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Artykuły w czasopismach na temat "Church music composition"
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Chircev, Elena. "Romanian Music of Byzantine Tradition Between 1918 and 2018". Artes. Journal of Musicology 19, nr 1 (1.03.2019): 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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Irving, John. "John Blitheman's keyboard plainsongs: another ‘kind’ of composition?" Plainsong and Medieval Music 3, nr 2 (październik 1994): 185–93. http://dx.doi.org/10.1017/s0961137100000735.
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The foregoing quotation from an epitaph in the church of St Nicholas Olave, Queenhithe, summarizes most of what we know about the career of John Blitheman (c. 1525–91), one of the composers of keyboard plainsong settings represented in the so-called Mulliner Book, compiled probably in London sometime between the mid-1550s and about 1570. All but one of Blitheman's surviving keyboard works is contained in this manuscript.
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Sanga, Imani. "Composition Processes in Popular Church Music in Dar Es Salaam, Tanzania". Ethnomusicology Forum 15, nr 2 (listopad 2006): 247–71. http://dx.doi.org/10.1080/17411910600915406.
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Schiltz, K. "Church and chamber: the influence of acoustics on musical composition and performance". Early Music 31, nr 1 (1.02.2003): 64–80. http://dx.doi.org/10.1093/em/31.1.64.
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Hillsman, Walter. "Choirboys and Choirgirls in the Victorian Church of England". Studies in Church History 31 (1994): 447–60. http://dx.doi.org/10.1017/s0424208400013048.
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Although the roles played by children in recent centuries in English church music have varied enormously, it is probably fair to say that choirs with at least some boys’ or girls’ voices have proven more important in musical, ecclesiastical, and social developments than those with none. The most obvious example of this is the choir of men and boys, which has constituted a conspicuous feature of cathedral and some collegiate music since the Middle Ages, except, of course, during the Commonwealth. As women and girls have until very recently been regarded as inappropriate in such music, it is difficult to imagine that the breadth of achievement in musical composition and performance standards associated with these choirs would have been possible if they had contained only men and no boys.
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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle". History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.
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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.
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Peno, Vesna. "The traditional and modern in church music: A study in canon and creativity". Muzikologija, nr 6 (2006): 233–50. http://dx.doi.org/10.2298/muz0606233p.
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Definitions of the terms "traditional" and "modern", relating to the chanting tradition of the Eastern Church, sprang from research into so-called kalophony ? a specific compositional method that established melismatic melody. Despite differing academic opinions about the origins of this melody in the liturgical practice of the Eastern Church, it is evident that very embellished and elaborate kalophonic melodies appeared frequently from the mid-13th century onwards. The compositional treatment of various genres of these melodies began historically with partial respect for the established hymnographic text. This was followed by a more liberal arrangement, ending in a total departure from any textual base (kratema). The fact that the melody in melismatic mode superseded the text suggests that kalophony represented a certain kind of modernity. Even though musical manuscripts in neumatic notation had no written rules about methods of composition or how to balance tones and words, in the tradition of the Easternchanting practice, melody was always recognized as a helpful addition, an exegesis of the textus receptus. In order to fully comprehend the introduction of this "new sound" and "new style", this study focuses on the work of a major protagonist of them, a monk from the Great Lavra, blessed John Koukouzeles. I consider the following questions: 1) The purpose and function of chant in the art of Byzantium in general 2) The role of the composer/ artist and his creative freedom 3) Evaluating criteria for church-related arts/composition 4) Criteria which immortalized or buried artwork/composition of the time Allowing for what possibly motivated John Koukouzeles and his contemporaries to compose kalophonic melodies or to kalophonically modify old, traditional melodies this study focuses on the effects that hesychasm had on the chanting practice of the time. Considering the theological validation of kalophonic modifications of some liturgical hymns, an attempt was made to interpret the introduction of kalophony as a reflection of prevailing tendencies in Byzantium church life at the dawn of its demise, which affected all areas of artistic production. One of the leading hesychast theologians of the time St. Gregory of Palama (who shared at one point monastic community with St. John Koukouzeles in the Great Lavra) questioned whether continuous prayer simultaneous to breathing, a practice taught by hecychasts, could influence composers in their chanted prayer. Did they too want to prove that chanting which acts (in time), as continual prayer, leads to unity with God? Did the composers seek melodies that would express the apophatic, melodies that no longer needed words? Could it be that the result of their creativity (kalophony) replaced the old poetics of the chanting art with the newly discovered beauty of their sound? In this study, the questions of whether the 14th century found its Ars Nova in Byzantine named manuscripts and whether these new compositional principles preceded modernism, or were, as implied by the aforementioned questions, a reinforcement of the tradition with a new means of expression, is answered by the fact that the Eastern Church included John Koukouzeles in the assembly of the saints. Thus, his opus, albeit new was recognized in the foundational spirit, and as such, endures through the history on its way to Eshaton.
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HUGHES, DAVID G. "The paschal alleluia in medieval France". Plainsong and Medieval Music 14, nr 1 (kwiecień 2005): 11–57. http://dx.doi.org/10.1017/s0961137105000197.
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The alleluia was the last proper chant of the Mass to be standardized. Through the twelfth century and beyond, different churches assigned different alleluias to the same Masses, and the composition of new alleluia chants flourished throughout the latter Middle Ages. The Masses from Easter to the octave of Pentecost witness this. A collation of ca. 200 manuscripts demonstrates that identical series of chants are to be found only in sources emanating from the same church (or churches in the same city). Most of the alleluia chants from the eleventh century onward have New Testament or non-scriptural texts, as opposed to the psalmic texts of the earlier post-Pentecostal alleluias. The musical style is varied, ranging from the richly melismatic manner traditionally associated with the alleluia to much more modest melodies with few or no large melismas. A number of the latter can be associated with the reforms of Guillaume de Volpiano at Dijon and in Normandy in the years after 1000.
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Dănilă, Irina Zamfira. "Constantin Catrina – a life in the service of the Romanian music". Artes. Journal of Musicology 17, nr 1 (1.01.2018): 102–13. http://dx.doi.org/10.2478/ajm-2018-0005.
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Abstract A complex personality, with multifarious concerns in research as well as in composition, Constantin Catrina (1933-2013) was active as a folklorist, historian, musicologist, Byzantinologist, composer; he dedicated his entire life to the research of the Romanian music, viewed in all its manifold manifestations: folklore music, Orthodox church music of the Byzantine tradition as well as lay music. His investigations were directed mainly towards the area of Brasov and its surroundings. He diligently studied documents about the musical life of the city in archives and libraries, discovered interesting information about the cultural personalities of this old Transylvanian city, with rich cultural traditions and diverse influences. He also managed to reveal their connections with other cultural centres in Romania. He was a pioneer in the field of Byzantinology, filling a space left empty in the history of Byzantine music by emphasizing the activity of an important centre of church music teaching and education in central Transylvania – the School of “Saint Nicholas” Church in Scheii Brasovului between the 15th and 20th centuries. In terms of folklore research, he investigated the areas related to Brasov and collected a rich ethnographic, literary and musical material which he published in reputable collections. In all three lines of activity, he wrote and published an impressive number of articles in the local and specialised national press, thus proving to have a genuine passion for research and for the dissemination of its results to the specialists and the general public.
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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti". Nova prisutnost XVII, nr 2 (9.07.2019): 285. http://dx.doi.org/10.31192/np.17.2.3.
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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensamble, composing procedures and use of musical expression elements, their purpose, and finally, their artistic range and significance. Created at the time of predominance of small, chamber music forms, especially solo songs, piano miniatures and reveilles, Livadić’s masses, among a multitude of works of the composers of the time, and especially within the Croatian church musical heritage, mean the continuity of a multi-Century tradition of that music genre. While Missa croatica pastoralis is related to the pastoral (folk) one voice masses with the organ accompaniment (with inserted text/extensions of the Kajkavian dialect), the concerto vocal-orchestral Missa in C, with its musical features and its base on the international music vocabulary, manifests a compound of Classicist simplicity and early Romantic lyricism, representing the essence of Livadić’s creativity in the area of sacral music.
Rozprawy doktorskie na temat "Church music composition"
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McKern, Brett M. "The compositions of Brett M. McKern to the greater glory of God /". Access electronically, 2005. http://ro.uow.edu.au/theses/289.
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Donkin, Emma J. "It is Finished: A Tenebrae Cantata". University of Akron / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=akron1619702762401099.
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Way, Anthony David, i res cand@acu edu au. "Lift Up Your Hearts:A Musico-liturgical Study of the Eucharistic Prayer of the Roman Rite". Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp59.25092005.
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It is a well established fact that the practice of the eucharistic prayer in the roman, rite is seriously underdeveloped. This survey of complete or partially through -composed settings of the eucharistic prayer attempts to shed some light on why and how composers have responded to the wide-spread opinion that the eucharistic prayer is rarely experienced as the high point of the eucharistic celebration as it was intended. Divided into two parts, the study initially considers the official aims and norms of the post-conciliar liturgy, both in general and as they pertain to the eucharistic prayer, noting some tension between the aims and their realisation. Three broad themes are identified for the entire work: ritual structure, the role of music and participation. The texts of the eucharistic prayers are then discussed to see how the official expectations are realised. A survey of the theoretical writings on rnusic and the eucharistic prayer concludes the first part. The second part focuses on over 100 musical settings, both published and unpublished d the eucharistic prayer. After offering a general chronological overview of the music, noting its forces and general characteristics, the music is scrutinised to see whether its various parts are celebrated or submerged by music, the broader shape of the compositions is examined and then a discussion concerning participation issues follows. The use of tabulated data aids the discussion. While acknowledging that there are many ways to evaluate the usefulness of such compositions and that this study does not touch on their actual reception and performance, it is hoped the current work will offer some insights into the variety of existing responses to the challenge of the setting the eucharistic prayer and offer some suggestions as to how this important work may continue.
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Grech, Joseph. "Music in nineteenth-century Malta : traditions of composition and performance at the church in Gozo, with a catalogue of works". Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/51299/.
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Gozo is a small island within the Maltese Archipelago. Its main cathedral, located within the fortified citadel in Victoria, contains an extensive archive of sacred music, mostly from the nineteenth century. This resource has never before been subject to scholarly enquiry. Indeed, until my research, the archive was not even adequately catalogued. The initial impetus for this dissertation was my MPhil thesis, in which I compiled a more catalogue based on a basic inventory of the music manuscripts. Although it provided an important tool for scholars to gain access to the archive, it needed further fine-tuning. In this dissertation, I wanted to complete a significantly expanded and enhanced catalogue of manuscripts and to shed further light on the Gozitan music traditions, on the composers and performers who worked at the cathedral, and on the functions of sacred music there. Most especially, I aimed to transcribe some of the scores found in the archive to encourage performances of these forgotten works and to assist future scholars. In the opening two chapters, I investigate the historic, social, and cultural aspects of music making in Gozo during the nineteenth century, in particular for the main feasts and functions celebrated at the Gozo Cathedral. To establish a foundation for the Gozitan tradition, in Chapter 4 I explore the life of Maltese composer Francesco Azopardi, who returned after study in Naples and quickly established himself as a leading figure. A score of one of his masses performed at the Gozo cathedral is included, together with critical commentary and editorial notes. In Chapters 5, I turn to two native Gozitan composers, Vincenzo Bondì and Adrian Lanzon. To study their works and to see if features of a ‘Gozitan’ style could be determined, in distinction to music from mainland Malta, I transcribed and edited representative examples of their sacred music. Again, these are supported by critical commentaries and editorial notes. The dissertation concludes with a comprehensive catalogue of music compositions at the Gozo Cathedral Music Archive. It is hoped that making this material available will foster further interest in the music history of Gozo in the nineteenth century.
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Alford, Lenore Audrey 1968. "Able fairy : the feminine aesthetic in the compositions of Rolande Falcinelli". 2008. http://hdl.handle.net/2152/18011.
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This study links patriarchal Catholic Church culture and feminist studies in musicology to reveal the multi-faceted opus and career of Rolande Falcinelli, 1920-2006. Organist, composer, and pedagogue Rolande Falcinelli was the first woman to be named titular over a prestigious organ console in Paris, that of the Sacré-Coeur Basilica, in 1945; she was also a renowned organ pedagogue at the Paris Conservatory for over thirty years. Yet her rich legacy of compositions remains largely unknown. This paper explores the significance of her entrance into liturgical creative work in the Catholic Church by showing the enormous force of historical repression against women in this context. Through examples ranging from Hildegard in the 11th century to Jeanne Demessieux in the 20th, it shows how the model and persona of the nun-organist has been a tacit lifestyle requirement of women organists in the Catholic Church, and how Falcinelli’s failure to adhere to that model affected her liturgical career. Next, it presents Falcinelli’s impressive body of compositions and shows examples of feminine coded material which appear throughout her opus, both subtly and overtly. Invoking studies by McClary, Citron, Epstein, Cusick, and others, this study includes a short history of gender studies in musicology, then places Falcinelli’s opus in the context of current thought on the feminine aesthetic in music.text
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Lin, Chih-Chieh, i 林至潔. "《The Beginning of the Hope》Worship Music in Christian Church as a Creative Source for My Musical Compositions". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/zh7bjm.
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Tung, Chien-Lung, i 佟建隆. "The Trend of Worship Music Composition in Chinese Protestant Churches: A Case Study of “Stream of Praise”". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/w669eq.
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碩士國立臺北藝術大學
音樂學研究所
102
The Christian worship music in Psalm showed how the gentile musical instrument and secular tone which impurity, were sanctified for worship God’s purpose. For the function of worship liturgy made the music sanctify. Since from the Old Testament to the early church, from the Middle Ages of Gregory time, through the Renaissance, the Reformation, until the Religion Revival movements in Twentieth century. For the cross-fertilization of secular and ecclesiastical styles is continuing acculturation. Since the half of twentieth century, the acoustic instrument such as piano and organ in church was replaced by using the electric guitar and synthesizer, the plug-in instrument which is plug in the popular musical culture. The worship music in European and Americans’ protestant churches by absorbing the style of rock and roll, jazz, hip-hop and techno music, in developing the popular music style, worship and praise. The culture meaning of popular music styles was transformed from negative to positive, from entertained secular music to worship service. The phenomenon of the cross-fertilization of cultures is more frequently by the mass media and the net. The Christian worship music in Taiwan’s church also been effected by the wave of the culture. This article will be the case of ‘Stream of Praise’, which found since in 1995, composed the worship songs for Chinese protestant church. By studying twenty-two albums, to analysis how the element of popular music adopted in the song arrangement, and how the composer to express ones experience in faith so that make the songs easy to learn and sing for the congregation in the worship service. The study is aim to find out how the American popular music culture, where developed from African culture affected and acculturated the trend of the composition.
Książki na temat "Church music composition"
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Yin yue chuang zuo zai Aomen. Aomen: Aomen ri bao chu ban she, 2007.
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Kügle, Karl. The manuscript Ivrea, Biblioteca capitolare 115: Studies in the transmission and composition of Ars Nova polyphony. Ottawa, Canada: Institute of Mediaeval Music, 1997.
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Planyavsky, Peter. Moritz Reger und andere Schrägheiten. Sankt Augustin: Dr. J. Butz, 2005.
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Konet︠s︡ vremeni kompozitorov. Moskva: Russkiĭ putʹ, 2002.
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Fann al-tasbīḥ. [Cairo?]: al-Farīq, 1998.
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The German choral church compositions of Johann David Heinichen, 1683-1729. New York: P. Lang, 1990.
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Cooper, Timothy G. Church music in nineteenth-century Canada as represented by the choral compositions of John Medley. Ann Arbor, Mich: University Microfilms International, 1989.
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Felipe Gorriti, compositor, maestro de capilla y organista. Pamplona: Gobierno de Navarra, 2011.
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Shaw, Martin. Principles of Church Music Composition. Library Reprints, 2001.
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Messiah: The composition and afterlife of Handel's masterpiece. New York, NY: Basic Books, 2017.
Znajdź pełny tekst źródłaCzęści książek na temat "Church music composition"
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Schulenberg, David. "Bach the Music Director". W Bach, 214–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0011.
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At Leipzig Bach held a double position as cantor in the St. Thomas School and music director for the city as a whole. The first was primarily educational; the second included not only composition of cantatas for the two main churches but oversight of all music in the city. This chapter examines Bach’s official work as cantor and music director as well as his growing frustration and conflicts in those capacities (as evidenced in his “Entwurf”)—and the resulting shift toward greater participation in secular music making with the Collegium Musicum. After describing his routines for producing some 150 surviving church cantatas from this period, the chapter examines selected examples, including BWV 105, 78, 103, 56, 82, 51, and 140. Also discussed are secular works, including BWV 201 and the Coffee Cantata, and the motets.
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Townsend, Peter. "Musical Development Assisted by Technology". W The Evolution of Music through Culture and Science, 17–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0002.
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In Europe, the first millennium life and music were tightly controlled by religion. Instruments were limited, with major differences between folk music for the masses, the aristocracy, and the church. Much early music was just a single line sung in unison. Progressions to several lines, chords, and the complexity of polyphony developed in parallel with written works and printing of religious and secular music. This liberating feature stimulated a wide range of new types of composition. By around 1600, there was an Italian explosion into opera and a major demand for secular music. Mathematicians devised a scheme of equal temperament tuning, which replaced the earlier ‘natural’ musical scales and this enabled keyboard instruments to play in any key. Low-cost printed music was widely available. Despite the volume of compositions, a relatively small fraction has survived as performance music in the present day and the reasons for this are mentioned.
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Andemicael, Awet. "The Theology of Richard Allen’s Musical Worship". W Theology, Music, and Modernity, 260–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0013.
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This chapter examines the role music may have played in Bishop Richard Allen’s struggle for African-American liberation from slavery, and empowerment as full participants in church and state affairs. It begins with a broad survey of music in American and British abolitionist efforts in the late eighteenth and early nineteenth centuries, including two hymns of Allen’s own composition, to provide context for Allen’s engagement with music. In comparison to such protest songs, the hymns Allen selected for his hymnbooks were not overtly political. Nevertheless, the theology of music they represented resonated with socio-political significance, coalescing around three key themes: musical worship as (a) a means for conversion and a telos for the Christian life; (b) a bridge between heaven and earth; and (c) a reflection of, and aide to, the formation of community and ecclesial unity.
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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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Graham, Sandra Jean. "The Folk Spiritual". W Spirituals and the Birth of a Black Entertainment Industry. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041631.003.0001.
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Spirituals are religious folk songs created by African Americans in the early nineteenth century. This chapter defines folk spirituals as orally transmitted songs with variable texts and melodies, a typically responsorial structure (call and response), textual and melodic repetition, typically gapped scales, and an ambiguous approach to pitch in performance. The texts tend to focus on crossing over into the heavenly afterlife, and performances encourage communal participation. As folk music, the performance of each spiritual is unique and improvisatory. This chapter describes traits of folk spirituals and methods of composition, surveys secondary literature on its origins in the black church and the camp meeting, and recounts the earliest efforts to transcribe spirituals.
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Jacquemin, Christian, Rami Ajaj, Sylvain Le Beux, Christophe d’Alessandro, Markus Noisternig, Brian F. G. Katz i Bertrand Planes. "Organ Augmented Reality". W Innovative Design and Creation of Visual Interfaces, 131–47. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0285-4.ch010.
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This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the listeners had the impression of being inside the augmented instrument. The graphical architecture of the installation is based on acoustic analysis, mapping from sound levels to synchronous graphics through visual calibration, real-time multi-layer graphical composition and animation. The ORA project is a new approach to musical instrument augmentation that combines enhanced instrument legibility and enhanced artistic content.
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Stokes, Laura K. T. "Mendelssohn’s Deutsche Liturgie in the Context of the Prussian Agende of 1829". W Rethinking Mendelssohn, 346–75. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611781.003.0016.
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Felix Mendelssohn’s 1846 setting of the Deutsche Liturgie is among the least understood of his sacred compositions. Far from being an isolated instance of music intended for the liturgy of the Prussian Union Church, Mendelssohn’s work participates in and responds to a tradition of such settings that can be traced back to the 1829 Prussian Agende, whose Musik-Anhang was compiled by Mendelssohn’s teacher Carl Friedrich Zelter. A comparison of Mendelssohn’s setting with those composed by Eduard Grell and Wilhelm Taubert offers a context for reappraising Mendelssohn’s sacred music in light of the historicist values of mid-nineteenth-century Berlin and for nuancing our understanding of Mendelssohn’s aesthetics, creative choices, and intellectual approach to sacred music.
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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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Schulenberg, David. "Bach the Organist". W Bach, 43–72. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0005.
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Bach’s duties as a Lutheran church organist included “preluding” on chorale (hymn) melodies and maintaining instruments. At Arnstadt Bach must also have been expected to accompany singers both at court and in church, and during these years he also carried out organ “tests.” It is unknown whether he wrote any vocal compositions at Arnstadt, but he doubtless wrote much keyboard music and developed his organ technique during these years. Compositions examined in this chapter include chorale preludes and praeludia (preludes and fugues), as well as the great Passacaglia for organ and several vocal works (cantatas) probably performed at Mühlhausen, including the so-called Actus tragicus.
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Schulenberg, David. "Bach the Concertmaster". W Bach, 92–129. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0007.
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Bach’s title as concertmaster was new in the early eighteenth century; at Weimar it implied direction of the court music ensemble, at least in the new vocal works that Bach was now expected to produce every four weeks. Beginning in 1714 he composed several dozen church cantatas on a regular basis, including BWV 182, 12, and 31. These were preceded by a handful of significant vocal works, among them the “Hunt Cantata” (BWV 208). But the greatest number of compositions from this period are for organ and keyboard, including the “Great Eighteen” chorales, the “Dorian” toccata and fugue, transcriptions of concertos, and the Chromatic Fantasia, all discussed in this chapter. Also considered is the influence of Telemann on Bach and his compositions.