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Journal articles on the topic 'Catholic Church Church music'
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1
Noden, Shelagh. "The Revival of Music in the Post-Reformation Catholic Church in Scotland." Recusant History 31, no. 2 (October 2012): 239–60. http://dx.doi.org/10.1017/s0034193200013595.
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This article presents a narrative description of the state of music in the Scottish Catholic Church from the Reformation up to the publication of George Gordon’s collection of church music c.1830. For the first two hundred years after the Reformation, Scottish Catholics worshipped in virtual silence owing to the oppressive penal laws then in force. In the late eighteenth century religious toleration increased and several members of the clergy and other interested parties attempted to reintroduce singing into the worship of the Scottish Catholic Church. In this they were thwarted by the ultra-cautious attitude of the Vicar-Apostolic for the Lowland District, Bishop George Hay, who refused to allow any music in Catholic churches in case it should inflame Protestant opinion. Only after his retirement could the reintroduction take place, and the speed at which it was achieved bears witness to the enthusiasm and commitment of Scottish clergy and laity for church music. Research in this area is long overdue, and it is hoped that this article will form a basis for further investigations.
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Sihombing, Adison Adrianus. "Music in The Liturgy of The Catholic Community in Jakarta, Indonesia." Al-Albab 9, no. 1 (June 8, 2020): 3–18. http://dx.doi.org/10.24260/alalbab.v9i1.1542.
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This article discusses music in the Catholic liturgy in Jakarta, Indonesia in the postmodern era within the context of the autonomy of the Catholic Church. The Indonesian Catholic Church is an independent and autonomous church where liturgical music is a form of original artistic expression. However, in practice, the majority of Catholics in Indonesia view the liturgical celebration as uninteresting and dull. Conversely, pop music has increasingly influenced liturgical music. This reality is discussed and analyzed specifically in regards to liturgical music that experiences contextual data inference, especially in the specific cultural contexts of the community. The data analysis shows, in perception of Catholics in Jakarta, the role of liturgical music in worship is not homogeneous, but rather depends on the educational background, attention from Pastors of the Parish, cultural factors, and individual past experiences. For the most part, the level of understanding regarding the nature and important position of liturgical music in religious holy celebrations is low. Most consider that all music is the same and can therefore be used in the liturgy. Music is considered only a complement to enhance religious celebrations. In this context, the government and the Indonesian Catholic Church established the Catholic Church Choir Development Institute (LP3K) as a forum for fostering Catholics in Indonesia in the liturgical field and discussing issues related to music. This article confirms that the position of the liturgical music is crucial and has an irreplaceable significance in the liturgy, and the two are inextricably woven to each other.
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Berhó, Deborah L. "An “Echo in the Soul”: Worship Music in Evangelical Spanish-Language Latino Churches of Oregon." Ecclesial Practices 7, no. 2 (December 16, 2020): 203–25. http://dx.doi.org/10.1163/22144471-bja10019.
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Abstract While a majority of the fast-growing U.S. Latino population is Roman Catholic, a significant and growing percentage is Protestant – some calculate that they now number 10 million in the U.S. Despite this significant growth, Latino Protestant churches remain understudied, particularly the music in worship services. Several Latino theologians criticize the music as being of foreign extraction, a form of neocolonialism in the church, not an autochthonous expression of worship. However, these claims do not align with music actually being used in these congregations. This carefully documented study of 25 Spanish language Protestant churches in Oregon reveals that, while music used in worship at one time may have been created and imposed by non-Latinos, this is no longer the case, and bi-musicality is the norm, reflecting the diaspora and agency of the Latino Protestant church.
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Müller, Alfons. "Message Becomes Incarnate in Song: Church Hymns in the Diocese of Kenge." Mission Studies 7, no. 1 (1990): 76–86. http://dx.doi.org/10.1163/157338390x00100.
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AbstractAs one cannot dance without music, so there is no music without dancing - so goes the popular thinking in Zaire. The Zairean Catholics have shown in the past admirable patience to imported European melodies and imposed language structures and their songs, robbed of their natural rhythm, were stilled until vernacular liturgy was approved in 1965. There is now music in the land, rich in the variety of various African traditions. The Catholic Church in Zaire is at last able to express itself in its own culture, and the Christian message becomes incarnate in songs and hymns.
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Gray, Catherine. "Compositional techniques in roman catholic church music in Uganda." British Journal of Ethnomusicology 4, no. 1 (January 1995): 135–55. http://dx.doi.org/10.1080/09681229508567241.
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Peno, Vesna. "On the multipart singing in the religious practice of orthodox Greeks and Serbs: The theological-culturological discourse." Muzikologija, no. 17 (2014): 129–54. http://dx.doi.org/10.2298/muz1417129p.
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In 1844, Serbian patriarch Josif Rajacic served two central annual Liturgies, at the feasts of Pasha and Penticost, in the Greek church of Holy Trinity in Vienna; these were accompanied by the four-part choral music. The appearance of new music in several orthodox temples in Habsburg Monarchy (including this one) during the first half of the nineteenth century, became an additional problem in a long chain of troubles that had disturbed the ever imperiled relations between the local churches in Balkans, especially the Greek and Serbian Orthodox. The official epistle that was sent from the ecomenical throne to all sister orthodox churches, with the main request to halt this strange and untraditional musical practice, provoked reactions from Serbian spiritual leader, who actually blessed the introduction of polyphonic music, and the members of Greek parish at the church of St. George in Vienna, who were also involved with it. The correspondence between Vienna and Constantinople reflected two opposite perceptions. The first one could named ?traditional? and the other one ?enlightening?, because of the apologies for the musical reform based on the unequivocal ideology of Enlightenment. In this article the pro et contra arguments for the new music tendencies in Greek and Serbian orthodox churches are analyzed mainly from the viewpoint of the theological discourse, including the two phenomena that seriously endangered the very entity of Orthodox faith. The first phenomenon is the ethnophiletism which, from the Byzantine era to the modern age, was gradually dividing the unique and single body of Orthodox church into the so-called ?national? churches, guided by their own, almost political interests, often at odds with the interests of other sister churches. The second phenomenon is the Westernization of the ?Orthodox soul? that came as a sad result of countless efforts of orthodox theological leaders to defend the Orthodox independence from the aggressive Roman Catholic proselytism. ?The Babylonian captivity of the Orthodox church?, as Georg Florovsky used to say, began when Orthodox theologians started to apply the Western theological methods and approaches in their safeguarding of the Orthodox faith and especially in ecclesiastical education. In this way the new cultural and social tendencies which gripped Europe after the movements of Reformation and Contra-Reformation were adopted without critical thinking among Orthodox nations, especially among the representatives of the Ortodox diaspora at the West. Observed from this extensive context, the four-part music in Orthodox churces in Austria shows one of many diverse requirements demanded from the people living in a foreign land, in an alien and often hostile environment, to assimilate its values, in this case related to the adoption of its musical practices.
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Martin, David. "Pointing to Transcendence: Reflections from an Anglican Context." NTT Journal for Theology and the Study of Religion 75, no. 3/4 (September 1, 2021): 310–36. http://dx.doi.org/10.5117/ntt2021.3/4.002.mart.
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Abstract After a critical examination of western master narratives of modernization and secularization, David Martin focuses, first, on one of the variants of Christian modernity, Anglican modernity. The Anglican Church provides a simulacrum of the universal church as it ranges from the Catholic to the Evangelical and Pentecostal and is, hence, rigged also by many of the problems confronting the church in the contemporary world. Next, Martin considers some examples of unanchored spirituality and free-floating faith that have, in his opinion, no serious future as major expressions of Christianity—he discusses, in particular, Schumann’s paradigm of Romantic music. Though inevitably fallible, churches are to be regarded as pointers to transcendence, opening, in the words of William Blake, “the doors of perception.” Without the institutional church to protect and perpetuate the Christian language of transcendence and provide ritual re-enactment of the Christian story of ruin and restoration, the Anglican/Christian vision would be as vulnerable and ephemeral as most contemporary forms of non-institutional, un-anchored “spirituality” [the editors].
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Carvalho, António P. O., António E. J. Morgado, and Luís Henrique. "Relationships between Subjective and Objective Acoustical Measures in Churches." Building Acoustics 4, no. 1 (March 1997): 1–20. http://dx.doi.org/10.1177/1351010x9700400101.
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This study reports on subjective and objective acoustical field measurements made in a survey of 36 Catholic churches in Portugal built in the last 14 centuries. Monaural acoustical measurements (RT, EDT. C80, D50, TS and L) were taken at several source/receiver locations in each church and a group of college students was asked to judge the subjective quality of music. The listeners in each church evaluated live music performances at similar locations in each room. Evaluation sheets were used to record the listeners' overall impressions of room acoustic quality and also Loudness, Reverberance. Intimacy. Envelopment. Directionality, Balance, Clarity, Echoes and Background Noise. This paper concentrates on the relationships of the subjective parameters with the objective room acoustics measures and with the architectural features of the churches. Correlation analyses and statistical modeling identified significant relationships among the measures. For instance, linear correlation coefficients (| R|) of 0.8–0.9 were found for the relationships: Reverberance/RT and Clarity/C80; the maximum | R| found was 0.93 for Echoes/RT. Regarding architectural features the maximum | R | found was 0.87 between Intimacy and Total Volume.
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Noden, Shelagh. "Songs of the spirit from Dufftown." Innes Review 70, no. 1 (May 2019): 36–54. http://dx.doi.org/10.3366/inr.2019.0201.
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Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.
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Barba, Lloyd. "More Spirit in That Little Madera Church." California History 94, no. 1 (2017): 26–42. http://dx.doi.org/10.1525/ch.2017.94.1.26.
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This article coalesces historical grassroots developments in the Central Valley: the growth of Mexican Pentecostalism and its production of music, brewing legal tensions regarding voting rights and undocumented immigration, and the fledgling career of Cesar Chavez as a community-organizer-turned-labor-activist. At a time when Pentecostals were believed to be anti-union and apolitical, they joined the Community Service Organization and, through their singing, inspired Cesar Chavez to incorporate singing when he later formed his union/association. This article shows how the social conditions of labor and religion proved to be fertile soil for a productive encounter between Chavez, a Catholic, and a Pentecostal congregation in need of legal assistance. The well-publicized grape strikes and marches of the late 1960s, for example, incorporated religious iconography and music, the latter of which came from an idea Chavez developed from this unusual, productive encounter over a decade earlier with Mexican Pentecostals in 1954. The latter part of the article focuses on the religious overtones of music produced about Chavez and La Causa.
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Achikeh, Cordis-Mariae, and Raphael Umeugochukwu. "The value of good liturgical music." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 133–50. http://dx.doi.org/10.4314/ujah.v20i3.8.
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It is disturbing that in recent times, the worshiping community in the capacity of some church ministers, composers and musicians have deviated from the specifications of liturgical music even as recommended by Vatican Council II (The Constitution of The Sacred Liturgy). Also misunderstood and misappropriated is the idea of inculturation that permits composers in different countries to write music using the language of the locality as well as the indigenous instruments. This is partly due to inadequate enlightenment and training on the part of the liturgical music practitioners on the real meaning of liturgical music. A lot ofproblems have come up from these misconceptions and misinterpretations which include but a few making noise in place of music, negligence of the core features of liturgical music ranging from little or no attention to the solemn nature of the liturgy to relevance for some unimaginable selfish interests. In remedying these challenges, the researcher has made lots of recommendations. One of them is that the practitioners of liturgical music be exposed through seminars and workshops to relevant church documents on liturgical music from time to time. It is necessary and most pertinent that the church retains its solemnity in worship as against the recent mediocrity which has come to envelop the liturgical music making practices. The great value of good liturgical music needs to be sustained.
Keywords: Liturgical Music, Gregorian Chant, Sacred Polyphony, Instrumental Music, Catholic Church, Liturgical Musician, Choir, Congregation
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Sasongko, Michael Hari. "IDIOM MUSIK KLASIK DI GEREJA KARISMATIK." Tonika: Jurnal Penelitian dan Pengkajian Seni 1, no. 1 (November 26, 2018): 1–14. http://dx.doi.org/10.37368/tonika.v1i1.7.
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Church music has long history and experiences in its periods. It began when they, the believers, mentioned themselves as the “Christian”. From the time that phenomenon the christians commenced their act of devotion tradition included their musical tradition of worship. The existence of church music more developed till Middle Age or Dark Age Period. It was dominantly covering to others music genre. At the Renaisance Period, the church reformation movement occured and it was pioneered by Martin Luther. Western music changed at the time. Luther changed of scene; He changed the tradition of Catholic church that used Latin lirics to folk language; He changed the gregorian chant tradition with folksong. The phenomenon was the first time of event of inculturation in world history of music after it undergone stagnancy during the authorization of Roman empire, especially when Pope Gregory created the standarization to all christian music. At the present day we are familiar with charismatic music tradition which is developed from American music tradition. It has a characteristic which is used as the band instrument in praise and worship by christian believers. But sometimes, the believers also use arpeggio or broken-chord as the main charracter on Classical Period in part the way of Western music history. Pass through the reasearch, the reasearcher look into the idioms are used in praise and worship in charismatic church. The reasearcher found that the using of idiom in Classical Period has enriched the nuance of music aesthetic in praise and worship.
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Walker, Jennifer. "Church, State and an Operatic Outlaw: Jules Massenet's Hérodiade." Cambridge Opera Journal 31, no. 2-3 (July 2019): 211–36. http://dx.doi.org/10.1017/s0954586720000014.
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AbstractWhen Jules Massenet began work on Hérodiade in the late 1870s, he likely expected to see his work premiered at the Paris Opéra. But the coveted Parisian premiere was not to be. Based on a liberal reworking of the infamous tale of Herod, Salome and John the Baptist, Hérodiade undoubtedly challenges traditional Catholic doctrine. Yet Massenet's opera was not as ‘secular’ as it may seem. I argue here that it draws instead on a Republican-friendly brand of Catholicism that encouraged individual religiosity as an anticlerical strategy. Herein, I argue, lay the reasons why Hérodiade was outlawed. It was not so much the libretto's liberal transformations of biblical characters as what those transformations represented both to the Catholic Church and to the French state: in the end the representation of a simultaneously Republican and Catholic Christ presented a dangerous analogue to the country's strained political situation.
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Walsh, Keri, and Callie Gallo. "Introduction: "Catholic Church Music in Dublin" by Edward Martyn and "O"." James Joyce Quarterly 54, no. 3-4 (2017): 397–411. http://dx.doi.org/10.1353/jjq.2017.0010.
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Tkotzyk, Raphaela. "Die musikalische Ambivalenz in Kleists Die heilige Cäcilie oder die Gewalt der Musik: Urteil über den Katholizismus oder Hilfsmittel zur Glaubensfindung?" arcadia 55, no. 1 (June 5, 2020): 25–43. http://dx.doi.org/10.1515/arcadia-2020-0005.
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AbstractHeinrich von Kleist’s attitude toward the Catholic Church has produced two major positions in modern German literature. On one hand, there are those who understand Kleist simply as a church critic; on the other hand, there are those who consider Kleist’s attitude – and his alleged Kantian crisis and departure from all scholars – as supportive towards the Church. Die heilige Cäcilie precisely exemplifies this debate, because, depending on the way one reads the narrative, the text can be interpreted as an endorsement or as a criticism of the Church. However, the text can be read quite differently for yet, a third, alternative understanding: the element of music involved in Die heilige Cäcilie undermines a concrete definition of its position as well as a concrete statement regarding Kleist’s religious creed. Thereby, it serves as a tool to help the reader to make decisions in terms of religious beliefs and doctrines.
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Sitindjak, Ronald Hasudungan Irianto, Laksmi Kusuma Wardani, and Diana Thamrin. "Study of Ornaments in the Inkulturatif Pangururan Catholic Church in Samosir, North Sumatera." Journal of Arts and Humanities 5, no. 7 (July 21, 2016): 49. http://dx.doi.org/10.18533/journal.v5i7.964.
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<p>In the early 1900s, Catholic missionaries arrrived on Batak land in North Sumatera, Indonesia and initiated the process of inculturation, which was subsequently marked by the adaptation of Catholic teachings with the Batak traditional culture. The adaptation involved the liturgy, music and others, inculding the architecture and interior design of their places of worship that continued even to the Modern times. This research aims to discover the meaning behind the ornaments on the exterior and interior of the Inkulturatif Pangururan Catholic Church in Samosir, North Sumatera, as a result of this inculturation process, through Panofsky’s research method known as Iconology. The elements analyzed include the façade, enclosure elements, transitional elements and filling elements. Results show that the ornaments contain various meanings inculturated from Catholic culture having biblical and theological themes incorporated into Batak Toba stylized ornamental forms. This shows that the goodness, truth and beauty of the Catholic faith had honored and adapted their teachings to the local wisdom and culture such that what appears in the implementation of the ornaments is a novel creative beauty and an embodiment of inculturation. </p>
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Hulková, Marta. "Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)." Studia Musicologica 56, no. 1 (March 2015): 3–37. http://dx.doi.org/10.1556/6.2015.56.1.1.
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Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.
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Gianturco, Carolyn. "Evidence of Lay Patronage in Sacred Music in a Recently Discovered Document of 1631." Journal of the Royal Musical Association 113, no. 2 (1988): 306–13. http://dx.doi.org/10.1093/jrma/113.2.306.
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It is common practice in the Catholic Church for friends and relatives of the deceased to have religious services held for their souls. That is, a donation is offered to a priest, a church or a monastery so that one or more Masses may be said in their remembrance. This is certainly not a surprising tradition in a religion which believes in life after death, in the value of prayer, and in the possibility that the prayers of the living may lessen the punishment of the sins of the dead. As musicologists we are, of course, all aware that many Requiem Masses were written over the centuries for just this purpose, but recent research suggests that there were yet other important musical consequences of this particular religious belief and practice.
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Forney, Kristine K. "Music, ritual and patronage at the Church of Our Lady, Antwerp." Early Music History 7 (October 1987): 1–57. http://dx.doi.org/10.1017/s026112790000053x.
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The development of fourteenth- and fifteenth-century sacred polyphony is linked closely not only to the Mass and divine services of the Roman Catholic Church, but equally to the rise of lay devotional congregations who sponsored their own services, often musically elaborate, at private chapels and altars. Within this popular phenomenon of lay devotion in the Low Countries, several northern confraternities can be cited for their very early regular use of polyphony. A polyphonic Salve service was established in 1362 by the Marian confraternity at St Goedele in Brussels, and Reinhard Strohm has shown that, by 1396, the Marian Guild of the Dry Tree (Ghilde vanden droghen Boome) in Bruges sponsored weekly masses sung in polyphony by its guild members. That polyphony was central to some fourteenth-century confraternity services is confirmed by the records of the Illustrious Confraternity of Our Lady in 's-Hertogenbosch, founded in 1318 in St John's Church.
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Kim, Hyun-Ah. "Music, Rhetoric, and the Edification of the Church in the Reformation: The Humanist Reconstruction of Modulata Recitatio." Journal of Early Modern Christianity 4, no. 1 (January 1, 2017): 1–20. http://dx.doi.org/10.1515/jemc-2017-0001.
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Stockigt, Janice B. "Italian sacred music listed in the catalogue of Dresden's Catholic court church, 1765." Musicologica Brunensia, no. 2 (2018): 221–37. http://dx.doi.org/10.5817/mb2018-2-11.
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Polzonetti, Pierpaolo. "Tartini and the Tongue of Saint Anthony." Journal of the American Musicological Society 67, no. 2 (2014): 429–86. http://dx.doi.org/10.1525/jams.2014.67.2.429.
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This article explores the nexus between Giuseppe Tartini's concertos for violin and orchestra, written for the Franciscan Basilica of Saint Anthony in Padua, and the devotion to this Saint's tongue, still preserved as a relic. Anthony's tongue, hagiographers write, was the instrument of a rhetoric that transcended verbal signification, able to move people of different languages and even animals. Soon, the tongue of Saint Anthony became a powerful symbol of universal language. In the eighteenth century, the Catholic Church, and especially the followers of Saint Anthony, revitalized their global mission to overcome cultural and linguistic barriers. Commissioning orchestral church music was part of this strategy. Like Anthony's preaching, Tartini's music was informed by the utopian goal to reach out to a pluralist community. His music and ideas attracted the attention of Jean-Jacques Rousseau and Charles Burney, both engaged in contemporary debates on the quest for universality of music in a multicultural world. Newly discovered evidence sheds light on the liturgical context of Tartini's violin concertos, as well as on religious rituals of music making and listening that left long-lasting traces of sacrality in the secular rites of production and consumption of instrumental music.
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Roberts, Michelle Voss. "‘Who Is My Good Neighbor?’ Classical Indian Dance in the Prophetic Work of the Church." Exchange 41, no. 2 (2012): 103–19. http://dx.doi.org/10.1163/157254312x638337.
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Abstract The use of the classical dance form bharatanatyam by Catholic Christians has inspired vigorous resistance from Hindus and Christians alike. The most salient of these objections relate to the use of power. Some see this form of ministry as a colonialist appropriation; others argue that it perpetuates caste and religious values that do not belong to the majority of Indian Christians, who are Dalits. While the Church may eventually abandon this form of ministry for such reasons, I argue that the case of Nav Sadhana Kala Kendra, a Catholic school of dance and music in Varanasi that produces dance programs on video disc and YouTube, subverts both forms of hegemony.
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DjeDje, Jacqueline Cogdell. "Change and Differentiation: The Adoption of Black American Gospel Music in the Catholic Church." Ethnomusicology 30, no. 2 (1986): 223. http://dx.doi.org/10.2307/851995.
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Bowers, Roger. "Aristocratic and Popular Piety in the Patronage of Music in the Fifteenth-century Netherlands." Studies in Church History 28 (1992): 195–224. http://dx.doi.org/10.1017/s0424208400012456.
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It has always been recognized that during the fifteenth century the vigorous and affluent commercial towns of the Low Countries served as centres of artistic excellence, especially in respect of painting and of manuscript production and illumination. That the region was no less fertile a generator of practitioners and composers of music—especially of music for the Church—has also long been appreciated. If for present purposes the Low Countries be defined—rather generously, perhaps—as the region coterminous with the compact area covered by the six dioceses of Thérouanne, Arras, Cambrai, Tournai, Liège, and Utrecht (see map), then it was an area if not packed with great cathedrals, yet certainly thickly populated with great collegiate churches, which sustained skilled choirs and offered a good living and high esteem to musicians who composed; the area also sustained a catholic and generous patron and consumer of artistic enterprise of all sorts, sacred and secular music included, namely, the House of the Valois Dukes of Burgundy and its Habsburg successors. From the end of the fourteenth century to the first half of the sixteenth, the region produced church musicians in such numbers that it became the principal area of recruitment for those princes of the south of Europe who were seeking the ablest men available to staff their household chapels. The Avignon popes of the 1380s and 1390s, the dukes of Rimini and Savoy, and the Roman popes of the mid-fifteenth century, and from the 1470s onwards the fiercely competitive dukes of Milan and Ferrara, the popes, cardinals, and bishops of the Curia, the king of Naples, the prominent families and churches of Florence and Venice, all alike recruited from the North; and though many of the ablest, like Ciconia, Dufay, Josquin, Isaac, and Tinctoris, were lured south to spend their lives in the sunshine, many more remained at home to maintain the Low Countries tradition.
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Barnett, Gregory. "Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century." Journal of the American Musicological Society 51, no. 2 (1998): 245–81. http://dx.doi.org/10.2307/831978.
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In the latter half of the seventeenth century, two composers, Giovanni Maria Bononcini and Giulio Cesare Arresti, published collections of sonatas arranged according to modal criteria. Although their conceptions of a modal system differ markedly from one another and from other modal theories of the period, Bononcini's and Arresti's common use of a particular set of eight tonalities concurs with a widespread practice among seicento sonata composers that was also widely attested by theorists. In their music, composers extended these eight tonalities to greater numbers through transpositions. This practice thus reflects an a priori conception of a tonal system based on a core set of tonalities plus transpositions of that set. This core set derives, not from the modes, but from tonalities originating in the eight psalm tones used in the Catholic offices. The significance of these psalm tone tonalities-otherwise known as church keys-cannot be underestimated: they provide a crucial link between seventeenth-century modal theory and the musical practice of that period; moreover, the particular characteristics of the psalm tones themselves explain features found in late seicento tonalities.
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Ruswanto, Yohanes, and Juanita Theresia Adimurti. "Church music inculturation by way of an experiment of arrangement of Dolo-Dolo mass ordinarium accompaniment- composed by Mateus Weruin for woodwind quintet." Harmonia: Journal of Arts Research and Education 17, no. 1 (August 15, 2017): 23. http://dx.doi.org/10.15294/harmonia.v17i1.8467.
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<p class="IsiAbstrakIndo"><span lang="EN-GB">Inculturation of Church music in an experiment of creating this arrangement aims to bring a different form of musical ordinarium accompaniment form of <em>Dolo-Dolo</em> Mass from Flores, with a different media that uses the woodwind quintet (flute, oboe, clarinet, French horn, and Basson). The experiment took one of the ordinary songs from <em>Madah Bakti</em> “<em>Tuhan Kasihanilah Kami</em>”. The harmonization fine-tunes to the chorus arrangement composed by Mateus Weruin. The literature study was conducted through collecting references on the art of <em>Dolo-Dolo</em> and woodwind quintet so it can be used to create an idea for </span><span lang="EN-GB">this arrangement. The result shows that a rhythmic character that characterizes the traditional Flores music lies in a dotted sixteenth pattern. The richness of sounds and agile characters coming from each instrument creates a percussive atmosphere of Flores folk music. The result of the arrangement experiment can be used to enrich the reference of accompaniment music to the general public and specifically, the Catholic Church. </span></p>
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Pesce, Dolores. "The “individual” in Johann Friedrich Overbeck’s and Franz Liszt’s Seven Sacraments." Studia Musicologica 54, no. 4 (December 1, 2013): 339–56. http://dx.doi.org/10.1556/smus.54.2013.4.1.
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In the preface to his Septem sacramenta (1878–1884), Franz Liszt acknowledged its stimulus — drawings completed in 1862 by the German painter J. F. Overbeck (1789–1869). This essay explores what Liszt likely meant by his and Overbeck’s “diametrically opposed” approaches and speculates on why the composer nonetheless acknowledged the artist’s work. Each man adopted an individualized treatment of the sacraments, neither in line with the Church’s neo-Thomistic philosophy. Whereas the Church insisted on the sanctifying effects of the sacraments’ graces, Overbeck emphasized the sacraments as a means for moral edification, and Liszt expressed their emotional effects on the receiver. Furthermore, Overbeck embedded within his work an overt polemical message in response to the contested position of the pope in the latter half of the nineteenth century. For many in Catholic circles, he went too far. Both works experienced a problematic reception. Yet, despite their works’ reception, both Overbeck and Liszt believed they had contributed to the sacred art of their time. The very individuality of Overbeck’s treatment seems to have stimulated Liszt. True to his generous nature, Liszt, whose individual voice often went unappreciated, publicly recognized an equally individual voice in the service of the Church.
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Agbo, Benedict Nwabugwu. "Inculturation of Liturgical Music in the Roman Catholic Church of Igbo Land: A Compositional Study." Journal of Global Catholicism 1, no. 2 (July 24, 2017): 6–27. http://dx.doi.org/10.32436/2475-6423.1013.
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Gillen, Gerard. "Catholic Church Music in Ireland, 1878-1903: The Cecilian Reform Movement by Kieran Anthony Daly." Catholic Historical Review 83, no. 3 (1997): 489–90. http://dx.doi.org/10.1353/cat.1997.0048.
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Temperley, N. "Roman Catholic Church Music in England, 1791-1914: A Handmaid of the Liturgy? By T. E. Muir." Music and Letters 91, no. 2 (April 26, 2010): 266–68. http://dx.doi.org/10.1093/ml/gcp099.
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Barbieri, Patrizio, and Michael Talbot. "A GENTLEMAN IN EXILE: LIFE AND BACKGROUND OF THE COMPOSER JOHN RAVENSCROFT." Early Music History 31 (2012): 3–35. http://dx.doi.org/10.1017/s0261127912000034.
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John Ravenscroft (1664/5–1697) is today best known for the fact that in 1695 he published a set of church sonatas that closely imitate Corelli in their style. The discourse around Ravenscroft has ever since focused on these twelve sonatas and the significance of their relationship to their illustrious model, to the exclusion of a later set of sonatas of different kind but equal merit. Ravenscroft's fascinating and unusual biography has likewise been totally ignored. The article examines the background of his distinguished, Catholic-leaning family in England during a long, turbulent period when Catholics were severely disadvantaged and his short but productive period spent in Rome, aided by newly discovered archival documents and a rich variety of other sources, both old and more recent, most of which have previously been overlooked by music historians.
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Hargreaves, Mark. "Review of Book: Roman Catholic Church Music in England, 1791-1914: A Handmaid of the Liturgy?" Downside Review 127, no. 448 (July 2009): 231–34. http://dx.doi.org/10.1177/001258060912744813.
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Drobysh, Anastasiya Andreevna. "THE IMPLEMENTATION OF THE DOGMATS OF THE CATHOLIC CHURCH IN THE SPIRITUAL MUSIC OF ANTON BRUCKNER." European Journal of Humanities and Social Sciences, no. 1 (2021): 3–9. http://dx.doi.org/10.29013/ejhss-21-1-3-9.
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Muir, Thomas. "‘Old Wine in New Bottles’: Renaissance Polyphony in the English Catholic Church during the Nineteenth and Early Twentieth Centuries." Nineteenth-Century Music Review 4, no. 1 (June 2007): 81–101. http://dx.doi.org/10.1017/s1479409800000070.
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In the early nineteenth century there were three main styles of music performed in the English Catholic Church. First, there was plainchant, mainly that copied by John Francis Wade in the previous century and then refracted through arrangements by Samuel Webbe the elder, Samuel Wesley and Vincent Novello. Second, there was a native and, for its day, a fairly up-to-date style associated again with the two Webbes, Wesley and Novello. Third, there were Continental imports, especially grand masses, composed by Viennese Classical masters such as Mozart and Haydn, or Hummel and Weber. All three styles were developed and remained popular throughout the nineteenth century; but increasingly they were challenged by a revived interest in Renaissance-style polyphony, especially music composed between 1551 and 1650. This paper examines that development looking at, first, the general factors that encouraged it; second, the main stages in its revival; and third, the extent and effects of its influence and achievement.
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Basini, Laura. "Verdi and Sacred Revivalism in Post Unification Italy." 19th-Century Music 28, no. 2 (2004): 133–59. http://dx.doi.org/10.1525/ncm.2004.28.2.133.
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This essay sets the late sacred works of Giuseppe Verdi in the context of the late-nineteenth-century fascination for the revival, performance, and festive celebration of historical cultural figures and artworks. From the 1870s onward, certain artistic trends became prevalent in post-unification Italy: anxiety to instill a sense of nation into art and everyday life, nostalgia for a vanished golden age of Italian artistic history, and an ever more energetic revival of historical artistic forms and styles. These currents were stimulated by a nationalistic Catholic revivalism that, I argue, was the strongest influence on Verdi's late career. I outline Verdi's reception in and his personal association with the Catholic revivalist movement, developing a view of Verdi's late life and works as articulating shifting trends in the Church and conservatory. As well as revealing the impact of revivalist aesthetics on the style of works such as Verdi's Pater noster, this inquiry suggests that revivalism contributed to a "canonization" of his image that intertwined civic and religious history.
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Pietrosanti, Luca. "The Gamelan in the Catholic Liturgy in Yogyakarta." International Journal of Creative and Arts Studies 6, no. 1 (August 22, 2019): 23–31. http://dx.doi.org/10.24821/ijcas.v6i1.3272.
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This paper is a brief overview of the use of the gamelan together with the polyphonic choir in the Roman rite of Holy Mass. Through the examination ofrepertoires, interviews and active participation in rehearsals and Masses, thiswork illustrates the types of compositions of liturgical music for gamelan aswell as the way these compositions are used. Particular attention is addressedto some key-concepts of traditional gamelan music, such as gending, benthuk,laras, pathet, garap. It will be apparent that these concepts are adapted, firstlyto integrate the gamelan with a vocal element, the choir (which is based on awestern tradition) and secondly, to meet the needs of the rite of Holy Mass.Although indirectly, this paper also represents a paradigm of “Inculturation”,which describes a process distinct from “Enculturation”. The term“Inculturation” must be intended as “the incarnation of the Gospel in nativecultures and also the introduction of these cultures into the life of the Church”,so defined by the Pope John Paul II in the encyclical Slavorum Apostoli, 2ndJune 1985, VI-21. Instead, with the term “Enculturation” we intend the processby which an individual learns the traditional content of a culture andassimilates its practices and values. Thus, the two words represent twodifferent processes of assimilation of culture.
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Ágústsson, Jóhannes, and Janice B. Stockigt. "Records of Catholic Musicians, Actors and Dancers at the Court of August II, 1723–32: the Establishment of the Catholic Cemetery in Dresden." Royal Musical Association Research Chronicle 45 (2014): 26–75. http://dx.doi.org/10.1080/14723808.2014.901714.
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In 1724 a cemetery was established at Neustadt Ostra (today Friedrichstadt, Alt Dresden) for the burial of Catholic members who served at the Dresden court of Saxon Elector Friedrich August I (‘der Starke’: as King of Poland known as August II). Between 1723 and 1732 annual lists were compiled of these Catholic employees, their family members and servants, by the Royal Polish and Saxon Electoral office of the Court Marshal. These chronicles, which function as a type of census, give details of Catholic artists affiliated with the Dresden court. Listed are those who were eligible to be buried in the Catholic cemetery. Included are complete lists of the families and households of Catholic members of the Italian and French ensembles of actors, dancers and musicians (the Italienische Comoedianten and Französische Comoedianten und Tänzer), of the Catholic musicians of Dresden's outstanding Capelle (also known as the Hofkapelle), and of the young choristers (mostly from Bohemia) who performed the usual music in the Catholic court church of Dresden. Additional information becomes available about the throng of outstanding performing artists from throughout Europe who came to serve at the court of a charismatic ruler, one whose taste made Dresden one of the most brilliant artistic centres of the age.
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Stockigt, Janice B. "‘This rare and precious music’: Preliminary findings on the catalogue of the music collection of the dresden catholic court church (1765)." Musicology Australia 27, no. 1 (January 2004): 1–18. http://dx.doi.org/10.1080/08145857.2005.10416520.
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GORDON-SEIFERT, CATHERINE. "From Impurity to Piety: Mid 17th-Century French Devotional Airs and the Spiritual Conversion of Women." Journal of Musicology 22, no. 2 (2005): 268–91. http://dx.doi.org/10.1525/jm.2005.22.2.268.
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ABSTRACT With his three books of airs de déévotion (1656, 1658, 1662), Father Franççois Berthod offered singers the best of two worlds: newly-written sacred texts set to preexisting love songs by prominent French composers. In his dedications, he indicates that his parodies were written for women, enabling them to sing passionate melodies while maintaining their ““modesty, piety, and virtue.”” Inspired by the adopted musical settings, Berthod retained the provocative language of the original texts but directed expressions of concupiscent love toward Jesus in lieu of mortal man. Drawing on church documents, devotional treatises, and introductions to sources of sacred music, it can be shown how Berthod's devotional airs——a repertory virtually ignored by scholars——were part of a Catholic campaign to convert female aristocrats from a life of frivolity and immorality to one of religious devotion. This study examines Berthod's choice of airs, his organization of topics, and his parodic procedures as representations of religious ““conversions.”” Also addressed is the debate surrounding his textual transformations, for some questioned whether women could enter into the spirit of the devotional text without thinking about its ““sinful”” version. The airs, in fact, embody a central, yet controversial, interpretation of post-Tridentine doctrine: In order to know what is good one must know what is not. Ultimately this study reveals that Church leaders believed that by singing airs de déévotion, a woman, even if married with children, would transcend worldly desire, fantasize amorous conversations with Jesus, and express her love for him ““as her true husband.””
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Peno, Vesna, and Ivana Vesic. "Serbian еcclesiastical chanting for the glory of god and in the service of the nation." Zbornik Matice srpske za drustvene nauke, no. 164 (2017): 651–64. http://dx.doi.org/10.2298/zmsdn1764651p.
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Shaped in complex social circumstances and in accordance with the postulates of baroque historicism, Serbian ecclesial art has expressed clear tendency toward nationalization of Serbian religious identity during the 18th century. Due to general musical illiteracy of the clerics, the real conditions for the development of chanting art in Serbian Church were nonexistent. However, by the end of 18th and at the beginning of the 19th century the myth of authentic Serbian national Church singing, being the result of special ?Serbian folk piety?, was established. The construction of Serbian Church chanting tradition was primarily initialized by the growing distance from Greek psalmody in Serbian worship. In other words, because there was no historically relevant form of singing, the ancient singing of Fruska Gora and Krusedol, i.e. the singing of Karlovci, had to be constructed as an antithesis to Byzantine- Greek musical tradition. By comparing historical facts and critically reading the narrative of the origins of national Church music in the time of Metropolitan Stefan Stratimirovic of Karlovci, a new interpretation of common stereotype about Serbian musical reform and its main protagonists was produced. This paper offers an original analysis of the origin of: 1) the singing of Fruska Gora, in the context of the belief that Fruska Gora, with its monasteries which preserved the memory of the golden age of Serbian history, are sacred spaces - Serbian Mount Athos; as well as 2) the singing of Karlovci, where was the centre of Metropolitanate of Karlovci and first Ecclesiastical Seminary which was connected the ungrounded belief that it was nursery of a magnificent form of church chanting by the end of the 18th and the beginning of the 19th century. This paper, also for the first time, pointed the relationship between the monasteries of Fruska Gora, as Serbian sacred spaces of great importance for national identity, and their abbots Dimitrije Krestic, Dionisije Cupic and Jerotej Mutibaric, who were, according to oral tradition, the creators of singing of Karlovci. The adequate music and historical sources that would offer us an insight into the process of musical reform that was conducted by them do not exist, but their contributions in constituting national self-awareness and ?Serbian piety? are well known and documented. In conclusion, by the end of the 18th and the beginning of 19th century, but also during the entire century of ?nationalism(s)?, the prayers in Serbian Church were chanted for the glory of God, although with a clear tendency to emancipate a new religious identity of Serbian people. However, the catholic ecclesial spirit of Tradition was repressed in order to fulfill the goals of ideology of religious nationalism.
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Thompson, Brian C. "Opera Production and Civic Musical Life in 1870s Montreal." Nineteenth-Century Music Review 11, no. 2 (December 2014): 219–38. http://dx.doi.org/10.1017/s1479409814000354.
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This article explores the origins and productions of the Société Canadienne d'Opérette et d'Opéra de Montréal, a short-lived opera company active in the late 1870s. Headed by Calixa Lavallée and Frantz Jehin Prume, the Société was established in part as a result of a decree that forbade the use mixed choirs throughout the archdiocese, and consequently made obsolete Lavallée's choir at Saint-Jacques Church. Following the success of their first production, Lavallée and Prume realized that the company might be used as a stepping-stone to the creation of a government-funded music school, modelled on the Paris Conservatoire. This article explores the social and political context in which the Société was created, and details the staging and reception of its productions of Gounod's Jeanne d'Arc and Boieldieu's La Dame blanche. In selecting these works for performance, the organizers responded to demands and constraints of a society accustomed to popular entertainment from the US and under pressure from the conservative and influential Catholic Church. They were works that were feasible to produce and likely to be successful in a city whose population was divided by religion, language and cultural traditions.
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Morucci, Valerio. "Cardinals' Patronage and the Era of Tridentine Reforms: Giulio Feltro della Rovere as Protector of Sacred Music." Journal of Musicology 29, no. 3 (2012): 262–91. http://dx.doi.org/10.1525/jm.2012.29.3.262.
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In the history of the Catholic Church, cardinals have exercised a degree of influence almost as vital as that of the pope himself. Standing at the summit of the pontifical administrative system, they typically held a dual role as papal and courtly sovereigns and also served as the pope's electors and main counselors. To date, however, their substantive role in the patronage of sacred music in sixteenth-century Italy has attracted comparatively little musicological attention, largely because the familial archives of cardinals are more difficult to locate and less likely to be catalogued than those of kings, dukes, and popes. Newly discovered correspondence and musical sources serve to establish the significance of Cardinal Giulio Feltro della Rovere as a patron of sacred music. The letters addressed to Giulio Feltro provide new information on the musical careers of Costanzo Porta and other composers working under the cardinal's ecclesiastical sway. These letters also contribute to our understanding of mid-sixteenth-century printing practices and provide concrete evidence of the influence of the Council of Trent on sacred music.
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Krušinský, Peter, and Eva Capková. "Geometric Analysis of the Truss above the Nave and Presbytery of the Roman-Catholic Church in Village Bela Dulice." Advanced Materials Research 1020 (October 2014): 736–40. http://dx.doi.org/10.4028/www.scientific.net/amr.1020.736.
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The truss above the nave and presbytery was managed to date to the year 1409d and is one of the few well-preserved medieval structures in this region. This truss has a rafter structure with collar tie and lengthwise binding of the Central frame. At the time of the truss creation the geometry had an important significance, as evidenced by its position in the system of education, since it was a part of seven liberal arts. The part of seven liberal arts was Music and Musica Humana (the theory of proportions) as well, based mainly on Pythagorean theory of proportions. In the Middle Ages geometry substituted complicated static calculations by using the mutual geometric and harmonic spatial connections. The result of our research is the geometric analysis with logical dependencies and a description of a process in the truss design, pointing to evaluative relations came out from especially the Pythagorean Geometry. The typical main roof truss was analyzed and a central longitudinal frame truss as well. Our results point to the use of one of musical ratios: harmonic and irrational proportion. On the basis of the mutual interdependence of the transverse links and central geometrical frame stool we can determine the sequence of key points and reciprocal relationships. Key points create important intersections, which determine the location of the various elements and their mutual carpentry joints. The result is the knowledge of a geometric procedure of a static scheme medieval truss dependent on knowledge of harmonies and ratios.
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Bloxam, M. Jennifer. "In Praise of Spurious Saints: The Missae Floruit egregiis by Pipelare and La Rue." Journal of the American Musicological Society 44, no. 2 (1991): 163–220. http://dx.doi.org/10.2307/831603.
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The cult of saints exerted a profound influence on the liturgy and plainsong of the Roman Catholic church in the later Middle Ages, as individual churches evolved local traditions of liturgy and plainsong to celebrate saints held dear by certain communities. Sacred polyphonic composition during this period also reflects the stimulation to musical creativity engendered by the veneration of special saints. This study explores a particularly fine example of the intersection of liturgy, chant, and polyphony inspired by the adoration of saints in the late Middle Ages. The introduction of a new local saint, Livinus, to the liturgy of the Flemish city of Ghent during the eleventh century provides the starting point for the investigation, which introduces a newly-discovered body of plainsong in his honor, notably a rhymed Office, preserved in manuscripts spanning the twelfth through the sixteenth centuries. From this corpus of plainsong the composer Mattheus Pipelare (c. 1450-c. 1515?) selected no fewer than sixteen chants for inclusion in his four-voiced Missa Floruit egregiis infans Livinus; the identification of these heretofore unknown cantus firmi prompts a fresh look at the provenance, style and structure of this remarkable Mass, which proves to be a musical historia akin to other multiple cantus firmus Masses of the period, notably those by Jacob Obrecht. The essay concludes with an examination of the Missa de Sancto Job by Pierre de la Rue, whose debt to Pipelare's Missa de Sancto Livino is elucidated through a discussion of its background and compositional technique.
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Kelter, Irving A. "A Catholic Theologian Responds to Copernicanism: The Theological Judicium of Paolo Foscarini’s Lettera." Renaissance and Reformation 33, no. 2 (April 1, 1997): 59–70. http://dx.doi.org/10.33137/rr.v33i2.11344.
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This paper is an in-depth analysis of the Carmelite Paolo Foscarini's role in the debate on Copernican cosmology in the early seventeenth century. Using as a point of departure the 1616 Judicium issued by the Catholic Church against Foscarini's pro-Copernican treatise, this analysis will lead to a clearer understanding of the discussions on the fluidity or hardness of celestial bodies, and more generally on the conflicting Biblical and Copernican models.
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Wolf, Nicholas. "Native and Non-native Saints in Eighteenth and Nineteenth-Century Irish-Language Charm Historiolas." Acta Ethnographica Hungarica 64, no. 2 (December 2019): 327–34. http://dx.doi.org/10.1556/022.2019.64.2.5.
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AbstractAn examination of surviving healing charm texts originating in Ireland between 1700 and the mid-nineteenth century suggests a strong link between the contents of this corpus and a select few national saints (Columcille, Bridget, and Patrick) and international Catholic religious figures (Christ, Mary, and the Apostles). By contrast, local Irish saints, which otherwise figure so prominently in religious practices of the time, are significantly underrepresented in the Irish charm corpus of this time period. This essay looks at the long-term status of highly localized saints in religious and medical discourse, the effect of church centralization in the late eighteenth and early nineteenth century, and the rise of select national saints as factors in this feature of the Irish charms.
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Harmon, Katharine E. ""Guitar-totin' Nuns and Hand-clappin' Love Songs": How the Implementation of the Vernacular Transformed American Catholic Church Music." U.S. Catholic Historian 39, no. 3 (2021): 79–103. http://dx.doi.org/10.1353/cht.2021.0018.
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Thomson, Andrew. "Right hand up, left hand down: The New Satanists of rock n’ roll, evil and the underground war on the abject." Metal Music Studies 7, no. 1 (March 1, 2021): 43–60. http://dx.doi.org/10.1386/mms_00031_1.
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Satan has long served as the ultimate evil, the world’s primary scapegoat. The Devil’s role in music, especially extreme music and heavy metal, has been to shock, terrify and enrage. But what if the imagery and ideology of Satan is used to combat an immoral societal evil? Is it then possible that the radical evil could itself become a force for good? This article intends to examine the music and philosophy of three modern bands, dubbed The New Satanists: Ghost, Twin Temple and Zeal & Ardor. Each band uses varying degrees of satanic influence to raise awareness of their perceived objectionable and abject issues in society: a harsh and unjust patriarchy, the Christian conversions and role of religion during the era of American slavery and suppression of individuality from the Catholic Church. Through the examination of these bands, social issues and Jean Baudrillard’s concept of symbolic evil, this article will examine theories of traditional evil potentially becoming a force for good when it combats the moral sickness existent in society. An alternate perspective – that of Satan as a liberator – could serve as a cure for a gamut of ills.
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Crowley, James P. "The "Honest Style" of Ben Jonson's Epigrams and The Forest." Renaissance and Reformation 32, no. 2 (January 21, 2009): 33–56. http://dx.doi.org/10.33137/rr.v32i2.11548.
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During his imprisonment for the murder of Gabriel Spencer in 1598, Ben Jonson converted to the outlawed Roman Catholic Church, and for the next 12 years made no attempt to conceal his recusant status. Jonson's biography and the historical documents treating conversion and recusancy offer evidence of the importance Jonson placed on codified religion, and provide a distinctly religious context for much of what has been long assumed to be an exclusively classically-based secular ethics operating in his writing.