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Добірка наукової літератури з теми "Church music Lutheran Church"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 27 липня 2024

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Статті в журналах з теми "Church music Lutheran Church"

1

Hage, Jan, and Marcel Barnard. "Muziek als missie: Over Willem Mudde en zijn betekenis voor de kerkmuziek." NTT Journal for Theology and the Study of Religion 66, no. 4 (November 18, 2012): 283–98. http://dx.doi.org/10.5117/ntt2012.66.283.hage.

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Under the influence of Calvinism, the musical situation in the Protestant churches in the Netherlands was for a long time marked by sobriety, with attention focused on congregational singing. In the 20th century, church music gained importance through a dominant flow of Lutheran influence. Generally, the liturgical movement highlighted the role of music in worship. The Lutheran church musician Willem Mudde successfully called attention to the German church music reform movement. Inspired by the writings of the German theologian Oskar Söhngen, he strived to apply the ideals and practices of this German movement to the Dutch Protestant churches. He succeeded through his zeal and organisational skills, not only in the Lutheran church but also in other Protestant churches. The idealistic character and educational aims of the movement, however, could not offset the growing individualism and the ongoing crisis in the churches.

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2

Robin, A. Leaver. "Motive and Motif in the Church Music of Johann Sebastian Bach." Theology Today 63, no. 1 (April 2006): 38–47. http://dx.doi.org/10.1177/004057360606300105.

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Johann Sebastian Bach stands in a long line of Lutheran composers who used musical forms to convey theological concepts that reaches back to Luther himself. Lutheran theologians and musicians used the Latin formula viva vox evangelii to define their understanding of music as the living voice of the gospel. Here is presented first an overview of this Lutheran tradition, and then an examination of specific examples from Bach's musical works that expound specific theological concepts such as the doctrine of the Trinity, the distinction between law and gospel, the nature of discipleship, and christological hermeneutics in general.

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3

Remes, Hanna. "”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija." Trio 10, no. 1 (July 10, 2021): 91–100. http://dx.doi.org/10.37453/trio.110132.

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Hanna Remes’s artistic doctoral degree, which focuses on choral church music in worship, is the first of its kind in Finland. The demonstration of proficiency carried out 2016–2020 comprises two masses, a worship service, a passion drama and an Easter concert. She elucidates changes in guidelines for the liturgical use of the choir according to the Evangelical Lutheran Church of Finland’s 2000 church manual from those of the 1968 church manual. The dissertation stands at the junction of liturgy and the history of church music. Remes compares and analyses the liturgical role of the choir in the Church of Finland as stated in the latest church manuals and supplementary materials and explains the guiding principles of the manuals’ preparation.

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4

Wiese, Soraya. "Re-forming Music: Martin Luther’s Impact on Church Music through the Lutheran Reformation." Musical Offerings 12, no. 2 (2021): 51–62. http://dx.doi.org/10.15385/jmo.2021.12.2.2.

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5

Leaver, Robin A. "Brahms's Opus 45 and German Protestant Funeral Music." Journal of Musicology 19, no. 4 (2002): 616–40. http://dx.doi.org/10.1525/jm.2002.19.4.616.

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Brahms's German Requiem stands at the end of a long line of Lutheran funerary music. Luther reworked funeral responsories into a new, totally Biblical form, and later Lutherans collected anthologies of Biblical texts on death and dying. Such sources were used by later composers, including Schüütz and Bach, to compose funeral pieces on Biblical texts together with appropriate chorales. Brahms's opus 45 is similar in that its text is made up of Biblical verses assembled by the composer, and connections may be drawn between chorale usage in this work and the composer's Protestant upbringing in Hamburg on one hand, and in his knowledge of two cantatas by Bach (BWV 21 and 27), on the other. The text and structure of the work accord with general, north German Protestantism, and the famous letter to Reinthaler, which many have taken as a demonstration of Brahms's general humanistic tendencies, shows Brahms to be standing aloof from the theological controversies of his day in favor of a basic understanding of Biblical authors. Part of the problem was that the first performance was scheduled for Good Friday in Bremen cathedral; Reinthaler, the organist, and the cathedral clergy would have preferred passion music of some kind and what Brahms gave them was something different. Brahms surely knew of the distinctive Lutheran observance of "Totensonntag," the commemoration of the dead on the last Sunday in the church year (the Sunday before Advent). There are many similarities between Brahms's Requiem and Friedrich Wilhelm Markull's Das Gedäächtnis der Entschlafen (The Remembrance of those Who Sleep) of ca. 1847. Since Markull's work is subtitled Oratorium füür die Todtenfeier am letzten Sonntage des Kirchenjahres (Oratorio for the Celebration of the Dead on the Last Sunday of the Church Year), it is possible that Brahms had the same occasion in mind when composing his German Requiem.

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6

Garratt, James. "Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music." Journal of the Royal Musical Association 125, no. 2 (2000): 164–204. http://dx.doi.org/10.1093/jrma/125.2.164.

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AbstractCrucial to understanding the reception of Renaissance music in nineteenth-century Germany is an appreciation of the contradictory components of Romantic historicism. The tension between subjective and objective historicism is fundamental to the historiographical reception of Renaissance music, epitomizing the interdependency of historical representation and modern reform. Protestant authors seeking to reform church music elevated two distinct repertories — Renaissance Italian music and Lutheran compositions from the Reformation era — as ideal archetypes: these competing paradigms reflect significantly different historiographical and ideological trends. Early romantic commentators, such as Hoffmann and Thibaut, elevated Palestrina as a universal model, constructing a golden age of old Italian church music by analogy with earlier narratives in art history; later historians, such as Winterfeld and Spitta, condemned the subjectivity of earlier reformers, seeking instead to revivify the objective foundations of Protestant church music. Both approaches are united, however, by the use of deterministic modes of narrative emplotment.

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7

Scott, Allen. "Simon Lyra and the Lutheran liturgy in the second half-century of the Reformation in Breslau." Muzyka 65, no. 1 (April 2, 2020): 3–18. http://dx.doi.org/10.36744/m.309.

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In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and devotional songs. The music in the collections contain all of the items necessary for use in the liturgies performed in the St. Elisabeth Church and Gymnasium in the last quarter of the sixteenth century. This list provides valuable clues into the musical life of a well-established Lutheran church and school at the end of the sixteenth century. When studying collections of prints and manuscripts, I believe it is helpful to make a distinction between two types of use. Printed music represents possibilities. In other words, they are collections from which a cantor could make choices. In Lyra’s case, we can view his recommendations as general examples of what he considered liturgically and aesthetically appropriate for his time and position. On the other hand, manuscripts represent choices. The musical works in the six Bohn manuscripts associated with Lyra are the result of specific decisions to copy and place them in particular collections in a particular order. Therefore, they can provide clues as to what works were performed on which occasions. In other words, manuscripts provide a truer picture of a musical culture in a particular location. According to my analysis of Lyra’s recommendations, by the time he arrived at St. Elisabeth the liturgies, especially the mass, still followed Luther's Latin "Formula Missae" adopted in the 1520s. The music for the services consisted of Latin masses and motets by the most highly regarded, international composers of the first half of the sixteenth century. During his time as Signator and cantor, he updated the church and school choir repertory with music of his contemporaries, primarily composers from Central Europe. Three of these composers, Gregor Lange, Johann Knoefel, and Jacob Handl, may have been his friends and/or colleagues. In addition, some of the manuscripts collected under his direction provide evidence that the Breslau liturgies were beginning to change in the direction of the seventeenth-century Lutheran service in which the "Latin choir" gave way to more German-texted sacred music and greater congregational participation.

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8

Lampinen, Leena. "Choral music and identities in Tanzania." Trio 12, no. 1 (June 29, 2023): 49–56. http://dx.doi.org/10.37453/tj.131223.

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In her doctoral research, Lampinen explored the connection between choral repertoiresand identities within church choirs in one Lutheran Diocese in Northern Tanzania. The participantsin this research were a group of choir conductors in this diocese. The concept ofidentities was approached from individual, social, and group aspects as well as religious,ethnic, and national viewpoints.

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9

Trocmé-Latter, Daniel. "The psalms as a mark of Protestantism: the introduction of liturgical psalm-singing in Geneva." Plainsong and Medieval Music 20, no. 2 (September 15, 2011): 145–63. http://dx.doi.org/10.1017/s0961137111000039.

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ABSTRACTIt is widely believed that musical creativity suffered under the control of many sixteenth-century Protestant church leaders, especially in the Reformed (as opposed to Lutheran) branch of Protestantism. Such views are generalisations, and it is more accurate to say that music in Geneva and other Reformed strongholds developed in a very different way from the music of the Lutheran Church. The very specific beliefs about the role of music in the liturgy of Jean Calvin, Genevan church leader, led to the creation and publication of the Book of Psalms in French, in metre, and set to music. The Genevan or Huguenot Psalter, completed in 1562, formed the basis for Reformed worship in Europe and throughout the world, and its impact is still felt today. Despite the importance of the Psalter, relatively little is known about the precise liturgical musical practices in Geneva at the time of the Reformation, and little research has been carried out into the aspirations of either reformers or church musicians in relation to the Psalter. This article explores the significance of Calvin's interest in the Psalms as theological material, observing how this interest manifested itself, and outlines Calvin's views on music and the ways in which his plans for psalm-singing were implemented in Geneva from the 1540s onwards. After giving a brief explanation of the process through which the psalm melodies were taught and learnt, it also asks whether Calvin's vision for congregational singing would, or could, have been fully realised, and to what extent the quality of music-making was important to him. This article suggests that in the Genevan psalm-singing of the sixteenth century, matters of spiritual significance were most important.

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10

Holm, Anders. "- Luthertolkningen i 1812-krøniken." Grundtvig-Studier 64, no. 1 (May 29, 2015): 109–22. http://dx.doi.org/10.7146/grs.v64i1.20923.

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Luthertolkningen i 1812-krøniken[The Interpretation of Luther in Grundtvig’s World Chronicle of 1812]By Anders HolmGrundtvig grew up in two Lutheran vicarages. Both homes were characterized by Lutheran orthodoxy but could not ignore the critical thoughts of the Enlightenment. During his studies at the University of Copenhagen Grundtvig was convinced of the truth of the new philosophy of reason. His father’s wish in 1810, however, that he become his curate demanded that he reconsidered the world-view which he thought to have left behind. It all ended in a crisis and a nervous breakdown, which resulted in his return to a faith strongly inspired by Luther.Grundtvig’s book Brief View of the World Chronicle in Context, 1812, aimed to find God in the course of events of world history. His method was to describe and evaluate the past and the present with the Bible as the standard, and he chose to concentrate on Luther and Melanchthon as the principal characters of the Reformation. Luther dismissed everything that was not based upon clear words from scripture as lies and delusions; Melanchthon was a skilful interpreter of Luther’s radical statements, expressing himself distinctly and unequivocally. After the deathof Luther, however, Melanchthon was influenced by Reformed theology. The principal difference between Reformed and Lutheran cultures, Grundtvig claimed, sprung from the fact that Zwingli had emphasized reason whereas Luther wasmore poetically inclined. Accordingly, two cultures with diverging directions developed. The belief in reason and inborn abilities had led the followers of the Reformed Church to social uprising, and their mentality made them oppose people of other opinions. Lutheran believers and supporters on the other hand, Grundtvig conceived of as more obedient to authority. In contrast to the Reformed culture, the Lutherans appreciated elements of beauty in their churches such as art, music and hymn singing.Finally, the assessment of the young Grundtvig as a Lutheran orthodox is discussed, with the result that this view cannot be confirmed. Grundtvig does not show any tendency towards building coherent dogmatics from single biblicalpassages. But the Bible still has a role to play in the judging of the past because, as a whole, it points to the true Christianity in history.

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Дисертації з теми "Church music Lutheran Church"

1

Weber, Karl A. "What is at stake for Lutheran hymnody in a postmodern age." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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2

Sander, Katherine Joan. "Johann Walter and Martin Luther, theology and music in the early lutheran church." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ28907.pdf.

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3

Wolfram, Richard J. "Helping contemporary people use historic liturgy." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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4

Schultz, Randy P. "An evaluation of praise music as a genre for incorporation into Lutheran worship." Online full text .pdf document, available to Fuller patrons only, 1999. http://www.tren.com.

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5

Alley, Zachary W. "Michael Praetorius's Theology of Music in Syntagma Musicum I (1615):A Politically and Confessionally Motivated Defense of Instruments in The Lutheran Liturgy." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1402316351.

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6

Michel, Stefan. "Gesangbuchfrömmigkeit und regionale Identität : ihr Zusammenhang und Wandel in den reußischen Herrschaften vom 17. bis zum 20. Jahrhundert /." Leipzig : Evang. Verl.-Anst, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2963693&prov=M&dokv̲ar=1&doke̲xt=htm.

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7

Baek, Jung Jin. "A Conductor’s Guide to J. S. Bach’s Quinquagesima Cantatas." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337101464.

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8

Hickenlooper, Benjamin A. "The philosophy of church music in German Lutheranism from Luther to Bach and its impact on vital worship." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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9

Arand, Charles Paul. "Historiography of the Lutheran Confessions in America, 1830-1930." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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10

Davidson, John C. "The indirect method of preaching." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Книги з теми "Church music Lutheran Church"

1

Bobb, Barry L. Proclaim: A guide for planning liturgy and music. Series C. Saint Louis, Mo: Concordia Pub. House, 1985.

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2

Bobb, Barry L. Proclaim: A guide for planning liturgy and music. Series B. Saint Louis: Concordia Pub. House, 1987.

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3

Bobb, Barry L. Proclaim: A guide for planning liturgy and music. Series A. Saint Louis, Mo: Concordia Pub. House, 1986.

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4

1939-, Kress Volker, and Ev Luth Landeskirchenamt Sachsens, eds. Alles, was Odem hat, lobe den Herrn!: Kirchenmusik in Sachsen in Vergangenheit und Gegenwart. Leipzig: Evangelische Verlagsanstalt, 2004.

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5

Stalmann, Joachim. Kompendium zur Kirchenmusik: Überblick über die Hauptepochen der evangelischen Kirchenmusik und ihre Vorgeschichte. Hannover: Lutherisches Verlagshaus, 2001.

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6

Schlage, Karl-Hermann. Evangelische Kirchenmusik in Mannheim: Ihre Entwicklung vom 19. zum 20. Jahrhundert. Mannheim: Palatium, 2000.

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7

Jalkanen, Kaarlo. Lukkarin- ja urkurinvirka Suomessa 1721-1809. Helsinki: Suomen Kirkkohistoriallinen Seura, 1986.

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8

Pekkanen, Kaj. Jumala rakastaa musiikkia: Ajatuksia ja kokemuksia seurakuntamusiikista. Hämeenlinna: Päivä, 2009.

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9

Henryk, Orzyszek, Bocek-Orzyszek Ewa, and Kościół Ewangelicko-Augsburski (Poland). Diecezja Katowicka., eds. Gloria in excelsis: Monografia ewangelickich chórów i zespołów Diecezji Katowickiej Kościoła Ewangelicko-Augsburskiego w RP. Katowice: "Głos Życia", 2005.

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10

Körner, Wolfgang. Kirchenmusik im Plural: Musik im Raum der Kirche in Deutschland, 1945-2001. Nürnberg: Mabase-Verlag, 2003.

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Частини книг з теми "Church music Lutheran Church"

1

Hlaváček, Petr. "Lutheran Culture in Bohemia." In Medieval Church Studies, 165–92. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.mcs-eb.5.110907.

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2

Aarflot, Andreas Henriksen. "A Lutheran perspective." In Church Laws and Ecumenism, 106–27. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003084273-7.

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3

Ekka, Batuel. "Lutheran Church in India." In Christianity, 539–43. Dordrecht: Springer Netherlands, 2023. http://dx.doi.org/10.1007/978-94-024-2241-2_31.

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4

Thomas, Chance. "Church Music." In Making it HUGE in Video Games, 301–15. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.1201/9781003199311-21.

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5

Ingalls, Monique M. "Just Like Church, Not Like Church, or Better Than Church?" In Black British Gospel Music, 62–82. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003259800-4.

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6

Steuernagel, Marcell Silva. "Performing church music." In Church Music Through the Lens of Performance, 162–85. [1.] | New York : Routledge, 2021. | Series: Congregational music studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781003080329-1g.

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7

Wangsgaard Jürgensen, Martin. "The Arts and Lutheran Church Decoration." In The Myth of the Reformation, 356–80. Göttingen: Vandenhoeck & Ruprecht, 2013. http://dx.doi.org/10.13109/9783666550331.356.

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8

Wagner, Tom. "Hillsong Church." In Music, Branding, and Consumer Culture in Church, 47–74. New York : Routledge, 2020. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429507953-3.

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9

Golding, Rosemary. "Anon., ‘On Church Music’." In Music in Nineteenth-Century Britain, 29–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003892-3.

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Haar, Miriam. "Authority and Change: The Role of Authority in the Anglican Communion and the Lutheran World Federation." In Changing the Church, 259–68. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53425-7_30.

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Тези доповідей конференцій з теми "Church music Lutheran Church"

1

Amaral, Filomena Soares, Rita Milyartini, and Diah Latifah. "Inculturation of Tradition Hamulak Music Fohorem Church." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.026.

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2

Lapian, Alrik. "Music and Testifying in Congregational Church: Faith Testimony (Marturia) in the Context of Church Music Festival at GMIM Territory." In Proceedings of the First International Conference on Christian and Inter Religious Studies, ICCIRS 2019, December 11-14 2019, Manado, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.11-12-2019.2302143.

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3

CHAVEZ, V. "ACOUSTIC DESIGN FOR LA ROMIEU CHURCH CHAMBER MUSIC." In Auditorium Acoustics 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16183.

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4

Reuter, Christoph, Michael Plitzner, Marik Roos, Isabella Czedik-Eysenberg, Veronika Weber, Saleh Siddiq, Michael Oehler, and Andreas Rupp. "The Sound of Bells in Data Cells – Perceived Quality and Pleasantness of Church Bell Chimes." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001661.

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Рidhorbunskyi, M. A. "South-eastern influences the formation and establishment of church music in Kievan Rus." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-23-27.

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Limbong, Nurelni. "Congregation Satisfaction Levels on the Quality of Priests, Services from Alumna of Theology of STAKPN / IAKN Tarutung in Lutheran Church in Tapanuli Utara." In 1st International Conference on Education, Society, Economy, Humanity and Environment (ICESHE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200311.043.

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CHIRCEV, Elena. "Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0002.

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Teacher, conductor, Byzantine musicologist, Gheorghe C. Ionescu (1920- 1999) devoted the last years of his life to researching the history of Romanian Byzantine music and published in specialized journals several comprehensive papers that address various topics and bring back in focus personalities of the past. Due to his solid musical and theological training, guided by prestigious teachers from the interwar period, the distinguished musician had a rich artistic and cultural contribution to the second half of the previous century. The change of the political regime in Romania allowed him to return to the pursuits of his adolescence and youth and to continue his research of Orthodox church music in Romania. Along with his papers at various scientific events and the published studies, his tireless work materialized, soon after 1989, in the writing of a lexicon dedicated exclusively to those who had researched Romanian Byzantine music, in 1997. It was followed by a chronological dictionary, the foreword of which was written by the academician Virgil Cândea, who appreciated the importance of the book and the quality of Teacher Ionescu’s work. Entitled Muzica bizantină în România [Byzantine Music in Romania], the book appeared posthumously, through the care of his family, in 2003. Although the centenary of his birth passed almost unnoticed, both productions are valuable working tools for all those who will continue to value Orthodox church music in our country. One more reason to evoke this personality who put a lot of passion in illustrating the richness and beauty of music sung in Romanian churches, two decades after the book was printed.

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Simanjuntak, Robert. "Exploration Of Children's Music Talents As A Solution For The Development Of Millennial Generations In The Church Of Bethany Tanjung Anom Deli Serdang." In Proceedings of the 1st International Conference of Global Education and Society Science, ICOGESS 2019,14 March, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.14-3-2019.2292033.

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Ceastina, Ala. "The outstanding architect Alexander Iosifovich Bernardazzi (1831–1907)." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.20.

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This year marks the 190th birthday of the famous Swiss architect of Italian origin A.I. Bernardazzi, who is also known for creating various historic buildings in Ukraine, Bessarabia and Poland. Archival documents were an evidence of the beginning of architectural career of Bernardazzi, when the Bessarabian Road and Construction Commission appointed him as the technician for urban planning of Akkerman and Bendery in 1853 and also for building some bridges and causeways in those districts. He took part in the organization of the third market in the Forest Square in Kishinev in September of 1855. This was the first mission of his creativity in Kishinev. Alexander Bernardazzi executed his duty as municipal architect from 1856 to 1878 having taken the place of another architect Luca Zaushkevich. All his subsequent monumental buildings became the best examples of European architecture by their style, shape, and quality. . In Bessarabia, he participated in the design and construction of many buildings such as the temporal theatre, the Lutheran school, the railway station, the Greek Church, the Manuk-Bei’s palace, etc. As for Kishinev, the architect Bernardazzi performed the beautification of paving many streets, the construction of urban water supply and the cast-iron railing in the city park. Also, he participated in many architects’ meetings where he submitted interesting reports referring to the theater, some windows, fire safety of buildings and so on. After his arrival to Odessa in 1878, Alexander Bernardazzi continued to participate in designing social and civil buildings in Bessarabia. For his enormous creative contribution to urban development, he was appreciated with the title of honorable citizen of Kishinev and appointed member of the Bessarabian department of the Imperial Russian Technical Society.

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Galaicu, Violina. "The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.04.

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

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