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Caldwell, Mary Channen. "Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853". Journal of the American Musicological Society 74, n.º 1 (2021): 91–156. http://dx.doi.org/10.1525/jams.2021.74.1.91.
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Abstract This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century manuscripts and conclude with its unnotated appearance in nineteenth-century printed Catholic songbooks. I argue that the refrain’s long-standing appeal can be located in its function as a poetic and liturgical trope of time itself. While tropes often enhance the “hic et nunc” (here and now) of the liturgy, the “Fulget dies” refrain gained additional temporal significance through its intimate link to songs of the Christmas season. The “shining day” imagery introduced by the refrain offered a tangible way of marking seasonal time in devotional rites, poetically indexing the light-based symbolism of Christmas, the winter solstice, and the New Year. The inherently temporal meaning of the refrain lent it flexibility as a trope, enabling its movement across genres and liturgies. Integrated into sacred Latin songs, the “Fulget dies” refrain functioned as a pithy musical and poetic commentary on liturgical, calendrical, and seasonal temporalities—in other words, as a trope of time in sacred song.
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Moreira Vieira, Caroline, e Joana Bahia. "Yaô africano: the orixá in the voice of Patricio Teixeira". Religiones y religiosidades en América Latina, n.º 26 (31 de dezembro de 2020): 39–62. http://dx.doi.org/10.36551/2081-1160.2020.26.39-62.
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Patricio Teixeira was an important voice in Brazilian music, particularly during the 1920s and 1930s. His career in radio broadcasting extended into the mid-1950s. Teixeira’s work gave visibility to black subjects and their cultural identities. This article analyzes the sacred elements that overflow into the musical and recreational universe of Rio through some of the songs recorded by Teixeira. With varied appropriations, these recordings of chants for orixá, Afro-Brazilian practices, and rituals mark the presence of the Afro-Brazilian sacred in Brazilian popular song.
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, n.º 1 (6 de junho de 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.
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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
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Robert, Jörg, e Moritz Strohschneider. "Spracharbeit und interkonfessionelle Liedtradition". Artes 2, n.º 2 (18 de setembro de 2023): 299–342. http://dx.doi.org/10.30965/27727629-20230013.
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Abstract This article deals with the numerous psalm songs that Martin Opitz composed between 1626 and 1638 to melodies from the Geneva Psalter. It discusses them in the context of the great tradition of Protestant psalm songs which had flourished since the Reformation and considers their role for Opitz’s poetics and linguistic reflection (‘Spracharbeit’). In the first part, the essay presents Opitz’s translation work on the Psalter showing that the poet wanted to create a normative example of German-language sacred poetry. We then reconstruct Opitz’s poetics on the basis of his songs on Psalm 6, linking it to the European tradition of the psalm song as well as to theological and dogmatic issues.
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MONGE, LUIGI. "Their eyes were watching God: African-American topical songs on the 1928 Florida hurricanes and floods". Popular Music 26, n.º 1 (janeiro de 2006): 129–40. http://dx.doi.org/10.1017/s0261143007001171.
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This study focuses on the five known African-American topical songs dealing with the two hurricanes and ensuing floods that took place in Florida in the summer of 1928. The first is a commercially recorded blues song and the others are unreleased Library of Congress sacred recordings, which are transcribed and analysed here for the first time.
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Kroeger, Karl, e Eve R. Meyer. "Benjamin Carr. Selected Secular and Sacred Songs". Notes 45, n.º 1 (setembro de 1988): 149. http://dx.doi.org/10.2307/941407.
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Clark, J. Bunker, e Eve R. Meyer. "Benjamin Carr: Selected Secular and Sacred Songs". American Music 6, n.º 4 (1988): 460. http://dx.doi.org/10.2307/3051703.
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Sánchez Gutiérrez, Adriana. "Cantos sagrados y voces colectivas descoloniales desde la voz de Elvira Espejo Ayca. Kirki Qhañi. Petaca de las poéticas andinas (2022)". Bolivian Studies Journal 28 (2 de dezembro de 2022): 19–33. http://dx.doi.org/10.5195/bsj.2022.279.
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This article-interview with the poet Elvira Espejo Ayca discusses the process of recovering the sacred songs of the Aymara and Quechua indigenous communities through the oral tradition from her grandmother Gregoria Mamani and her great-great-grandmother Martina Pumala. The song-poems preserve Inca meanings and aesthetics that the indigenous people used during Colonization to maintain good relations with the Spanish domain and, in turn, mask those referring to the Inca deities. Some songs have been taken up to unravel the lyrical resources of colonial times and recreate the original songs of the ancestors with the community of Kurmi Wasi School in Bolivia, a musical production that was recorded under the name of Sami Kirki in 2018, which was included in the last Espejo’s book Kirki Qhañi (2022).
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Ramsten, Märta. "En muntlig sångkultur kopplad till skrift". Puls - musik- och dansetnologisk tidskrift 9 (22 de maio de 2024): 10–26. http://dx.doi.org/10.62779/puls.9.2024.23731.
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An oral song culture connected to printed worksThe aim of this article is to investigate the process of diachronic transmission with reference to oral material. Departing from field recordings from the very north of Sweden this article intends to account for the transmitting of oral song traditions connected with two pious song books, Sions sånger/Sion’s Songs and Sions nya sånger/Sion’s New Songs from the 18th century. The song books were published in numerous editions up until 1975 and foremost used by religious dissenters. Only song texts were provided in the books – as for melodies the congregation had to deal with directions to contemporary melodies, mostly hymns. The recordings indicate that several both sacred and profane melodies used during the 18th century may have followed the songs for more than 200 years in oral tradition. The restricted life within the congregations is a prerequisite for this process which goes on within the collective. In the present investigation the contradictory words acceptance and avoidance/repudiation are used to make clear what elements are active as both controlling and cooperative in the dynamic transmitting process.
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Sopacoly, Mick Mordekhai. "Merayakan Cinta Berdasarkan Kidung Agung 1:9-17". DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 4, n.º 2 (13 de abril de 2020): 234–53. http://dx.doi.org/10.30648/dun.v4i2.290.
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Abstract. At a glance reading the Song of Songs gives the impression as a book that displays mere sensuality. Therefore raising the question why the Song of Songs was included in the canonization of the Bible which is the Word of God. This paper aimed to explore the meaning of the great love found in the Song of Songs text that seems vulgar and sensual. The method used in this study was a historical criticism of the Song of Songs 1: 9-17. Through this study, it could be concluded that the love texts in Song of Songs display the power of love that is unique, creative, and contains a sacred dimension, which not only focuses on the physic, but also in the emotional aspects, conscience, and inner bonds, as a form of celebration of God's grace.Abstrak. Membaca kitab Kidung Agung sekilas memberikan kesan sebagai kitab yang menampilkan sensualitas semata. Hal itu tentunya menggugah pertanyaan mengapa Kidung Agung masuk dalam kanonisasi Alkitab yang adalah merupakan Firman Tuhan. Tulisan ini bertujuan untuk menggali makna cinta yang agung di balik tulisan dalam kitab Kidung Agung yang terkesan vulgar dan sensual. Metode yang digunakan dalam kajian ini adalah metode kritik historis terhadap teks Kidung Agung 1:9-17. Melalui kajian tersebut dapat disimpulkan bahwa teks-teks cinta dalam Kidung Agung menampilkan kekuatan cinta yang unik, kreatif, dan mengandung dimensi kesakralan, yang tidak hanya berfokus kepada fisik, tetapi juga dalam aspek emosional, nurani, dan ikatan batin, sebagai bentuk perayaan atas anugerah Allah.
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Shahar, Galili. "Goethe’s Song of Songs : Reorientation, World Literature". Prooftexts 40, n.º 1 (2023): 110–39. http://dx.doi.org/10.2979/ptx.2023.a899251.
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Abstract: The engagement of the German poet Johann Wolfgang von Goethe (1749–1832) with biblical Hebrew poetry already during the early stages of his career in the 1770s and later during the Divan period (1814–27) was associated with his study of Oriental literatures. Under the influence of his mentor and friend, Johann Gottfried Herder, Goethe devoted himself to studying and translating Hebrew and Arabic sources (mostly from the Latin), among them the Song of Songs, alongside chapters from the Qurʿan. In his late work his reflections on the Hebrew biblical poem were associated with his interpretation of Persian classical poetry, first and foremost the ghazals, the love poems by Hâfiz, while composing his work Der westöstlicher Divan . This article offers a comparative study of Goethe’s translation and interpretation of Song of Songs, discussing its major motives, the dialectic of profane love and the sacred, confusion and disorientation, drunkenness, erotic desire, and gender ambiguities. It refers to Goethe’s translation of the Hebrew poem also in conjunction with a critical, decolonial review of Weltliteratur (world literature). Goethe’s Song of Songs serves us as a map of literary interactions, in which the German, the Hebrew and the Persian are brought into conversation.
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MEDVEDYK, Jurij. "SACRED VERSE OF THE END OF THE XV – MID XVII cc. IN UKRAINIAN PARALITURGICALMUSICAL CULTURE (Mykhailo Hrushevskyi’s reminiscences concerning the study of the genre)". Bulletin of the Lviv University. Series of Arts Studies 280, n.º 20 (2019): 36–43. http://dx.doi.org/10.30970/vas.20.2019.10637.
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The purpose of the article comprises: a) by means of conducting of musicological-source studies to enter the genre of sacred verse in musical-poetic heritage of Ukrainian late-medieval culture in spite of the fact that it is habitually associated with the Muscovite (Russian) culture of the considered time: b) to analyse the genre as an important religious-artistic source of the Ukrainian baroque time song creativity of the end of the XVI–XVIII centuries. The methodology of research have been used: methods of source study, historical, of music theory, etc. The scientific novelty. In the article, the sacred stich (verse) is stu as a genre of the national sacred song creativity tradition aroused in the late medieval age and contributed to the origin of the Ukrainian baroque sacred song creativity. M. Hrushevkyi’s unjustly forgotten concept of learning the sacred verse in the context of the Ukrainian song cultural and literary creativity was laid down in that approach. By means of a number of examples Yu. Medvedyk proves the topicality of M. Hrushevskyi’s ideas and points out further prospects of the development of the study of the genre of repentance verse. A special attention the author pays to the issue of the study of the motif of “repentance in wilderness” which was very well elaborated by East Slavic song authors of late medieval time. Later these motifs manifested themselves very distinctly in repentance sacred songs of the Baroque epoch. The essence of this culture is sufficiently, well represented in the “Bohohlasnyk” from Pochaiv, which has been recently reprinted in a Slavic studies Austria-Germany publishing house (“Böhlau Verlag”) by Yu. Medvedyk [7]. Conclusions. The state of the present-time textological studies of repentance verses allows contemporary researches to include them not to the old Muscovite (Russian) spiritual heritage. The previously conducted musical-textological investigational distinctly prove it
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Gordon, T. A. "Wartime songs: An attempt at genre analysis". Voprosy literatury, n.º 5 (30 de outubro de 2022): 13–36. http://dx.doi.org/10.31425/0042-8795-2022-5-13-36.
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The article analyses Bakhtin’s theory of artistic text, using the example of mid-20th-c. Russian military songs (‘Granada’ [‘Grenada’], ‘Little Eagle’ [‘Orlyonok’], ‘Far Away, Across the River’ [‘Tam vdali, za rekoy’], ‘The Sacred War’ [‘Svyashchennaya voyna’], ‘Dark Is the Night’ [‘Tyomnaya noch’], etc). Focusing on Bakhtin’s idea that an artistic word recalls and reestablishes archaic genres, the researcher examines if a similar tendency can be traced in military song lyrics. A genre analysis shows that the lyrics tend to resurrect the seemingly forgotten archaic techniques of epic distance, epic monism, and syncretism. Russian wartime songs draw on and reinvent the genre features of biblical poetry, classical epics, and Byzantine rhetoric. Which element is responsible for this revival of the archaic? Upon examination of Bakhtin’s key theses, the author finds that Bakhtin’s concept of ‘great time’ is language. The poetics of military songs conforms to the ideas proposed by Bakhtin that an artistic text revives the archaic as a result of a subconscious language instinct.
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Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)". Linguistics, n.º 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.
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Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.
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Kalvāne, Skaidrīte. "SEARCHING FOR THE SOURCES OF 18TH AND 19TH CENTURY LATGALIAN RELIGIOUS SONGS". Via Latgalica, n.º 7 (22 de março de 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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YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING". Eighteenth Century Music 2, n.º 2 (setembro de 2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.
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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, little has been said about her apparent penchant for reflecting on and preparing for death through the medium of her personal musical notebook. By reading these poetic texts and their musical settings against the voluminous writings on the art of dying to be found in the family’s theological library, this essay argues for the centrality of the ars moriendi in the Bachs’ domestic life and in their music-making.
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Reuvekamp, Silvia. "Lilie unter Dornen". Beiträge zur Geschichte der deutschen Sprache und Literatur 142, n.º 4 (27 de novembro de 2020): 493–514. http://dx.doi.org/10.1515/bgsl-2020-0041.
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AbstractThe echoes of the Song of Songs in Hartmann’s ›Erec‹ culminate in the famous comparison of Enite with a lily among thorns. Against the background of the exegetical tradition, in which the lily stands for an exceptional love competence, it is shown that this comparison is much more important to an appropriate understanding of ›Erec‹ than has been commonly assumed. This example illustrates, moreover, how precisely vernacular-language authors make usage of sacred contents and how autonomously they create processes of literary meaning-making.
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Bardski, Krzysztof. "Biblia sakramentem miłości Boga i Kościoła". Verbum Vitae 7 (14 de janeiro de 2005): 201–14. http://dx.doi.org/10.31743/vv.1383.
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In the christian antiquity the word sacrament designated any sacred sign. The Bible can be considered as a sign of the love between God and the Church. In our article we analyze the symbols created in connection with the more-than-literal interpretation ofthe Song of Songs. The different aspects o f the loving relation between the Bridegroom and the Bride have been interpreted by the ancient and medieval commentators in the light of the role that the Bible plays in the relation between Jesus and the Church or Jesus and the human soul.
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Knapp, Jeffrey. "“Sacred Songs Popular Prices”: Secularization in The Jazz Singer". Critical Inquiry 34, n.º 2 (janeiro de 2008): 313–35. http://dx.doi.org/10.1086/529059.
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Завальнюк, Анатолій. "Sacred compositions of Mykola Leontovych". Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, n.º 26 (8 de dezembro de 2018): 34–39. http://dx.doi.org/10.31652/2411-2143-2018-26-34-39.
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The article deals with the main genres of religious choral works by prominent Ukrainian composer M.D. Leontovich. In particular, such as old chants, religious carols, psalms and canti, chiravim songs and "Liturgy of John Chrysostom". In these works, the composer demonstrated the melodious affinity of folk melody with highly professional original, polyphonic, and spiritual works. In all kinds of church singing M. Leontovich has shown himself as an unrivaled master of the genre and his civic commitment to national spiritual music. Created by the composer church works are distinguished by high perfection and artistic quality, remain an example for the following composers in the writing of Ukrainian spiritual music.
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Petrošienė, Lina. "Parodies of Religious Hymns in Žemaitijan Carnival: Social Interaction and Cultural Expression: Everyday Life, Festivities and Ritual Forms". Yearbook of Balkan and Baltic Studies 4 (dezembro de 2021): 245–66. http://dx.doi.org/10.7592/ybbs4.10.
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On costumed processions in Žemaitija on Shrove Tuesday, the ‘beggars’ were and are among the main characters, as attested by the mask’s distribution area, the name ‘Shrovetide beggars’ being given to the whole band of masked people, and the relative abundance of the costumed “beggars”’ songs. This study examines some examples from the repertoire of Shrove Tuesday carnival songs in Žemaitija, parodies of religious hymns and folk songs, which the performers called hymns and which were performed in imitation of sacred singing. The present analysis identifies their features, origins and function at the Shrove Tuesday carnival.
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Yuliari, Sang Ayu Made, Desak Nyoman Seniwati e Ida Ayu Putu Sari. "Gitasanti Sebagai Terapi Yoga Di Pasantian Dharma Usada Desa Adat Ubud". Jurnal Penelitian Agama Hindu 7, n.º 2 (17 de abril de 2023): 146–60. http://dx.doi.org/10.37329/jpah.v7i2.2092.
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Dharmagita activities, which is better known in the community as meshanti, are one form of offerings through singing sacred songs. Sacred song is one type of the five types of songs in Hinduism which are known as pancagita. Meshanti is also a form of yoga and closely related to catur marga yoga which is performed through yajna ceremonies. The aim of the research is to identify the implementation, the procedure, and benefit of using gitashanti as a yoga therapy. The present study was conducted with qualitative method and the data were collected using observation, interview, literature study, and documentation. The present study found that 1) Gitashanti is performed as a yoga therapy in Pasantian Dharma Usada since in its implementation it uses the action of ngunda napas (breathing regulation) and ngandet angkihan (holding breath). In yoga, the action of regulating breath is called pranayama and the sitting pose is called asana. For the female, the sitting pose is kneeling (bajrasana) and the male sitting pose is sitting cross-legged (ardha padmasana). 2) The procedure starts with worshipping the Goddess Saraswati. 3) The benefits are a) health benefits, the participants enjoyed a significant blood pressure decrease with the average of 33.3mmHg after joining gitashanti, ngayah (charity service)/community social activities/ menyama braya (familial activities), c) preserving Balinese culture trough nyastra (literary activities).
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Kampāne-Štelmahere, Sintija. "Latvju dainu atbalsis Veltas Sniķeres lirikā". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n.º 25 (4 de março de 2020): 124–34. http://dx.doi.org/10.37384/aplkp.2020.25.124.
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The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.
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Burke, Linda. "Le Livre d’amoretes: écrit spirituel à insertions lyriques du XIIIe siècle. Édition du ms. Paris, BnF lat. 13091, complété par le ms. Paris BnF fr. 23111, ed. Marie-Geneviève Grossel and Anne Ibos-Augé. Classiques français du moyen âge. Paris: Honoré Champion, 2022, 543 pp." Mediaevistik 35, n.º 1 (1 de janeiro de 2022): 478–81. http://dx.doi.org/10.3726/med.2022.01.110.
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Abstract: The persistence of medieval “crossover” – between the literary expressions of sacred and profane love – is a topic of perennial fascination to scholars and to all who engage with poetry old or new. Of course, the popular terms “fusion” or “synergy” would better apply to the rich tradition of allegory based in the Song of Songs, an erotic dream vision that never refers to God, but has always given rise to spiritualized readings of the courtship interplay between the Bride, commonly interpreted as the human soul, the Bridegroom (for Christians, Jesus), and attendants of the Bride (fellow Christians/humanity at large).
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Stuligrosz, Magdalena. "Przedstawienia i symbolika roślin w poezji Pindara". Symbolae Philologorum Posnaniensium Graecae et Latinae 33, n.º 1 (20 de setembro de 2023): 383–97. http://dx.doi.org/10.14746/sppgl.2023.xxxiii.1.27.
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The extensive use of plant motifs is at the heart of Pindar’s poetic images and metaphors. In his epinicions, the poet uses the symbolism of plants associated with Olympian and Pythian games to praise the victor and to show the importance of his achievement. The olive and laurel wreaths with which the victorious athletes are crowned become symbols of excellence and of the immortal fame accompanying human achievements, which is guaranteed by the poet’s song. Spring flowers such as roses and violets have a specific ritual meaning in Pindar’s cult songs, especially in his dithyrambs, where they symbolize vitality and rebirth. Aside from the plants typical of Greek flora, the Theban poet mentions those with miraculous properties, distinguished by their golden colour, which are associated with the divine and characteristic of sacred places and mythical landscape with paradisical connotations. Therefore, the symbolic meaning of floral imagery in Pindar’s Laments and in some passages from his victory songs cannot be recognized without taking into account its eschatological context.
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Marty, Maša K. "Sacred Folk Songs and the Slovenian Immigrant Community in Switzerland". Musicological Annual 58, n.º 1 (29 de julho de 2022): 161–84. http://dx.doi.org/10.4312/mz.58.1.161-184.
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The article presents the role of sacred folk songs in the liturgy of the Slovenian Catholic Mission in Switzerland. It presents active singing as local ethnic cultural forms that have been transmitted from the “original homeland” and serve to create temporal and local continuity in the diasporic Slovenian Catholic community in Switzerland.
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Bannikov, Konstantin V. "Paul Claudel, an interpreter of the Song of Songs". Izvestiya of Saratov University. Philology. Journalism 22, n.º 4 (23 de novembro de 2022): 415–20. http://dx.doi.org/10.18500/1817-7115-2022-22-4-415-420.
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«Paul Claudel interroge le Cantique des Cantiques» («Paul Claudel questions the Song of Songs») is a landmark work in the oeuvre of Paul Claudel (1868-1955), it is one of the largest artistic and exegetic commentaries in the collection of prose «Le Poëte et la Bible» («The Poet and the Bible») (1998, 2004). The writer creates a new «Claudelian novel» in Bakhtin’s understanding of the novelistic word, based on the centuries-old tradition of multiple interpretations, on the one hand, but built into a work of art, on the other. Claudel draws on his experience of reading the Vulgate, working with concordances and the works of the Fathers of the Church, updating the text of the Holy Scripture through the prism of his work. The artistic world of prose allows us to trace themes, motives, images, as well as the style of working with the text in Latin. Upon finishing his work on the commentary, Claudel makes his own translation of the Bible. It reveals the principles that Lemaistre de Sacy and Fillon adhered to, as well as the typical Claudelian methods of translation, which the writer stated in his discussions about language, French verse and orthography. The translation becomes part of the work: the interpreter places it at the beginning of each chapter. Claudel makes a new translation, pursuing other goals: he does not translate the Bible from the sacred language into the profane language, he translates it into the «Claudelian», adding the meanings that he puts into the text himself, which develops in the second part of each chapter – a poetic commentary.
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Fedorowicz, Irena, e Kinga Geben. "Lithuanian Poles Values in the Poetic Texts of Dr. Gabriel Jan Mincewicz". Vilnius University Open Series, n.º 5 (4 de dezembro de 2020): 189–208. http://dx.doi.org/10.15388/vllp.2020.9.
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The current paper presents an overview of the poetic texts of Gabriel Jan Mincewicz (1938–2016) (PhD in the field of humanities, branch of theology). Merits of Gabriel Jan Mincewicz as the director of the song and dance ensemble “Wileńszczyzna” are emphasized. The poetic works of G. J. Mincewicz were divided into several thematic groups, among them the cultural determinants of the Polish identity and the linguistic image of the homeland were analyzed. The works were discussed in the sacred, historical, social, and linguistic contexts. The article emphasizes as well the social impact that G. J. Mincewicz’s songs have on the society of Vilnius region.
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Shreffler, Anne C. ""Mein Weg geht jetzt vorüber": The Vocal Origins of Webern's Twelve-Tone Composition". Journal of the American Musicological Society 47, n.º 2 (1994): 275–339. http://dx.doi.org/10.2307/3128880.
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The essay explores Anton Webern's earliest encounters with the twelve-tone method in the context of his previous decade-long preoccupation with vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16, Three Traditional Rhymes, op. 17, Three Songs, op. 18, and sketches and drafts from 1922 to 1925 suggests that Webern did not accept Arnold Schoenberg's method uncritically, but alternately rejected and embraced it. The religious and folk texts that Webern set during these years, hardly anonymous ciphers, were essential in helping him to articulate his own twelve-tone technique.
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Bjelica, Maja. "Aleviness, Music, and Hospitality". Musicological Annual 58, n.º 1 (29 de julho de 2022): 101–21. http://dx.doi.org/10.4312/mz.58.1.101-121.
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The paper examines urban Alevi traditional culture in Turkey as a possible example of an ethics of hospitality, drawing mainly from Alevi teachings and musical heritage. Through an examination of the lyrics of selected Alevi sacred songs the author presents various accounts of hospitality that are integral to Aleviness.
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Boukal, Jan. "Jan Cinglbauer (ed.), Carmina clericorum: latinské duchovní písně 14. až 15. století ve středoevropském univerzitním a školském prostředí = Sacred Latin Songs from the 14th and 15th Centuries in the Central European University and School Milieu, Chomutov 2020". AUC HISTORIA UNIVERSITATIS CAROLINAE PRAGENSIS 63, n.º 2 (29 de abril de 2024): 217. http://dx.doi.org/10.14712/23365730.2024.9.
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Book review on Jan Cinglbauer (ed.), Carmina clericorum: latinské duchovní písně 14. až 15. století ve středoevropském univerzitním a školském prostředí = Sacred Latin Songs from the 14th and 15th Centuries in the Central European University and School Milieu. L. Marek Publishing, Chomutov 2020, 288 s., ISBN 978-80-87127-99-5
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Kirkegaard-Larsen, Thomas Jul. "Fornægtelse og forsoning i Tekla Griebels ”Det bødes der for”". Tidsskriftet SANG 2, n.º 1-2 (7 de junho de 2021): 16–39. http://dx.doi.org/10.7146/sang.v2i1-2.137220.
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Denial and reconciliation in Tekla Griebel’s ”Det bødes der for”
This article is a close analysis of Tekla Griebel’s song ”Det bødes der for”. The analysis serves three purposes: First, I intend to highlight motivic, tonal, harmonic and other structural remedies with which Griebel underlines a subtle development in J.P. Jacobsen’s poem; she does this by setting the voice as a subject that constantly denies the sorrowful realities – represented by the piano – before the subject finally resigns in painful reconciliation. Second, as the first-ever analytical study of a work by Tekla Griebel, the article serves to give a glimpse of this forgotten Danish composer for whom the narrative aspects of music were at the center throughout her career. Third, the article adds a new perspective to previous studies of historical Danish women’s songs (Jensen 2007) by offering a close reading of a work clearly adhering to the German Lied tradition rather than the strophic, sacred songs or folksong-inspired romances that dominate current scholarship on historical Danish women composers.
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Yarber, Angela. "Undulating the Holy? Returning the Sacred to Our Dancing Bodies: Song of Songs 7:1–4". Review & Expositor 105, n.º 3 (agosto de 2008): 471–80. http://dx.doi.org/10.1177/003463730810500309.
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Kaur, Inderjit N. "Transnational affects, transnational worldings: Sikhs sounding sacred songs, making multiple worlds". Civilisations, n.º 67 (12 de agosto de 2018): 23–40. http://dx.doi.org/10.4000/civilisations.4772.
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Kan, Sergei. "The Sacred and the Secular: Tlingit Potlatch Songs outside the Potlatch". American Indian Quarterly 14, n.º 4 (1990): 355. http://dx.doi.org/10.2307/1184962.
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Boyce-Tillman, June. "Religion in the Home—The Sacred Songs of the Drawing Room". Religions 14, n.º 11 (9 de novembro de 2023): 1400. http://dx.doi.org/10.3390/rel14111400.
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The Victorian bourgeois ballad is a distinctive genre that demonstrates the spirituality of religion transferred to the drawing room. This paper will examine in detail four examples of the genre—The Lost Chord, The Holy City, Arise O Sun and The Volunteer Organist to examine the spirituality of the genre in terms of the materials used, the musical construction, the value system underpinning it and the expressive character. It will interrogate their relationship to the spirituality of Victorian Anglicanism and the place of this spirituality in the lives of the people with whom they were popular and its role in their social life, drawing on the author’s own experience. It was also a genre in which women excelled and this and the notion of spirituality will be examined culturally, drawing on Foucault’s notion of subjugated knowing.
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Koropnichenko, Hanna. "Ancient Beliefs and Traditional Singing of Ukrainians: Gender Differentiation". Problems of music ethnology 16 (29 de dezembro de 2021): 52–64. http://dx.doi.org/10.31318/2522-4212.2021.16.249648.
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Gender differentiation in the Ukrainian song tradition is most consistently manifested in the ritual system, and partly – in the epic tradition and lyrical song tradition. The primary attention in the article is paid to the ritual sphere, first of all to the calendar cycle. The paper highlights in detail the traditional distribution of functions between men and women in pre-Christian rituals, during which, according to ancient ideas and beliefs, there was some contact between «that» (sacred) and «this» («profane») worlds.
Males, or more precisely, boys who were members of the so-called «parubotchi gromady» (young men communities) took an active part in the rites only once a year – at the beginning of the calendar-time cycle that is, in winter (in ancient times this happened in the spring) during the rituals of the yards circumambulation. The main purpose of these actions was to wish good for each family from the dead ancestors for the coming year (verbal magic), and in return, the ancestors received gifts – sacrificial food from representatives of the living world to appease them for the next year.
Women, as representatives of «this» world, maintained contact with otherworldly forces throughout the entire agrarian period from sowing to harvest, as well as in ceremonies associated with the birth of a child, a wedding, or escorting the deceased to the afterlife. In times of crisis in the development of nature and human life, they turned to their deceased ancestors for help. The magical instrument of this connection was the voice, which filled the ritual texts with specific ritual timbre-intonation.
The gender distribution in other genres of Ukrainian traditional song is somewhat different. Thus, if in the epic songs the prerogative belongs to men, then the lyric song system is characterized by the joint and almost equal participation of men and women. However, it should be noted that the performers of social songs were predominantly men, and women sang family lyric songs. But the most common was a mixed lineup of singing groups. Even more this property is inherent in the late layer of lyrical song performance.
The author also draws attention to the age aspect of the performance of ritual and non-ritual songs in the Ukrainian tradition
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Зулумян, Б. С. "Spiritual Songs of Grigor Narekatsi. Evolution of the Genre". Theological Herald, n.º 1(7) (15 de setembro de 2022): 74–95. http://dx.doi.org/10.31802/metafrast.2022.7.1.004.
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Статья посвящена духовным песнопениям Григора Нарекаци, широко известного как автора шедевра армянской и мировой литературы «Книги скорбных песнопений». Показано значение песен и в плане содержания, и в аспекте художественности в эволюции жанра и в истории армянской литературы. Нарекаци ввёл в активное церковное употребление таги - народные песни. Продолжая евангельскую тематику шараканов, в своих произведениях применил широкий спектр средств художественной выразительности: эпитеты, сравнения метафоры, расширил семантическое поле стиха картинами и аналогиями с природой, включал земной мир в космическую перспективу. Произведения отличаются детальным, портретным описанием («Песнь на Рождество», «Песнь Богоматери» и др.), до него не встречающимся в поэтике шараканов. The article is devoted to the sacred chants of Grigor Narekatsi, widely known as the author of the masterpiece of Armenian and world literature «The Book of Sorrowful Chants». The signi cance of the songs is shown both in terms of content and in the aspect of artistry in the evolution of the genre and in the history of Armenian literature. Narekatsi introduced tagi, folk songs, into active church use. Continuing the gospel theme of sharakans, in his works he used a wide range of means of artistic expression: epithets, comparisons of metaphors, expanded the semantic eld of verse with paintings and analogies with nature, spiritual included the earthly world in a cosmic perspective. The works are distinguished by detailed, portrait descriptions («Song for Christmas», «Song of the Mother of God», etc.), which had not been found in the poetics of sharakans before him.
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Chen, Hongyu, e Peerapong Sensai. "Education and Literacy in the Development and Transmission of Chinese Yao Nationality Folk Songs". International Journal of Education and Literacy Studies 12, n.º 1 (27 de janeiro de 2024): 213–20. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.213.
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Chinese Yao Nationality Folk Songs are a distinctive cultural treasure thriving within the Guangxi Zhuang Autonomous Region, intimately intertwined with the lives and traditions of the Yao people. The objective of this study is to investigate the role of education and literacy in the development and transmission of Chinese Yao Nationality folk songs in the Guangxi Zhuang Autonomous Region. The research site, Jinxiu Yao Autonomous County, serves as a culturally significant backdrop, chosen for its accessibility and cultural relevance to the research objectives. To gain comprehensive insights into this complex topic, three key informants with specialized knowledge and cultural insights were meticulously selected. An array of research tools, including observation forms, interview forms, and questionnaires, were employed to gather data and analyze various aspects of Yao Nationality folk songs. The results reveal the multifaceted phases of development these songs have undergone, from their sacred origins to their role in communal celebrations and emotional expression. The transmission of these songs is showcased through a blend of oral traditions and written records, with a contemporary integration of media and technology. This research suggests the need for a balanced approach to preserving cultural heritage while embracing modernity.
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Brînzea, Nicolae. "Literary aspects in the Holy Scriptures". Technium Social Sciences Journal 37 (9 de novembro de 2022): 511–18. http://dx.doi.org/10.47577/tssj.v37i1.7715.
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The Bible, this impressive collection of scrolls or books, establishes a well-determined hierarchical relationship, from the literary perspective of the sacred text, which raises many interesting but also difficult questions, at least from the perspective of pertaining to a certain literary genre. Hermeneutically, it highlights valuable notions related to the aesthetics of the biblical text. The Bible is a written text, hence it is literature and belongs to literature, at the same time. From a literary point of view, the Scriptures are the inevitable book that enjoys an astonishing immanence. As a sacred text, the Scriptures have produced multiple forms of literature over time. The biblical text provides a set of suggestive and significant elements that require several ways of reading, but will never fully correspond to a given historical reality. The Bible has been and continues to be an inexhaustible source of inspiration for art creators of all times. The Scriptures can be considered a reference point in the conception process of the literary text, and the starting point of biblically inspired literature is represented by lyrical works such as the Song of Songs, Psalms, etc.
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Janick, Jules. "Fruits of the Bibles". HortScience 42, n.º 5 (agosto de 2007): 1072–76. http://dx.doi.org/10.21273/hortsci.42.5.1072.
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The sacred writings of three religions (Judaism, Christianity, and Islam) are contained in the Hebrew Bible (referred to by Christians as the Old Testament), the Christian Bible (New Testament), and the Qur'an (Koran). These writings encompass events occurring over a period of more than two millennia and taken together represent a broad picture of mideastern peoples, describing their interactions with the sweep of events of that era. The writings include the sacred and profane, prose and poetry, history and myth, legend and fable, love songs and proverbs, parables and revelations. The basic agricultural roots of desert people are infused in the texts. Plants, plant products, and agricultural technology are referred to in hundreds of verses. References to fruits are abundant so that these bibles can be read almost as a pomological text in addition to the religious and sacred meanings that still inspire billions of people.
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Dolukhanyan, Aelita. "The american lyre of Ghevond Alishan". JOURNAL FOR ARMENIAN STUDIES 1, n.º 60 (27 de março de 2023): 37–45. http://dx.doi.org/10.24234/journalforarmenianstudies.v1i60.31.
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The translations made by Ghevond Alishan have a special place in his multi-disciplinary scientific, literary, philological and pedagogical activities. Alishan translated these spiritual songs into grabar (Old Armenian) and the sacred songs included in the selection are very consistent with the classical manifestations of the Armenian medieval, especially official literature written in grabar. Among the American poets whose songs Alishan translated, the most notable is Henry Longfellow (1807-1882). He was one of Hovhannes Tumanian's favorite poets, of whom the latter made a number of translations. The American Lyre collection contains many excerpts from the Old and New Testaments of the Bible. The soul and soul sight are very important to the Christian religion. The wisdom that it is better to be blind in the eye than in the soul comes from Hermes the Great. The 5th century historian Yeghishe repeats this idea several times in his history.
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Bjerk, Paul. "'Building A New Eden': Lutheran Church Youth Choir Performances in Tanzania". Journal of Religion in Africa 35, n.º 3 (2005): 324–61. http://dx.doi.org/10.1163/1570066054782351.
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AbstractA study of three songs by a Tanzanian youth choir reveals a synthesis of historical and intellectual sources ranging from pre-colonial social philosophy to Lutheran theology to Nyerere's Ujamaa socialism. The songs show how the choir performances break down the barrier between Bourdieu's realms of the disputed and undisputed. In appropriating an active role in shaping Christian ideology, the choir members reinterpret its theology into something wholly new and uniquely Tanzanian. Thus they appropriate an authoritative voice that shapes the basic societal concepts about the nature of life and society. They envision themselves as essential workers in an ongoing sacred task of building a modern Tanzanian nation in the image of a new Eden.
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Syvets, Tetiana. "THE CONCEPTOSPHERE OF THE SACRED IN THE COLLECTION "GARDEN OF DIVINE SONGS" BY HRIHORY SKOVORODA". Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, n.º 33 (2023): 113–19. http://dx.doi.org/10.17721/1728-2659.2023.33.19.
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The collection of metaphysical poems by Hrihory Skovoroda "The Garden of Divine Songs" is considered from the standpoint of biblical hermeneutics and cognitive literary studies. The question of the relevance of the study of baroque lyrics through the use of modern literary methods is clarified. The expediency of using the concepts "concept" and "Christian concept" in relation to the study of the sphere of the sacred is determined. Particular attention is paid to the variety of approaches found in scientific studies of the "sacred" as a category. Analysis of poems from the collection - 30 (thirty) - presented in the form of a table with the definition of ideas, main concepts and conceptual metaphors. On the basis of the conceptual analysis, the basic concepts that form the conceptual sphere of the sacred in the collection "Garden of Divine Songs" and explained in other philosophical and poetic works of the Ukrainian artist are highlighted, namely: SIN AND ATONEMENT, GOD (CHRIST, SPIRIT), FREEDOM, HAPPINESS, SALVATION, CROSS and others. Since hermeneutic analysis is connected with the universality of linguistic structures, it seems natural to combine it with conceptual analysis in order to clarify the textual meanings in metaphysical lyrics, which, in fact, is mostly expressed by hidden signs, symbols and authorial hints in the form of intertextual inlays. The artistic interpretation of the text, which is assumed by the hermeneutic analysis, is closely related to the cognitive and evaluative characteristics of both the hidden meanings themselves and the determination of the degree of the "author's presence" in the artistic text. Therefore, the axiological component mutually determines the application of conceptual analysis, and as a result, the definition of the conceptosphere of the sacred in the above-mentioned collection of poems. Special attention is paid to the figure of Hrihory Skovoroda as an extraordinary creative nature and baroque personality who was ahead of his time and remains relevant both by himself and by his creative achievements to this day.
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Beck, Guy L. "Theology of Music and Hindu Religion: From Divine Origins to Classical Songs". Religions 12, n.º 8 (19 de agosto de 2021): 663. http://dx.doi.org/10.3390/rel12080663.
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As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e., Brahmā, Vishnu, and Śiva), associated with ‘musical angels,’ and originally formed from metaphysical principles (i.e., OM and the concept of Nāda-Brahman). What is demonstrated here, representing a long continuity, is how these same ideas are viable in the performance of Indian classical music today. Citing examples of compositions of Dhrupad and Khayal from the standard repertoire, this article reveals how modern-day classical songs contain references to sacred sound principles and the divine origins of music, both in their lyrics and in the unfoldment of musical notes (Svaras) and melodic patterns (Rāgas).
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Goldmark, Daniel. "Adapting The Jazz Singer from Short Story to Screen: A Musical Profile". Journal of the American Musicological Society 70, n.º 3 (2017): 767–817. http://dx.doi.org/10.1525/jams.2017.70.3.767.
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The Jazz Singer grew from a moment of inspiration when author Samson Raphaelson saw Al Jolson perform in 1917. Raphaelson's idea of a rising singer, Jack Robin, torn between sacred and secular, became in turn a short story, a play, a feature film, a novelization, and a radio play. With each new adaptation, the music evolved; the thread that binds together all of these stories is the jazz singer's stock in trade—his songs. For Jolson and The Jazz Singer, these songs serve several functions: besides providing a unique snapshot of popular vaudeville melodies in the 1920s and beyond, the songs used in the various tellings of The Jazz Singer have a specific connection to Jolson, providing numerous opportunities to retell his (largely fictionalized) origin story with the very songs he had used to make it on Broadway in the first place. We might then consider The Jazz Singer a proto–jukebox musical, in which preexisting songs with a common thread or history become the basis for a new story. Making extensive use of archival documentation and addressing previously unexamined adaptations of the story, this article shows how each version of The Jazz Singer came to be a musical summary of Jolson's life as a performer.
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PATER, Anastasiia. "SOPHICALITY IN THE SACRED PRACTICE OF THE EARLY MODERN ERA". Bulletin of the Lviv University. Series of Arts Studies 280, n.º 20 (2019): 10–19. http://dx.doi.org/10.30970/vas.20.2019.10634.
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Main objective of the study is to reveal the issues of the existence of sacred musical art of the early modern era through the prism of the signature of sophicality as the ideological core that creates the national image of the world. In the course of the research the source-historical, historical, musical-theoretical methods of research were used. This aspect of the study allows for a wider disclosure of the world view features of musical art as an integral branch of national culture. The task of the research is to examine the influence of sophicality on the sacred practice of monodic singing of the early modern era. The cherubic song samples of the Kyiv and Bulgarian versions of singing chosen for analysis allow us to identify and highlight signs of sophicality in the ancient sacred art. Different aspects of sophicality appear on the figurative, melodic and intonation, as well as structural and compositional levels of singing. Light feelings reflected in the angelic hymn are associated with the sophical images of enlightenment, spiritual vision, and insight, which have grasped the meanings of Kyiv culture. With the help of such a technique as raising the melody to a quart and returning to the smooth, lateral movement, the elevation of the soul state is revealed. Structural and compositional decisions of both cherubic songs indicate the meaningfulness of details and form intact. An important dramatic and semantic function is played by repetitions and returns to the constructions, which are based on the main melodic course, the fluctuations of the melody in the form of a dotted, syncopated rhythm, its temporal expansions or contractions. Emotional sense defines the originality of the metric and modal resistance feeling. These and other means enhance the understanding of the text through emotional perception. The inexhaustible wisdom inherent in the structure, as well as emotional and expressive means of monody, turns it into a cultural and artistic phenomenon of the era, which is simple from the outside but extremely deep in its inner essence. The practical significance of the publication is to use the proposed aspect of the analysis of monodic heritage in further artistic studies, as well as in training courses on the history, philosophy, and psychology of art.
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Kaminski, Joseph S. "Fujianese Provincial Brass Band Traditions of Chinese Immigrant Musicians in New York City: The Chinese Voices". IKONI / ICONI, n.º 4 (2021): 77–96. http://dx.doi.org/10.33779/2658-4824.2021.4.077-096.
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This article focuses on the Chinese Voices Wind Orchestra. Fujianese brass band musicians immigrated to New York and changed Chinatown’s musical soundscape. The bands perform mainly inside or on the street outside of funeral parlors on Canal and Mulberry Streets. Their profession is mainly that of a funeral musician. They also travel to Philadelphia or Washington, D.C. for rites. They accompany families and decedents to cemeteries to play special repertoire. After the burial they perform songs of prosperity at receptions in restaurants. They maintain a wide repertoire of funeral songs and national marches. Funeral performances are a hidden music tradition performed at a sacred place for a sacred function, not intended for the public. Passers-by though observe bands performing outdoors when a coffin is brought to the hearse. There is a display of music and drama at this moment, for bands’ sounds transform the Downtown neighborhood into a Taoist aura. Bands came to perform adjacent to traditional Chinese instruments and at funerals as early as 1908, during the late Qing Dynasty influenced by the European imperial tradition. Today Chinese brass bands are transnational, and Fujianese bands bring the genre of a European brass band to New York in a Chinese interpretation of nationalism.
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Al Ansori, Alfandi, Hary Murcahyanto, Yuspianal Imtihan e Alwan Hafiz. "Through Traditional Music Sarone and Cultural Learning in an Educational Context". IJE : Interdisciplinary Journal of Education 1, n.º 2 (20 de novembro de 2023): 175–82. http://dx.doi.org/10.61277/ije.v1i2.49.
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This research aims to describe the sacredness of Sarone music in wedding ceremonies within the Tanjung Luar village community, Keruak Subdistrict, East Lombok Regency. The research employs a qualitative ethnographic method. Data collection is carried out through literature review, observation, interviews, and documentation. Data are analyzed through data reduction, data presentation, and conclusion. To ensure data validity, triangulation techniques are utilized. The research findings reveal that the sacredness of Sarone music in wedding ceremonies in Tanjung Luar village encompasses elements such as origins, rituals, Sarone heirlooms, taboos, instruments, songs, and Mancak. Sarone music is considered a form of respect for ancestors, a link to cultural heritage, a means of preserving tradition's sanctity, and an integral part of the cultural identity of the Tanjung Luar village community. While the community has diverse perspectives, they all emphasize the importance of maintaining the strong tradition and cultural values associated with Sarone music. In conclusion, Sarone music possesses sacred elements like its history, heirlooms, taboos, instruments, songs, and Mancak dance, which create a sacred atmosphere and are used in the sequence of wedding events and rituals as a form of tribute to ancestors and the preservation of the cultural identity of the Tanjung Luar village community.
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Toporova, Tatyana. "On the mythological songs of the “Elder Edda” as a system". Scandinavian Philology 19, n.º 1 (2021): 71–84. http://dx.doi.org/10.21638/11701/spbu21.2021.105.
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This article is a systemic linguistic and stylistic analysis of the corpus of mythological songs of the “Elder Edda” in a wide cultural and historical context: folklore, ritual, literary. This approach made it possible to propose an interpretation of the mythological songs of the “Elder Edda” as a system and take a fresh look at their semantics, composition, structure, style and lexical organization. The most relevant results of the study of the linguistic and stylistic features of the Eddic songs of the mythological cycle can be considered the definition of linguo-stylistic features of various genre structures in their composition, the explanation of their coexistence, the identification of their source and the building of a hierarchy of mythological songs of the “Elder Edda” depending on the degree of representation in them of various genres. For the first time, the study of the mechanism of cultural dynamics makes it possible to use genres, plot, structure, images, motives of the Eddic text in the reconstruction of the mythopoetic model of the world. The author singles out the most representative genres (tula, cosmological and epistemological song, vision, memory, conspiracy, competition in wisdom, travel, afterlife poetry) and markers (the time of creation, the substance that served as material for the creation of the universe, subjects and objects of creation), allowing to evaluate their productivity and give a comparative description. On the basis of a detailed linguostylistic analysis of the mythological cycle of the “Elder Edda”, a different degree of closeness between mythological songs is established and their plot-genre classification is proposed. The author’s scientific hypothesis consists in the assumption of the deduction of linguostylistic methods of the Eddic cycle from the mythological situation of primordial creation, the dominance of the sacred sphere, which determines the strategy of the characters’ behavior and the results of their activities, anthropocentric orientation, which is expressed in the description of cosmogenesis in genealogical terms.