Готові списки джерел за темами / Hymn to

Добірка наукової літератури з теми "Hymn to"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Hymn to"

1

FAIN, G. L. "CALLIMACHUS' HYMN TO ARTEMIS AND THE TRADITION OF RHAPSODIC HYMN." Bulletin of the Institute of Classical Studies 47, no. 1 (December 1, 2004): 45–56. http://dx.doi.org/10.1111/j.2041-5370.2004.tb00240.x.

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Abstract Callimachus' Hymns were written in the tradition of the rhapsodic Homeric Hymns and make constant, though usually oblique and often amusing, reference to these archaic poems. This allusion is particularly extensive in the Hymn to Artemis, the only Callimachus Hymn to proceed like most longer Homeric Hymns, with brief introduction and prolonged narration. Then, just as the poem seems to end, it begins anew, not once but over and over again. The middle of the poem is clearly based on the Homeric Hymn to Apollo, which also begins anew at the Delian/Pythian transition. The correspondences are so great that Callimachus must have had this poem in much the form we do. The choice of the Apollo Hymn as model reflects the theme of sibling rivalry that pervades the Artemis Hymn: even in her own poem, Artemis can't escape the influence of her brother.
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Shiell, William. "Singing to “Lord Jesus Christ”: A Prose Hymn and Its Philippian Recipients." Religions 14, no. 10 (September 25, 2023): 1228. http://dx.doi.org/10.3390/rel14101228.

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Religious audiences frequently hear prose hymns as a part of their ceremonies. The “Lord Jesus Christ” hymn in Philippians 2.6–11 is one such example. The Philippian hymn fits an audience’s performance expectations compared to other Greek and Jewish prose hymns and performances. A slave lector likely recited or sang the hymn when delivering the epistle and directly addressed at least four named recipients. This article examines the narrative links between the hymn and the address in 4:1–3. Utilizing performance-critical methods, we explore how this hymn likely functioned for the ancient audience. The reading of the “Lord Jesus Christ” hymn localized the worship of Jesus in Philippi, encouraged financial giving to Paul and Timothy, taught moral lessons, and prepared the audience to address their conflict “in the Lord”.
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Parto, Parto, Yulianto Bambang, and Kisyani Kisyani. "Analysis of Discourse Structure in Higher Education Hymns (Studies at State Universities in East Java)." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 4 (December 11, 2020): 2097–105. http://dx.doi.org/10.33258/birle.v3i4.1471.

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The purpose of this research is to describe and find the discourse structure of college hymns through macro structure, superstructure, and micro structure. This research was conducted using a qualitative descriptive approach. Source of hymn data for seven state universities in East Java. The selection of seven state universities in East Java was based on the reason that the ways in which higher education hymns were created were similar so that the results of this study could become a reference in the meaning of university hymns in general. Based on the results of data analysis, it can be concluded that (1) the hymn of state universities in East Java has similarities in its macro structure, namely the theme of praise or worship, (2) the superstructure or schematic structure of the hymn in public universities in East Java begins with the naming or title of the hymn which is similar, namely beginning with the word hymn and followed by the name of the institution; In general, the form of a hymn is made in stanzas like a song or poetry (3) semantically a college hymn generally leads the audience to an opinion that the university is praiseworthy and proud, (4) based on the cohesion of the hymn of state universities in East Java generally the hymn descriptions are related to the title, either the overall description or the description of the sections or the comparisons, even each line in the hymn of public universities in East Java refers to or is directed at the institution whose name is mentioned in the title; active and passive sentences, (5) diction in the hymn text of state universities in East Java, like songs in general, are very concerned with the harmony of the sound of language or emphasizing rhyme and poetry, especially diction at the end of the line (6) hymns of public universities in East Java tends to use simple language, but from the analysis results it is found that several styles of language.
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4

Zhuk, Alexandra D. "The Problem of Genre in the Hymns by the Lake Poets and Thomas Moore." Imagologiya i komparativistika, no. 15 (2021): 7–30. http://dx.doi.org/10.17223/24099554/15/1.

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Though there are many seminal works on early Romanticism and Thomas Moore’s poetry, their hymns remain understudied. This article focuses on the genre problem in the hymns by the Lake Poets (S.T. Coleridge, W. Wordsworth, R. Southey) and Thomas Moore, whose poetry is studied in context of English Literature and German Romanticism. The characteristics of the hymn are emotionality, associative composition, abundance of repetitions and parallelisms, archaic grammatical forms of verbs and pronouns, and the use of verb contractions. The combination of genres in hymns results in such variants as the odic hymn, the idyllic and elegiac hymn, the mythological hymn, and even the satirical hymn, with each of them evolving in its own way in the period under study. The odic hymn is represented in “Hymn before Sun-rise, in the Vale of Chamouni” (1802) by S.T. Coleridge and “Hymn. For the Boatmen, as They Approach the Rapids under the Castle of Heidelberg” (1820/1822) and “To the Laborer’s Noon-Day Hymn” (1834/1835) by W. Wordsworth. These poems have such odic features as comparisons and conditional and cause-and-effect syntactic constructions. Coleridge’s hymn going back to the psalms of praise was influenced by German Romanticism, while Wordsworth’s hymns feature religious vocabulary and quotations from the Mass. The mythological hymn comes in two versions – one with idyllic features (“Hymn to the Earth” (1799, publ.1834) by S.T. Coleridge) and the mythological hymn-fragment (“Fragment of a mythological hymn to Love” (1812) by T. Moore). The fist is the translation of Stolberg’s hymn, from which the leitmotif of the Earth as the mother and the nanny of the World is borrowed. The image of the Earth has anthropomorphic features, with the marriage of the Earth and Heaven going back to W. Blake. The myth created by T. Moore is more complex. The creation of the world begins with the marriage of Love and Psyche. Love appears as the masculine principle of the Universe, while Psyche as the feminine one. The plot goes back to the ancient myths of the world creation from the Chaos and marriage of Eros and Psyche. However, T. Moore changed the myth and transformed the heroes into a source of life. “Hymn to the Penates” (1796) by R. Southey combines the idyllic, elegiac, publicistic and hymn features proper. The idyllic features are related to the image of the Penates that turn into a force controlling human lives and the souls of the dead. The childhood memories give rise to the elegiac features. The publicistic features appear in the verses of the people who do not worship the Penates. The composition, repetitions and parallelisms in the satirical “A Hymn of Welcome after the Recess” (1813) by T. Moore go back to the hymn genre; however the main stylistic devices used are irony and metonymy. Summing up, the genre of hymn in the works by the Lake Poets and Thomas Moore undergoes significant transformations, which will be further developed in late Romanism.
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Høirup, Henning. "Nekrolog over Uffe Hansen." Grundtvig-Studier 46, no. 1 (January 1, 1995): 18–25. http://dx.doi.org/10.7146/grs.v46i1.16174.

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Uffe Hansen 14.12. 1894 - 11.9. 1994By Henning HøirupThe obituary begins with a description of Uffe Hansen’s background as an Independent Congregation clergyman (from 1925) to the Grundtvigian Independent Congregation (Danish valgmenighed, i.e. a congregation within the National Church, claiming the right to employ their own minister) of Ubberup, where the prominent clergymen V.J.Hoff and Carl Koch were his predecessors. Carl Koch’s extensive writings, theologically erudite, but .popular. in their language, and thus accessible to the layman, were to become the model for Uffe Hansen’s studies in Grundtvig’s hymnwriting. Through his membership of the Hymn Book Commission of the free Grundtvigian congregations (HYMNS. Independent Congregations and Free Church Congregations, 1935), Uffe Hansen was motivated to realize his plan of a complete account of the whole of Grundtvig’s hymn writing in the book Grundtvig’s Hymn Writing. Its History and Content I. 1810-1837, published in 1937. In the following years Uffe Hansen was absorbed in organizational work (Grundtvigian Convent, the »No More War« organization) and by his membership of the Grundtvigian Hymn Book Committee (The Danish Hymn Book. A Grundtvigian Proposal, 1944). In the 1940s efforts were made to unite the hymn tradition of the re-united Southern Jutland with the traditions of the Kingdom, i.e. the old Danish treasury of hymns and the Grundtvigian hymns. Uffe Hansen became a member of the Hymn Book Commission which published the proposal The Danish Hymn Book in 1951. More than anybody else, Uffe Hansen is responsible for the large number of Grundtvig hymns in this proposal, often with verses from the original versions of the hymns added to them. In spite of vehement criticism on this point The Danish Hymn Book was authorized in 1953. Grundtvig remained the predominant contributor, even though significant Grundtvig hymns, expressing his church view, were omitted, much to Uffe Hansen’s regret. The Hymn Book includes Uffe Hansen’s own translation of the Latin antiphone Oh, Grant Us Peace, Our Lord. While this debate was going on, the continuation of Uffe Hansen’s work, Grundtvig9s Hymn Writing II. 1837-1850 appeared in 1951, an important contribution to a comprehensive interpretation of Grundtvig’s work to renew the Danish hymnody. However, Uffe Hansen’s main achievement as a hymn researcher was his work as a co-editor of Grundtvig’s Song-Work I-VI, 1944-1964. This new edition was worked out on scientific principles, and the hymns were brought in chronological order, as far as it was possible. The edition included a critical variant apparatus, compiled by Uffe Hansen. Concurrently with this work, Uffe Hansen participated in the compilation of a Register of Grundtvig’s Posthumous Papers 1-IXXX, 1956-1964, and, while engaged on this, found several hitherto unknown hymns, which were included in the new edition of the Song-Work.Here Uffe Hansen’s abilities as a researcher and scholar were amply demonstrated. Then, in 1966, came his finalwork, Grundtvig’s Hymn Writing III. 1851-1872, which, like the other volumes, testify to Uffe Hansen’s talent for combining erudition with easy comprehensibility. In his last years Uffe Hansen lived in Holland; he was laid to rest from the Independent Congregation Church of Ubberup.
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Triškaitė, Birutė. "Jono Berento giesmyno Is naujo perweizdėtos ir pagerintos Giesmu-Knygos ir maldyno Maldu-Knygelos antrasis leidimas (1735): nežinotas egzempliorius Prahoje." Archivum Lithuanicum, no. 22 (December 3, 2020): 33–82. http://dx.doi.org/10.33918/26692449-22002.

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T he second edition of J ohann B ehrendt ’ s hymn book ISZ naujo pérweizd ėtos ir pagérintos Giesm û-Knygos AND PRAYER BOOK Maldû-Knygélos (1735): an unknown copy in Prague The article presents a 1735 Lithuanian publication from Königsberg (Lith. Karaliaučius) which was believed to not have survived—the hymn book for Prussian Lithuania’s Evangelical Lutherans Iß naujo pérweizdėtos ir pagérintos Giesmû-Knygos (Reviewed and Improved Hymn-book) and the prayer book Maldû-Knygélos (Prayer-book). The only known copy of the second edition of the hymn book and the prayer book was discovered in the National Library of the Czech Republic (Czech Národní knihovna České republiky; NK ČR: 33 K 139) in Prague. It has not been registered in Lithuanian bibliographies. Just as the first 1732 edition, the second edition appeared thanks to the initiative of the theology professor of the University of Königsberg and the chief court preacher, Johann Jacob Quandt (Lith. Jonas Jokūbas Kvantas, 1686–1772), while the archpresbyter of Insterburg (Lith. Įsrutis), Johann Behrendt (Lith. Jonas Berentas, 1667–1737), led the editing team. Aiming to reveal the differences of the second edition from the first, and to highlight the editing tendencies of the hymn and prayer books, this article not only discusses the main features of the copy, but also analyzes the structure of the 1735 edition including the repertoire of new hymns and linguistic particularities of the texts of hymns and prayers written in Lithuanian. Provenance research revealed that the copy belonged to the Lithuanian Dovydas Blindinaitis or Bl(i)undinaitis before reaching this library, and this is supported by handwritten inscriptions on the front and back flyleaves. He acquired the book in 1736 for 33 groschen and must have been its first owner. The imprint “REGIÆ BIBLIOTH: ACAD: PRAGEN:” (“Royal Library of the Academy of Prague”) which is seen on the title page of the hymn book could only appear after 1777 when the Public Imperial-Royal University Library (Czech Veřejná císařsko-královská univerzitní knihovna) in Prague had been established. From the perspective of structure, the 1735 Lithuanian publication is a convolute which consists of two alligates: (1) hymn book and (2) prayer book. The hymn book comprises: (a) two introductions—one written by Quandt in German and one written by Behrendt in Lithuanian, (b) the main section of the hymn book and its appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”), (c) two indexes—the index for the Lithuanian hymns “Prirodijimas Wiſſû Gieſmû, ant kurro Laißko jos ßoſa Knygoſa randamos yra” (“A listing of all hymns which page they are found on in this book”) and the index of German original hymns called a “Regiſter” (“Register”). The prayer book comprises prayers, collects, the story of Christ’s suffering, and a list of thematic groups of these texts marked “Prirodijimas Wiſſû Maldû” (“A listing of all prayers”). The second (1735) edition of the hymn book differs remarkably from the first (1732) in its structure and scope: (1) All of the hymns that had been previously included in the 1732 edition’s “Appendix arba Kittos naujos Gieſmes ßwėey pridėtos” (“Appendix or other new recently added hymns”) (a total of 34) were integrated into the main section of the hymn book of the 1735 edition comprising 334 hymns; their thematic groupings and subgroupings remained the same; (2) The 1735 edition does not include one of the hymns published in 1732: Peter Gottlieb Mielcke’s (Lith. Petras Gotlybas Milkus, 1695–1753) translation “MIeli Krikßćionis dʒaukimės” (“Dear Christians let us rejoice”) (← Martin Luther, “Nun freut euch lieben Chriſten”); (3) The 1735 edition was supplemented with 26 hymns, that is to say, the second edition comprises 360 hymns. The new hymns are published in the appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”). Cryptonyms attached to these hymns attest to the fact that their translators were two priests of Prussian Lithuania. For the first time, 18 hymns of the priest of Didlacken (Lith. Didlaukiai), Fabian Ulrich Glaser (Lith. Fabijonas Ulrichas Glazeris, 1688–1747), were included in this hymn book. The priest of Popelken (Lith. Papelkiai), Adam Friedrich Schimmelpfennig (Lith. Adomas Frydrichas Šimelpenigis, 1699–1763), translated 8 new hymns (while 15 of his hymns that had been already published in the 1732 edition were presented in the main section of the hymn book of the 1735 edition). The new repertoire of the Lithuanian hymn book was compiled from the translations of the following German hymn creators of the 16th–18th centuries: Johann Georg Albinus (1624–1679), Martin Behm (1557–1622), Kaspar Bienemann (Melissander, 1540–1591), Simon Dach (1605–1659), Johann Burchard Freystein (1671–1718), Paul Gerhardt (1607–1676), Johannes Gigas (Heune, 1514–1581), Ludwig Andreas Gotter (1661–1735), Johann Heermann (1585–1647), Heinrich Held (1620–1659), Martin Moller (1547–1606), Johann Rist (1607–1667), Samuel Rodigast (1649–1708), Johann Röling (1634–1679), Gottfried Wilhelm Sacer (1635–1699), Arnold Heinrich Sahme (1676–1734), Benjamin Schmolck (1672–1737). In contrast to the hymn book, the structure of the 1735 prayer book published concurrently were not changed; the thematic groups of prayers remained essentially the same as they were in the first edition of 1732. Texts of both the hymn book and the prayer book were edited. The editing tendencies in both are similar and encompass all linguistic levels (phonetics, morphology, lexicon, syntax), as well as orthography and punctuation, but the intensity of editing was different. The orthographic corrections prevail and the most consistent of them are: [i·] <ij> → <y> (characteristic only of the hymn book), [č’] <ć> → <cʒ> (together with refusing the marker indicating consonant palatalization <i>), [·] <e> → <ė>, [ž] ir [ž’] <Ʒ> → <>, marking accent placement with an acute accent < ’ >. The second edition reflects an important stage in the quantitative and qualitative development of Behrendt’s hymn book. In the second edition that appeared just three years later, we see the further consistent efforts of the editors to expand the repertoire of hymns and improve the texts in terms of language (i.e. they first of all sought to standardize the orthography of texts written in different centuries by many different translators). In contrast to the hymn book, the prayer book was improved along only one vector: the language of the texts was edited according to the same principles, while the number of prayers was not increased. The fact that the editors of the second edition devoted more attention to the hymn book than the prayer book probably stems from the important place that hymns hold in the Evangelical Lutheran liturgy.
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Owoaje, Tolulope, and Tunde Adegbola. "Song Melody and Speech Tone Conflict in Translated Yorùbá Christian Hymns." Yoruba Studies Review 7, no. 1 (July 26, 2022): 1–18. http://dx.doi.org/10.32473/ysr.v7i1.131447.

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This article engages song melody and speech tone conflict in translated Yorùbá Christian hymns between the late 19th and early 20th century. In their effort to make early Yorùbá Christian converts sing Christian hymns in the church, European missionaries translated English hymns to Yoruba, and sang them to the original European hymn tunes. Yorùbá being a tone language, requires a significant level of correlation between song melody and speech tone, for the words to retain their original meaning when sung. The tripartite constraint of aligning melody, meter, as well as meaning, posed a major problem to the hymn translators. Having given priority to melody and metre, the translators therefore, tend to compromise on meaning, thereby producing Yorùbá hymns that will sound interesting melodically, and correlate metrically with the metre, but producing hardly meaningful words when sung. This study utilized samples from Iwe Orin Mimo, being the Yorùbá translation of a range of hymns in Hymnal Companion, Hymns Ancient and Modern, and some other hymn books popularly used by the Church Missionary Society (CMS). The work presents a graphical illustration of the disparity between the hymn tunes and the speech tone of the Yorùbá language. It also highlights the efforts of Indigenous composers in correcting the perceived error through re-composition of the first stanza of selected hymns, to which they wrote more stanzas that align with the theme of the first stanza. The inappropriately translated Yorùbá hymn books have remained strong institutions within the church and have therefore, continued to promote the use of the translated hymns in the Yoruba church.
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Masud, Noreen. "Sound Words: Hymns in Twentieth-Century Literature." Review of English Studies 70, no. 296 (April 21, 2019): 732–51. http://dx.doi.org/10.1093/res/hgy130.

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Abstract Why, in the twentieth century, do atheist or agnostic authors write so many hymns into their poems and novels? This essay contends that attending to the frequent but overlooked hymn episodes in early to mid-twentieth-century literature, and to their historical contexts, can complicate our understanding of literary postures of faith, and of everyday sounds as ‘filler’ in modernist literature. Focusing on Stevie Smith and D. H. Lawrence, with reference to a range of other writers, it draws on unpublished archival material to argue that hymn-history reveals an alternative narrative to that of religious writing as conservative, and literary writing as radical. Hymn-compilers often sought modernity, while poets and novelists tended to privilege older, more dated hymns. This ideological clash led to a literary approach which defiantly accommodated ‘bad old hymns’ through nostalgic reminiscence and extensive quotation. Used in this way, hymn oscillates between a status as textual padding and as focal point: an embarrassingly excessive and solid substance which nevertheless enables embarrassment to be discharged. Ultimately, the muffling, ostensibly authoritative substance of hymn, in twentieth-century literature, fills up gaps in which too much might resound or be revealed: it offers literary writing an opportunity to accommodate and neutralize awkwardness, failure and error.
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Proskurina, Anna. "On the Issue of Performativity of Hymns." southern semiotic review 2020 i (January 2021): 74–86. http://dx.doi.org/10.33234/ssr.13.5.

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The article indicates that the study of the semantic-communicative component of hymns makes it possible to identify performative frameworks - “pillows”, on which the foundation of speech activity rests. Thus, the obligatory semantic-communicative component of the hymns is informing the deity about his/her qualities, in other words, it is praising. The article reviewed three hymns written in Old English (“The Kentish Hymn”, “The Cædmon’s Hymn”) and Early Middle English (“The Godric’s Hymn”). The author focuses on paganism in Old English hymns. Thus, the work emphasizes that at the dawn of Christianity, for a smooth transition from paganism to Christianity, the image of Jesus Christ was presented as the image of a leader (Cyning - Leader), while believers were represented as His warriors. The cross as the main Christian symbol often appears made of wood and is identified with the cosmic world tree growing right into heaven.
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Wykes, David L. "From David’s Psalms to Watts’s Hymns: the Development of Hymnody among Dissenters following the Toleration Act." Studies in Church History 35 (1999): 227–39. http://dx.doi.org/10.1017/s0424208400014054.

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The introduction of hymns and hymn-singing has been described as one of the greatest contributions made by dissent to English worship. Yet, with the exception of specialist studies by hymnologists, church historians have largely ignored eighteenth-century hymns and hymn-singing, though it is clear they represented a powerful and popular source of contemporary religious expression. Hymns, that is compositions which depart too far from Scripture to be called paraphrases, have been one of the most effective mediums of religious thought and feeling, second only to the Bible in terms of their influence. The only recent academic studies have been in English Literature, where hymns have been examined as literary texts for their poetic value. As a consequence neither the historical context of the development of the hymn in the decades following the 1689 Toleration Act, nor the liturgical significance of their introduction to public worship, has been addressed.
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Дисертації з теми "Hymn to"

1

Evans, Stephen. "Hymn and epic : a study of their interplay in Homer and the "Homeric hymns /." Turku : Turun Yliopisto, 2001. http://catalogue.bnf.fr/ark:/12148/cb39233957r.

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Rigney, Ranelle. "The hymn-book controversy of 1882." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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3

Huebscher, Stephen Lenard. "Theological change in the eucharistic hymn-texts of Brian Wren and Isaac Watts." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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Pratt, Andrew. "The origin of the Methodist Hymn Book." Thesis, University of Liverpool, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.722134.

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Krebbs, Ralph Stephen. "Nietzsche's hymn to life : a Buddhist reading /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Gordley, Matthew E. "The Colossian hymn in context : an exegesis in light of Jewish and Greco-Roman hymnic and epistolary conventions /." Tübingen : Mohr Siebeck, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2921592&prov=M&dok_var=1&dok_ext=htm.

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McGahey, James R. "The Colossian hymn its form, background, and Christology /." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.

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Taylor, Glen Allen. "An exegetical study of Nahum's hymn to Yahweh /." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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Swihart, Rex L. "The Chronicler's hymn I Chronicles 16:8-36 /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Smith, Lynette Arlene. "Hannah's hymn an exercise in contemporary Orthodox hermeneutics /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p090-0336.

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Книги з теми "Hymn to"

1

John, Barton. Hymn. London, Ont: Brick Books, 2009.

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2

Burrage, Henry S. Baptist hymn writers and their hymns. Portland, Me: Brown Thurston, 1989.

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3

1934-1996, Ridout Alan, ed. Hymns for instruments: 25 popular hymn tunes. Bury St. Edmunds, Suffolk: K. Mayhew, 1992.

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1844-1924, Thompson Robert Ellis, ed. The Latin hymn-writers and their hymns. New York: Funk & Wagnalls, 1990.

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Canada, Anglican Church of. Hymn sampler. Toronto: Anglican Book Centre, 1993.

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Masterton, Graham. The hymn. London: BCA, 1991.

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Johns, Michele. Hymn improvisation. Minneapolis: Augsburg Pub. House, 1987.

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Copeland, Agnes Grote. Coronation hymn. [Canada?: s.n.], 1994.

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Graham, Masterton. The hymn. London: Warner, 1995.

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Hymns and Hymn Singing. Canterbury Press Norwich, 1993.

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Частини книг з теми "Hymn to"

1

Watson, J. R. "Hymn." In A Companion to Victorian Poetry, 134–54. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch7.

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Cohen, Ralph. "A Hymn." In The Unfolding of The Seasons, 316–23. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003244523-6.

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Kennedy, Charles W. "CÆdmon's hymn." In The Cædmon Poems, 1–4. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003415220-1.

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"Hymns and Hymn Writing." In An A-Z of Feminist Theology. Bloomsbury Academic, 1996. http://dx.doi.org/10.5040/9781474289689.67.

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"A Shaker Hymn." In New York's Burned-over District, edited by Spencer W. McBride and Jennifer Hull Dorsey, 274–76. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501770531.003.0041.

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This chapter discusses music, which was an essential tool for Shaker evangelism. It describes that Shaker missionaries taught the doctrines of their faith through hymns, such as those that read like a catechism. It also looks at the hymn that has an opening verse that asks, “How has Christ appeared?” and “How is he made known?” The chapter reviews other verses of Shaker hymns that explain to newcomers and affirm for the faithful that Mother Ann Lee and her followers are the channel through which the Spirit of God appears to mankind. It presents verses of a hymn without the accompanying musical notation.
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Temperley, Nicholas, Charles G. Manns, and Joseph Herl. "Technical Introduction." In The Hymn Tune Index, 71–106. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199270446.003.0003.

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Abstract ‘Hymns’. A hymn is simply a religious lyric, and is probably as old as religion itself. The principal form of hymn recognized today in Western Christianity, however, is a metrical, strophic religious lyric in language of a simple and popular kind. It is generally rhymed as well, but that is not a necessary part of our definition. Historically, the hymn in this form originated with St. Ambrose in the fourth century.
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Feliński, Alojzy. "Hymn." In Late Enlightenment, 293–96. Central European University Press, 2006. http://dx.doi.org/10.1515/9786155053849-040.

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"hymn." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.04984.

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"HYMN." In To Be Named Something Else, 92. University of Arkansas Press, 2023. http://dx.doi.org/10.2307/jj.809369.49.

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"Hymne Stomique / Stoma: A Hymn." In Corpus III, 61–96. Fordham University Press, 2023. http://dx.doi.org/10.1515/9781531501143-005.

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Тези доповідей конференцій з теми "Hymn to"

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Kampelopoulos, Dimitrios, Lazaros Moysis, Konstantinos Karasavvidis, Achilles D. Boursianis, Sotirios K. Goudos, and Spyridon Nikolaidis. "Audio Fingerprinting Method for Byzantine Hymn Recognition." In 2024 Panhellenic Conference on Electronics & Telecommunications (PACET). IEEE, 2024. http://dx.doi.org/10.1109/pacet60398.2024.10497021.

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Klenner, Manfred. "An Hymn of an even Deeper Sentiment Analysis." In Proceedings of the 7th Workshop on Computational Approaches to Subjectivity, Sentiment and Social Media Analysis. Stroudsburg, PA, USA: Association for Computational Linguistics, 2016. http://dx.doi.org/10.18653/v1/w16-0426.

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Legkikh, Victoria. "Is a hymnographer-compiler a writer or a reader. Service for All Saints Who shone in the Russian land as a typical service of the 16th century." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.13.

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The feast of all the saints who shone in the Russian land was established after the Macariuscouncils of the 1547 and 1549, and already in the 1550s. Gregory, a monk of the Savior-Euthymius monastery in Suzdal, composed a service. The service is created according to chant models mainly taken from services for Russian saints, using both direct borrowing a hymn and adaptation of the hymn and creating a new one according to the model. We can say that this service shows a typical way of compiling a hymnography of the 16th–17th centuries. The report analyzes the sources and methods of creating a service compiled by Gregory.
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Nishiyama, Hiroki, Ahmed E. A. A. Abdulla, Nirwan Ansari, Yoshiaki Nemoto, and Nei Kato. "HYMN to Improve the Longevity of Wireless Sensor Networks." In GLOBECOM 2010 - 2010 IEEE Global Communications Conference. IEEE, 2010. http://dx.doi.org/10.1109/glocom.2010.5683756.

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Abdulla, Ahmed E. A. A., Hiroki Nishiyama, Nirwan Ansari, and Nei Kato. "HYMN to improve the scalability of Wireless Sensor Networks." In IEEE INFOCOM 2011 - IEEE Conference on Computer Communications Workshops. IEEE, 2011. http://dx.doi.org/10.1109/infcomw.2011.5928868.

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Koneva, Anastasia. "Intertextuality of the ex-Yugoslavian hymn: sources, ideas, evolution." In The Slavic world: Commonality and Diversity. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/2619-0869.2023.3.03.

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Ruas-Araujo, Jose, Maria Jose Lado, and Xose Anton Vila. "The perception of the Hymn of Ecuador through measuring heart rate variability (HRV)." In 2016 11th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2016. http://dx.doi.org/10.1109/cisti.2016.7521585.

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Lamrani, Imane, Ayan Banerjee, and Sandeep K. S. Gupta. "HyMn: Mining linear hybrid automata from input output traces of cyber-physical systems." In 2018 IEEE Industrial Cyber-Physical Systems (ICPS). IEEE, 2018. http://dx.doi.org/10.1109/icphys.2018.8387670.

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Purba, Berehme, Lidya Kandowangko, Siguti Sianipar, and Erwin Sianturi. "The Transformation of Hymn Song in Local Church: a Study of Musical Style in Manado." 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.11-12-2019.2302108.

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Rodríguez-Lorenzo, Gloria A. "Melchor Gomis and the National Militia’s Wind Band: Rafael de Riego’s Hymn as Spanish National Anthem." In Međunarodni i interdisciplinarni simpozij Glazba, umjetnosti i politika: revolucije i restau- racije u Europi i Hrvatskoj 1815.-1860. (14 ; 2019 ; Zagreb). Hrvatska akademija znanosti i umjetnosti, 2021. http://dx.doi.org/10.21857/9e31lhvnnm.

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Звіти організацій з теми "Hymn to"

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Kondo, Takumasa, Laura Isabel Colorado, Yenifer Campos Patiño, Ángela Arcila, and Paola Sotelo. Wasmannia auropunctata (Roger) (Hym.: Formicidae), pequeña pero voraz depredador de Diaphorina citrí Kuwayama (Hem.: Liviidae). Corporación Colombiana de Investigación Agropecuaria - AGROSAVIA, 2016. http://dx.doi.org/10.21930/agrosavia.poster.2016.50.

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Muchas especies de hormigas se han reportado como depredadores del psílido asiático de los cítricos Diaphorina citri Kuwayama (Hemiptera: Liviidae) (e.g., Michaud 2004), aunque la depredación por parte de las hormigas no se ha observado. Según Way (1963), las hormigas que atienden hemípteros pueden alimentarse de sus trofobiontes cuando las fuentes de proteínas y lípidos son escasas. Navarrete et al. (2013) reportaron que la presencia de las hormigas Pheidole megacephala Fabricius, 1793, Brachymyrmex patagonicus Mayr, 1868, y Solenopsis invicta Buren, 1972, se correlacionó positivamente con altas tasas de parasitismo de T. radiata en un experimento de exclusión de hormigas realizado en Florida (EE.UU.). En ese estudio, Navarrete et al. (2013) no encontraron ningún comportamiento agresivo de las hormigas hacia las ninfas de D. citri, y el número de ninfas de D. citri no mostró diferencias estadísticas entre aquellas ninfas atendidas y no atendidas por hormigas, lo que sugiere que las hormigas no depredan a D. citri. En una casa de vidrio donde se mantiene una cría masiva de D. citri y su enemigo natural Tamarixia radiata (Waterston) (Hymenoptera: Eulophidae), la pequeña hormiga de fuego Wasmannia auropunctata (Roger) (Hymenoptera: Formicidae), se observó depredando las ninfas (Figs. 1 y 2) y adultos (Fig. 3) de D. citri y causando pérdidas graves al pie de cría. El presente constituye uno de los pocos estudios donde se verifica la depredación de D. citri por hormigas.
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Viljanen, Ari, Kirsti Kauristie, Tiera Laitinen, Adnane Osmane, Minna Palmroth, Emilia Rintamäki, Mikko Savola, Roope Siirtola, Jonas Suni, and Lucile Turc. Äärimmäiset avaruussäämyrksyt, niiden vaikutukst ja varautuminen. Finnish Meteorological Institute, September 2022. http://dx.doi.org/10.35614/isbn.9789523361638.

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Tässä hankkeessa kerättiin tietoa äärimmäisen voimakkaiden avaruussää-myrskyjen vaikutuksista erilaisiin teknisiin järjestelmiin. Selvitykseen osallistuivat Ilmatieteen laitos, Helsingin yliopisto (HY, Avaruusfysiikan tutkimus) ja Change in Momentum -yritys. Raportissa esitellään laajasta kirjallisuustutkimuksesta kerättyä tietoa voimakkaista myrskyistä ja tietokonesimulaatioiden tuloksia. Raportin loppuosassa käsitellään avaruussäämyrskyihin liittyviä suoria ja välillisiä yhteiskunnallisia riskejä, kuvataan verrokkimaiden kansallisten riskiarvioiden tuloksia jaesitellään varautumisharjoituksiin soveltuva äärimmäisen avaruusmyrskyn skenaario. Kirjallisuustutkimuksessa kiinnitettiin erityistä huomiota avaruus-säämyrskyjen aiheuttamiin ongelmiin sähkönjakelujärjestelmissä niiden laajojen kerrannaisvaikutusten vuoksi. Nopeat vaihtelut Maan magneetti-kentässä synnyttävät jakelujärjestelmiin haitallisia geomagneettisesti indusoituneita (GI) virtoja. Äärimmäisten myrskyjen aikaan saattaa esiintyä jopa kolme kertaa suurempia magneettikentän aikaderivaattoja Euroopassa mitattuihin arvoihin verrattuna. Haittavaikutuksille altis alue ulottuu Keski- ja Etelä-Eurooppaan asti. Meidän tulee siis varautua myrskyjen aiheuttamiin välillisiin vaikutuksiin esim. kansainvälisten toimitusketjujen ongelmien seurauksena, vaikka Suomen sähkönjakelujärjestelmän GI-virtojen sietokyvyn tiedetään olevan hyvä. Koska geomagneettisia myrskyjä riittävän tarkasti kuvaavat aikasarjat ovat verrattain lyhyitä (<150 vuotta), tilastollisissa arvioissa esiintymistodennäköisyyksille esiintyy vielä paljon vaihtelua. Kirjallisuudessa annetut arviot yleisesti vertailukohteena käytetyn vuoden 1859 Carrington-myrskyn kaltaisen ääritapahtuman todennäköisyy-delle seuraavan 10 vuoden sisällä vaihtelevat välillä 0,5–20 %. Hankkeessa testattiin ensimmäistä kertaa Helsingin yliopiston Vlasiator-simulaatiota avaruussäämyrskyjen mallinnuksessa erityisesti satelliittien toimintaympäristöön liittyen. Suurteholaskentaa vaativa Vlasiator on maailman ainoa mallinnustyökalu, joka kattaa koko lähiavaruuden ja kuvaa tarkasti avaruusplasman ionien vaikutuksen myrskyjen kehittymiseen. Simulaatiot osoittivat, että äärimmäisten myrskyjen aikaan geostationaariset ja navigointi-satelliitit menettävät ajoittain magnetosfäärin antaman suojan Auringon hiukkaspurkauksia vastaan. Geostationaaristen satelliittien hiukkasmittausten perusteella HY:n tutkijat arvioivat myös, että korkeaenergiaisten elektronien vuot saattavat olla äärimmäisissä tilanteissa 1–3 kertaluokkaa suuremmat kuin aiempien myrskyjen aikana mitatut satelliittiteknologialle ongelmia aiheuttaneet vuot. Tässä hankkeessa vuosina 2021–2022 tehtyjä Vlasiatorajoja ja muuta tutkimustyötä tarkennetaan ja laajennetaan Suomen Akatemian rahoittamassa “Preparing for the most extreme space weather” -hankeessa vuosina 2020–2023.
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