Relevant bibliographies by topics / Composers’ Liturgy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Composers’ Liturgy'

Author: Grafiati
Published: 30 May 2022
Last updated: 31 July 2025

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Journal articles on the topic "Composers’ Liturgy"

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Тарасова, Н. Ю., and А. В. Дубина. "Individuality of the implementation concerning the principles of the New direction from the choral music in the late 19th – the early 20th centuries into the Liturgy of St. John Chrysostom by P. Chesnokov." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 76–90. http://dx.doi.org/10.33287/22196.

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The purpose of this article is composed by scientists into identifyingthe ways for individualizing the principles of the New direction in choral art from the late 19th– the early 20th centuries on the analytical material ofthe Liturgy of Svyatnor John Chrysostom P. Chesnokov. The methods areconceptually based on the ideas of human spiritual confession ofN. Berdyaev and P. Florensky, the ideas of human spiritual confession inthe culture of Kievan Rus and the theory of poetics and anthropologicalmeasurement of the spiritual ancient Russian literature and music ofD. Likhachev and S. Averintsev. T
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Завальнюк, Анатолій. "Sacred compositions of Mykola Leontovych." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, no. 26 (December 8, 2018): 34–39. http://dx.doi.org/10.31652/2411-2143-2018-26-34-39.

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The article deals with the main genres of religious choral works by prominent Ukrainian composer M.D. Leontovich. In particular, such as old chants, religious carols, psalms and canti, chiravim songs and "Liturgy of John Chrysostom". In these works, the composer demonstrated the melodious affinity of folk melody with highly professional original, polyphonic, and spiritual works. In all kinds of church singing M. Leontovich has shown himself as an unrivaled master of the genre and his civic commitment to national spiritual music. Created by the composer church works are distinguished by high pe
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Yaremchuk, Olena. "The Polystylistics of Svyatoslav Lunyov’s Paraliturgical Music." NaUKMA Research Papers. History and Theory of Culture 6 (June 21, 2023): 65–71. http://dx.doi.org/10.18523/2617-8907.2023.6.65-71.

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Paraliturgical music is a sophisticated expression of the composer’s pure faith, acquired through knowledge of his craft in historical and technical progress. Many examples of sacred music have come down to us from the past, and most of them were in the territory of modern Ukraine, along with works by Russian composers that are still a priority in some churches. One way to rethink this topic is to study the work of Ukrainian composers, particularly in the context of paraliturgical music. One example is the work of contemporary Ukrainian composer Svyatoslav Lunyov. While many scholarly studies
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Drewniak, Janusz. "Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań." Ruch Biblijny i Liturgiczny 63, no. 4 (2010): 327. http://dx.doi.org/10.21906/rbl.181.

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The millennium hymn Te Deum has been known and sung in Poland for over forty years. The author of this dissertation presents the complicated circumstances revolving around the creation of this hymn. The inspiration were incorrect notes about the composer of the hymn, which had been published in song-books. In past years it lead people to believe that Te Deum was composed by the priest Antoni Chlondowski. The author, who based his research on that of Maria Wacholc, opposed the idea that the priest Chlondowski had composed the hymn. This article presents analysis of the composing style and the b
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Smirnov, Artur. "The performance fate of the Liturgies by O. Koshyts." Aspects of Historical Musicology 35, no. 35 (2024): 30–46. http://dx.doi.org/10.34064/khnum2-35.02.

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Statement of the problem. In the early twentieth century, almost all Ukrainian composers were turning to the genre of liturgy. Oleksandr Antonovych Koshyts (1875–1944) is the author of five liturgies that were composed in emigration between 1922 and 1938. The Soviet government restricted the activities of churches and the performance of spiritual works by Ukrainian composers, and the works of O. Koshyts were banned altogether. Thanks to the activities of leading conductors and choirs, the names and works of a number of Ukrainian composers of the early twentieth century were revived. Objectives
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Mocanu, Daniel. "Religious Chants – The Diversity of Church Hymns Types." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 193–224. http://dx.doi.org/10.24193/subbmusica.2020.2.13.

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"In the Romanian musical space, in the Orthodox Church hymns’ repertoire, there is a great variety of non-liturgical chants intended to be sung in different moments of the liturgy. The moments these chants can be introduced are during the kinonikón, the believers’ communion and the end of the liturgy. Either they are called kinonikón, hymns, Calophonic Hirmos, spiritual or liturgical chants; the religious chants became a part of the Orthodox rite, training the Christians ‘community in the church chant. Having appeared in diverse historical contexts and being written by Byzantine music composer
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Szczeblewski, Łukasz. "Źródła melodii, metrorytmika oraz kontrafaktury w kompozycjach zawartych w zbiorze ks. Z. Piaseckiego (1916-2011) "Panu memu śpiewać chcę"." Teologiczne Studia Siedleckie XVIII (2021) 18, no. 2021 (2022): 217–36. https://doi.org/10.5281/zenodo.6080502.

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<strong>Sources of melodies, metrorhythmics</strong> <strong>and contrafacta in the compositions included in the collection of Fr. Z. Piasecki&rsquo;s (1916-2011)</strong> &bdquo;<strong>Panu memu śpiewać chcę&rdquo; [</strong>&bdquo;<strong>I want to sing to my Lord&rdquo;]</strong> The admission of the national language in the liturgy by the liturgical reform of the Second Vatican Council became an important impulse for new religious creativity. In Poland, one can observe a kind of explosion of new religious compositions that were disseminated in various editions. The works of Fr Z. Piasecki
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Sîrbu, Adrian. "The “spirit” of the old communion chants." Artes. Journal of Musicology 17, no. 1 (2018): 1–23. http://dx.doi.org/10.2478/ajm-2018-0001.

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Abstract Byzantine music is the chanted prayer of the Orthodox Church left to us as a spiritual legacy by the holy masters of hymnography and hymnology ever since the early centuries. This music serves a precise purpose, i.e. to enhance the mood of prayer and to lift man closer to God. The Holy Liturgy, the mystical centre and the reference point of a man’s entire existence, represents man’s private meeting and communion with Christ, and the moment of this meeting is steeped in an atmosphere of meditation and inwardness created by a series of ample, slow, and vocalization-rich chants, called k
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Kłaput-Wiśniewska, Aleksandra. "Ideas of the Musica Antiqua Europae Orientalis festivals and congresses as creative inspiration as exemplified by Romuald Twardowski’s works." Polski Rocznik Muzykologiczny 22, no. 1 (2024): 244–72. https://doi.org/10.2478/prm-2024-0008.

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Abstract Musica Antiqua Europae Orientalis Festivals in Bydgoszcz, held since 1966, have been for almost half a century a highly important forum for the exchange of scholarly thoughts and artistic ideas among artists who laid the foundations in Poland and Eastern Europe of performance practices referred today as historically informed. However, regardless of the importance of the event in sphere of research and interpretation of early music, the festivals have also played a role in the emergence of new compositions. According to the director of the Pomeranian Philharmonic, Andrzej Szwalbe (1923
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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 (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 mea
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Dissertations / Theses on the topic "Composers’ Liturgy"

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Scot, Stefan Anthony. "Text and context : The provision of music and ceremonial in the services of the first Book of Common Prayer (1549)." Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297933.

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

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Середа, Наталія Вікторівна. "Жанровий канон Православної Літургії (на матеріалі авторських Літургій українських та російських композиторів кінця XIX – початку ХХ століть)". Thesis, Національна музична академія України ім. П. І. Чайковського, 2004. http://repository.kpi.kharkov.ua/handle/KhPI-Press/17852.

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Дисертація на здобуття наукового ступеня кандидата мистецтвознавства за спеціальністю 17.00.03 – музичне мистецтво. – Національна музична академія України ім. П. І. Чайковського, Київ, 2004. В дисертації розглянуто Літургію як цілісне явище: вивчення Літургії як музичного жанру здійснюється з урахуванням основ православного віровчення, усього комплексу церковних дисциплін, а також сутності і структури текстової та обрядової сторін чинопослідування. В роботі запропоновано застосовувати до церковної музики термін "жанровий канон", дано визначення поняття "жанровий канон Літургії". Розглянуто іє
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Kim, Hong Soo. "Mass for AILM by Geonyong Lee the composer and the elements of Asian music /." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9844.

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Wong, Chien-Hui. "An Analysis of Style and Influence in Mario Castelnuovo-Tedesco's Le Danze del Re David." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299681234.

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Goudesenne, Jean-François. "Les offices historiques ou "Historiae" composés pour les fêtes des saints du VIIIe au XIe siècle dans la province ecclésiastique de Reims : (Belgica secunda : diocèses d'Amiens, Arras, Beauvais, Cambrai, Châlons, Laon, Noyon, Reims, Senlis, Soissons, Therouanne, Tournai." Tours, 1997. http://www.theses.fr/1997TOUR2005.

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Selon R. Crocker et D. Hiley, les offices composés par les Francs pour compléter le "vieux-fonds" romain n'ont guère été étudiés depuis les Analecta hymnica et Wagner vers 1900. La thèse de Ritva Jonsson, « historia : études sur la genèse des offices versifiés » nous a sérieusement aidé pour ce projet qui a beneficié par ailleurs des travaux de Corbin, Brou, Escudier, etc. Des sources liturgiques et musicales exceptionnelles ont permis une édition critique complète des offices locaux contenus dans les deux plus anciens antiphonaires d'Occident, celui de Charles de Chauve (ca 870) et celui de N
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Ancillotti, Lorenzo. "Alessandro Esposito (1913-1981) : l'éclectisme infatigable d'un organiste-compositeur confronté aux antagonismes d'une époque." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL177.

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Cette thèse se fonde sur le principe d’une reconstruction biographique et dans le même temps sur l’analyse d’un contexte culturel dans lequel le protagoniste naît, se forme et œuvre. La vie d’Alessandro Esposito, ses expériences, ses rencontres deviennent la source d’un intérêt scientifique grâce à une fine recherche, finalisée à une contextualisation historique, géographique et musicologique. Parallèlement à cette chronologie, plusieurs sentiers ont été tracés, mettant à la lumière une multitude de situations hétérogènes, consacrées au monde de l’orgue, illustrées grâce à la découverte d’une
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Michl, Jakub. "Hudební kultura v konventu alžbětinek na Novém Městě Pražském." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390377.

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Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to
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Books on the topic "Composers’ Liturgy"

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Milwaukee Symposia for Church Composers. The Milwaukee Symposia for Church Composers: A ten-year report, July 9, 1992. National Association of Pastoral Musicians, 1992.

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Voshi, Lois A. Martin Luther, reformer and musician. Shazco, 1988.

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Zēsimos, Geōrgios D. Kosmas Ivēritēs kai Makedōn: Domestikos tēs Monēs tōn Ivērōn. Hidryma Vyzantinēs Mousikologias, 2007.

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The Milwaukee Symposia for Church Composers: A Ten Year Report. National Association of Pastoral Musicians, 1992.

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Heart of Our Music : Practical Considerations: Reflections on Music and Liturgy by Members of the Liturgical Composers Forum. Liturgical Press, 2015.

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Heart of Our Music : Digging Deeper: Reflections on Music and Liturgy by Members of the Liturgical Composers Forum. Liturgical Press, 2015.

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Heart of Our Music : Underpinning Our Thinking: Reflections on Music and Liturgy by Members of the Liturgical Composers Forum. Liturgical Press, 2015.

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The Heart of Our Music : Practical Considerations: Reflections on Music and Liturgy by Members of the Liturgical Composers Forum. Liturgical Press, 2015.

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The Heart of Our Music : Digging Deeper: Reflections on Music and Liturgy by Members of the Liturgical Composers Forum. Liturgical Press, 2015.

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The Heart of Our Music : Underpinning Our Thinking: Reflections on Music and Liturgy by Members of the Liturgical Composers Forum. Liturgical Press, 2015.

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Book chapters on the topic "Composers’ Liturgy"

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Dubois, Paul-André. "De la langue maîtrisée à la parole chantée." In Les langages du culte aux xviie et xviiie siècles. Presses universitaires Blaise-Pascal, 2020. https://doi.org/10.4000/13vgf.

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Ce texte propose un survol de la question complexe du chant en langue vernaculaire dans la liturgie de la messe et de l’office divin dans les missions canadiennes sous le Régime français, en évoquant quelques-uns de ses fondements historiques, en précisant sa nature et en décrivant sa fonction au sein du projet colonial. Influencés par le renouveau liturgique du concile de Trente et la mouvance réformiste gallicane, les missionnaires français arrivant dans la vallée du Saint-Laurent au xviie siècle durent composer avec des populations amérindiennes attachées à leurs langues et coutumes. Afin d
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Bloxam, M. Jennifer. "On the Origins, Contexts, and Implications of Busnoys’s Plainsong Cantus Firmi: Some Preliminary Remarks." In Antoine Busnoys. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198164067.003.0004.

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Abstract Historians of medieval music and liturgy have amply demonstrated the astonishing richness of late medieval plainchant traditions. Far from being a fixed, immutable body of prescribed texts, tunes, and actions, the liturgy and ritual governing the daily life of composers manifested a staggering degree of regional variation.
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Gardner, Matthew. "Maurice Greene and the English Church Music Tradition." In The Edinburgh Companion to Literature and Music. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0031.

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In early eighteenth-century London the church remained an important employer of musicians. One of the leading composers of English church music was Maurice Greene, whose canticles and anthems display his talent for vivid musical settings of the texts. Greene therefore serves as an ideal example of how an eighteenth-century composer could engage with biblical texts within the liturgy of the Anglican Church.
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Wilson, Ruth M. "The Evolution of the Chant Tune." In Anglican Chant and Chanting in England, Scotland, and America 1660 to 1820. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164241.003.0003.

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Abstract Chanting the prose psalms or canticles in harmony is a unique and distinguishing feature of the English liturgy. It has its own highly specialized genre of chant with an official name, Anglican Chant, a distinctive written form, and conventions which theoretically govern its performance. Over the long period of its development, from the fifteenth century to the present, English chant has evolved from a wholly improvised practice to one which is partially improvised from written music. Since the harmonized form of commonly used liturgical melodies began to be written down in the 1660s,
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Davies, Drew Edward. "Approaching Cathedral Music from New Spain." In Forging Repertories. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197759059.003.0001.

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Abstract The history of European music in New Spain begins with the indoctrination of Indigenous individuals as part of a re-education program led by missionaries and the establishment of churches that celebrated the Roman Catholic liturgy through song. Reflecting upon that imposition, this chapter considers some of the values, such as nationalism, that have guided previous scholarship and questions the pervasiveness of a musical conquest beyond specific institutional boundaries in early New Spain. Focusing thereafter on cathedral music, it introduces readers to the contrasting archives of Mex
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Wilson, Ruth M. "Chanting Service and Double Tune." In Anglican Chant and Chanting in England, Scotland, and America 1660 to 1820. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164241.003.0004.

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Abstract The object of saving time could have been more readily attained, and a far better effect produced, by reserving certain portions of the work to be sung in harmony; and chanting, either in unison or harmony, the rest. Such a course would have been ... more in accordance with the primitive model; and would also afford great opportunity for the development of modem genius. For Short Services, this idea may not be without value to future composers for the Church, should any such arise. The task of the church-music composer to provide suitable and acceptable liturgical music for the ‘daily
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Kildea, Paul. "The Rape of Lucretia (1948)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0027.

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Abstract Many people think that composers can set any old kind of poetry to music; that any pattern of words may start his imagination working. In many cases that is true. Some of the greatest composers have found inspiration in very poor verse (see Schubert in many places), although not many have gone as far as Darius Milhaud in his ‘Machines Agricoles’-which is a setting of a catalogue. But I believe that if the words of a song match the music in subtlety of thought and clarity of expression it results in a greater amount of artistic satisfaction for the listener. This applies equally to the
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Pesce, Dolores. "Introduction." In Hearing The Motet. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097092.003.0001.

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Abstract This collection of essays about the motet of the Middle Ages and Renaissance grew out of a conference, “Hearing the Motet,” held at Washington University in February 1994. This gathering offered scholars and performers working in one or both of these periods the opportunity to share their ideas about this repertory and to discover where their findings intersected and di verged. The conference generated a lively interchange that I hope will continue through the availability of these papers in print. The volume additionally includes a few chapters by scholars who did not participate in
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Kurtzman, Jeffrey. "A Brief History of Vespers in the Sixteenth Century." In The Monteverdi Vespers Of 1610. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198164098.003.0004.

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Abstract The early history of polyphonic music for vespers reaches back before 1430, to the time of Dunstable, Dufay, and Binchois. The surviving vesper music of the entire fifteenth century has been studied in a dissertation by Masakata Kanazawa,1 but need not detain us here. Suffice it to summarize Kanazawa’s findings very briefly in noting that by the middle of the fifteenth century, some of the best-known manuscripts, scattered now throughout Europe and England, included a sizeable repertoire of Magnificat and hymn settings, as well as a few antiphons and the very first, rare settings of p
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Tyrała, Robert. "Muzyka podczas papieskich pielgrzymek w archidiecezji krakowskiej w latach 1997–2016." In Horyzonty wolności. Uniwersytet Papieski Jana Pawła II w Krakowie. Wydawnictwo Naukowe, 2019. http://dx.doi.org/10.15633/9788374388320.09.

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The papal pilgrimages in the Cracow Archdiocese were always a huge challenge and a significant event for the faithful. Hence there is a need of basing the subject on a certain assumption. It suggests that the entire collected material on the subject, thus this study should refer not only to the music (compositions) as such but also to the people who cre-ated it, namely: music committees of the pope’s pilgrimages, composers commissioned by the Church, performing artists (scholae, choirs, orchestras, soloists, cantors, conductors). Naturally, we cannot forget about the faithful participating in
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Conference papers on the topic "Composers’ Liturgy"

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Sobczak, Dariusz. "Меса, натхненна григоріанським співом, преподобного Бруно Шмідта (1895-1961)". У ALTITUDO MUNDI SPIRITUALIS. Духовність у сучасному світі: просвітницько-культурогічний підхід. Publishing House "Krok", 2024. http://dx.doi.org/10.37835/ams-2024-17-18-04-2.05.

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The article emphasizes the importance of the Gregorian chorale. It is emphasized that from the Middle Ages to the present, musicians have used Gregorian chants as a source of creating musical themes or motifs for new works. An example of such synesthesia is the "Light Polish Mass in Choral Style" by Fr. Bruno Schmidt. The author presents biographical data on the Polish composer as one of the forerunners of the post-Vatican II renewal of the liturgy. The music-theoretical and musicological analyzes of the five parts of the ordinarius are carried out: Kyrie, Gloria, Skład Apostolski, Sanctus and
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