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Artykuły w czasopismach na temat „Liturgical music”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 21 lutego 2023

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1

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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2

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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6

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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9

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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10

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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11

Askovic, Dragan, i Zoran Rankovic. "The poetics of liturgical chant between oral and written tradition". Zbornik Matice srpske za drustvene nauke, nr 157-158 (2016): 517–31. http://dx.doi.org/10.2298/zmsdn1658517a.

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In this work the authors explain the relevant terms from the Old Testament, biblical tradition and the Scripture, as well as from liturgical songs and prayers, which refer to liturgical music - chanting. On the basis of the translations from Hebrew into Greek, Latin and Church Slavonic, their original meaning is identified, and some new or possible discrepancies, created in the process of translation, or new meanings are pointed out. In this way, the role and meaning of the Christian liturgical poetics are stressed as well as its inseparable connection with the church chanting. Namely, liturgical chanting is a prayer, ?the theology of sound?, and that means that the word is more important than the music - although it is more complete with the music, and music is to follow and show the meaning of words, and to help their adoption.

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12

Marks, Essica. "Formal and Informal Methods in the Transmission of a Jewish Sephardi Liturgy". Yearbook for Traditional Music 40 (2008): 89–103. http://dx.doi.org/10.1017/s074015580001211x.

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This article examines contemporary methods of transmission of one Sephardi Jewish liturgy. Studies of Jewish liturgical music are scarce, and research on the transmission of Jewish liturgical music is still absent. The study described here is a first attempt to address this issue.

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13

Agbo, Benedict Nwabugwu. "Decolonising the concept of solemnity in the Roman Catholic Liturgy of Igbo Land: A compositional study". IKENGA International Journal of Institute of African Studies 22, nr 3 (1.09.2021): 1–24. http://dx.doi.org/10.53836/ijia/2021/22/3/009.

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Liturgical art music in Nigeria has been beleaguered by the confusion about what is truly African or traditional and what is foreign. This confusion is exacerbated by the Western traditional notion of the solemnity of the liturgy as opposed to the African notion of the concept. This paper investigates the theoretical constructs for authentic indigenization of liturgical music compositions in Nigeria many years after the colonialists have left and addresses issues pertaining to the unicity of style and peculiarity of form in African music. It problematizes the concept of solemnity in the liturgical music of Igbo land, arguing against the colonial concept of ‘sanctity of immobility’ insisting on the reflection of the African rhythmic and tonal sensibilities in the church’s notion of authentic worship. The paper relies on ethnographic data for its findings, using the research composition method to arrive at its major contentions and recommendations. It also provides a unique compositional sample as a kind of pastiche for further study of indigenization in the context of solemnity in liturgical music

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BODURIAN, Agota. "The evolution of Armenian liturgical music". Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), nr 1 (20.06.2020): 39–48. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.4.

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"The purpose of this paper is to briefly outline the evolution of Armenian music, from Antiquity to the nineteenth century. The troubled history of the Armenian people defines to a great extent the way the arts have developed, and also the way that vast and rich culture that characterizes the Armenian people, spread throughout the world, has formed. Starting from the earliest roots of music, our study follows the path of the different secular and liturgical genres, which developed in close correlation over the centuries. The paper presents the local traditions and the influences of the peoples with whom the Armenian people came in contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the development of the musical art. At the same time, we discuss some fragments / texts from the first songs that were preserved from the ancient times, as well as the troubadours of the Armenian Middle Age; we mention the most famous scholars and composers and to the founding of the first universities and present in a concise manner the first attempts of an Armenian music notation system. The paper - as mentioned before - presents only briefly this vast and very interestin g topic, and the in-depth study of the problem is to be carried out in the continuation of the doctoral studies."

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Bodurian, Ágota. "The Evolution of Armenian Liturgical Music". Studia Universitatis Babeş-Bolyai Musica 65, nr 1 (30.06.2020): 81–90. http://dx.doi.org/10.24193/subbmusica.2020.1.06.

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Hascher-Burger, Ulrike. "Luther's Liturgical Music. Principles and implications". Church History and Religious Culture 88, nr 1 (2008): 89–90. http://dx.doi.org/10.1163/187124108x316567.

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Pahl, Irmgard. "Music and Liturgical Celebration: Presidential Address". Studia Liturgica 28, nr 1 (marzec 1998): 1–13. http://dx.doi.org/10.1177/003932079802800101.

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My primary purpose in this introductory address is to prepare the ground for the principal papers of our congress and for its numerous other studies connected with the theme “Liturgy and Music.” First, I will open up the horizon before which these presentations are to be understood as contributions to contemporary questions and problems. Then, from the background of the self-understanding of the liturgy, I will point out what seem to me to be some important perspectives under which we can, at this congress, discuss the relationship between liturgy and music.

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18

ROJO CARRILLO, RAQUEL, i MARIE WINKELMÜLLER-URECHIA. "Liturgical chant bibliography 30". Plainsong and Medieval Music 30, nr 2 (październik 2021): 155–77. http://dx.doi.org/10.1017/s0961137121000139.

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Jeffery, Peter. "Liturgical chant bibliography 2". Plainsong and Medieval Music 2, nr 2 (październik 1993): 169–79. http://dx.doi.org/10.1017/s0961137100000516.

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Last year's instalment of ‘Liturgical Chant Bibliography’ was enthusiastically received by many, and I am grateful to all who sent me information about their new publications. I hope you will continue to do so; every publication likely to be of interest to chant scholars is eligible for inclusion.

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20

Jeffery, Peter. "Liturgical chant bibliography 3". Plainsong and Medieval Music 3, nr 2 (październik 1994): 195–206. http://dx.doi.org/10.1017/s0961137100000747.

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The study of chant is perhaps at a turning point, with scholars pausing to consolidate recent gains before seeking to move forward once again. One sign of this is the large number of honorific and celebratory volumes devoted to chant studies, including the new Festschrift for Helmut Hucke.

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21

Jeffery, Peter. "Liturgical chant bibliography 4". Plainsong and Medieval Music 4, nr 2 (październik 1995): 193–202. http://dx.doi.org/10.1017/s096113710000098x.

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Anyone who pays attention to the popular news media will have read or heard a lot lately about the rapidly expanding international network of computer networks known as the Internet. Though the Internet was originally developed by the universities to support international research cooperation and the exchange of scholarly information, the hardware and software have become so cheap and easily available that many commercial firms, non-educational organizations and individuals are now connected to the Internet also. The most explosive growth has been in the multimedia portion of the Internet, known as the World Wide Web, which is able to transmit computerized image, video and sound files as well as text. The lack of any central authority that can regulate or moderate the content of Internet communications has forced governments and citizens to become increasingly embroiled in issues of free speech, fair trade and community responsibility – yet despite the empty chatter, political grandstanding, sales hype and pornography, the Internet remains an unparalleled and unprecedented medium of valuable information, much of which would otherwise be unavailable to many, or available only with extensive travel, inconvenience or expense. The quantity of such information increases daily, and it includes much that is helpful to serious students of medieval music and chant.

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22

Jeffery, Peter. "Liturgical chant bibliography 5". Plainsong and Medieval Music 5, nr 2 (październik 1996): 201–10. http://dx.doi.org/10.1017/s0961137100001169.

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Though so much medieval chant is anonymous – anonymity may even have been valued as expressing humility – recent articles have focused on some of the individuals who are known to have created texts and melodies for the liturgy. V. Frangeskou is one of two authors to have looked at texts by Gregory of Nazianzen, known as Gregory the Theologian, a fourth-century patriarch of Constantinople whose writings were the source of many Greek chant texts. Two other articles look at the sixth-century kontakion-poet Romanos, specifically his ‘Lament of the Mother of God’ and his apparent indebtedness to an apocryphal Gospel.

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23

Paucker, Günther Michael. "Liturgical chant bibliography 7". Plainsong and Medieval Music 7, nr 2 (październik 1998): 141–59. http://dx.doi.org/10.1017/s0961137100001509.

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Liturgical chant bibliography 7 continues the new format initiated last year in this journal: editions and facsimile editions; books, reprints; collections of essays, congress reports, chant periodicals, dictionaries; articles in periodicals and Festschriften. This year's bibliography begins with a list of additions to the previous bibliography. In the case of a few titles, the Lexicon Musicum Latinum (7053) or MGG (7059), for example, I have referred to publications listed in LitChBibl 6. Completing and facilitating access to the bibliography are separate indices of names, subjects and manuscripts

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Paucker, Gnther Michael. "Liturgical chant bibliography 8". Plainsong and Medieval Music 8, nr 1 (kwiecień 1999): 55–80. http://dx.doi.org/10.1017/s0961137100001595.

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Liturgical Chant Bibliography 8 again lists publications covering all aspects of cantus planus, particularly Western chant. In order to present a clear overview of the various types of publications, they have been subdivided into: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays, dictionaries and periodicals, (6) Articles in periodicals. Access to the contents of the bibliography is facilitated by separate indices of authors, subjects and manuscripts. Prefaced to the bibliography is a list of additions to Liturgical Chant Bibliographies 6 and 7.

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PAUCKER, GÜNTHER MICHAEL. "Liturgical chant bibliography 10". Plainsong and Medieval Music 10, nr 2 (październik 2001): 155–77. http://dx.doi.org/10.1017/s0961137101000110.

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Liturgical chant bibliography 10 maintains the format established in the most recent editions of the bibliography: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous years' bibliographies (mainly reviews) will be found immediately following this introduction.

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Paucker, Günther Michael. "Liturgical chant bibliography 11". Plainsong and Medieval Music 11, nr 2 (październik 2002): 167–201. http://dx.doi.org/10.1017/s0961137102002103.

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Liturgical chant bibliography 11 maintains the system of classification established in previous years: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previously published Bibliographies (mostly reviews) will be found immediately following this introduction.

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Paucker, Günther Michael. "Liturgical chant bibliography 12". Plainsong and Medieval Music 12, nr 2 (październik 2003): 179–211. http://dx.doi.org/10.1017/s0961137103003097.

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Liturgical chant bibliography 12 maintains the traditional division into: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous bibliographies, consisting mainly of reviews, follow the present introduction. A significant publication in 2002 was without doubt the colour facsimile of the manuscript Paris, Bibliothèque nationale de France, fonds lat. 776 (12002), an eleventh-century gradual from the Benedictine abbey of Saint-Michel-de-Gaillac near Albi. Although no staff lines are present, the music is notated carefully in diastematic notation. The availability of a facsimile of this famous manuscript will certainly be of value for the study of semiology and the transmission history of tropes, proses and prosulae. It also contains traces of the Gallican and Mozarabic chant repertories.

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PAUCKER, GÜNTHER MICHAEL. "Liturgical chant bibliography 13". Plainsong and Medieval Music 13, nr 2 (październik 2004): 171–202. http://dx.doi.org/10.1017/s0961137104000129.

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Liturgical chant bibliography 13 maintains the division of material established in previous editions of the bibliography: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous bibliographies (mostly reviews) directly follow this introduction.

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paucker, günther michael. "liturgical chant bibliography 14". Plainsong and Medieval Music 14, nr 2 (12.09.2005): 199–223. http://dx.doi.org/10.1017/s0961137105000227.

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liturgical chant bibliography 14 maintains the previously established subdivisions: (1) editions and facsimile editions, (2) books and reprints, (3) congress reports, (4) chant journals, (5) collections of essays and dictionaries, (6) articles in periodicals and festschriften. additions to previous bibliographies, for the most part reviews, directly follow this introduction.

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PAUCKER, GÜNTHER MICHAEL. "Liturgical chant bibliography 15". Plainsong and Medieval Music 15, nr 2 (30.08.2006): 143–72. http://dx.doi.org/10.1017/s0961137106000374.

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Liturgical chant bibliography 15 maintains the previously established subdivisions: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous bibliographies, for the most part reviews, precede the current bibliography.

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PAUCKER, GÜNTHER MICHAEL. "Liturgical chant bibliography 16". Plainsong and Medieval Music 16, nr 2 (październik 2007): 187–215. http://dx.doi.org/10.1017/s0961137107000708.

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Liturgical chant bibliography 16 maintains the previously established subdivisions: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous bibliographies, mostly reviews, will be found immediately following this introduction.

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PAUCKER, GÜNTHER MICHAEL. "Liturgical chant bibliography 17". Plainsong and Medieval Music 17, nr 2 (październik 2008): 153–81. http://dx.doi.org/10.1017/s0961137108000855.

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Liturgical chant bibliography 17 maintains the previously established subdivisions: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous bibliographies, mostly reviews, will be found immediately following this introduction.

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PAUCKER, GÜNTHER MICHAEL. "Liturgical chant bibliography 18". Plainsong and Medieval Music 18, nr 2 (10.09.2009): 163–200. http://dx.doi.org/10.1017/s0961137109990052.

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PAUCKER, GÜNTHER MICHAEL. "Liturgical chant bibliography 19". Plainsong and Medieval Music 19, nr 2 (17.09.2010): 169–200. http://dx.doi.org/10.1017/s0961137110000070.

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PAUCKER, GÜNTHER MICHAEL. "Liturgical chant bibliography 22". Plainsong and Medieval Music 22, nr 2 (12.09.2013): 195–236. http://dx.doi.org/10.1017/s0961137113000041.

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WINKELMÜLLER-URECHIA, MARIE, i RAQUEL ROJO CARRILLO. "Liturgical chant bibliography 29". Plainsong and Medieval Music 29, nr 2 (15.09.2020): 163–76. http://dx.doi.org/10.1017/s0961137120000157.

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Piqué i Collado, OSB, P. Jordi-Agustí. "Word, Space, and Music: Theological Parameters of Liturgical Music". Scripta Theologica 47, nr 3 (1.12.2015): 693–708. http://dx.doi.org/10.15581/006.47.3.693-708.

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Person, Christ Haryanta, i Bondan Aji Manggala. "ADAPTASI TEKNIK LINEAR DRUM CHOPS DALAM LAGU YOU ARE GOOD DI SAJIAN LITURGI GBI KELUARGA ALLAH SURAKARTA". Sorai: Jurnal Pengkajian dan Penciptaan Musik 15, nr 1 (20.12.2022): 11–23. http://dx.doi.org/10.33153/sorai.v15i1.4481.

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The research entitled "Adaptation of the Drum Chops Technique in the Song You Are Good in the Liturgical Serving of GBI Keluarga Allah Surakarta" was proposed by raising the assumption that this phenomenon occurs consciously and is related to many things in religious and cultural life in GBI Keluarga Allah Surakarta. There are two problem formulations, namely; 1) Why was gospel music adapted with drum chops technique in liturgical music at GBI Keluarga Allah Surakarta? 2) How was gospel music adapted and drum chops technique adapted to liturgical music at GBI Keluarga Allah Surakarta? and 3) How is the position of gospel music with drum chops technique in worship at GBI Keluarga Allah? The theory of cross-cultural adaptation is used as the basis for the analysis of this research by applying qualitative methods of field research techniques. The results of this study indicate that the GBI Keluarga Allah consciously accepts the gospel flow and uses Contemporary Christian Music (CCM) as the dominant music style because the concept of using liturgical music in GBI Keluarga Allah is a reference to the popular gospel music genre. The adaptation process that occurs in applying the linear drum chops technique is at least three things, namely simplification, mixing, and complicating the game references that are absorbed by the drummer through social media. The adjustment of the drum chops game is considered sufficient to affect the achievement of the desired atmosphere as in the part of the worship service.

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Perigo, Jeremy. "Beyond Translated vs. Indigenous: Turkish Protestant Christian Hymnody as Global and Local Identity". Religions 12, nr 11 (20.10.2021): 905. http://dx.doi.org/10.3390/rel12110905.

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At Turkey’s first national worship conferences in 2011, a passionate debate arose on whether Western music or indigenous Turkish music was most appropriate for worship. Some Turks felt that the Western missionaries were imposing indigenous musics on Turks as a type of “reverse colonization”. They felt that the current Western musical styles were best for worship. One Turk stated, “the saz is being forced down our throats”. Other Turks felt liberated to sing and play songs in traditional Turkish musical styles. The debate at the conference highlights the desire of missionaries and Turks to see renewal in congregational hymnody. Nevertheless, the Western vs. indigenous Turkish music debate reduces complex historical, musical, and liturgical issues into a divisive binarism. Using hymns sung in corporate worship in Turkey as a source, I will analyze here the quantity of musical localization in Turkish Protestant worship seeking to present musical localization as a lens to examine Turkish Christian liturgical identity.

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Is Natonis, Rolfi Junyanto. "Strategi Pengelolaan Pusat Musik Liturgi Yogyakarta". JURNAL TATA KELOLA SENI 2, nr 2 (21.12.2017): 66–80. http://dx.doi.org/10.24821/jtks.v2i2.1852.

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Dalam penelitian ini menggunakan metode deskriptif kualitatif. Langkah yang digunakanyaitu melakukan analisis data dan analisis SWOT. Hasil penelitian pertama, berdasarkan matrik IE dalam strategi PML Yogyakarta yang digunakan pada pengelolaan musik liturgiberada pada posisi V yaitu hold and maintaind, (pertahankan dan pelihara). Strategi umumyang dipakai adalah menjaga dan mempertahankan posisi internal yaitu memiliki jaringankerja sama dengan komponis-komponis gereja lokal dalam menjalankan lokakarya mengenai musik liturgi yang selama ini sudah diraih. Kedua berdasarkan kuadran analisis SWOTpengelolaan PML Yogyakarta menunjukkan posisinya berada pada kuadran III. Stability,yaitu suatu lembaga menghadapi peluang pasar yang sangat besar, tetapi dilain pihakmenghadapi beberapa kendala dalam internal seperti regenerasi yang belum memadaisehingga masih bergantung pada figur pendiri, keterbatasan tenaga pengelola baik dari segikuantitas maupun kualitas, dan kegiatan lokakarya belum menjangkau semua budaya yang ada di nusantara. Ketiga berdasarkan analisis SWOT strategi umum yang diperoleh yaituadalah penetrasi pasar dan pengembangan produk. Posisi tersebut mengarah pada menambah karya musik atau nyanyian nusantara dalam musik liturgi dan memberikan penataran dalamsetiap tahun di gereja-gereja Katolik yang belum memahami tentang musik liturgi dalaminkulturasi dan memberikan pengetahuan dan penerjemah kepada pengelola sehingga cukup memadai. In this research using qualitative descriptive method, The step used is doing data analysis and SWOT analysis. The first result of the research, based on the matrix of IE in PML Yogyakarta strategy used in the management of liturgical music is in position V that is hold and maintaind. General strategy used is to maintain and maintain internal position that has a network of cooperation with composers the local church in running a workshop on liturgical music that has been achieved. The second is based on quadrant of SWOT analysis of PML Yogyakarta management showing its position is in quadrant III Stability, that is an institution facing huge market opportunity, but on the other hand facing some internal constraints such as regeneration that is not enough so that still depends on founder figure, both in terms of quantity and quality, and workshop activities have not yet reached all the cultures in the archipelago. Third based on the SWOT analysis the general strategies obtained are market penetration and product development. The position leads to; adding musical works or chants of the archipelago to liturgical music and giving up in every year catholic churches that have not understood the liturgical music in inculturation and providing knowledge and translators to the manager so that it is sufficient.

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Belomytsev, Arsenii. "Modern Worship music and historical grounds for the use of instrumental music in Christian Worship". Философская мысль, nr 4 (kwiecień 2022): 46–56. http://dx.doi.org/10.25136/2409-8728.2022.4.37800.

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The subject of the study is the historical grounds for the use of instrumental music in Christian worship, acting as arguments in favor of the permissibility of the presence of modern worship music in liturgical practice, taking into account its inherent genre and style features. Modern worship music is performed as part of the divine service by the so-called "glorification group", whose composition is formed like a secular pop or rock band and in the vast majority of cases includes performers on electronic and percussion instruments. According to supporters of the inclusion of genetically secular music in the composition of worship, a number of testimonies (primarily sacred texts) indicate that there is no prohibition on the use of some special style of music, musical instruments, as well as dance movements within the framework of worship. The novelty of the research lies in a comprehensive analysis of the studies of musicologists and the evidence of sacred texts, which allowed us to substantiate the conclusion about the nature of the liturgical music of the temple and synagogue period. As a result of the study, the predominant role of monotony, improvisational and instrumental accompaniment in temple worship was established. At the same time, a gap in the continuity in the use of instrumental music between the temple worship and the liturgy of the early Christians was revealed вЂ“ not a single confirmation of the use of instrumental music in the synagogue liturgical tradition was recorded. The provisions set out in the article are intended to lay the theoretical foundations for further study of the musical tradition of early Christianity as a necessary condition for understanding the diverse trends in modern liturgical music.

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Dixon, Graham. "2: Towards a Liturgical Reconstruction". Musical Times 126, nr 1709 (lipiec 1985): 393. http://dx.doi.org/10.2307/964344.

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CARRILLO, RAQUEL ROJO, i MARIE WINKELMÜLLER-URECHIA. "Liturgical chant bibliography 27/28". Plainsong and Medieval Music 28, nr 02 (październik 2019): 165–214. http://dx.doi.org/10.1017/s096113711900010x.

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Heskes, Irene. "Miriam's Sisters: Jewish Women and Liturgical Music". Notes 48, nr 4 (czerwiec 1992): 1193. http://dx.doi.org/10.2307/942105.

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Love, Cyprian. "Glenstal Abbey, Music and The Liturgical Movement". Studies in World Christianity 12, nr 2 (sierpień 2006): 126–41. http://dx.doi.org/10.3366/swc.2006.0012.

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Saliers, Don E. "Liturgical Music and Electronic Technology: Contemporary Soundings". Studia Liturgica 28, nr 2 (wrzesień 1998): 166–76. http://dx.doi.org/10.1177/003932079802800204.

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Kovalchuk, Natalia, Olga Zosim, Liudmyla Ovsiankina, Irina Lomachinska i Oksana Rykhlitska. "Features of Sacred Music in the Context of the Ukrainian Baroque". Religions 13, nr 2 (18.01.2022): 88. http://dx.doi.org/10.3390/rel13020088.

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The main goal of this article is the research of different genres of spiritual music in the Ukrainian baroque era. This music is decisive for an understanding of Ukrainian culture. In order to achieve this, research following methods was used: comparative-historical, sociocultural, structural, genre-stylistic. Baroque appears as an intermediate between the Renaissance and Age of Enlightenment. Features of the broader character of the Ukrainian civilization explain its cruising between different cultures, correlating between Western culture and Eastern Orthodox culture. The cultural dimension of Ukraine was crossed by different religions: Orthodox, Catholic, Greek-Catholic, and different paths of Protestantism. This fact specified a music of this age. Two basic directions feature specific of spiritual singing of the Ukrainian baroque: partsong (“High baroque”) and spiritual song (“Middle baroque”). Partsong is represented by liturgical and paraliturgical (concerts) genres. This direction was unique because it was a synthesis of Eastern-Christian and Western-Christian tradition (mostly by Catholic musical tradition as multi-chorus composition, musical rhetoric). At the same time, partsong of the orthodox tradition was formed by liturgical tradition. A large influence on the Greek-Catholic church was a catholic music tradition, in which polyphony is not performed “acapella”, but with instrumental accompaniment. Spiritual song was more linked with the catholic tradition and less with the protestant one. It did not have any canonical orthodox genres, but was borrowed by text–music forms formed in Europe in the Age of late Renaissance and early Baroque period. Greek-Catholic tradition was more linked with catholic one. Therefore, this music had a sacred character, becoming a genre of liturgical music. Palimpsest in its confessional dimension became a distinctive feature of the Ukrainian Baroque and created a unique face of the Ukrainian liturgical music.

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Boynton, Susan. "Work and Play in Sacred Music and its Social Context, c. 1050–1250". Studies in Church History 37 (2002): 57–79. http://dx.doi.org/10.1017/s0424208400014650.

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In the central and high Middle Ages, liturgical singing was a form of work, even if it is absent from the typology of ‘work’ as understood by modern historians. The notion of the ‘three orders’, dividing society into those who work, those who pray, and those who fight, does not acknowledge the laborious character of the medieval monastic horarium. On occasion, however, singers could also experience the liturgy in a lighter vein. Clerical celebrations during the Octave of Christmas transformed musical work into its mirror image, resulting in musical play that was structured in the image of work, as illustrated by cathedral ordinals and liturgical dramas. Indeed, the opposition between the strictly maintained daily liturgical structure and the release from routine was the central ludic element of the annual festivities – the crossing of the boundary between the use and the abuse of liturgical time. To demonstrate the significance of that boundary, this paper will analyse texts that show the perception of singing as work, and then turn to sources demonstrating the process by which liturgical material was subverted into play.

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Naneishvili, Nino. "Conceptualizing the Liturgical Music of Evangelical Baptists in Tbilisi: Experimentation and Compilation". Kadmos 10 (2018): 76–96. http://dx.doi.org/10.32859/kadmos/10/76-96.

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This presentation examines the liturgical music practices of the Evangelical Baptist Church in Tbilisi (Georgia). Though predominantly ethnic Georgians, the Baptists are a moderate voice for gender equality, religious pluralism, and minority rights, and are sometimes criticized by conservative or nationalistic Orthodox Georgians as a result. My research has encompassed observation during religious services, in-depth interviews, a comparative approach, complex analysis, and intonational analysis. The liturgical music of the Tbilisi Baptists differs considerably from that of Evangelical Baptist churches in other parts of Georgia or other countries. This comes partially as a result of the ideology of this relatively new religious stream, which, in order to facilitate the adaptation of the inexperienced congregation, allows services to be based on national, traditional features. The liturgy, music, and acts of divine service are based on principles established by Archbishop Malkhaz Songulashvili, including the principles of ecumenical “openness” and the synthesis of traditional Georgian values. The music heard in the Georgian-speaking Evangelical Baptist Church today includes the following: Georgian Orthodox chants; chants composed by the present Georgian Orthodox Patriarch, Ilia II; chants from the Taizé Monastery; other foreign repertoires translated into Georgian; Georgian professional music, and experimental electro-acoustic music. The liturgical music of the Evangelical Baptists in Tbilisi is mixed, experimental, and in the process of compilation, and has not yet reached a finalized form.

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양정식. "A Study of Liturgical Music from Biblical Origin: Church Music ? or Christian Music ?" Theology and Mission ll, nr 50 (maj 2017): 119–61. http://dx.doi.org/10.35271/cticen.2017..50.119.

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