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Artykuły w czasopismach na temat "Church music composers"
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Mdivani, T. G. "Composer’s interpretation of the Christian ethos in the music art of sovereign Belarus". Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, nr 2 (18.05.2020): 203–8. http://dx.doi.org/10.29235/2524-2369-2020-65-2-203-208.
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For the first time in the Belarusian liturgical musicology analysis of the attitude of domestic composers to Christian sources: themes, images, style, church singing culture in general is carried out. It is proved that the interest of the Belarusian musicians of the period of state sovereignty focuses on two Christian denominations – the Western and Eastern European; that the compositions of composers in their essence are representatives of musical art, and not of liturgical singing practice, and also, that the basis of the composer’s work is the phenomenon of interpretation. Three types of composer interpretation of church tradition are distinguished: «leverage» (transposition, re-establishment), author’s transcription and conventionality. The main conclusion of the work: the spiritual stratum of the national musical culture of modern times, presented by composer creativity, is a peculiar aesthetic euphemism between Eastern and Western Christianity, which manifests itself in various aspects.
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Achikeh, Cordis-Mariae, i Raphael Umeugochukwu. "The value of good liturgical music". UJAH: Unizik Journal of Arts and Humanities 20, nr 3 (30.10.2020): 133–50. http://dx.doi.org/10.4314/ujah.v20i3.8.
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It is disturbing that in recent times, the worshiping community in the capacity of some church ministers, composers and musicians have deviated from the specifications of liturgical music even as recommended by Vatican Council II (The Constitution of The Sacred Liturgy). Also misunderstood and misappropriated is the idea of inculturation that permits composers in different countries to write music using the language of the locality as well as the indigenous instruments. This is partly due to inadequate enlightenment and training on the part of the liturgical music practitioners on the real meaning of liturgical music. A lot ofproblems have come up from these misconceptions and misinterpretations which include but a few making noise in place of music, negligence of the core features of liturgical music ranging from little or no attention to the solemn nature of the liturgy to relevance for some unimaginable selfish interests. In remedying these challenges, the researcher has made lots of recommendations. One of them is that the practitioners of liturgical music be exposed through seminars and workshops to relevant church documents on liturgical music from time to time. It is necessary and most pertinent that the church retains its solemnity in worship as against the recent mediocrity which has come to envelop the liturgical music making practices. The great value of good liturgical music needs to be sustained.
Keywords: Liturgical Music, Gregorian Chant, Sacred Polyphony, Instrumental Music, Catholic Church, Liturgical Musician, Choir, Congregation
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Thyssen, Peter. "Grundtvig, Laub og kirkesangen". Grundtvig-Studier 45, nr 1 (1.01.1994): 229–55. http://dx.doi.org/10.7146/grs.v45i1.16148.
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Grundtvig, Laub and Church Singing.By Peter ThyssenThe article deals with the importance that Grundtvig’s hymn writing acquired for the development of church music in Denmark through the 19. and 20. centuries. At first, the lack of tunes for the hymns written by Grundtvig for his own metres, resulted in the appearance of a great number of romantic hymn tunes which became widely used in church singing all over the country through the 19. century. Compared with these new lively and romantic tunes, however, the old chorales, isorhytmical at that time, were bound to seem more and more »stiff« and »dead« when used in the church service. Inspired by the reform movements in church music, which had developed in Germany since the 1840s, Thomas Laub (1852-1927), the organist and composer, advocated a restoration of the old chorale tunes in accordance with their original melodics, rhythmics, and tempo (in his book Om kirke-sangen (On Church Singing) from 1887). After his work on the restoration of the old church tunes in the years 1888-1910, Thomas Laub embarked in earnest on the task of composing new tunes for Grundtvig’s hymns (thus, out of 100 original hymn tunes by Laub, 68 were composed for hymns by Grundtvig). Laub’s hymn tunes were written with .the old church tone. as a source of inspiration, but are equally influenced by the late romantic tone of his own age.The point then is that Laub’s work on the historical and modem mode of expression of church music can be understood as a parallel to Grundtvig’s hymns, viz. as a »renewal on the foundation of the old church« - a programme that Laub himself explains in the book Musik og kirke (Music and Church) from 1920. Owing to this »Grundtvigian programme«, Laub’s tunes have not only achieved a unique congeniality with Grundtvig’s hymns; among Danish church composers Thomas Laub is also the one who has created the largest number of original hymn tunes still in use in church services in Denmark today. Thus, modem Danish church singing has been decisively influenced by the two »learned artists«, N.F.S. Grundtvig and Thomas Laub.
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Milsom, John. "Caustun's Contrafacta". Journal of the Royal Musical Association 132, nr 1 (2007): 1–31. http://dx.doi.org/10.1093/jrma/fkl015.
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The received view of the Tudor composer Thomas Caustun is of a minor and relatively uninteresting figure. That view is adjusted, however, by the discovery among his works of contrafacta of music by Nicolas Gombert, Philippe van Wilder, Rogier Pathie and Sebastiano Festa. This article considers the reasons why Caustun made these adaptations, and why they they were published under his name, rather than those of their true composers, in John Day's anthology of Protestant church music, Mornyng and Evenyng Prayer and Communion (London, 1565).
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Michálková Slimáčková, Jana. "The Sacred and the Profane in the Organ Music of the Czech Lands in the 19th and 20th Centuries". Musicological Annual 50, nr 2 (3.04.2015): 293–98. http://dx.doi.org/10.4312/mz.50.2.293-298.
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The paper focuses on the organ music of Bohemia and Moravia the 19th and 20th centuries. It describes the situation in the area of both church music and organ building. Furthermore, several categories of organ music are dealt with. Finally, several composers are characterized as examples of these categories.
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Tregubenko, Tetiana. "UKRAINIAN CHURCH ELITE IN FORMATION OF MUSICAL CENTERS UNDER SPIRITUAL EDUCATIONAL INSTITUTIONS OF HETMANATE". Almanac of Ukrainian Studies, nr 22 (2017): 136–40. http://dx.doi.org/10.17721/2520-2626/2017.22.23.
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For a long time, the creative heritage of many singers and composers of the seventeenth and eighteenth centuries, which was created at Hetman residences, churches and monasteries remained insufficiently explored, and partly unknown. In recent decades a number of works by domestic musicologists have been published, which largely filled this gap. Works mainly concern secular music or some of the most well-known composers who wrote spiritual music. At the same time, the scope of the activities of the church musical centers remains unexplored to modern days, as are the names of many of their representatives from the monastic structure. In this article was made the attempt to find out the role of the Ukrainian church elite in formation of the musical centers of Hetmanate, as well as to reconstruct their personnel on the basis of the analysis of newly discovered archival documents and various publications. It was noted that the specifics of the formation of these musical centers was that they focused on contemporary spiritual educational institutions that were preparing the frames of composers and performers. The leading of them was the Kyiv-Mohyla Academy, which for a long period of time was the main "staff of personnel" of the time composers of spiritual music and performers of choral church singing. The organizers of the musical life at the Academy were first of all its rectors, who opened the music classes, organized student choirs and wrote musical works for them. A separate subject, which was studied at the Academy, was Kant's singing, the formation of which was facilitated by the new Paretza system of choral performance. Musical centers in Chernihiv, Kharkiv and Pereyaslav focused on collegiums initiated by local bishops and completely dependent on their personal interest. It is concluded that the majority of diocesan bishops actively promoted the development of musical education in their eparchies, some of them became founders of choral groups and authors of musical works. The Chernihiv cell, initiated by Archbishop Lazar Baranovich more than half a century earlier from Kharkiv and Pereyaslavsky, benefited from the activity of his own printing press, which published various musical works, which ensured the progress of musical art in Chernihiv region and the entire Left Bank Ukraine.
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Johnson, Bret. "London, St Pancras Parish Church: Philip Moore at 70". Tempo 67, nr 266 (październik 2013): 84–85. http://dx.doi.org/10.1017/s0040298213000983.
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Philip Moore, Organist Emeritus of York Minster was one of the main featured composers at this year's London Festival of Contemporary Church Music, now in its twelfth consecutive year. A week of concerts and services at St Pancras Church in London showcases a number of new works, and this year saw new choral pieces by Gordon Crosse, Diana Burrell and Ed Hughes (whose Chaconne for organ was composed in memory of Jonathan Harvey, who died on 4 December 2012 at the age of 73). The Festival also marked Robin Holloway's 70th birthday, with a concert of his choral works on 17 May.
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Barnett, Gregory. "Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century". Journal of the American Musicological Society 51, nr 2 (1998): 245–81. http://dx.doi.org/10.2307/831978.
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In the latter half of the seventeenth century, two composers, Giovanni Maria Bononcini and Giulio Cesare Arresti, published collections of sonatas arranged according to modal criteria. Although their conceptions of a modal system differ markedly from one another and from other modal theories of the period, Bononcini's and Arresti's common use of a particular set of eight tonalities concurs with a widespread practice among seicento sonata composers that was also widely attested by theorists. In their music, composers extended these eight tonalities to greater numbers through transpositions. This practice thus reflects an a priori conception of a tonal system based on a core set of tonalities plus transpositions of that set. This core set derives, not from the modes, but from tonalities originating in the eight psalm tones used in the Catholic offices. The significance of these psalm tone tonalities-otherwise known as church keys-cannot be underestimated: they provide a crucial link between seventeenth-century modal theory and the musical practice of that period; moreover, the particular characteristics of the psalm tones themselves explain features found in late seicento tonalities.
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Conway, Paul. "Brighton: Denis ApIvor's String Quartets Nos. 2 and 3". Tempo 58, nr 230 (październik 2004): 62. http://dx.doi.org/10.1017/s0040298204280317.
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Denis ApIvor, who died at the age of 88 on 27 May 2004, was one of the most versatile composers of his generation. Just over a month before his death, though gravely ill, he attended a New Music Brighton concert at Brighton Unitarian Church featuring the world première of his Second and Third String Quartets, given by the Kingfisher Quartet. His presence lent a special significance to the event and the image of the ailing composer, his wheelchair stationed directly at the feet of the players, experiencing the first readings of his own works is one that resonates in the memory.
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Leaver, Robin A. "Brahms's Opus 45 and German Protestant Funeral Music". Journal of Musicology 19, nr 4 (2002): 616–40. http://dx.doi.org/10.1525/jm.2002.19.4.616.
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Brahms's German Requiem stands at the end of a long line of Lutheran funerary music. Luther reworked funeral responsories into a new, totally Biblical form, and later Lutherans collected anthologies of Biblical texts on death and dying. Such sources were used by later composers, including Schüütz and Bach, to compose funeral pieces on Biblical texts together with appropriate chorales. Brahms's opus 45 is similar in that its text is made up of Biblical verses assembled by the composer, and connections may be drawn between chorale usage in this work and the composer's Protestant upbringing in Hamburg on one hand, and in his knowledge of two cantatas by Bach (BWV 21 and 27), on the other. The text and structure of the work accord with general, north German Protestantism, and the famous letter to Reinthaler, which many have taken as a demonstration of Brahms's general humanistic tendencies, shows Brahms to be standing aloof from the theological controversies of his day in favor of a basic understanding of Biblical authors. Part of the problem was that the first performance was scheduled for Good Friday in Bremen cathedral; Reinthaler, the organist, and the cathedral clergy would have preferred passion music of some kind and what Brahms gave them was something different. Brahms surely knew of the distinctive Lutheran observance of "Totensonntag," the commemoration of the dead on the last Sunday in the church year (the Sunday before Advent). There are many similarities between Brahms's Requiem and Friedrich Wilhelm Markull's Das Gedäächtnis der Entschlafen (The Remembrance of those Who Sleep) of ca. 1847. Since Markull's work is subtitled Oratorium füür die Todtenfeier am letzten Sonntage des Kirchenjahres (Oratorio for the Celebration of the Dead on the Last Sunday of the Church Year), it is possible that Brahms had the same occasion in mind when composing his German Requiem.
Rozprawy doktorskie na temat "Church music composers"
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Sander, Katherine Joan. "Johann Walter and Martin Luther, theology and music in the early lutheran church". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ28907.pdf.
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Holt, Kamia Walton. "The Sound of Utah: the Presence of Geographical Elements in Music Written About the State of Utah". Diss., CLICK HERE for online access, 1997. http://contentdm.lib.byu.edu/u?/MTGM,35377.
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Scot, Stefan Anthony. "Text and context : The provision of music and ceremonial in the services of the first Book of Common Prayer (1549)". Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297933.
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Dottori, Mauricio. "The church music of Davide Perez and Niccolo Jommelli, with especial emphasis on their funeral". Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.390892.
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Curtis, Paul Raymond, i res cand@acu edu au. "The Music of Dom Stephen Moreno, OSB: A study of its sources, chronology and context". Australian Catholic University. School of Arts and Sciences, 2006. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp162.11062008.
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Dom Stephen Moreno OSB (1889-1953) was one of Australia’s most respected and prolific composers of church music in the early twentieth century. He lived for almost fifty years in the Benedictine Community at New Norcia, WA, and composed 210 works, comprising over 1100 individual compositions and over 200 accompaniments to Gregorian chant. The majority of his output was in liturgical sacred music, including Masses, motets and Litanies, but it also included a significant quantity of secular vocal and instrumental music. Much of Moreno’s music was written for the Benedictine Community of New Norcia but he also composed liturgical music for the broader Australian church and secular music for the wider Australian community. Less than a quarter of Moreno’s music was published, and the vast majority of his output survives in manuscript at New Norcia. The purpose of the present study is to define the extent of Moreno’s output, to establish its chronology, and to examine the contexts and purposes for which he composed. This study has significantly added to and revised the findings of previous studies of Moreno’s music undertaken by Ros (1980) and Revell (1990) and supplies a revised biography. Approximately thirty-five percent of the works included in this study are identified and discussed here for the first time. Of the previously known works, Ros specifically dated less than one quarter and the present study refutes some seventy-four percent of Revell’s dates. Through the investigation of important primary sources, including the composer’s surviving correspondence and the Chronicle of the Benedictine Community, this study provides for the first time a complete chronology and contextual account of Moreno’s entire oeuvre. This has involved the cataloguing and indexing of over ten thousand pages of Moreno’s manuscripts and more than five thousand pages of his personal correspondence. This study has also identified a number of compositions unique to collections outside of New Norcia. While the primary purpose of this study has been to establish an accurate chronology and historical context for each work, the opportunity has also been taken to provide a preliminary assessment and discussion of Moreno’s musical style and compositional methods. Note: “Due to the inclusion of third party copyrighted material we are unable to mount the entire thesis. It can however be viewed at St Patrick’s Campus Library by prior arrangement.”
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Galentine, Shane Nelson. "The life and piano works of Alexander Tikhonovich Gretchaninoff (1864-1956)". Kansas State University, 2013. http://hdl.handle.net/2097/15769.
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Master of MusicSchool of Music, Theater, and Dance
Virginia Houser
Alexander Tikhonovich Gretchaninoff (1864-1956) was a prolific composer from Russia’s Romantic age who explored the art of musical writing within an extensive number of genres and forms and showed an unusually strong interest in the creation of solo piano pieces for and about children. It is important that musicians in general and pianists in particular investigate his compositions and gain an understanding of their nature and potential usefulness as teaching pieces and as works worthy of public performance. My research consisted of an examination of Gretchaninoff’s autobiography, the study of numerous secondary accounts of his life and personal analysis of piano scores written by the master. My investigation uncovered the almost hidden existence of a large number of attractive musical works which Gretchaninoff wrote for solo piano as well as insightful details concerning the circumstances and motives that inspired the master to compose within the parameters of this genre. The following pieces are performed as part of this presentation: (from Children’s Album, Op. 98) A Tale, In the Camp of the Lead Soldiers, Lead Soldiers on the March, Hobby-Horse, Nurse Is Sick, Lullaby, Little Dance, Dreadful Event, After the Ball, On a Travel Tour, The Little Would-be Hero; (from 12 Little Sketches for Children, Op. 182) Sunrise, With the Fishing Rod, On the Swing, A Country Lad; (from A Child’s Day, Op. 109) Morning Prayer, The Broken Toy, The Happy Return Home; (from The Grandfather’s Book, Op. 119) My Dear Mommy, Swallow Dance, Pussy Is Ill, On the Swing; (from Glass Beads, Op. 123) Morning Promenade, On a Bicycle, Difficult Work; (from Andrusha’s Album, Op. 133) The Dance of the Gold Fishes, My Little Dog Joujou; (from Album Leaves, Op. 139) After Walking; (from Nina’s Album, Op. 141) After Mass, Dreaming, At the Wheel; (from Arabesques, opus number in dispute) Russian Folksong, A Sad Little Story; Sonatina in F major, Op. 110, #2 – 1. Allegro giocoso, 2. Menuet (Moderato grazioso) and Trio, 3. Finale – Allegro.
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Aquilina, Frederick. "The life and music of Benigno Zerafa (1726-1804) : a mid-18th century Maltese composer of sacred music". Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250319.
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The aim of the following thesis is to provide a study of the life and music of Benigno Zerafa (1726-1804), a mid-18th-century Maltese composer of sacred music. As a model adopted in this dissertation, research on Benigno Zerafa is divided into four categories which the author chose as important points of evidence in musicology: i) biographical, historical and literary studies (based mainly on official documents, the musical documents, and the informative descriptions of performances at the Cathedral, all housed in the archives of the Cathedral Museum) dealing with the composer's life, the environment in which he was brought up and in which he worked, the liturgy and local religious life, the texts he used for his vocal works, performance practice, the reception of his music, and its performance history; these are given in chapters one, two, three and four; ii) source studies - (i) gathering the sources, (ii) identifying the composer's musical and textual handwriting, (iii) determining the authenticity of works attributed to him - involving documentary or external evidence, provenance, paper studies of handwriting, watermarks and staving (rastrography), methods of dating, etc.: these are discussed in chapter four and the thematic catalogue; iii) style analysis concerned with internal evidence deriving from the music itself, and ultimately confronting questions of eesthetics, the place of the composer in music history and, especially, his influence on the development of the Maltese Baroque style - chapters five, six and seven. Empirical methods involving analysis of motifs, phrase structure, harmony, style characteristics, texture, form and word-painting are all considered. The arguments presented demonstrate how topoi, rhetorical figures and systematic overall planning are essential features of Zerafa's works in general; iv) a thematic catalogue of Zerafa's 148 works - volumes three and four - in chronological order concludes this study; a general preface and various indexes to facilitate quick reference are also included. A critical edition of Zerafa's Z116, Nisi Dominus for soprano solo, is presented as appendix A. Other appendices (B to G) follow as aids to the main text. To the best of my knowledge (as of 31 October 2001), no critical editions, books, papers and theses on the composer have yet been published and are in the process of being published. The present author's critical edition of Z2, Messa a due cori (1743), has appeared as part-fulfilment of requirements for the M. Mus. degree (Liverpool, 1997) in a computerised version, and was performed professionally in four locations in France in 1998 under the direction of French conductor Jean-Marc Labylle . One or two dissertations on Zerafa have now appeared. A doctoral thesis by Franco Bruni (Sorbonne, 1998) entitled La Cappella musicale della Cattedrale di Malta nel diciasettesimo e diciottesimo secolo presents a detailed study of the Cappella Musicale of the Cathedral up to the 18th century; a concise biographical note on Benigno Zerafa and an analysis of watermarks of the manuscript paper used are included. There is also a brief analysis of a small number of works, followed by a general thematic catalogue of the works according to manuscript number. The aims of this thesis and the results achieved lie within the context of . the composer's life and career, and are intended to promote a better understanding of the man and his music.
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Burrows, H. J. "Choral music and the Church of England 1970-1995 : a study of selected works and composer-church relations". Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526874.
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Reid, Sr Jorim Edgar. "Marching sound machines: an autoethnography of a director of bands at an Historically Black College and University". Thesis, 2020. https://hdl.handle.net/2144/41470.
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The purpose of this dissertation was to elucidate my lived experiences as an HBCU band director as I navigated through tensions within HBCU culture, between HBCU culture and the dominant culture, and issues of inequality, and access. I chronicle my early life and influences to bring clarity and meaning to the choices and decisions made as I transitioned to becoming an HBCU student and then band director at an early age. It was my intention to use autoethnographic self-examination and personal narrative to make transparent racial inequality as it: (a) impacts the academic and musical quality of HBCU band programs, (b) raises questions regarding access to resources, and (c) elicits larger and more complex questions related to race and culture. In addition to a thorough review of my personal recollections and historical artifacts, I also sought to interview as many people as possible that had impacted me, my life, and HBCU bands in order to check my memory and perspectives. As the word got out about my project, hundreds in the HBCU community reached out wanting to participate. Of the eighty-seven persons that agreed to an interview, I was able to interview fifty-two.
I analyzed my story through the framework of "Double-Consciousness Theory" as articulated by W. E. B. Du Bois, specifically through the concepts of the veil, the color line, and twoness. The guiding question for my inquiry was: Why is the musicianship of HBCU bands praised by one culture and viewed in a mostly deficit view in another, and how did an HBCU band director navigate these tensions to lead two successful programs? The findings demonstrate that there are multiple and conflicting expectations and perceptions of HBCU band programs. By considering HBCU bands through my own experience of double-consciousness it was possible to amplify the voices of marginalized groups and provide more nuanced understandings to those who have a one-dimensional view of such band programs.
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Hardymon, Rocky D. "An Analytical Study of Selected Jazz Settings of Psalms Composed between 1958 and 2012". Diss., 2013. http://hdl.handle.net/10392/4289.
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AN ANALYTICAL STUDY OF SELECTED JAZZ
SETTINGS OF PSALMS COMPOSED
BETWEEN 1958-2012
Rocky DeWayne Hardymon, D.M.A.
The Southern Baptist Theological Seminary, 2013
Chair: Esther R. Crookshank
A trend in U. S. Protestant and Catholic churches that has gained popularity over recent decades is the use of jazz music as a means of expression in worship. The purpose of this study was to compile an analytical guide to select available jazz settings of the Psalms, published and unpublished. The methodology began with a systematic search for psalm settings fitting the chronological parameters in online databases and Christian jazz websites. Chapter 2 presents a reception history from primary sources of jazz in the church and U.S. society within the larger context of relationships between arts and the church since the Enlightenment. Primary sources include interviews with composers, correspondence, published interviews, contemporaneous newspaper reviews, and composers' liner or program notes.
Search results yielded a list of 168 pieces by sixty-one composers composed between 1958 and 2012. Of these, twenty-eight psalm settings by 24 composers were selected for analysis, 19 with text and nine instrumental settings. Chapter 3 contains biographical sketches of the composers and examines their philosophies. All but two composers were from the United States, with two European. Analysis of the psalms in Chapters 4 and 5 focused on textual and musical forms, text-music relationships in the context of the psalmic genre, and distinctive musical traits associated with particular jazz styles, which ranged from art song, rock, bossa nova, blues, and free jazz to hybrid subtypes such as jazz/rock and gospel/pop. Instrumental psalms represented eight styles including lyrical ballad, gospel fusion shuffle, Afro-Cuban swing, and post-modern bop. The conclusions summarize the significance of jazz psalms within the broader history of sacred jazz, demographic data on the jazz composers, and performance considerations for jazz psalms. Included are four appendices: 1) a list of the select jazz psalms and their composers; 2) a complete list of the 61 jazz composers and 168 psalms found; 3) a list of all 168 Psalm settings found in numerical order; 4) a list of churches in North America that regularly offer jazz music.
Książki na temat "Church music composers"
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Humphreys, Maggie. Dictionary of composers for the Church in Great Britain and Ireland. London: Mansell, 1997.
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Milwaukee Symposia for Church Composers. The Milwaukee Symposia for Church Composers: A ten-year report, July 9, 1992. Washington, D.C: National Association of Pastoral Musicians, 1992.
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John Stainer: A life in music. Woodbridge, UK: Boydell Press, 2007.
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Knapp, Ernst. Kirchenmusik Südtirols: Südtiroler Kirchenmusikkomponisten im musikgeschichtlichen Zusammenhang. Bozen: Verlagsanstalt Athesia, 1993.
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Knapp, Ernst. Kirchenmusik Südtirols: Ergänzungsband : Südtiroler Kirchenmusikkomponisten im musikgeschichtlichen Zusammenhang. Brixen: A. Weger, 1997.
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Hanʼguk kyohoe ŭmak chakkokka ŭi segye: 17-in ŭi chakkokka rŭl mannada. Sŏul-si: Yesol, 2006.
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Die venezianische Kirchenmusik von Baldassare Galuppi. Frankfurt am Main: P. Lang, 2008.
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Burde, Ines. Die venezianische Kirchenmusik von Baldassare Galuppi. Frankfurt am Main: P. Lang, 2008.
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Pʻitēchean, Grigor. Kʻristapʻor Kara-Murza: Khristafor Kara-Murza = Kristapor Cara-Murza. Erewan: EPK hratarakchʻutʻyun, 2013.
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Matei, Zaharia. Profesorul, protopsaltul și compozitorul Anton Pann. București: Basilica, 2014.
Znajdź pełny tekst źródłaCzęści książek na temat "Church music composers"
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Preston, Katherine K. "Sacred Music". W George Frederick Bristow, 66–76. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0006.
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Bristow served as a church organist and choir director for most of his professional life, in almost a dozen different churches (1840s-1890s). The type of music performed in churches on holy days is readily available; what was heard on regular Sundays is mostly unknown. A 1906 publication about music at Manhattan’s Trinity Church, however, is instructive about both types of services. Bristow programmed compositions by both European and American composers, especially on holy days; this indicates his continued support for fellow composers. He wrote numerous sacred works for organ (interludes, voluntaries, various pieces) and voice (anthems, sentences, services, hymns, songs, offertories, and oratorios).
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"The Dilemma of Contemporary Composers of Church Music". W Singing the Church's Song, 199–210. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvzcz4kn.18.
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Todd, R. Larry. "From the Church to the Concert Hall". W Theology, Music, and Modernity, 109–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0006.
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‘Every room in which Bach is performed is transformed into a church.’ We do not know the context for this remark attributed to Mendelssohn (sometime before March 1835), but it reflects one significant thread in the nineteenth-century ‘emancipation of music’, namely the revival of the music of J.S. Bach, and his transformation from a largely forgotten Leipzig church musician into a dominant, canonic figure in European concert music. This chapter revisits some familiar aspects of Mendelssohn’s revival of Bach’s music, for example the seminal revival of the St. Matthew Passion in 1829, and Mendelssohn’s spiritual trajectory from Judaism to Christianity, and then explores ways in which his own music tested boundaries between sacred music for performance in church versus the concert hall. One way in which Mendelssohn allied his music with the spiritual was through the use of imaginary, ‘free’ chorales—that is, newly composed, textless chorale melodies that he inserted into a number of his purely instrumental compositions as a means of underscoring his newly acquired Protestant faith. The chapter concludes by exploring the significance of this device for several other nineteenth-century composers who similarly invoked the divine and sacred in their concert music
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Bradley, Ian. "1852‒1861". W Arthur Sullivan, 25–51. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0003.
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Arthur Sullivan’s musical formation was effected during his teenage years in three institutions: the Chapel Royal, where he was a chorister between the ages of 12 and 15, the Royal Academy of Music, where he studied from 14 to 16 as the first Mendelssohn scholar, and the Conservatory of Music in Leipzig which he attended from the age of 16 until just before his 19th birthday. Each of these places had a considerable impact on him, deepening his childhood love of church music and laying the foundations of his later career as a composer and conductor of sacred works. His time at the Chapel Royal also played a significant role in his spiritual development, owing partly to the strong influence of Thomas Helmore, the master of the choristers. In his teens, Sullivan composed several anthems and got to know many of the leading church musicians of the day. His training in church music is compared to the similar grounding in church and religious music experienced by several of the most prominent Continental European composers of operetta in the mid-nineteenth century.
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Gjerdingen, Robert O. "Masters Take Up the Challenge". W Child Composers in the Old Conservatories, 33–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0003.
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The early conservatories were trade schools. Over a period of about ten years they needed to transform orphans, then thought of as social outcasts, into skilled craftsmen who could earn a productive income and become self-supporting. So they developed practical methods to give boys the skills needed to become professional church organists, court composers, opera singers, orchestral musicians, or choir directors. The chapter surveys the historically most important music masters in Italy and the types of innovative lessons that they developed.
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Kendrick, Robert L. "Music and Its Affects". W Fruits of the Cross, 119–51. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297579.003.0007.
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In order to convey the sometimes abstruse theological points of the texts, along with their emotional charge, librettists and composers had recourse to a variety of metrical and formal designs, the former via the alternation among poetic lines, and the latter by means of local shifts in pitch center, here considered using seventeenth-century tonal theory (“church-keys/tuoni”) as a heuristic frame. In this context, laments by various characters were marked by devices not familiar from the lexicon of contemporary Venetian opera (descending bass patterns), but rather by surprising metric or tonal changes. Many of these are evident from a 1684 piece that portrayed the power of words and tears in lamenting Christ, Il Segno della humana salute.
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Cuillé, Tili Boon. "The Harmony of Nature in Paul et Virginie". W Divining Nature, 142–96. Stanford University Press, 2020. http://dx.doi.org/10.11126/stanford/9781503613362.003.0004.
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Rousseau’s protégé, Jacques-Henri Bernardin de Saint-Pierre, conceived of his Études de la nature as a complement to Buffon’s Histoire naturelle. Chapter 3 traces the generation of his novel Paul et Virginie from his travelogue to its publication as the fourth book of his natural history. Bernard de Lacépède’s Poétique de la musique provides a missing link between Bernardin’s novel and its operatic adaptation by Jean-François Le Sueur. Reading Bernardin’s natural history, full of advice for artists, alongside Le Sueur’s essays on church music, full of tips for composers, reveals that author and composer both sustained and sought to foster mixed emotions in response to the spectacle of nature that led to the “sentiment of divinity.” The chapter concludes with a consideration of French cathedrals, redesigned along lines reminiscent of the opera and the natural history museum in the course of the century.
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Sprigge, Martha. "The Socialist Cemetery". W Socialist Laments, 75–131. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546321.003.0003.
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Chapter 2 charts the development of new mourning rites in East Germany, focusing on the role that music played in these ceremonies. Death rituals articulated a new death culture for the socialist state. This chapter examines three aspects of East German death culture: the reestablishment of ceremonies to honor communist heroes from the Weimar Republic, state burials for East German politicians, and manuals published for funeral planning intended for the general public. Visually and rhetorically, state ceremonies were political displays that marginalized the emotional needs of the mourning community. But the music in these services intoned the new country’s connections to customs that the ruling party were explicitly attempting to displace: the Nazis’ heroic burial customs and the mourning rituals of the Lutheran church. In early efforts to fashion a socialist sepulchral culture across multiple artforms, a gap emerged between political ideology and musical reality that allowed composers, performers, and audiences to enact the work of mourning through music.
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Shumilina, O. A. "ORTHODOX CHURCH MUSIC IN THE CREATIVE WORK OF ITALIAN COMPOSERS OF THE SECOND HALF OF THE XVIII CENTURY AND ITS RECEPTION IN SACRED CONCERTS OF UKRAINIAN COMPOSERS". W CULTURAL AND ARTS STUDIES OF NATIONAL ACADEMY OF CULTURE AND ARTS MANAGEMENT, 183–200. Liha-Pres, 2019. http://dx.doi.org/10.36059/978-966-397-157-5/183-200.
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"A Composer for the Church". W Music in Seventeenth-Century Naples, 95–153. Routledge, 2017. http://dx.doi.org/10.4324/9781315090856-4.
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