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Artykuły w czasopismach na temat „Religious songs”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 20 lutego 2023

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1

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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3

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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7

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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8

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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9

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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James, Elaine. "Battle of the Sexes: Gender and the City in the Song of Songs". Journal for the Study of the Old Testament 42, nr 1 (wrzesień 2017): 93–116. http://dx.doi.org/10.1177/0309089216670546.

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This article considers the significance of the city in the Song of Songs as a landscape, that is, a cityscape. It explores how contemporary theorizations of the city, especially landscape urbanism, can illuminate patterns of poetic use in the Song. It argues that the Song's use of the motif of the city is highly ambivalent, evoking the twin themes of protection and vulnerability. The Song playfully casts the lovers in a battle of the sexes, in which the young woman is a threatened city, and her lover is the encroaching enemy. Ultimately, the Song imagines the city as a body–-dependent on and susceptible to its surrounding environment, gendered female according to the conventions of the ancient world, and evocative of desire.

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12

A, Renugadevi. "Religious Tolerance and Omnipotent God’s Nature in Kamba Ramayana". International Research Journal of Tamil 3, S-2 (30.04.2021): 174–79. http://dx.doi.org/10.34256/irjt21s234.

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In Kambaramanyanam Religious tolerance are Recording in some Kanda and Songs. Kamban prayer song is the best example for his Religious tolerance. Principles of Samna Religion, Christian Religions principle, Islamic Divine theories are also found in Kambaramayanam. In the way love inspiration Kamban and Islamic Religion teaches world human brotherhood and social Integration. Love bonded brotherhood gives the guidelines of one God, one Religion and One caste that is human beings. Equality Between ma is the essence of religious tolerance. The aim and objectives of their articles is to find out the religious tolerance and omnipotent God’s Nature in Kambaramayanam.

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Kaplan, Jonathan, i Aren M. Wilson-Wright. "How Song of Songs Became a Divine Love Song". Biblical Interpretation 26, nr 3 (4.09.2018): 334–51. http://dx.doi.org/10.1163/15685152-00263p03.

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Abstract The origin of the interpretation of Song of Songs as a description of God’s relationship with God’s beloved community has been a persistent question in the work’s history of interpretation. Earlier scholarship has provided a number of possible solutions to this problem, none of them conclusive. This article offers another possible answer: the language and imagery of the Northwest Semitic combat myth in Song 8:6-7, which identifies love with Yhwh as the victorious divine warrior, triggers the work’s interpretation as a divine love song. This argument receives support from some of the earliest allusions to Song of Songs in Revelation, which interpret Song of Songs in the context of apocalyptic discourse that likewise draws heavily on the combat myth.

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Meredith, Christopher. "‘Eating Sex’ and the Unlovely Song of Songs: Reading Consumption, Excretion and D.H. Lawrence". Journal for the Study of the Old Testament 42, nr 3 (marzec 2018): 341–62. http://dx.doi.org/10.1177/0309089216677674.

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Recent trends in Song of Songs scholarship have questioned the obviousness of the so-called literal readings of the poem. This article contributes to that debate by returning to the poem's foodstuffs. Exploiting the idea of critical excrementality (Probyn, Châtelet, Kristeva), this study explores the way the ‘romantic’ Song of Songs tacitly relies on a politics of atrophy and excrementa. It argues that D.H. Lawrence anticipates the idea of an abject Song of Songs in his collection Birds, Beasts and Flowers. There, Lawrence exposes the unsettling preconditions of so-called romantic reading itself and sends us back to the Song with a sense that the poetic and the romantic are inherently excremental transactions.

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15

Supriyadi, Tedi, i Julia Julia. "Religious Songs on Youtube: The Impact for Students". Mimbar Sekolah Dasar 5, nr 3 (26.12.2018): 138. http://dx.doi.org/10.17509/mimbar-sd.v5i3.14499.

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Beginning in 2018 Indonesian people are treated to religious songs from Sabyan Gambus group with vocalist Nissa Sabyan. The song that was sung by Nissa Sabyan almost echoed in every layer of society. One of the media that makes it easy for people to be able to enjoy various song titles from several Nissa Sabyan albums is YouTube. This paper aims to analyze the YouTube's role in the religious dimension of students. The method used in this research is a survey with a qualitative approach. The survey was conducted on students with a total of 147. The results of the study prove that YouTube as an Internet-based audio-visual media is an effective medium for spreading religious nuances. The majority of students feel to be religious by listening to Nissa Sabyan's songs, even though they don't understand the contents of the lyrics. Thus, it can be concluded that YouTube has a high role in fostering a religious sense of students.

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Carr, David. "Song of Songs (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 21, nr 3 (2003): 162–64. http://dx.doi.org/10.1353/sho.2003.0009.

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Landy, Francis. "Song of Songs (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 25, nr 2 (2007): 196–98. http://dx.doi.org/10.1353/sho.2007.0033.

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Kwon, JiSeong James, i Matthias Brütsch. "Das Hohelied als jüdische Version der Liebesdichtung innerhalb eines gemeinsamen intellektuellen Hintergrundes in der hellenistischen Zeit". Journal of Ancient Judaism 12, nr 2 (2.06.2021): 149–74. http://dx.doi.org/10.30965/21967954-bja10010.

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Abstract This essay is intended to demonstrate that the Song of Songs (Canticles) is a product of a Hellenistic and Jewish intellectual background. It takes up motifs from Egypt, Mesopotamia, and is based on the Hellenistic poetry from Greece–Sicily–Alexandria. Its basic literary forms (Paraklausithyron, runaway love, descriptive songs of man and woman) were derived from the Hellenism of Alexandria, e.g. Theocritus and Moschus or its predecessors as an amalgam of these cultures. This conclusion is further supported by the manuscript evidence for the Songs of Songs found among the Dead Sea Scrolls.

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Grabbe, Lester L. "Book Reviews : The Song of Songs". Expository Times 114, nr 10 (lipiec 2003): 354. http://dx.doi.org/10.1177/001452460311401013.

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Ahn, John. "Song of Songs. Interpretation Bible Commentary". Horizons in Biblical Theology 29, nr 1 (2007): 91–92. http://dx.doi.org/10.1163/187122007x198527.

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Pfenniger, Jennifer. "Bakhtin Reads the Song of Songs". Journal for the Study of the Old Testament 34, nr 3 (marzec 2010): 331–49. http://dx.doi.org/10.1177/0309089210363031.

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Lundbom, Jack R. "Song of Songs 3:1–4". Interpretation: A Journal of Bible and Theology 49, nr 2 (kwiecień 1995): 172–75. http://dx.doi.org/10.1177/002096439504900206.

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Fulco, William J. "Book Review: The Song of Songs". Theological Studies 53, nr 3 (wrzesień 1992): 547–48. http://dx.doi.org/10.1177/004056399205300310.

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Queen-Sutherland, Kandy. "Book Review: Song of Songs/Lamentations". Interpretation: A Journal of Bible and Theology 59, nr 3 (lipiec 2005): 314. http://dx.doi.org/10.1177/002096430505900313.

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Anggraeni, Putri, i Syarif Hidayatullah. "BENTUK LIRIK LAGU ANAK DI TAMAN KANAK-KANAK JAKARTA TIMUR:KAJIAN INTERTEKSTUAL". SeBaSa 5, nr 2 (13.11.2022): 201–11. http://dx.doi.org/10.29408/sbs.v5i2.6220.

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Children's song lyrics in kindergarten always have their own characteristics. Children's song lyrics found in kindergarten are usually song lyrics adapted from previous song lyrics. Children's song lyrics are taught in kindergarten to train children or teach children various things such as religious values, independence, introduction to animals and others. The purpose of this study was to describe the form of the lyrics of children's songs sung in Kindergarten based on the types of hypograms. The subjects in this study were the lyrics of children's songs at the Kindergarten PG/RA Al Bakiriyah East Jakarta, TK Laboratory Jakarta, and PAUD Harapan Mulya. This research is a qualitative research with content analysis technique. The content analysis technique of this research is by collecting data and describing it by collecting data, presenting data, and conclusions. The result of this research is that there are 14 songs from 3 kindergartens in Jakarta. 1 song is included in the expansion hypogram, there are 7 songs included in the convention hypogram, there are 6 songs included in the hypogram, and none of the songs are included in the Ekserp hypogram.Keywords: Intertextual, Children's Song Lyrics, Hypograms

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B. Decock, Paul. "Origen’s Christian Approach to the Song of Songs". Religion and Theology 17, nr 1-2 (2010): 13–25. http://dx.doi.org/10.1163/157430110x517898.

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AbstractThis essay attempts to understand and appreciate what Origen was aiming at in his commentary on the Song of Songs. Origen “imagined” the purpose of reading the Scriptures as the transformation of the reader into the “likeness of God”. He viewed the Song of Songs as the climax of all songs of Scripture and therefore, “learning to sing that song” expressed the highest stage of Christian growth. As the subject matter of the Song of Songs is love, it is clear that perfection in love is indeed the ultimate goal of human life. However, understanding love is difficult and many go astray, because, in fact, as God is love, understanding love and loving is as profound as God Self. It is through the Logos at work in the Scriptures as well as within us and in the whole of the created reality that we are empowered for loving and understanding love. Origen describes the action of the Logos with the image of a “saving wound caused by the arrow of the divine eros”. Origen’s perspective is not that of working towards a fusion of horizons between a human author in the past and a present-day reader, but of working towards an ascent from the level of the “letter” to the level of the “spirit”.

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Harding, Kathryn. "'I sought him but I did not find him': The Elusive Lover in the Song of Songs". Biblical Interpretation 16, nr 1 (2008): 43–59. http://dx.doi.org/10.1163/156851507x216517.

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AbstractDespite the tendency in much Song of Songs scholarship to view the relationship of the lovers in the poem as harmonious, egalitarian and unproblematic, the repeated absence of the male protagonist in parts of the woman's speeches (most notably in chapters 3 and 5 of the Song) might be seen as a challenge to such interpretations. This article foregrounds the theme of absence in the woman's speeches in the Song of Songs, exploring the implications of this theme for the characterization of the female protagonist, and for the relationship of the lovers in the poem.

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Kalvāne, Skaidrīte. "SEARCHING FOR THE SOURCES OF 18TH AND 19TH CENTURY LATGALIAN RELIGIOUS SONGS". Via Latgalica, nr 7 (22.03.2016): 172. http://dx.doi.org/10.17770/latg2015.7.1218.

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<p><em>Latgalian </em><em>„</em><em>svātuos dzīsmis”</em><em> (‘sacred songs’) were not only sung in the church in the 18<sup>th</sup> and 19<sup>th</sup> centuries. These songs became integral and necessary components of both home and spiritual life.</em></p><p><em>Some publications of spiritual song and prayer books written by the Latvians of Latgale have been preserved until today: </em><em>„</em><em>Nabożeństwo” (1771, 1786, etc.) and </em><em>„</em><em>Dzismies Swatas” (1801, etc.). Of these are both first editions and reissues. These compilations represent the basic core of 19<sup>th</sup> century spiritual songs in conjunction with the book </em><em>„</em><em>Piļneigajā gruomotā lyugšonu” (“The Complete Book of Prayers”) published in the latter half of the century. Psalms which were written well before the birth of Christ are among the oldest religious songs. Psalms of penance and prayers for the dead were first published in Latgalian in the 1786 edition of </em><em>„</em><em>Nabożeństwo”.</em></p><p><em>The diversity of genres of songs is surprising: songs using scriptural texts, hymns of the Fathers of the Church, sequences and antiphonies. The progress of the liturgical year was supported by additional processionary hymns, hour songs (godzinkas), descriptions of the lives of saints set to music, catechism songs and prayers which are written as prose but given a melody in order to be sung. Directly arrhythmic language and certain metrical text used for worship in prayers made it unclear exactly how many texts were in fact songs.</em></p><em>It is not possible to determine the authors of all songs. Text recognition is also hampered by the lack of a printed Polish source – the work that the Jesuits translated to create the hymnals has not been found. Thus, for comparison of these texts it is necessary to find them in various books or consult the wider body of 19<sup>th</sup> century songs, wherein the content of songs is usually altered. The “sacred songs” examined and analyzed in this article were selected at random. The majority of songs so far sourced are from „Nabożeństwo”, but identification work continues at present.</em>

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Christensen, Duane L., Michael V. Fox i Michael D. Goulder. "The Song of Songs and the Ancient Egyptian Love Songs". Journal of Biblical Literature 106, nr 3 (wrzesień 1987): 523. http://dx.doi.org/10.2307/3261079.

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Story, Cullen. ""Another Look at the Fourth Servant Song of Second Isaiah"". Horizons in Biblical Theology 31, nr 2 (2009): 100–110. http://dx.doi.org/10.1163/019590809x12553238842989.

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AbstractThis essay argues for a contextual exegetical reading of the servant songs in Second Isaiah. By reading the songs in the literary context of references to the "second exodus" and hymns of celebration, several conclusions can be drawn. There are three servant figures in the four servant songs: one servant (Israel) in need of redemption, one servant (Second Isaiah) who proclaims redemption, and one servant (the Messiah) who procures redemption. This servant of the fourth song is not the prophet himself or Israel but a servant figure whose sacrifice will break the yoke of Babylon.

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Krisbiyanti, Billa, i Udi Utomo. "Utilizing Children’s Song Videos To Create A Religious Character In Children With Intellectual Disabilities". Jurnal Seni Musik 10, nr 2 (31.12.2021): 184–94. http://dx.doi.org/10.15294/jsm.v10i2.51623.

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Character education at SLB Negeri 1 Pemalang has not been able to run optimally since the emergence of the Covid-19 pandemic affecting the learning activities having to be carried out online. However, the efforts made by one of the teachers at SLB Negeri 1 Pemalang to create religious characters through song videos show that character education can still be done by utilizing technological advances in online learning. This study aims to describe and analyze children's song videos used by teachers to create religious characters for students with intellectual disabilities of class IV C at SLB Negeri 1 Pemalang. The research method of this study is descriptive qualitative. The results of this study show that the videos of songs by Nussa and Rara entitled "Rukun Iman", "Rukun Islam", and "Berkata Baik atau Diam" can be used by teachers to create religious characters for students with intellectual disabilities. The three songs have elements of similar musicality that are easy to be learned and mastered by students in the children's age group. The lyrics of these songs contain Islamic trilogy in the form of basic concepts of character building, namely aqidah, sharia, and morals. The three songs are presented in the form of animated videos so that it is interesting. It eases students with intellectual disabilities to accept and understand the learning material provided.

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Hunter, Jannie H. "The Song of Protest: Reassessing the Song of Songs". Journal for the Study of the Old Testament 25, nr 90 (wrzesień 2000): 109–24. http://dx.doi.org/10.1177/030908920002509008.

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Dorsey, David A. "Literary Structuring in the Song of Songs". Journal for the Study of the Old Testament 15, nr 46 (luty 1990): 81–96. http://dx.doi.org/10.1177/030908929001504607.

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Moughtin, Sharon. "Book Review: Song of Songs: A Commentary; Song of Songs: The New International Commentary on the Old Testament". Expository Times 116, nr 2 (listopad 2004): 68. http://dx.doi.org/10.1177/001452460411600218.

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Sipayung, Febri Ridho. "BUKU DODING HALELUYA SEBAGAI SALAH SATU MEDIA PELESTARIAN LAGU RAKYAT SIMALUNGUN DI GKPS SIMALINGKAR". Grenek Music Journal 7, nr 1 (3.01.2018): 11. http://dx.doi.org/10.24114/grenek.v7i1.8782.

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This study aims to find out what folk song title Simalungun in Doding book Hallelujah,how is the form of the folk songs and the effectiveness of its conservation through replacementmethod lyrics/poems for the congregation GKPS Simalingkar.This study is based on the theoretical foundation to explain the meaning of HallelujahDoding Books, Media, Preservation, and Folk Songs SimalungunThe method used is descriptive qualitative. The population in this study are allSimalungun folk songs that are in the book Hallelujah Doding the 36 songs and 10 congregationsGKPS Simalingkar. The techniques of Data collection in this study conducted by fieldobservations, literature studies, interviews and documentations.Generally, this research shows that the contribution of 36 folk songs in the bookDoding Simalungun Hallelujah create varied impressions in the book. as well as with the form ofsongs that mostly consists of two parts. And look also the effectiveness of the preservation of thefolk song lyrics Simalungun with replacement method/lyrics towards more religious makeHallelujah Doding books as one of the media in the preservation of the folk song SimalungunGKPS Simalingkar.

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36

Putra, Purniadi Adi. "Implementasi Pendidikan Karakter: Integrasi Lagu Melayu Sambas dalam Pembelajaran pada MIN Kabupaten Sambas". Sosial Budaya 16, nr 2 (22.12.2019): 83. http://dx.doi.org/10.24014/sb.v16i2.6942.

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The lack of understanding and knowledge of children about the song and the type of song itself will have an impact on the character crisis, this is due to many who memorize the western-style romance songs compared to their own folk songs. The aim of learning Sambas Malay regional songs in the madrasa introduces directly to students and preserving Sambas Malay local culture especially at the elementary level children will sustain in the process of maintaining regional culture to stay alive, transfer and develop by means of learning processes contained in subjects and extracurricular regional art has implications for student character education. This study uses descriptive qualitative methods. The focus of this research is art teachers, students and madrasah principals with data sources from the MIN Sambas District of the Sambas Malay ethnic group. The results of this study are to strengthen the values of Sambas Malay character as a basic foundation in maintaining local wisdom, song art education as the basis of education in shaping the soul and personality of noble character (akhlakul karimah), the meaning of Sambas tandak song has religious value, bellale song ' having social values in collaboration, Sambas river songs flooded with environmental values, mak jage's rock songs having the value of peaceful love characters, and Allo 'Galing songs having social values and cooperation.

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Stone, Michael. "The Interpretation of Song of Songs in 4 Ezra". Journal for the Study of Judaism 38, nr 2 (2007): 226–33. http://dx.doi.org/10.1163/157006307x180192.

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AbstractThe article deals with a passage of 4 Ezra that might well be an allegorical exegesis of Song of Songs. The usual allegory sees the bridegroom as God and the bride as Israel. 4 Ezra is contemporary with Rabbi Aqiba's statements on the allegory of Song of Songs, and is further evidence for the existence of allegorical interpretation. Yet it witnesses a different tradition of allegorical exegesis to the one usually found. This conclusion is compared with various views on Song of Songs and its interpretation.

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Syroid, Olena. "Spiritual Song in Ukrainian Folklore Milieu". Слово і Час, nr 11 (15.11.2019): 62–71. http://dx.doi.org/10.33608/0236-1477.2019.11.62-71.

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The paper outlines the original phenomenon of a spiritual song in the Ukrainian oral tradition, determines characteristic features of these texts and their functions. Besides, the author focuses on some special research issues concerning the folklore religious repertoire, ﬁrst of all, the speciﬁcity of the relationship between spiritual and secular epic songs. The spiritual song in the Ukrainian oral tradition is a large group of poetical and musical works, united primarily by the religious Christian themes and endowed with the ability to acquire special spiritual meaning in the life of a believer, exercise an important function of satisfying his/her spiritual religious needs. Another deﬁning feature of these songs is a lack of clear attachment to a certain rite, time, occasion. An episodic attachment of individual texts to the rite only reveals their multifunctionality, since, as a rule, the same work may be used in various rituals, appear in the repertoire of professional singers, and perform some other functions simultaneously. Essential for the differentiation of the spiritual song phenomenon in the folklore milieu is the fact of distinguishing this group of works and perceiving it as integrity by the bearers of tradition themselves until now. They use special folk concepts for its designation (‘God’s songs’, ‘psalms’). At the same time, this large stratum of folk repertoire is divided into two sub-groups, namely folklorized songs of book origin and those of folk origin. Thus, the phenomenon of a spiritual song in the Ukrainian oral tradition is characterized by a rich variety of texts in terms of character, time of emergence, nature, form, style, and genre features. The practice of perception, recording, and comprehension of spiritual songs has developed certain concepts and approaches. The present paper offers an attempt to systematize the previous experience and distinguish the problems that were raised in the works by various researchers and remained topical, often lacking a proper resolution. Attention to the system of the research approaches gives a guideline to the author and forms a sense of the continuing tradition.

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39

Polaski, Donald C. "What Will Ye See in the Shulammite? Women, Power and Panopticism in the Song of Songs". Biblical Interpretation 5, nr 1 (1997): 64–81. http://dx.doi.org/10.1163/156851597x00049.

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AbstractThe Song of Songs, until recently imprisoned in male-dominated allegorical interpretations, has now become an important resource for feminist readers. By and large, these critics have understood the female figure(s) in the Song as its empowered Subject-a reflection of the Song's gynocentric social context. Such readings presuppose that this female Subject is a self-constituting individual. Another approach to the question of the Subject, that of Michel Foucault, results in a different reading of the female Subject of the Song. Foucault's use of the Panopticon serves as a model for reading the Song. The Panopticon, an ideal prison, renders prisoners constantly and unavoidably available to be watched by an unseen watcher. The prisoners thus assume they are always being watched and become their own guards; they internalize the disciplinary gaze. By doing so, they are constituted as Subjects within a field of power relations. The Shulammite is, in this reading, shown to be the object of a male gaze from which she cannot escape, unlike the male figure. Thus she becomes a Subject through a regime of discipline. While the female figure is the Subject of the Song, this status does not mean that the Song must be heard as liberating for women. Indeed, just the opposite may be true.

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Riazanov, I., i V. Yakuba. "CONCEPTS OF RELIGION IN MODERN AMERICAN RAP LYRICS". Studia Philologica, nr 2 (2019): 57–61. http://dx.doi.org/10.28925/2311-2425.2019.13.9.

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The article studies verbalization mean of religious concepts in Kendrick Lamar’s songs of his 2017 album DAMN. After introducing the inventory of lexemes representing themes of religion, the authors argue for correlations with basic concepts and explain the structure of the thematic field, representing religion in all fourteen songs of the album. The album structure and each song of it include over a hundred tokens referring to various religious concepts – mainly GOD, SIN, and PRAY, each of them being verbalized by a group of lexemes, fifteen total, which share certain semantic components. The micro-contexts with biblical quotes will be regarded as convergence points of the album’s text and analyzed individually for their stylistic value, but in general contributing to the general view of the album as a spiritual challenge. Through each next song a new aspect of religious concepts adds to the existing inventory, certain repetitions and cross-contextual allusions confirm and support them, adding coherence and continuity to the album’s structure. Out of fourteen songs of the album seven directly verbalize basic religious concepts through the notions of God, pride, humility, lust, love, loyalty, fear. This explicit structural feature together with the ambiguous title offer a series of logical steps in evaluating the sinful vs virtuous choices. This contrast is identified and sustained through such stylistic devices as repetitions, allusions, rhetorical questions and others.

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Shofwan, Arif Muzayin Shofwan, i Gandes Nurseto. "Pembentukan Karakter Melalui Lagu Dolalan pada Mata Pelajaran Bahasa Jawa". DIAJAR: Jurnal Pendidikan dan Pembelajaran 1, nr 1 (20.01.2022): 10–16. http://dx.doi.org/10.54259/diajar.v1i1.144.

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Character building in students can be done through a variety of subjects delivered by the teacher. This qualitative research using a case study describes the dolanan song in Javanese language subjects which is used to shape the character of students at MI Miftahul Huda Papungan 01 Blitar. The findings in this study, among others: First, the dolanan song functions as a medium to convey moral values to students, such as obedience to religious teachings, love for the homeland and nation, togetherness, cooperation, and others; Second, there are dolanan songs that contain educative value and vice versa, a teacher must choose dolanan songs that contain educational values for students; Third, several songs that can be found in this research, among others: Cublak-Cublak Suweng, Menthog-Menthog, Kidang Talun, Tikus Buntung, Gotri, and others; Fourth, most students feel happy and excited when singing the dolanan song because the song can be sung while playing (dolanan). Dolanan songs can also be used as an alternative to relieve tension in students when they are bored with thinking activities.

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Hascher-Burger, Ulrike. "Music and Meditation: Songs in Johannes Mauburnus's Rosetum exercitiorum spiritualium". Church History and Religious Culture 88, nr 3 (2008): 347–69. http://dx.doi.org/10.1163/187124108x426538.

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AbstractThe Rosetum exercitiorum spiritualium et sacrarum meditationum of Johannes Mauburnus is considered the most extensive and influential treatise on meditation in the circles of the late Devotio Moderna. It was printed in five editions from the late fifteenth to the early seventeenth century. Besides instructions for numerous meditations of varying length, this treatise contains seven religious songs which were intended to stir up the emotions and facilitate the correct disposition for meditation. These songs were created as contrafacts, meaning that the newly composed texts were sung to well-known melodies of liturgical hymns and religious songs. In song rubrics, Mauburnus gives precise instructions about their function as an aid to summoning the motivation for the great number of spiritual exercises that had to be accomplished by the adherents of the Devotio Moderna every day. A unique feature of the Rosetum is the combination of a concrete meditation with a corresponding written song. These songs have not yet been examined systematically. The texts were edited by Guido Maria Dreves in Analecta hymnica on the basis of the edition printed in Paris in 1510. The melodies have not yet been reconstructed. In this article, the seven contrafacts are studied for the first time from the point of view of their structure and function, and their melodies are reconstructed on the basis of liturgical sources associated with the Devotio Moderna.

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Briggs, Richard S. "Song of Songs By Tremper Longman III". Heythrop Journal 47, nr 4 (październik 2006): 623–24. http://dx.doi.org/10.1111/j.1468-2265.2006.00301_1.x.

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Bardski, Krzysztof. "Jennifer L. Andruska, Wise and Foolish Love in the Song of Songs (Oudtestamentische Studiën 75; Leiden – Boston, MA: Brill 2018). Pp. 219. €104. ISBN 978-90-04-33101-3 (e-Book)". Biblical Annals 11, nr 2 (29.04.2021): 375–78. http://dx.doi.org/10.31743/biban.12407.

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Menn, Esther. "THWARTED METAPHORS: COMPLICATING THE LANGUAGE OF DESIRE IN THE TARGUM OF THE SONG OF SONGS". Journal for the Study of Judaism 34, nr 3 (2003): 237–73. http://dx.doi.org/10.1163/15700630360702794.

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AbstractContrary to what might be expected, the allegorical interpretation of the Song of Songs set forth in the Targum of the Song of Songs does not consistently portray God and Israel as male lover and female beloved. Instead, the Targum presents a multiplicity of additional metaphors suggesting the intimacy between divine and human counterparts throughout their history together, including the affective relationships between male friends and scholarly colleagues, siblings, infant and nurse, father and son, gardener and plants, and farmer and animals. Ambivalence towards sexual love and marriage as appropriate theological metaphors, sensitivity to the rich symbolic language of the Song of Songs and other scriptural passages, and celebration of the primacy of Torah study with male colleagues in rabbinic culture all contribute to this diversification of imagery, which builds on the emotive intensity of the Song of Songs even as it complicates the language of desire.

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Thornton, Daniel. "How YouTube Mediations of Global Contemporary Congregational Songs Contribute to an Understanding of the Genre". Journal of Religion, Media and Digital Culture 10, nr 3 (18.11.2021): 445–66. http://dx.doi.org/10.1163/21659214-bja10039.

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Abstract Contemporary congregational songs (ccs) are a global genre of Christian worship, driven presently from Western production centres. Streaming media platforms, in particular YouTube, have become essential vehicles for disseminating these songs globally, as well as a way for fans to contribute to the popularity of songs through views, likes, comments, sharing, and uploading their own fan-created videos. While this activity has had some scholarly attention, it has not focussed on the varied forms these videos take and how they contribute to and nuance the definition of the genre. This article utilises the most sung songs data from recent Christian Copyright Licensing International reports across five regions to establish the 32 most sung ccs globally. A media studies analysis is then conducted, with contributions from musicology and theology, of the most viewed versions of those ccs on YouTube. Three typical video forms are identified and discussed in relation to the way they reflect and shape perceptions of the contemporary congregational song genre.

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Mathews, Jeanette. "Difficult texts: who is the Shulammite? (Song of Songs 6.13 [MT 7.1])". Theology 125, nr 6 (listopad 2022): 437–41. http://dx.doi.org/10.1177/0040571x221133797.

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Bernat, David. "Biblical Wa[UNKNOWN]sfs Beyond Song of Songs". Journal for the Study of the Old Testament 28, nr 3 (marzec 2004): 327–49. http://dx.doi.org/10.1177/030908920402800305.

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Grossberg, Daniel. "Nature, Humanity, and Love in Song of Songs". Interpretation: A Journal of Bible and Theology 59, nr 3 (lipiec 2005): 229–42. http://dx.doi.org/10.1177/002096430505900302.

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This essay is a study of the three-fold theme of nature, humanity, and love in Song of Songs and an investigation into the ways nature imagery is used to evoke human love. The work further examines the nature of the highly erotic yet restrained love that is evoked.

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Emerton, J. A., i Athalya Brenner. "The Song of Songs". Vetus Testamentum 40, nr 4 (październik 1990): 501. http://dx.doi.org/10.2307/1519235.

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