as a torch-bearer for an emergent and emancipated bourgeoisie. Thirdly, John failed to distinguish correctly between the Passion Cantata So gehst du nun mein Jesu hin on the one hand and on the other the Markuspassion which bears the same subtitle and which turned out to be one of Homilius' lengthiest and most substantial works. These factors, then, helped to give shape to the present study which, as far as its author has been able to establish, is the first of substantial length to be undertaken in Britain. The first chapter of Volume I is devoted to a summary of Homilius' life. Relying, though by no means exclusively, on John, details are given of the composer's background, of his earlier life and education, of his first frustrated attempts to secure employment and his eventual success in being appointed organist of the Frauenkirche in Dresden in 1742, of his subsequent preferment in 1755 to the post of Cantor of the Kreuzkirche in the same city, of his varied life and success as cantor, teacher and organist over against a background of social upheaval, and finally of the circumstances of his death in 1785. Chapter 2 is deovoted to a general survey of the music. While account is taken of John's findings, the content is larely an independent survey of Homilius' music based on the main on manuscripts held in the Music Department of the Staatsbibliothek der Stiftung PreussischerKulturbesitz in West Berlin. The chapter contains details of the extant works, both published and in manuscript, new information about the dating of works established in the course of research, and, following a brief description of the main genres of music encountered (Oratorios, cantatas, motets and settings of the Magnificat), a discussion of the texts which underpin the works. Attention is then directed to the music: to the characteristics of the composer's musical language and to the techniques of composition and orchestration which he employs. From this study there emerges the picture of a composer who had full command of the musical dialects of his day, but whose obedience to a task which was essentially musico-theological kept him from producing music of lasting appeal. Chapters 3 and 4 constitute the main burden of the present study. The first of these is devoted to a study of the St Mark Passion both as a structure and as a theological statement. Through detailed analysis and comparison with similar works it is suggested that Homilius' work has its own particular theological stamp, in particular that he is more concerned with the life which faces his listeners in the here and now and with present moral choices than with affording to the listener a spiritual experience of the road to Golgothe. Unlike J.S. Bach who is content to let the gospel speak for itself, Homilius incorporates in the work a particular theological view of the work of Christ. Both factors conspire with others of a more musical nature to deprive this work of that timeless quality which characterises Bach's great Passions. In Chapter 4 the music is subjected to systematic analysis. If the arias emerge as the least satisfactory component, the recitatives are remarkably fluent, and the work as an entity proves to have been carefully and indeed ingeniously planned. Conclusions are drawn in Chapter 5, though a review of the most important literature, about the man, the composer and the St Mark Passion in particular. While there is some evidence to support the view, championed by John, that Homilius had certain progressive reflexes, Rudolf Steglich's 1915 analysis of him as an essentially conservative being seems the more perceptive and compelling, however dubious his comparison of Homilius with C.P.E. Bach. As a composer Homilius had great facility, but his musical language, shot through with gracious vocabulary and popular idiom, lacked innate strength. It is a language limited, too, by the composer's intellectual horizons and by his very pre-occupation with theology and his ecclesiastically based méier. As an oratorio Passion the St Mark Passion, a monumental work, is unique among the pieces which Homilius composed for performance during Holy Week. Of his entire oeuvre this work above all is both an expression of his debt to the Baroque past and at the same time an acknowledgement that he has left that past far behind. Volume I is furnished with three appendices. The first is devoted to a Choralbuch which sheds light both on the dating of works and on Homilius' treatment of the chorale. The second contains details of larger works and cantatas in manuscript. Musical incipits are given, where they were available, in order to facilitate more reliable identification of works. Appendix 3 contains diagrams and musical examples relevant to Chapters 2 and 4. Volume II contains a performance edition of Homilius' St Mark Passion furnished with a 3-part Critical Apparatus, containing 1) Text and Translation, 2) Notes on the Edition - including details of the manuscript, its provenance, an attempt to date the work, and an evaluation of its dedication to Princess Anna Amalia of Prussia - and 3) Notes on Performance.
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Jeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /". Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.

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Libros sobre el tema "Sacred vocal music"

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Daugherty, F. Mark. Sacred choral music in print. Philadelphia: Musicdata, 1996.

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Simon, Susan H. Sacred choral music in print. Philadelphia: Musicdata, Inc., 1988.

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1951-, Daugherty F. Mark, ed. Sacred choral music in print. 2a ed. Philadelphia: Musicdata, 1985.

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Pérès, Marcel. Signature. Arles: Harmonia Mundi France, 1993.

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Bach, Johann Sebastian. Cathedrals and chapels. Arles: Harmonia Mundi, 1997.

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Henry, Willett, ed. In the spirit: Alabama's sacred music traditions. Montgomery, Al: Black Belt Press for the Alabama Folklife Association, 1995.

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Nguyẽ̂n, Xuân-Thaʼo Joseph. Music ministry: The inculturation of liturgical vocal music in Vietnam. Chicago, Ill: NSII-USA, 2008.

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Noble, Willis. A selective guidelist of Canadian sacred choral music. Sacville, N.B: Mount Allison University, 1991.

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Bach, Johann Sebastian. Johannes-Passion ; Matthäus-Passion ; Weihnachts-Oratorium ; Messe in h-Moll : Textausgabe. Stuttgart: Reclam, 2000.

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Dürrer, Martin. Altitalienische Laudenmelodien: Das einstimmige Repertoire der Handschriften Cortona und Florenz. Kassel: Bärenreiter, 1996.

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Capítulos de libros sobre el tema "Sacred vocal music"

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Dorf, Samuel N., Heather MacLachlan y Julia Randel. "Renaissance Sacred Vocal Music". En Anthology to Accompany Gateways to Understanding Music, 37–39. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-14.

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Charteris, Richard. "A Neglected Anthology of Sacred Vocal Music Dating from the Sixteenth Century *". En Giovanni Gabrieli and His Contemporaries, XI—1—XI—34. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420682-11.

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Charteris, Richard. "An Early-Seventeenth-Century Collection of Sacred Vocal Music and its Augsburg Connections". En Giovanni Gabrieli and His Contemporaries, IX—511—IX—535. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420682-9.

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"SACRED VOCAL MUSIC". En Music in the Seventeenth Century, 105–60. Cambridge University Press, 1987. http://dx.doi.org/10.1017/cbo9780511586132.005.

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Barsanti, Francesco. "Sacred Vocal Music". En Recent Researches in the Music of the Baroque Era, 200. A-R Editions, 2018. http://dx.doi.org/10.31022/b200.

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Talbot, Michael. "The vocal music". En Vivaldi, 130–60. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164975.003.0007.

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Abstract ‘Vivaldi, who wanted to be active in both fields [vocal and instrumental], always got himself hissed in the first, though he enjoyed great success in the second.’ Thus Tartini, arguing his case that vocal and instrumental composition, being so different in character, could not be mastered equally by one man. This opinion, which smacks of sour grapes, is belied not only by the facts of Vivaldi’s career but by remarks of other contemporaries, notably Mattheson, who, having observed that vocal writing does not tolerate the leaps found in instrumental writing, states: ‘Vivaldi, albeit no singer, has had the sense to keep violinleaps out of his vocal compositions so completely that his arias have become a thorn in the flesh to many an experienced vocal composer.’ The sheer mass of Vivaldi’s vocal music, sacred as well as secular, would not disgrace a composer who never wrote a note of instrumental music: over 45 operas, of which 16 survive in their entirety and four (including Vivaldi’s contribution to II Tigrane) in sufficiently complete form to merit analysis; eight shorter stage works (three extant); 40 cantatas; over 60 sacred works, including four oratorios (one extant).
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Caldwell, Alice M. "4 Moravian Sacred Vocal Music". En The Music of the Moravian Church in America, 88–132. Boydell and Brewer, 2008. http://dx.doi.org/10.1515/9781580467469-008.

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Caldwell, John. "Secular Vocal Music, 1575—1625". En The Oxford History of English Music, 389–459. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198161295.003.0007.

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Abstract THE secular music of Elizabethan and Jacobean England does not fall into such neatly defined categories as was once supposed. Even the word ‘secular’ is not very helpful for the purpose of definition, since much that was written for domestic use was unambiguously sacred in content.’ Consort-song, lute-song, and part-song (embracing the madrigal), are all interrelated. In addition, there are the various genres of domestic psalmody and sacred songs, including those for voice or voices with the accompaniment of’whole’ or mixed consort.
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RIMBACH, EVANGELINE. "The Sacred Vocal Music of Johann Kuhnau". En Thine the Amen, 83–110. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvzcz3q4.9.

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Williams, Peter. "Madrigals, Songs, and Sacred Music". En The Chromatic Fourth During Four Centuries of Music, 7–30. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198165637.003.0002.

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Abstract Singers improvising music and composers notating it must always have known that they could respond effectively to (attract attention to) a text by introducing notes outside the prevailing mode or key. The later sixteenth century’s printed vocal music—a massive and dominating repertory—developed such chromaticism explicitly and systematically, producing both chromatic lines that wandered through the keys and wandering harmonies that produced chromatic lines. A German theorist of 1600 commenting on chromatics in music of Lassus (seep. 60) was merely identifying expressive out-of mode notes long known about and explored much farther than he knew.
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Actas de conferencias sobre el tema "Sacred vocal music"

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Schubert, Benedikt. "Struktur und Exegese. Über Eigentümlichkeiten in der Arie »Des Vaters Stimme ließ sich hören« (BWV 7/4)". En Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.71.

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This study deals with a characteristic of the tenor aria “Des Vaters Stimme ließ sich hören” (BWV 7/4). Why does Bach use two imitating violins? So far unconsidered exegetical and hymnological sources can give a plausible answer to that question. Based on a detailed observation of these sources, the study aims to encourage us to think again about the various hermeneutical approaches to Bach’s sacred vocal music and how Bach can be located in the field of tension between individuality and ‘Zeitgeist’.
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