Gotowe bibliografie tematyczne / Religious songs

Gotowa bibliografia na temat „Religious songs”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Religious songs"

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Nasrullah, Nasrullah. "Mulai Lawan Bismillah: Religiosity of the Banjar People in the Banjar Songs Composed by Anang Ardiansyah". Al-Albab 7, nr 1 (9.10.2018): 33. http://dx.doi.org/10.24260/alalbab.v7i1.987.

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Local folk songs are often only enjoyed by local people and, of course, only a few of these songs can become national songs. However, through the song called Paris Barantai composed by Anang Ardiansyah, the Banjar song can become a nationally recognized regional folk song. In addition, Anang Ardiansyah‘s other songs have a message or religious content that reflects the Islamic culture of the Banjar community. Therefore, this paper explores religious content of four songs composed by Anang Ardiansyah with the aim that the local folk songs are not only sung but reinforce the distribution of religious values and knowledge in relation to the Banjar culture. The results of this paper describe the religious practice of urang (people of) Banjar related to faith, prayer and shalawat in everyday life and the term haram menyarah (surrender is forbidden) as Banjar people's struggle doctrine depicted from the Banjar song composed by Anang Ardiansyah. Therefore, through these songs it becomes an important part of the efforts to strengthen the Banjar religious identity and religious value distribution will take place continuously.
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Julia, J., Tedi Supriyadi i Prana Dwija Iswara. "Development of the Religious Character of the Nation through Learning Religious Songs: Teachers’ Perception and Challenges". Harmonia: Journal of Arts Research and Education 22, nr 1 (1.07.2022): 103–18. http://dx.doi.org/10.15294/harmonia.v22i1.35031.

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Songs as learning media provide an aesthetic experience for students and can also teach character. Academics in many countries pay little attention to this issue because songs are mostly used to memorize foreign language vocabulary. This study investigates teachers’ perceptions of using songs to build students’ character. This study focuses on exploring teachers’ perceptions of the development of religious character as a core character in the curriculum in Indonesia through songs. The case study design was employed by involving 45 elementary school teachers spread over several districts in West Java province. This research was carried out in several stages; First, by preparing questionnaires distributed online; Second, by following up the answers to the questionnaire by conducting in-depth interviews; Third, by analyzing the data in an inductive-thematic manner in relation to learning problems, psychological and social issues arose. The research resulted in themes related to teachers’ perceptions of developing students’ religious character through religious songs. Four themes were explored in-depth related to teacher appreciation for songs, the benefits of religious songs, teacher challenges, and instructional design. It can be drawn that the song function was not only limited to developing a cognitive domain that functioned to remember and collect facts and data but could also be a means of developing students’ characters, especially religious characters. From the teacher’s perspective, religious songs were able to develop students’ religiosity dimension, including students’ beliefs, worship, appreciation, knowledge, and morals. Hence, this study contributes to the importance of developing songs related to religious themes to develop national character.
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Black, Fiona. "BEAUTY OR THE BEAST? THE GROTESQUE BODY IN THE SONG OF SONGS". Biblical Interpretation 8, nr 3 (2000): 302–23. http://dx.doi.org/10.1163/156851500750096363.

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AbstractThe expressions of love and desire made by the lovers in the Song of Songs include intimate and detailed poetic descriptions of the body. These often cause difficulty for interpreters because the imagery used is cryptic and seemingly nonsensical. Biblical scholars frequently express some discomfort or embarrassment over this language, yet largely maintain the view that it should be interpreted positively—as complementary and loving description. In all this, they are bowled over by their own amorous relationships with this text, which make them stutter and fumble almost as much as the Song's lovers do. This essay looks at (scrutinizes) the bodies in the Song of Songs—the physical bodies described in the Song and the textual body (corpus) with which readers engage. The literary and artistic construct of the grotesque serves—ostensibly perversely—as a heuristic for viewing bodily imagery and readerly desire. The grotesque's emphasis on the exaggerated and hybridised body and its weavings of the comic and the terrifying facilitate an investigation of the Song's gender politics and its complicated and potentially conflicting presentation of desire.
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Snaith, J. G. "Review: Song of Songs". Journal of Theological Studies 54, nr 1 (1.04.2003): 195–96. http://dx.doi.org/10.1093/jts/54.1.195.

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Payne, Robin. "The Song of Songs". Expository Times 107, nr 11 (sierpień 1996): 329–33. http://dx.doi.org/10.1177/001452469610701103.

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Strijbosch, Carla. "‘Vare Wel Dur Luf’". Early Modern Low Countries 6, nr 1 (29.06.2022): 51–70. http://dx.doi.org/10.51750/emlc12171.

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This article traces the phenomenon of tune indications from their beginning to their use in three sixteenth-century manuscripts which hover on the border between alba amicorum and songbooks. The tune indication, the reference that shows which melody the song can be sung to, forms part of ‘song literacy’, the art of conserving a song beyond the moment of performance. Songs written down in alba amicorum may fill a gap in existing theories about the rapid development of song literacy in the sixteenth century. In addition, concentrating on the tune indicators may help to sharpen the definition of an album-with-songs compared to a songbook. In the Low Countries, tune indicators began to be attached to religious songs in the last decades of the fifteenth century. They were used to communicate new religious texts to an audience and to facilitate overruling sinful worldly texts. In printed collections of secular songs tune indicators seems to have been introduced after 1550 – but it took well into the 1600s before they became conventional in printed song collections. In handwritten collections the tune indicator was not the norm, with one notable exception: in circles of chambers of rhetoric. As alba-with-songs from the sixteenth century show, in the century’s last decades it became fashionable, at least within a small circle of alba owners in the western Low Countries, to provide a tune indicator. In these circles a good tune functioned as an important creative impulse to write new songs, especially semi-religious ones. These alba-with-songs might be considered harbingers of the song-minded Dutch ‘Golden Age’.
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Brenner, Athalya. "To See Is To Assume: Whose Love Is Celebrated in the Song of Songs?1". Biblical Interpretation 1, nr 3 (1993): 265–84. http://dx.doi.org/10.1163/156851593x00160.

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AbstractThree characteristic features of the Song of Songs are its (a) disjointed or absent plot, (b) gynocentrism and (c) lack of theocentrism. Recognition of these features facilitates a reassessment of the book's allegorical readings, be they ancient or modern, Jewish or Christian, religious or ostensibly secular. The principal readings discussed are Rabin's reconsideration of the Song's intrinsic allegorical properties with reference to Tamil love poetry; M. Cohen's on the Song and Jewish mystical literature (the Shiur Qomah and Hekhalot Rabbati); Murphy's position of reading mutually reflected human love and divine love in the Song; Pope's identification of the Song's assumed, single female protagonist as a black goddess; and Fox's rejection of allegory because of his definitions of metaphor, metaphoric distance and meaning. In conclusion, some reflections on the (ancillary) development of the Jewish allegorical tradition and its links with the Song's cannonization are offered.
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Jasnos, Renata. "Nuptial Motifs in Composition: A Key to the Interpretation of the Song of Songs". Verbum Vitae 39, nr 2 (30.03.2021): 471–94. http://dx.doi.org/10.31743/vv.12221.

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The purpose of this paper is to explore the references to nuptial customs found in the Song of Songs as well as their place in relation to the structure of the text. The first stage of analysis consists of identifying various types of these references, while the second stage involved analysing and evalu­ating their positioning within the composition of the Song of Songs as an expression of the editorial intent of the biblical writers. The study has used elements of form analysis and lexical analysis as well as a comparative analysis of biblical and non-biblical/sub-biblical texts. The analysis revealed that the most important places in the structure of the Song of Songs are allocated to the so-called “poetic episodes,” which have been distinguished earlier, concerning the different stages of nuptials – engagement nego­tiations, wedding procession, wedding feast and consummation of the marriage. Therefore, they consti­tute a point of reference for the interpretation of the remaining songs and at the same time the teachings of the sages in the Song of Songs.
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Landy, Francis. "Song of Songs: A Commentary". Biblical Interpretation 16, nr 1 (2008): 83–85. http://dx.doi.org/10.1163/156851507x172840.

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Davies, Omar. "Songs of Worship in Life and at Death". International Journal of Public Theology 7, nr 4 (2013): 458–75. http://dx.doi.org/10.1163/15697320-12341312.

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AbstractThis article analyses and contrasts two songs that reflect on the meaning of life and death: the traditional hymn, ‘Farther Along’ and the song by late reggae icon, Peter Tosh, ‘Jah Say No’. Both songs consider how believers engage with the challenges of life; however, the comparison of these songs may be considered unusual as, while most Christians would accept ‘Farther Along’ as a religious song, there would be very few who would classify ‘Jah Say No’ in a similar fashion. Nevertheless, the lyrics of the two songs present diametrically different views of the nature of our earthly existence; hence, the comparison sheds light on diverse spiritual experiences in the Caribbean today.
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Rozprawy doktorskie na temat "Religious songs"

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Friedman, Susana. "The festive song repertory of the Barbacoas, Columbia, and it's implications for Ballad Transmission". Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265780.

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Chua, Sharon Jane Go. "Negotiations and love songs Heloise and the question of religious authenticity /". Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/459742063/viewonline.

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Rutter, Philip. "Paris, Bibliotheque Nationale, fonds Latin 1240 : a transcription and analysis of the trope repertoire". Thesis, Royal Holloway, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307702.

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Warzycha, Anna K. "Inlargednesse of mind and activity of spirit : gender identities in the religious writings of mid-seventeenth-century England". Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10229.

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In dominant seventeenth-century thinking women's bodies, minds, and spirits were not only inferior to men's, but also more prone to evil. This study explores the ways in which the women writers attempted to redefine these assumptions. Through an analysis organised along various spiritual transformations the writers claim to go through, the study presents an insight into seventeenth-century women's construction and redefinition of femininity. The symbolic process of women's spiritual transfiguration results in them identifying with the metaphorical figure of Zion and in positioning women as godly agents of God, whereas male writers' transformations eventuate in their being effeminized and being turned into 'Crooked Agents' of God. Therefore, the study shows how the potentials inherent in the biblical figure of Zion were used in establishing a connection with God and in forming female and male authorial identity. The thesis draws on the understudied voices of women such as the anonymous Eliza, Elizabeth Major, An Collins or Gertrude More, and is contextualized by male-authored texts, some of them considered as canonical and popular in contemporary literature.
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Seal, Jill. "Psalms, sonnets and spiritual songs : some traditions and innovations in English religious poetry, c. 1560-1611". Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363689.

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Kim, Young-Mi. "Didactic strategies for the use of lyrics in religious education". Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49911.

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Thesis (PhD)--Stellenbosch University, 2004.
ENGLISH ABSTRACT: The purpose of this study is to identify didactic strategies for the use of lyrics in children's religious education. This is done to enhance and facilitate children's spiritual growth by means of singing lyrics. The study pays particular attention to the recognition of the role of lyrics in Christian religious education as a maturing agent. Lyrics help to provide children with the opportunity to communicate with God by revealing God's characteristics through theoretical and doctrinal content in an artistic form. Lyrics enrich children's religious development by helping them to express their joy and praise of God. Lyrics can also help children to experience a special quality of fellowship when they sing together. Lyrics ease the stiffness which can occur during the process of education. The survey of lyrics in Christian history also reveals that lyrics played an essential role in the lives of Christians throughout history. Lyrics have been used for worship, education, evangelisation and fellowship. Lyrics have functioned as a medium in which people have conversations with God and worship Him. They have also been a delightful source through which people learn about God through joyful experiences. Lyrics have helped Christians to establish true fellowship in their faith by singing together. The study reveals, however, that lyrics today do not seem to be effective in supporting people, including children, in their encounters with God. As much as lyrics can help children, they can also be obstacles to children's spiritual growth because of their inappropriate contents or improper ways of presentation. Children might misunderstand religious concepts by acquiring "unfamiliar" doctrine from lyrics. It seems that children can also develop inappropriate ideas and attitudes about worshipping under the influence of self-oriented or fun-seeking styles of lyrics. This potential of lyrics to influence children either positively or negatively is often overlooked. The question that may be raised is: what should be done to facilitate the lyric's maturing role and to keep it from being a hindrance in children's religious education? This study attempts to identify systematic and scientific didactic approaches of teaching lyrics as a way of heightening the positive role of lyrics in children's spiritual growth. For the identification of didactic strategies which are best suited for children's spiritual growth, the study presents approaches in which systems of coherent ideas, findings, activities and views concerning instruction and learning are performed. The didactic strategies are illustrated in three main phases, i.e. introductory, executive and assessment phases. Essential characteristics of the instruction-learning phenomenon in all its facets are absorbed into the theory as an overall guide for every teaching situation. The study makes an effort to apply these didactic strategies to the practical situation of teaching lyrics. Korean children are chosen as the subjects for the teaching oflyrics and their religious development is empirically investigated as the basic research on the understanding of the learner in the didactic situation. The application of the general approaches to the definite and specific situation of teaching Korean children is explained. Didactic approaches are redesigned, taking the specific didactic situation of Korea, including Korean children's specific religious characteristics, into consideration. These programmes can be effectively applied to other didactic situations, keeping them flexible in the light of the uniqueness of each lesson. The ultimate aim of this study - the recognition of systematically organised didactic strategies and exemplification of their practical application to the detailed situation of teaching lyrics - is to maximise the effectiveness of lyrics for children's spiritual goodness, particularly in enriching children's religious knowledge and experience.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om didaktiese strategieë te identifiseer vir die gebruik van lirieke in kinders se religieuse opvoeding. Dit word gedoen om leerders se sprituele groei deur middel van die sing van liedjies te fasiliteer. Die studie fokus in die besonder op die herkenning van die rol wat lirieke, in hoofsaaklik Christelike religieuse onderrig, in die proses van volwassewording speel. Lirieke verskaf aan kinders die geleentheid om met God te kommunikeer deurdat God se eienskappe deur middel van teoretiese en dogmatiese inhoud as 'n vorm van kuns openbaar word. Lirieke verryk kinders se religieuse ontwikkeling deurdat dit hulle help om hul blydskap en eer vir God uit te druk. Lirieke kan kinders ook help om 'n besondere kwaliteit van gemeenskap ("fellowship") te ervaar wanneer hulle saam sing. Deur die gebruik van lirieke kan die stramheid wat dikwels met die opvoedingsproses gepaard gaan, in 'n groot mate verlig word. Die opname wat van lirieke in die Christelike geskiedenis gedoen is toon aan dat lirieke dwarsdeur die geskiedenis 'n baie belangrike rol gespeel het in die lewens van Christene. Lirieke is deur die eeue gebruik vir aanbidding, opvoeding, evangelisasie en geloofsgemeenskap. Lirieke funksioneer as 'n medium waardeur mense in gesprek tree met God en Hom aanbid. Dit dien ook as 'n bron waardeur mense deur vreugdevolle ervaring van God leer. Lirieke help Christene om ware geloofsgemeenskap deur hul samesang te bewerkstellig. Dit blyk uit die studie dat lirieke vandag nie meer effektief is om mense, insluitende kinders, in hulontmoeting met God te ondersteun nie. Alhoewel lirieke kinders kan help, kan hulle in dieselfde mate struikelblokke wees in kinders se sprituele groei weens onaanvaarbare inhoud of onvanpaste aanbieding. Kinders kan religieuse konsepte misverstaan deurdat hulle met "vreemde" dogmas vanuit lirieke gekonfronteer word. Dit blyk dat kinders ook onaanvaarbare idees en houdings oor aanbidding kan ontwikkel weens die invloed van die selfgeoriënteerde of pretsoekende styl van sommige lirieke. Die potensiaal van lirieke om kinders óf positief óf negatief te beïnvloed word dikwels misgekyk. Die vraag wat ontstaan is: Wat moet gedoen word om die lirieke se rol in die verwerwing van volwassenheid te fasiliteer en te verhoed dat dit 'n hindernis in kinders se religieuse opvoeding word? Hierdie studie poog om sistematiese en wetenskaplik-didaktiese benaderings te identifiseer om die onderrig van lirieke te bevorder ten einde die positiewe rol van lirieke in kinders se spritiuele groei te versterk. Om didaktiese strategieë te identifiseer wat die beste by kinders se spirituele groei pas, bied die studie benaderings aan wat stelsels van samehangende idees, bevindinge, aktiwiteite en sieninge betreffende onderrig en leer behels. Die didaktiese strategieë word in drie hooffases geïllustreer, nl. die inleidende fase, die uitvoerende fase en die assesseringsfase. Essensiële kenmerke van die onderrig-leerverskynsel in alle fasette daarvan is in die teorie opgeneem as 'n allesomvattende riglyn vir elke leersituasie. Die studie poog voorts om hierdie didaktiese strategieë toe te pas in 'n praktiese lirieke-onderrigsituasie. Koreaanse kinders is gekies as proefpersone vir die onderrig van lirieke, en hul religieuse ontwikkeling is empmes ondersoek as die basiese navorsing ten opsigte van die begrip van die leerder in die didaktiese situasie. Die toepassing van die algemene benaderings tot die bepalende en spesifieke situasie van onderrig aan Koreaanse kinders word verduidelik. Didaktiese benaderings word herontwerp met inagneming van die spesifieke didaktiese situasie in Korea. Koreaanse kinders se besondere religieuse karaktertrekke word tegelykertyd in aanmerking geneem. Hierdie plooibare programme kan ook effektief op ander didaktiese situasies toegepas word, wat beteken dat hulle by elke unieke les aangepas kan word. Die uiteindelike doel van hierdie studie - die erkenning van sistematies georganiseerde didaktiese strategieë en die toeligting van hul praktiese aanwending in die onderrig van lirieke - is om die effektiwiteit van lirieke vir kinders se sprituele welsyn te optimaliseer en veralom leerders se religieuse kennis en ervaring te verryk.
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Bibeau, Gabrielle K. "The Spouse of Christ in the Hereafter: A Historical Exploration of Nuptial Imagery and the Eschatology of Celibate Chastity in Religious Life". University of Dayton / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1565557401800574.

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Cedergren, Mats. "Lars Åke Lundberg och den andliga visan 1965-1973 : tolkning och teologiskt tänkande under 68-epoken". Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445511.

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Uppsatsen visar hur prästen och tonsättaren Lars Åke Lundberg har medverkat till den andliga visans teologiska bestämning i en banbrytande och samhällsomvälvande tid 1965-1973. Studien omfattar det urval av andliga visor Lundberg själv valt att tonsätta/översätta under tidsperioden. I uppsatsen görs en analys av vistexterna utifrån några valda samhällsteologiska motiv. Resultatet av textanalysen sammankopplas med den tidsanda, som då rådde. Uppsatsen bidrar också till en samhällsteologisk förståelse av vad som hände inom Svenska kyrkan under perioden. Förståelsen av den politiska förändringen kom inifrån Svenska Kyrkan i första hand och inte genom yttre påverkan.
The essay shows how the priest and composer Lars Ake Lundberg has contributed to the theological determination of the spiritual song in the pioneering and revolutionary period of the society in 1965-1973. The study includes the selection of spiritual songs that Lundberg himself chose to compose/translate during the time period. In the essay, analaysis of the lyrics is made based on some selected theological motives belonging to the society. The result of the analysis of the texts is connected with the spirit of the time, which then prevailed. The essay also contributes to a theological understanding of what happened whithin the Church of Sweden during the period. The understanding of the politcial change came from the Church of Sweden itself and not primarly through external influences.
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Treacy, Susan. "English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.

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Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).
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Collingridge, Lorna Marie, i n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
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Książki na temat "Religious songs"

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Benjamin, Verna. Songs of the spirit. Victoria, B.C: First Choice Books, 2005.

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W, Work John, red. American negro songs: 230 folk songs and spirituals, religious and secular. New York: Dover, 1998.

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Dvivedī, Kapiladeva. Bhakti-kusumāñjaliḥ =: 100 devotional songs. Jñānapura (Vārāṇasī): Viśvabhāratī Anusandhāna Pariṣad, 1988.

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Roy, Clements. Songs of experience. Fearn, Ross-shire: Christian Focus Publications, 1993.

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Guglielminetti, Peterphilip Maria. Orient of love: Songs and poems. Hong Kong: [The author?], 1994.

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Songs of bleeding. New York: Black Thistle Press, 1992.

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Songs of sunrise, seeds of prayer. Mystic, CT: Twenty-third Publications, 1994.

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Patrick, David M. Sacred songs for the soloist: [20 songs on religious texts for] medium high voice. London: Boosey & Hawkes, 1996.

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Voices of our sisters: Mourning songs. Macon, Ga: Peake Road, 1996.

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Matthias, Thomas. Whispers in the wind-- songs from the silence. Oxford, Conn: Spirit Quest Pub., 1998.

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Części książek na temat "Religious songs"

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Suerbaum, Almut. "Including the Excluded". W Openness in Medieval Europe, 191–208. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-23_10.

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Practices of rewriting and mouvance are central to medieval culture, but have been neglected by contemporary scholarship. This paper highlights how collaborative forms of writing such as religious song engage with complex theological thought, opening up a discourse from which the laity had previously been excluded. Using forms which defy conventional author-based aesthetic norms, these songs explore poetic practices which are both collective and inclusive.
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del Rosario, Ingeborg. "Song of Songs". W Encyclopedia of Psychology and Religion, 2226–27. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_790.

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Rosario, Ingeborg. "Song of Songs". W Encyclopedia of Psychology and Religion, 1684–85. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_790.

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Cyrous, Sam, Carol L. Schnabl Schweitzer, Stacey Enslow, Paul Larson, Rod Blackhirst, Morgan Stebbins, Erel Shalit i in. "Song of Songs". W Encyclopedia of Psychology and Religion, 861–62. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_790.

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"RELIGIOUS SONGS". W The Frank C. Brown Collection of NC Folklore, 329–404. Duke University Press, 2013. http://dx.doi.org/10.2307/j.ctv12101bd.19.

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"XIII RELIGIOUS SONGS". W The Frank C. Brown Collection of NC Folklore, 329–404. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822382850-017.

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"SONGS OF PRAISE". W Qumran Prayer and Religious Poetry, 173–200. BRILL, 1994. http://dx.doi.org/10.1163/9789004350137_012.

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"Slave Songs and Spirituals". W African American Religious History, 112–35. Duke University Press, 2000. http://dx.doi.org/10.1215/9780822396031-014.

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HIGGINSON, THOMAS WENTWORTH. "Slave Songs and Spirituals". W African American Religious History, 112–36. Duke University Press, 2000. http://dx.doi.org/10.2307/j.ctv11smnkh.17.

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Heereman, Nina Sophie. "RECUPERATING THE SONG OF SONGS AS RELIGIOUS POETRY:". W The Song of Songs in its Context. Words for Love, Love for Words, 217–68. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26kv6.13.

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Streszczenia konferencji na temat "Religious songs"

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El Saj, Hala, i Charles Sarraf. "ROLE OF LANGUAGE MIXING IN RELIGIOUS SONGS". W 4th Arts & Humanities Conference, Stockholm. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2018.004.002.

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Yanghe, Wang. "The Religious Effects of Metaphors of Songs and Lyrics in Dunhuang Buddhism". W Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.104.

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Yeni, Indra. "Development of Moral and Religious Values for Children through Singing Themed Islamic Songs". W International Conference of Early Childhood Education (ICECE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icece-17.2018.7.

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Anisa, Hainur, Khairil Ansari i Mutsyuhito Solin. "Development of Poetry Writing Learning Module Assisted by Religious Songs for Junior High School UNIVA Medan". W Proceedings of the 4th Annual International Seminar on Transformative Education and Educational Leadership (AISTEEL 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aisteel-19.2019.135.

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Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung". W Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.
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Menon, Indu V., i Shebin M.S. "Shamanic Rituals and the Survival of Endangered Tribal Languages: An Anthropological Study in Gaddika". W GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.10-4.

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In many ancient communities, particularly tribal communities, there exists a system of dialogue and conversation with and between supernatural beings and the supernatural world they inhabit, as well as their transmigration into a human’s body. The supernatural world is considered to be the realm of the gods, or of the spirits of ancestors, or of satanic evil spirits. A Shaman is suggested to summon, and communicate with, tribal or cult gods, while controling spirits, ancestors, animals and birds with afforded powers. Shamanic rituals have patent linguistic significance. In communities with a strong shamanic tradition, the shamans generally use traditional language, without altering their unique features. The songs used in these rituals are also in traditional tribal dialect. This study focuses on Gaddika, the shamanic ritual of the Rawla tribe, a tribal community in Kerala, and about songs contributing to the ritual. The study examines to what extent the Rawla dialect has been retained in its ‘original’ form, and the tribal myths that are woven into ritual language. The Rawla language belongs to the Dravidian family, and has been passed on in oral form only. In the Gaddika ritual, the original language is widely used and is central to the survival of the language. This study was conducted among the Rawla community, through observations during several Gaddika rituals, thus documenting the songs and ritual dialogues. As such, the study documented the language in its orginal form and structure, along with prominent myths passed on through generations. The study analyses this shamanic ritual and its verbal patterns. The study concludes with that shamanic discourses and magico-religious rituals have a vital role in the continuity and in the survival of the historical dialect,
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Hadzantonis, Michael. "Becoming Spiritual: Documenting Osing Rituals and Ritualistic Languages in Banyuwangi, Indonesia". W GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.17-6.

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Banyuwangi is a highly unique and dyamic locality. Situated in between several ‘giants’ traditionally known as centres of culture and tourism, that is, Bali to the east, larger Java to the west, Borneo to the north, and Alas Purwo forest to the south, Banyuwangi is a hub for culture and metaphysical attention, but has, over the past few decades, become a focus of poltical disourse, in Indonesia. Its cultural and spiritual practices are renowned throughout both Indonesia and Southeast Asia, yet Banyuwangi seems quite content to conceal many of its cosmological practices, its spirituality and connected cultural and language dynamics. Here, a binary constructed by the national government between institutionalized religions (Hinduism, Islam and at times Chritianity) and the liminalized Animism, Kejawen, Ruwatan and the occult, supposedly leading to ‘witch hunts,’ have increased the cultural significance of Banyuwangi. Yet, the construction of this binary has intensifed the Osing community’s affiliation to religious spiritualistic heritage, ultimately encouraging the Osing community to stylize its religious and cultural symbolisms as an extensive set of sequenced annual rituals. The Osing community has spawned a culture of spirituality and religion, which in Geertz’s terms, is highly syncretic, thus reflexively complexifying the symbolisms of the community, and which continue to propagate their religion and heritage, be in internally. These practices materialize through a complex sequence of (approximately) twelve annual festivals, comprising performance and language in the form of dance, food, mantra, prayer, and song. The study employs a theory of frames (see work by Bateson, Goffman) to locate language and visual symbolisms, and to determine how these symbolisms function in context. This study and presentation draw on a several yaer ethnography of Banyuwangi, to provide an insight into the cultural and lingusitic symbolisms of the Osing people in Banyuwangi. The study first documets these sequenced rituals, to develop a map of the symbolic underpinnings of these annually sequenced highly performative rituals. Employing a symbolic interpretive framework, and including discourse analysis of both language and performance, the study utlimately presents that the Osing community continuously, that is, annually, reinvigorates its comples clustering of religious andn cultural symbols, which are layered and are in flux with overlapping narratives, such as heritage, the national poltical and the transnational.
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Xu, Xinghua. "Religious policy of the Song dynasty emperors". W 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.289.

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Molalita, Molalita, Molalita, Lestari Rejeki i Ida Rosida. "Religious Values in Sabyan’s Two Islamic Song Lyric". W Proceedings of the 2nd Internasional Conference on Culture and Language in Southeast Asia (ICCLAS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icclas-18.2019.49.

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Agafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.

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Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.
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Raporty organizacyjne na temat "Religious songs"

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Shaba, Varteen Hannah. Translating North-Eastern Neo-Aramaic Idioms into English. Institute of Development Studies, styczeń 2023. http://dx.doi.org/10.19088/creid.2023.002.

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North-eastern Neo-Aramaic (also known as NENA) languages and literature are a prosperous and encouraging field of research. They abound with oral traditions and expressions that incorporate various spoken forms including everyday language, tales, songs, chants, prayers, proverbs, and more. These are used to transfer culture, knowledge, and community values. Some types of oral forms are idioms and fixed expressions. Idioms are extremely problematic to translate for a number of reasons, including: cultural and linguistic differences between languages; their specific connection to cultural practices and interpretations, and the difficulty of transferring the same meanings and connotations into another language with accuracy. This paper explores how to define and classify idioms, and suggests specific strategies and procedures to translate idioms from the NENA dialect Bartella (a local Aramaic dialect in Nineveh Plain) into English – as proposed by Baker (1992: 63–78). Data collection is based on 15 idioms in Bartella dialect taken from the heritage play Khlola d baretle teqta (Wedding in the old Bartella). The findings revealed that only three strategies are helpful to transfer particular cultural conceptualisations: using an idiom of similar meaning and form; using an idiom of similar meaning but different form, and translation by paraphrasing. Based on the findings, the author provides individuals and institutions with suggestions on how to save endangered languages and dialects, particularly with regard to the religious minorities’ heritage. Key among these recommendations is encouraging researchers and scholars to direct translation projects and activities towards preserving minority languages with their oral heritage and cultural expressions, which are susceptible to extinction.
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