Gotowe bibliografie tematyczne / Liturgical music

Gotowa bibliografia na temat „Liturgical music”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 21 lutego 2023

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Artykuły w czasopismach na temat "Liturgical music"

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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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Love, Cyprian. "Music as Liturgical Revelation". Irish Theological Quarterly 69, nr 3 (wrzesień 2004): 225–38. http://dx.doi.org/10.1177/002114000406900302.

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Sihombing, Adison Adrianus. "Music in The Liturgy of The Catholic Community in Jakarta, Indonesia". Al-Albab 9, nr 1 (8.06.2020): 3–18. http://dx.doi.org/10.24260/alalbab.v9i1.1542.

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This article discusses music in the Catholic liturgy in Jakarta, Indonesia in the postmodern era within the context of the autonomy of the Catholic Church. The Indonesian Catholic Church is an independent and autonomous church where liturgical music is a form of original artistic expression. However, in practice, the majority of Catholics in Indonesia view the liturgical celebration as uninteresting and dull. Conversely, pop music has increasingly influenced liturgical music. This reality is discussed and analyzed specifically in regards to liturgical music that experiences contextual data inference, especially in the specific cultural contexts of the community. The data analysis shows, in perception of Catholics in Jakarta, the role of liturgical music in worship is not homogeneous, but rather depends on the educational background, attention from Pastors of the Parish, cultural factors, and individual past experiences. For the most part, the level of understanding regarding the nature and important position of liturgical music in religious holy celebrations is low. Most consider that all music is the same and can therefore be used in the liturgy. Music is considered only a complement to enhance religious celebrations. In this context, the government and the Indonesian Catholic Church established the Catholic Church Choir Development Institute (LP3K) as a forum for fostering Catholics in Indonesia in the liturgical field and discussing issues related to music. This article confirms that the position of the liturgical music is crucial and has an irreplaceable significance in the liturgy, and the two are inextricably woven to each other.
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Clucas, Humphrey. "Liturgical Bumps". Musical Times 133, nr 1787 (styczeń 1992): 7. http://dx.doi.org/10.2307/966227.

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Luff, Alan. "Liturgical Music for the 1990s". Musical Times 132, nr 1785 (listopad 1991): 578. http://dx.doi.org/10.2307/966221.

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Roederer, Charlotte, i Kathleen E. Nelson. "Medieval Liturgical Music of Zamora". Notes 53, nr 4 (czerwiec 1997): 1150. http://dx.doi.org/10.2307/899464.

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Haggh, Barbara. "Liturgical music in medieval England". Early Music XXII, nr 2 (maj 1994): 325–28. http://dx.doi.org/10.1093/earlyj/xxii.2.325.

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Paucker, Günther Michael. "Liturgical chant bibliography 6". Plainsong and Medieval Music 6, nr 2 (październik 1997): 151–74. http://dx.doi.org/10.1017/s0961137100001339.

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From 1992 to 1996 the Liturgical chant bibliography was compiled by Peter Jeffery. His new duties as professor of music at Princeton University will prevent him from continuing his valuable annual listing of chant scholarship. The new author of the bibliography and the editors of Plainsong & Medieval Music would like to take this opportunity to thank him for his unique contribution to this journal over the past four years.
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Jeffery, Peter. "Liturgical chant bibliography". Plainsong and Medieval Music 1, nr 2 (październik 1992): 175–96. http://dx.doi.org/10.1017/s0961137100001765.

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The critical study of medieval chant, which began in the mid-nineteenth century, is one of the oldest of the disciplines that coalesced into modern musicology. It is also one of the most international, for liturgical chant traditions represent the earliest preserved musical heritage of a great many different countries that are heirs to the medieval Latin and Byzantine worlds and their satellite cultures, ranging from Finland to Ethiopia, from Iceland all the way to southern India. In more recent times the knowledge of these traditions, particularly Gregorian and Byzantine chant, has spread to every continent as Western religious, musical, and educational traditions have been introduced throughout the world. Chant studies, therefore, are being pursued all over the globe, by hundreds of scholars writing in dozens of languages and utilizing countless different approaches – scholars who also desire the benefits of being in better contact with each other. It is to help keep track of these many independent scholarly efforts that the Liturgical Chant Bibliography is being published here, as the successor to the Liturgical Chant Newsletter. Future instalments will appear each year in the second issue of Plainsong & Medieval Music. All chant publications likely to be of interest to scholars are eligible for inclusion, provided (1) they have actually been published and (2) I have been able to see a copy, or have at least received complete bibliographical information (including author, title, publisher, date, page numbers).
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Marks, Essica. "Music, History, and Culture in Sephardi Jewish Prayer Chanting". Religions 12, nr 9 (30.08.2021): 700. http://dx.doi.org/10.3390/rel12090700.

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This article presents the study of a Jewish liturgical genre that is performed in main sections of Jewish prayer services. This liturgical genre is called “prayer chanting”. The term refers to the musical performance by the cantor of the prose texts in Jewish prayer services. The genre of prayer chanting characterizes most Jewish liturgical traditions, and its central characteristic is a close attachment of the musical structure to the structure of the text. The article will examine musical, cultural, and historical characteristics of prayer chanting of two Sephardi Jewish traditions and will explain how this liturgical genre reflects historical and cultural features related to these liturgical traditions. The study presented here is based on field work that includes recordings of prayer and interviews of well-known cantors of the two traditions as well as observations in synagogue of the two liturgical traditions.
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Rozprawy doktorskie na temat "Liturgical music"

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Kinder, Patrick J. "God's instrument of praise liturgical and para-liturgical music /". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Koo, Gregory J. "The meaning of liturgical music". Theological Research Exchange Network (TREN), 1992. http://www.tren.com.

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Nelson, Kathleen E. "Medieval liturgical music of Zamora /". Ottawa : The Institute of Mediaeval music, 1996. http://catalogue.bnf.fr/ark:/12148/cb369600647.

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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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Miller, Timothy. "Benjamin Britten's liturgical music and its place in the Anglican Church music tradition". Thesis, University of Surrey, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583252.

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This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which function well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer's musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten's creative character; it casts additional light on the composer's technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten's commitment to the idea of a composer serving society. The importance of church-going in Britten's early life and the influence it exerted on his music for the church is considered. It is argued that 'Tradition' is a key concept in the music of the Anglican Church. The presentation of an adumbration of the Church of England's history shows what the totems of this Tradition are and that they are clearly recognisable in the music of composers at the heart of it. It is shown that Britten both respected and fed off Tradition and that his liturgical music clearly relates to the Anglican Church Music Tradition in a specific way. This study concludes that Britten's liturgical music can most intelligently be viewed in relation to a specific branch of the Tradition: the Parish Church Musical Tradition. It is a context that has not previously been clearly recognised in previous critical studies and this has therefore led, it is argued, to an insufficient understanding of its particular aesthetic characteristics.
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Darby, Rosemarie. "The liturgical music of the Chiesa Nuova, Rome (1575-1644)". Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/the-liturgical-music-of-the-chiesa-nuova-rome-15751644(eac12ff5-339a-413b-8c05-eade9235645a).html.

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The music of the Congregation of the Roman Oratory has been the subject of previous research relating to their spiritual exercises or oratories, which contributed to the development of the oratorio. This thesis, however, investigates the liturgical music from the Chiesa Nuova, the church of the Congregation of the Oratory in Rome. The period covered extends from 1575, when the Congregation was officially recognised, to 1644, when Girolamo Rosini, the final member of the Congregation to hold the post of maestro di cappella, died. After referring to literature that has described the Chiesa Nuova as an important centre for church music in Rome, the sources of what once formed a vast library of liturgical music are discussed with reference to other important archival material, such as inventories of the music including one from as early as 1592, which had not previously been discovered. The necessary historic background on the music establishment at the Chiesa Nuova supplies new evidence on the musicians involved, as well as the impact made by the Oratorian emphasis on music as an inspirational tool for devotion. The largest part of the thesis is given to a discussion of a representative sample of the music. These sources provide one of the most complete pictures of the provision of liturgical music in a single institution in Rome during that period. It presents the great diversity of styles that existed side-by-side, ranging from the small-scale motet to large-scale polychoral works. As much of the music only exists in manuscript copies or in rare early prints, thirty-two complete transcriptions of these unique sources are included. This study provides a valuable contribution to research into sacred music in Rome during a period straddling the two traditionally defined epochs of the Renaissance and Baroque and an era of renewed energy in the Church, as well as providing evidence to substantiate the reputation of the Chiesa Nuova as one of the greatest centres for church music in Rome during that period.
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Noone, Michael John. "Music and musicians at the Escorial, 1563 to 1665". Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358755.

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Rowe, Charles Edward. "The role of music in Omoto, a Japanese new religion". Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312918.

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Johnson, Clare Veronica. "Music, ritual and the therapeutic exploring the therapeutic potential of liturgical music in Roman Catholic worship /". Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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Huncik, Kata. "A liturgical-repertorial study of 16th-century polyphonic music in "Bartfa MS 8"". Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26929.

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Along with the other volumes of the Bartfa Collection , the 16th-century MS 8 was discovered in the Lutheran town of Bartfa (today Slovakia). While the manuscripts and prints of the Bartfa Collection have been somewhat neglected by Western scholars, the present study shows that this topic is worthy of attention. In examining the historical context, the role of the schoolmaster, Leonard Stockel stands out as particularly interesting; his life-time friendship with Luther and Melanchthon directly links Bartfa to the German Lutheranism. The German link is also apparent in MS 8 itself, as according to Muranyi, it was copied in Southern Germany ca. 1555. In this research, a thorough watermark study has also been carried out, the results of which challenge the established date and may shift it to as early as 1545. Furthermore, a reportorial study focusing on the anonymous compositions has been taken into consideration along with Bartfa's unique Lutheran liturgical practice.
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Książki na temat "Liturgical music"

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New Skete (Monastery : Cambridge, N.Y.). Liturgical music: Lesser feasts. Cambridge, N.Y: New Skete, 1997.

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Medieval liturgical music of Zamora. Ottawa, Canada: Institute of Mediaeval Music, 1996.

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Evaluating your liturgical music ministry. San Jose, Calif: Resource Publications, 1993.

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The liturgical music answer book. San Jose, Calif: Resource Publications, 1999.

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Peter, Ralph. When we gather: Liturgical music. San Jose, Calif: Resource Publications, 1991.

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Foley, Edward B. Ritual music: Studies in liturgical musicology. Beltsville, MD: The Pastoral Press, 1995.

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Edward, Foley. Ritual music: Studies in liturgical musicology. Beltsville, Md: Pastoral Press, 1995.

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David, Nicholson. Liturgical music in Anglican Benedictine Monasticism. Oregon: Mount Angel Abbey, 1990.

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Sacred treasure: Understanding Catholic liturgical music. Collegeville, Minn: Liturgical Press, 2011.

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Barrett, David. Elementary music theory for orthodox liturgical singing. Southbury, CT: Orthodox Liturgical Press, 2015.

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Części książek na temat "Liturgical music"

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Taylor, Benedict. "Choral and Liturgical Music". W Arthur Sullivan, 196–215. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-9.

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Cullin, Olivier. "Notations in Carthusian liturgical books: preliminary remarks". W The Calligraphy of Medieval Music, 175–94. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.muma-eb.1.100929.

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Hodgson, Janet. "6. Example 3: Western and African music in Southern Africa". W Liturgical Inculturation in the Anglican Communion, redaktor David Holeton, 37–40. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463219475-011.

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Martin, David. "Fifth Commentary On the Return of the Liturgical in Modernist Music and Poetry and the Reconciliation Achieved by Liturgical Poetry and Music". W Ruin and Restoration, 81–98. Burlington : Ashgate, 2016.: Routledge, 2018. http://dx.doi.org/10.4324/9781315607108-7.

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Fassler, Margot. "Liturgical books and book production in the thirteenth-century diocese of Chartres: the case of Biblioteca Apostolica Vaticana, Vat. Lat. 4756". W The Calligraphy of Medieval Music, 125–52. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.muma-eb.1.100926.

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Walter, Kurt Kreyszig. "The thirteen non-liturgical fugues à 4 in Le Livre d’orgue de Montréal". W Perspectives on Early Keyboard Music and Revival in the Twentieth Century, 135–61. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Ashgate historical keyboard series: Routledge, 2017. http://dx.doi.org/10.4324/9781351254960-9.

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Novillo, Frances. "Personal reflections on professional experience of women's liturgical leadership as musicians in the Roman Catholic Church". W The Routledge Handbook of Women's Work in Music, 356–64. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-36.

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Harper, John. "Alternatim performance of English pre-Reformation liturgical music for organ and voices composed c.1500–60 1". W Aspects of Early English Keyboard Music before c.1630, 69–98. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Ashgate historical keyboard series: Routledge, 2019. http://dx.doi.org/10.4324/9781315109701-5.

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Petersen, Nils Holger. "The Notion of an Imaginary Space in Music: Interpreting Mozart’s Requiem in Liturgical, Denominational, and Secular Contexts". W In-visibility, 339–60. Göttingen: Vandenhoeck & Ruprecht, 2020. http://dx.doi.org/10.13109/9783666550713.339.

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Colette, Marie-Noël. "The Place and Function of Music in a Liturgical Context: The Earliest Witnesses of Sequences and Versus ad sequentias in the Antiphoner of Charles the Bald and Other Early Sources". W Sapientia et eloquentia, 59–93. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.disput-eb.3.460.

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Streszczenia konferencji na temat "Liturgical music"

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Rajan, Rajeev, i Ananya Ayasi. "Oktoechos Classification in Liturgical Music Using SBU-LSTM/GRU". W Interspeech 2022. ISCA: ISCA, 2022. http://dx.doi.org/10.21437/interspeech.2022-136.

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Galaicu, Violina. "Byzantine religious chanting between oral and written tradition". W Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.15.

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Those who scrutinized the historical development of Byzantine liturgical chanting could notice the late codification of this music. With the transition to the written tradition, a clear tendency to preserve orality in the new hypostasis emerged. Proto-Byzantine chanting circulated orally, this being conditioned by the original orality of the evangelical tradition. When the Eastern promoters of Christian liturgical chanting felt the need to codify the cultic repertoire, they resorted to the Ekphonetic notation, and later to the Diastematic one. Ekphonetic notation is a rudimentary notation, it has a mnemonic function, meaning the purpose of reminding the performer of a certain melodic formula that he knew before. The Diastematic notation, although it fixes several details of the melodic thread, also leaves enough room for interpretive ambiguity and can only be deciphered satisfactorily by those familiar with traditional practice. The attempt to explain the reluctance of the promoters of Byzantine religious music towards written codification will lead us to the deep roots of this art, as well as to its liturgical functionality.
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Galaicu, Violina. "The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.04.

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The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, according to the linguistic factor (succession of sacred languages), according to stylistic manifestations. Based on the way in which the studies are structured, it is observed that historians do not consistently follow one way or another, but opt for summing them up. Thus, a milestone with generalizing value is outlined, in which the first Christian centuries mark the penetration and spread of Proto-Byzantine and Byzantine song in the Romanian space, the IX-X centuries – the enrollment of Romanianism in the Byzantine-Slavic religious front, the XIV century – the inauguration of the period of cultural effervescence related to the constitution of the Romanian medieval states, the end of the XVI century – the XVIII century – the Romanianization of the liturgical melody, the beginning of the XIX century – the XXI century – the passage of the Byzantine chant through the avatars of modernity and contemporaneity.
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