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Journal articles on the topic 'Alleluja'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Otten, Jürgen. "ALLELUJA!" Opernwelt 66, no. 1 (2025): 24–26. https://doi.org/10.5771/0030-3690-2025-1-024-1.

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2

Rubinkiewicz, Ryszard. "Liturgia uobecnieniem zwycięstwa Boga nad mocami zła." Verbum Vitae 2 (December 14, 2002): 296–99. http://dx.doi.org/10.31743/vv.1335.

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3

Jones, Michael E. "The Historicity of the Alleluja Victory." Albion 18, no. 3 (1986): 363–73. http://dx.doi.org/10.2307/4049979.

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The subject of this paper is a celebrated incident in Constantius' Life of St. Germanus. The work is a near contemporary piece, evidently drawing on eye witness accounts. It was composed in Gaul about 480 A.D. Constantius provides several interesting and possibly historical details concerning conditions in Britain during the transition from Celtic independence to Saxon dominance. St. Germanus visited Britain in 429 to combat the Pelagian heresy. While there, according to Constantius, he led the Britons in a military victory over invading Picts and Saxons, the Alleluja Victory. He thereafter pa

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4

Pfisterer, Andreas. "Christopher Schmidt: Ars Jubilandi. Wandlung und Verwandlung im einstimmigen Alleluja." Die Musikforschung 62, no. 4 (2025): 385–86. https://doi.org/10.52412/mf.2009.h4.4318.

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5

HUGHES, DAVID G. "The paschal alleluia in medieval France." Plainsong and Medieval Music 14, no. 1 (2005): 11–57. http://dx.doi.org/10.1017/s0961137105000197.

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The alleluia was the last proper chant of the Mass to be standardized. Through the twelfth century and beyond, different churches assigned different alleluias to the same Masses, and the composition of new alleluia chants flourished throughout the latter Middle Ages. The Masses from Easter to the octave of Pentecost witness this. A collation of ca. 200 manuscripts demonstrates that identical series of chants are to be found only in sources emanating from the same church (or churches in the same city). Most of the alleluia chants from the eleventh century onward have New Testament or non-script

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6

Nowak, Jacek. "Archetyp liturgii słowa w liturgii synagogalnej." Ruch Biblijny i Liturgiczny 71, no. 1 (2018): 25. http://dx.doi.org/10.21906/rbl.3608.

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Genezy chrześcijańskiej liturgii słowa należy upatrywać w Biblii, ponieważ z niej wywodzi się liturgia synagogalna. Artykuł jest podzielony na trzy części: (1) Liturgia słowa, (2) Aklamacje, (3) Ambona. Pokazane są zestawy czytań w zależności od święta, a także zachowania lektorów i wiernych. Największe znaczenia miała Tora. Mniejsze znaczenie miało czytanie proroków. Do istotnych momentów liturgii słowa należy w synagodze także homilia i śpiew psalmów. Zgromadzenie kończyło się udzieleniem błogosławieństwa. Liturgia chrześcijańska przyjęła również aklamacje: Amen i Alleluja. W synagodze znajd

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7

Wodzianowska, Irena, and Ewa Ziółek. "„…Kiedy biją dzwony niebieskie na Alleluja”. Apoteoza męczeństwa ks. prałata Konstantego Budkiewicza na obrazie Władysława Barwickiego." Roczniki Humanistyczne 72, no. 4 (2024): 215–60. http://dx.doi.org/10.18290/rh24724-7.

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Pokazowy proces abpa Jana Cieplaka i 14 księży, który miał miejsce w marcu 1923 r. w Moskwie, odbił się szerokim echem w Polsce i na całym świecie. W wyniku wyroku zapadłego na tym procesie został rozstrzelany ks. prałat Konstanty Budkiewicz. Opinia publiczna uznała go za męczennika bolszewizmu, co skutkowało licznymi upamiętnieniami jego osoby. Jednym z takich upamiętnień był obraz lubelskiego malarza Władysława Barwickiego. Jest to wielowarstwowa alegoria męczeństwa księdza oraz duchowieństwa katolickiego i prawosławnego w bolszewickiej Rosji. Jest to też alegoria zderzenia cywilizacji łaciń

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8

Towarek, Piot. "Messe Kompositionen zu Ehren der Hailigen Anna. Umriss der Problematik." Roczniki Humanistyczne 69, no. 12 (2021): 183–96. http://dx.doi.org/10.18290/rh216912-12.

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Die Verehrung der heiligen Anna, die sich im Westen seit dem 14. Jahrhundert entwickelt hat, ist mit liturgischen Werken, einschließlich musikalischer Kompositionen, verbunden. Dazu gehören die Messeproprien: Alleluja-Akklamationen mit Strophen, Sequenzen, und vor allem zahlreiche Motetten (Festa, Senfl, Mouton, de Mantua, Lhéritrier, di Lasso, Charpentier). Der vorliegende Artikel konzentriert sich jedoch nur auf ausgewählte Messen als Musikformen, die mit dem Namen der heiligen Großmutter Jesu verbunden sind. Diese Sammlung umfasst Kompositionen von Künstlern wie Pierre de la Rue, Marcin Mie

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9

Chmielewski, Marek T. "Od Angoli do Zairu. Życie konsekrowane na pielgrzymich szlakach Jana Pawła II, red. Kazimierz Wojtowicz CR, Wydawnictwo Zmartwychwstańców „Alleluja”, Kraków 2004." Seminare. Poszukiwania naukowe 23 (June 30, 2006): 494–96. http://dx.doi.org/10.21852/sem.2006.23.46.

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10

Hughes, David G. "The alleluias Dies sanctificatus and Vidimus stellam as examples of late chant transmission." Plainsong and Medieval Music 7, no. 2 (1998): 101–28. http://dx.doi.org/10.1017/s0961137100001480.

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It is well known that the two alleluias cited in the title are textings of the same tune – indeed they are only two of many textings of that tune. Along with the alleluia Video celos, these two were sung over a rather short space of time in the liturgical year: on the feasts of Christmas, St Stephen's and Epiphany. It happens that for another purpose, involving the transmission of chant in later manuscripts, I have collated the alleluia Dies sanctificatus and alleluia Vidimus stellam in over a hundred manuscripts, most of them late French sources. The choice of these manuscripts rather than ot

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11

Desmond, Karen. "W. de Wicumbe's Rolls and Singing the Alleluya ca. 1250." Journal of the American Musicological Society 73, no. 3 (2020): 639–709. http://dx.doi.org/10.1525/jams.2020.73.3.639.

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Abstract A set of thirteenth-century parchment fragments, including the remnants of two rolls and one manuscript codex, preserves a largely unstudied repertoire unique to medieval England. In addition to a single motet and a setting of a responsory verse, the Rawlinson Fragments preserve twelve three-voice Alleluya settings. While polyphonic Alleluyas are well known from the continental Magnus liber repertoire, these insular Alleluya settings are quite different. Most significantly, while composed on the text and pitches of plainchant, they include newly composed texts in at least one voice—th

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12

PFISTERER, ANDREAS. "Italian and Gallican alleluia psalmody." Plainsong and Medieval Music 17, no. 1 (2008): 55–68. http://dx.doi.org/10.1017/s0961137108000776.

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AbstractOne of the earliest forms of Christian psalmody, the alleluia psalmody, is difficult to explore since in most rites it is preserved only in part. Comparisons between direct and indirect traces of alleluia psalmody from Milan, Rome, Byzantium and Gaul as well as between alleluia psalmody and other genres of chant, especially the Mass alleluia, allow some conclusions about distinctive melodic characteristics. As one result, there seem to be common features in the Italian traditions that are missing in the Gallican tradition.

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13

Domina, Lynn. "Alleluia." New England Review 41, no. 3 (2020): 187. http://dx.doi.org/10.1353/ner.2020.0097.

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14

Young, Joy K. "Allelujah." Dialogue: A Journal of Mormon Thought 31, no. 1 (1998): 142. http://dx.doi.org/10.2307/45226429.

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15

Chmielewski, Marek T. "Konferencja Wyższych Przełożonych Zakonów Męskich, Konferencja Wyższych Przełożonych Żeńskich Zgromadzeń Zakonnych, Idziemy naprzód z nadzieją. Życie konsekrowane w Polsce na początku nowego tysiąclecia, Wydawnictwo Zmartwychwstańców „Alleluja”, Kraków 20." Seminare. Poszukiwania naukowe 20 (June 30, 2004): 542–45. http://dx.doi.org/10.21852/sem.2004.41.

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16

McKinnon, James W. "Preface to the study of the Alleluia." Early Music History 15 (October 1996): 213–49. http://dx.doi.org/10.1017/s0261127900001558.

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There is a passage in Willi Apel's discussion of the Alleluia of the Mass that nicely epitomises several of the difficulties that music historians have experienced with the genre. Apel found himself faced with a dilemma: on the one hand there was that undeniably late characteristic of the Alleluia, its notorious instability of liturgical assignment; and on the other hand there was literary evidence of the Alleluia's antiquity, its appearance in fourth-century patristic literature as the melismatic jubilus, and Gregory I's late sixth-century letter in which he admitted to extending the use of t

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17

Wamo, Paul. "Alleluia Destin commun." Mouvements 91, no. 3 (2017): 83. http://dx.doi.org/10.3917/mouv.091.0083.

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18

Huglo, Michel, and Terence Bailey. "The Ambrosian Alleluia." Revue de musicologie 72, no. 1 (1986): 139. http://dx.doi.org/10.2307/928780.

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19

Garcia, Jairo. "Return to the natural cycle for in vitro fertilization (Alleluia! Alleluia!)." Journal of In Vitro Fertilization and Embryo Transfer 6, no. 2 (1989): 67–68. http://dx.doi.org/10.1007/bf01130727.

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20

Copeland, Robert M. "Alleluia: An American Hymnal." American Music 18, no. 3 (2000): 318. http://dx.doi.org/10.2307/3052433.

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21

Yehuda, Simone Naomi. "AN ALLELUIA OF LARKS." Bridges: A Jewish Feminist Journal 10, no. 2 (2005): 68–70. http://dx.doi.org/10.2979/bri.2005.10.2.68.

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22

Morris, Gaye Williams. "Alleluia: An Ethnographic Study." Journal of Contemporary Religion 34, no. 3 (2019): 600–602. http://dx.doi.org/10.1080/13537903.2019.1661644.

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23

Hibbett, Ryan. "Allelujah! Don't Bend! Ascend!" Popular Music and Society 36, no. 3 (2013): 422–23. http://dx.doi.org/10.1080/03007766.2012.758527.

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24

Chinn, Nancy. "From Ashes to Alleluia." Liturgy 15, no. 1 (1998): 47–50. http://dx.doi.org/10.1080/0458063x.1998.10392434.

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25

Christner, Sharon Rose. "Three Alleluias." Prairie Schooner 96, no. 3 (2022): 189–95. http://dx.doi.org/10.1353/psg.2022.a904608.

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26

Dyer, Joseph. "Tropis semper variantibus: Compositional strategies in the offertories of Old Roman chant." Early Music History 17 (October 1998): 1–60. http://dx.doi.org/10.1017/s0261127900001601.

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In the introduction to the second volume of the series Monumenta Monodica Medii Aevi, devoted in the main to a transcription of the Old Roman gradual Vat. lat. 5319, Bruno Stäblein drew up a perceptive assessment of the native Italian chant style, contrasting it with the melodic style of Gregorian chant, a repertoire considered by many scholars to be the result of a process of local ‘editing’ of the Roman chant introduced north of the Alps in the late eighth and early ninth centuries. Stäblein quoted a remark about the singing of ‘alleluia’ from Cassiodorus' commentary on Psalm 104: ‘The tongu

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27

Pascua Vílchez, Fidel. "Post tempus stellae luna decima canditur." LaborHistórico 11, no. 1 (2025): e65007. https://doi.org/10.24206/lh.v11i1.65007.

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Estudo filológico do fólio 274v do manuscrito BM Ms528 de Cambrai, contendo um sermão anônimo intitulado Post tempus stellae luna decima canditur alleluya alleluya alleluya. Com base em Machielsen (1990), Sousa (2013), Quetglás (2006), entre outros, o objeto de estudo é analisado com o apoio de ferramentas digitais. Como objetivo principal, foi estabelecido averiguar a existência do texto em alguma edição impressa e em outros manuscritos medievais. Derivados deste, estabeleceram-se como secundários: complementar outros trabalhos anteriores sobre o manuscrito; contribuir para os estudos em Filo

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28

Diva Threcia Purba, Eben Haezarni Telaumbanua, and Aprinaldi P Simarangkir. "Teknik Olah Vokal Dengan Kemampuan Bernyanyi Pada Paduan Suara SMA Swasta PGRI 20 Siborongborong Tapanuli Utara." Jurnal Teologi Injili dan Pendidikan Agama 2, no. 3 (2024): 94–115. https://doi.org/10.55606/jutipa.v2i3.314.

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The aim of this research is to find out good and correct vocal techniques for body posture, breathing, articulation, phrasering when singing in a choir. In this research, researchers used qualitative research methods using observation, interviews and documentation. This research was carried out by collecting information through field research to obtain results which were processed into accurate data. The research process carried out as data collection is: photos, videos and interviews. The results of this research show that the process of implementing vocal technique training in singing the so

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29

Wilkinson, Michael. "SWENSON, Don. Alleluia: An Ethnographic Study." PentecoStudies: An Interdisciplinary Journal for Research on the Pentecostal and Charismatic Movements 18, no. 1 (2019): 121–23. http://dx.doi.org/10.1558/pent.38783.

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30

Paz Deble, Leonardo, and Anabela Silveira de Oliveira-Deble. "TWO NEWS SPECIES OF BACCHARIS (ASTERACEAE: ASTEREAE) FROM BAHIA, BRAZIL." Bonplandia 18, no. 1 (2009): 45. http://dx.doi.org/10.30972/bon.1811346.

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<div>En la revisión del género Baccharis para Brasil, fueron reconocidas dos especies nuevas:</div><div>Baccharis alleluia y Baccharis orbiculata. Estas especies son descriptas, ilustradas y diferenciadas</div><div>de los taxones afines</div>

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31

Fallows, David, and Terence Bailey. "The Ambrosian Alleluias." Musical Times 126, no. 1706 (1985): 241. http://dx.doi.org/10.2307/962201.

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32

March, Thomas. "Backlist: Little Alleluias." American Book Review 27, no. 6 (2006): 27. http://dx.doi.org/10.1353/abr.2006.0009.

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33

LeMon, Joel M. "Symphonizing the Psalms: Igor Stravinsky’s Musical Exegesis." Interpretation: A Journal of Bible and Theology 71, no. 1 (2016): 25–49. http://dx.doi.org/10.1177/0020964316670949.

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The twentieth-century composer Igor Stravinsky’s setting of the psalms can resonate with faithful communities today that find themselves in complex and often confusing relationships with God. In the Symphony of Psalms, Stravinsky’s use of Scripture shapes the listener’s sense of the Psalter as a whole and can lead worshipers in an honest, bold alleluia.

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34

Karp, Theodore. "The Analysis of the "Alleluia Laetatus sum"." Studia Musicologica Academiae Scientiarum Hungaricae 39, no. 2/4 (1998): 215. http://dx.doi.org/10.2307/902535.

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35

Pohly, Linda. "Alleluia! Sacred Choral Music in New England." American Music 13, no. 1 (1995): 124. http://dx.doi.org/10.2307/3052318.

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36

Jordan, William Chester. "Perpetual Alleluia and Sacred Violence: An Afterword." International History Review 17, no. 4 (1995): 744–52. http://dx.doi.org/10.1080/07075332.1995.9640729.

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37

de la Fuente, David. "Alleluia: An Ethnographic Study, by Don Swenson." Pneuma 42, no. 1 (2020): 132–34. http://dx.doi.org/10.1163/15700747-04201009.

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38

Grigalashvili, Ia. "The Ancient Ecclesiastical Hymn in “The Martyrdom of Nine Children from Kola” by an Unknown Author." Pro Georgia 34 (December 6, 2024): 167–80. https://doi.org/10.61097/12301604/pg34/2024/167-180.

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As there is not much material about the Early Christian literature and liturgy, the discovery of an ancient ecclesiastical hymn in a Georgian hagiographic work “Tsminda kolalel krmata tsameba” (The Martyrdom of Nine Children from Kola) by an unknown author that was written in the 2nd-3rd centuries and its analysis is a significant issue for the history of Christianity in general. The hymn chanted by the priest at the baptism of the children is improvised and carries the signs of folk and Biblical hymns and reveals similarity with the structure of the antiphonic hymns established in the liturgi

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39

Guenther, Eileen. "“Alleluia! Christ Our Passover is Sacrificed for Us”." Liturgy 13, no. 4 (1996): 18–22. http://dx.doi.org/10.1080/0458063x.1996.10392369.

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40

King, Fergus J., and Selwyn Selvendran. "Rhubarb, Rhubarb, Alleluia, Amen: Xenolalia, Glossolalia, and Neurophysiology." Biblical Theology Bulletin: Journal of Bible and Culture 49, no. 2 (2019): 88–95. http://dx.doi.org/10.1177/0146107919831877.

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This article puts forward the proposition that the twin phenomena of ecstatic language identified in Acts 2 and 1 Corinthians 14 should not be conflated into a single behavior: speaking in tongues. It is argued the two NT accounts describe two distinct practices: xenolalia (Acts 2) and glossolalia (1 Corinthians 14). Furthermore, when their differences are recognized, this distinction is supported by evidence from neuroscience that different cognitive and neural functions are involved in the two phenomena as depicted: neurophysiological research confirms the difference between the Pentecost ex

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41

Chung, Suna. "The Ethical Dilemma of Geriatric Treatment and Healthcare: Alan Bennett’s Allelujah!" Hankuk University of Foreign Studies Literature Studies 95 (August 31, 2024): 67–91. http://dx.doi.org/10.22344/fls.2024.95.67.

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42

Oram, Celeste, and Keir GoGwilt. "A Loose Affiliation of Alleluias." Current Musicology 108 (November 1, 2021): 115–36. http://dx.doi.org/10.52214/cm.v108i108.7921.

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This article is written from our perspectives as a performer and a composer, focusing on our violin concerto, “a loose affiliation of alleluias”, which we created and premiered in 2019. Making this concerto was an exercise in excavating the material histories that guide our creative practice. Our purpose in doing so was to work towards a clear and necessarily complex appraisal of how our current practices are motivated by, and reproduce, historically-determined knowledge, authority, and cultural attitudes. We think through our own reproductions of historical knowledge via Ben Spatz’s exegesis

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43

Deflitch, Samantha. "Should the Alleluia Return To Us In Ordinary Time." Colorado Review 49, no. 1 (2022): 88–89. http://dx.doi.org/10.1353/col.2022.0023.

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44

Henein, Michael Y., Shereen S. Azer, Joseph Khirey, Ahmes L. Pahor, and Nabil S. Isshak. "The Infrequently Sung ‘a’ Instead of ‘A’ in ‘Alleluia’ According to the Coptic Tradition." TEACH - Journal of Christian Studies 1, no. 1 (2021): 1. http://dx.doi.org/10.35995/teach-jcs1010002.

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We attempted to study the hitherto unexplained phenomenon of the sung “a”, for one note, at the end of an “A” melody. We encountered this issue during singing the word “Alleluia” in the Coptic musical culture. We found that the transmission from “A” to “a” serves as an intermediary step before continuing to the “L”. It may also be an adopted habit by some singers, rather than a consistently inherited musical design with a clear pattern. However, further research is encouraged to decipher this phenomenon.

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45

Boring, M. Eugene. "The Theology of Revelation." Interpretation: A Journal of Bible and Theology 40, no. 3 (1986): 257–69. http://dx.doi.org/10.1177/002096438604000304.

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The representative summary of John's theology is the hymnic word drawn from the heavenly worship in which the church of that day—and ours—is invited to join: “Alleluiah! The Lord our God the Almighty reigns.”

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46

karp, theodore. "chants for the post-tridentine mass proper." Plainsong and Medieval Music 14, no. 2 (2005): 183–97. http://dx.doi.org/10.1017/s0961137105000215.

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in summarizing the findings of a forthcoming monograph and edition, this article reviews the forces leading to the major revisions of chant characteristic of the period 1590–1890. it identifies the major independent editions, outlines their chief characteristics, and documents the need for a geography of chant practice during these centuries. the fundamental changes wrought by the several editors brought about an individualization in melodic constructions and undoubtedly caused accompanying differences in learning processes. new comparative transcriptions of the alleluia veni domine provide a

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47

Czagány, Zsuzsa. "A Gyergyói misszále." Erdélyi Múzeum 86, no. 1 (2024): 3–33. http://dx.doi.org/10.36373/em-2024-1-1.

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Tanulmányunkban azzal a kéziratos misekönyvvel foglalkozunk, melyet kolofonjának tanúsága szerint a feltehetően morva származású Petrus filius Wencessaly de Wischschaw másolt 1428-ban, s melyet 2021 óta a Gyulafehérvári Főegyházmegyei Levéltár Gyergyószentmiklósi Gyűjtőlevéltárában őriznek. Ezt megelőzően a kódexet hosszú ideig a gyergyószentmiklósi Szent Miklós-templom plébániájának becses kincsei között tartották számon. Arról azonban nincs tudomásunk, hogy mikor, milyen körülmények között és kinek a közreműködésével került oda. Magyarországi és közép-európai forrásanyagra támaszkodva elemzé

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48

Jones, Simon. "Book Review: A More Profound Alleluia: Theology and Worship in Harmony." Theology 110, no. 853 (2007): 61–62. http://dx.doi.org/10.1177/0040571x0711085323.

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49

Cappuzzo, V., F. Ingrassia, R. Bavetta, S. Mistretta, and R. Marcenò. "Characterization of a new HLA allele:A*02:548." Tissue Antigens 86, no. 1 (2015): 55–56. http://dx.doi.org/10.1111/tan.12572.

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50

Haggh. "MEDIEVAL PLAINCHANT FROM CAMBRAI. A PRELIMINARY LIST OF HYMNS, ALLELUIA VERSES AND SEQUENCES." Revista de Musicología 16, no. 4 (1993): 2326. http://dx.doi.org/10.2307/20796087.

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