Log in

Relevant bibliographies by topics / Composers’ Liturgy / Journal articles

To see the other types of publications on this topic, follow the link: Composers’ Liturgy.

Journal articles on the topic 'Composers’ Liturgy'

Author: Grafiati

Published: 30 May 2022

Last updated: 31 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Composers’ Liturgy.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

"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

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

<strong>Sources of melodies, metrorhythmics</strong> <strong>and contrafacta in the compositions included in the collection of Fr. Z. Piasecki’s (1916-2011)</strong> &bdquo;<strong>Panu memu śpiewać chcę” [</strong>&bdquo;<strong>I want to sing to my Lord”]</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

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

11

Тарасова, Н. Ю., and П. В. Камуз. "CHRISTIAN DUALISM OF CONFESSION AND GLORIFICATION AS THE BASIS OF MUSICAL DRAMATURGY AND STYLISTIC FEATURES OF LITURGY OF ST. JOANNA ZLATOUST BY M. SKORYK." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 16–31. http://dx.doi.org/10.33287/22192.

Full text

Abstract:

The aim of the article is detenction of dramaturgic role inherent toOrthodox liturgical canonical texts and motets of dualism of christianconfession and glorification on dramaturgic and stylistic levels of Liturgyof St. I. Zlatoust by M. Skoryk. The canonical structure of Liturgy ofSt. I. Zlatoust at the level of liturgical texts and motets is investigated; thefeatures of composer's interpretation of characteristic structuralcompositional, harmony mode, texture, thematic methods of transmissionof sense of liturgical texts and canonical motets are examined. Themethods of the research are based

APA, Harvard, Vancouver, ISO, and other styles

12

Tulyantsev, Andrey, and Ekaterina Guskova. "Cherub chants of M. Berezovsky, D. Bortnyansky, A. Wedel: from innovation to tradition." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 39–49. http://dx.doi.org/10.33287/222016.

Full text

Abstract:

The article examines the Cherubim chants written by Ukrainian composers of the musical classicism era – by Maxim Berezovsky, Dmitry Bortnyansky and Artemy Wedel. These composers wrote mainly spiritual music, so they did not omit the Cherubim chant – one of the songs in musical part during the Orthodox Liturgy. The purpose of this article is to reveal an innovative view on the musical embodiment of Cherubim songs by Ukrainian composers of the Classicism era, which, compared to previous cherubim chants, appears at the level of musical style and musical form, and the difference from pieces of mus

APA, Harvard, Vancouver, ISO, and other styles

13

Faot, Julio. "Memahami TUHAN Sebagai Gembala: Suatu Analisis Teologis dan Komposisi Syair Mazmur 23." HUPERETES: Jurnal Teologi dan Pendidikan Kristen 4, no. 1 (2022): 56–67. http://dx.doi.org/10.46817/huperetes.v4i1.132.

Full text

Abstract:

Mazmur 23 merupakan bagian dari kitab suci yang tidak hanya menyuguhkan aspek seni berpuisi, tetapi juga memberikan makna teologis. Beragam penggunaannya dalam liturgi gereja dipahami sebagai cara orang Kristen mengagumi TUHAN sebagai gembala. Faktanya, dalam membangun komposisi lagu Mazmur 23, para komposer tidak memberikan interpretasi lagu itu. Hal ini hanya memberikan makna emotif, namun kekurangan makna teologis. Di lain sisi, para sarjana Perjanjian Lama telah memaparkan interpretasi Mazmur 23 dengan berbagai macam latar belakang sudut pandang. Namun, mereka agak abai dengan esensi Mazmu

APA, Harvard, Vancouver, ISO, and other styles

14

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

Full text

Abstract:

In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and dev

APA, Harvard, Vancouver, ISO, and other styles

15

Brobeck, John T. "Musical Patronage in the Royal Chapel of France under Francis I (r. 1515-1547)." Journal of the American Musicological Society 48, no. 2 (1995): 187–239. http://dx.doi.org/10.2307/3128814.

Full text

Abstract:

Recently uncovered archival and historical documents suggest new linkages between the musical patronage of the French royal court and the development of the polyphonic repertory of Francis I's personal chapel as represented in the publications of Pierre Attaingnant. The union in 1514 of the chapels of Anne of Brittany and Louis XII made possible a reorganization of the Chapelle du roi into discrete groups of singers responsible for either the chanting of the chapel's public liturgy or the performance of polyphonic music. As early as the 1490s, however, the French kings began to favor the celeb

APA, Harvard, Vancouver, ISO, and other styles

16

Rimaud, Didier. "The Collaboration of a Poet with Composers for Contemporary Catholic Liturgy in the French Language." Studia Liturgica 28, no. 2 (1998): 152–65. http://dx.doi.org/10.1177/003932079802800203.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

BOWERS, ROGER. "THE CHAPEL ROYAL, THE FIRST EDWARDIAN PRAYER BOOK, AND ELIZABETH'S SETTLEMENT OF RELIGION, 1559." Historical Journal 43, no. 2 (2000): 317–44. http://dx.doi.org/10.1017/s0018246x99001107.

Full text

Abstract:

Already at the beginning of her reign Elizabeth I was resolved to effect at the earliest opportunity both the restoration of the Royal Supremacy and the replacement of the Latin liturgy by an existing Edwardian Prayer Book. Constrained by Marian legislation which she was firmly minded not to break, the queen signalled her intentions by conspicuous adoption in her Chapel Royal of such few and minor manifestations of Protestant liturgy and practice as fortuitously were still legitimate, amplified by certain early Edwardian practices (1547–9) originally introduced not by statute but by proclamati

APA, Harvard, Vancouver, ISO, and other styles

18

Benda, Jacob. "Magnificat: an exploration of sacred music in the United States." Pro Musica Sacra 22 (October 25, 2024): 63–72. http://dx.doi.org/10.15633/pms.2205.

Full text

Abstract:

The landscape of sacred music in the United States is broad and wide and cannot be neatly defined into a collective approach or style. The boundaries of Roman Catholic sacred music in America have been expanding further and further since the establishment of the liturgical reforms outlined by the Second Vatican Council’s Constitution on the Sacred Liturgy (Sacrosanctum Concilium), and it was through this new sense of “freedom” that alternative styles of liturgical music emerged during the past 60 years. Interestingly, the state of Minnesota was at the center of this liturgical music revolution

APA, Harvard, Vancouver, ISO, and other styles

19

Bowers, Roger. "The Vocal Scoring, Choral Balance and Performing Pitch of Latin Church Polyphony in England, c.1500-58." Journal of the Royal Musical Association 112, no. 1 (1987): 38–76. http://dx.doi.org/10.1093/jrma/112.1.38.

Full text

Abstract:

Embedded into the approaches to their crafts adopted inescapably by the composers and performance directors of church polyphony in England during the century or so before the Reformation were a number of constraints imposed by extraneous factors over which they had no control, but which effected a decisive influence over both the resulting form and the sound of the music which they produced in their respective capacities. Looming large among these was the nature of the performing medium. Over most aspects of this neither composer nor director exercised any influence at all; in terms of, for in

APA, Harvard, Vancouver, ISO, and other styles

20

Mertseva, Irina M. "Alexander Ryndin's 104 Psalm: the Problem of Expression of the Author's Will Within the Canon." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (2022): 63–70. http://dx.doi.org/10.36340/2071-6818-2022-18-2-63-70.

Full text

Abstract:

The article considers the 104th Psalm from the all-night vigil cycle, dedicated to the memory of the father of Astrakhan composer Alexander Ryndin, who has a rich experience in church singing and the practice of composing on canonical liturgical texts. Biographical information about the composer and facts explaining the address to the composition on canonical liturgical texts are introduced into scientific use. The analysis uses an interdisciplinary approach to the study of the text, characteristic of liturgical musicology. It combines the actual musicological analysis and interpretation of th

APA, Harvard, Vancouver, ISO, and other styles

21

Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.

Full text

Abstract:

Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of

APA, Harvard, Vancouver, ISO, and other styles

22

Sîrbu, Anca. "On the Sunday Axion and on The Athonite Axionar." ARTES. JOURNAL OF MUSICOLOGY 30, no. 29-30 (2024): 257–72. http://dx.doi.org/10.35218/ajm-2024-0015.

Full text

Abstract:

A valuable volume of psaltic music is about to be printed soon. It is a new collection of Axions, elaborated in the “St. Gheorghe” Romanian cell - Kapsala in the Holy Mountain. The collection contains works by older (19th century) or contemporary Greek composers. Most of the Greek axions belong to an Athonite monk who wished to remain anonymous and who entrusted Father Gheorghe from the “St. Gheorghe - Livadogheni” Romanian cell on Holy Mount Athos with a valuable collection of personal axions, to be adapted and printed. It is so that these axions are now being printed for the first time direc

APA, Harvard, Vancouver, ISO, and other styles

23

Angelovskaya, S. "The originality of the modern Ukrainian church oeuvre: on an example of the chants «All-night Vigil» Olena Yunek. Formulation of the problem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 85–99. http://dx.doi.org/10.34064/khnum2-49.06.

Full text

Abstract:

The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M.

APA, Harvard, Vancouver, ISO, and other styles

24

Angelovskaya, S. "The originality of the modern Ukrainian church oeuvre: on an example of the chants «All-night Vigil» Olena Yunek. Formulation of the problem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 85–99. http://dx.doi.org/10.34064/khnum1-49.06.

Full text

Abstract:

The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M.

APA, Harvard, Vancouver, ISO, and other styles

25

Dănilă, Irina Zamfira. "Manuscript 105 from the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldova and Bucovina in Iasi - an exemplary document of adapting chants to Romanian in Moldova." Artes. Journal of Musicology 26, no. 1 (2022): 129–60. http://dx.doi.org/10.2478/ajm-2022-0010.

Full text

Abstract:

Abstract Ms 105 from the “Dumitru Stăniloae” Ecumenical Library is an extensive Chrysantean Anthologhion, consisting of 236 leaves, written in Romanian with Cyrillic characters by copyist Hariton Vasiliu from Horaita Monastery (Neamt County), between 1857-1879. The chant content is specific to the musical collection this codex belongs to, namely the service of Vespers, Matins, and the Divine Liturgy, freely organized in the manuscript; for this reason, the typical ritual order could not be observed. The musical sources of Ms. 105 are exclusively repertoire collections in the Romanian language,

APA, Harvard, Vancouver, ISO, and other styles

26

Milsom, John. "English–texted chant before Merbecke." Plainsong and Medieval Music 1, no. 1 (1992): 77–92. http://dx.doi.org/10.1017/s0961137100000267.

Full text

Abstract:

The first Book of Common Prayer, published in 1549, contains no music. This is not to say that many of the liturgical texts it contains were not intended to be sung or intoned, as they had been for centuries before the Reformation. That singing as well as speaking was permissible is made clear by the rubrics,1 but notation was not supplied, an omission that can only have perplexed English priests and choirs at a time of radical and inadequately prescribed liturgical reform. As E. H. Fellowes commented in 1941, ‘very little attention has been drawn to the problems that must have confronted prec

APA, Harvard, Vancouver, ISO, and other styles

27

Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.

Full text

Abstract:

The research object is Russia&rsquo;s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, &ldquo;Songs of the Dead&rdquo; and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A

APA, Harvard, Vancouver, ISO, and other styles

28

Dean, Jeffrey J. "The Repertory of the Cappella Giulia in the 1560s." Journal of the American Musicological Society 41, no. 3 (1988): 465–90. http://dx.doi.org/10.2307/831461.

Full text

Abstract:

An inventory has recently been discovered of the music books belonging to the Cappella Giulia (the choir of St Peter's Basilica in Rome), compiled by the singer Simon Prince some time between 1559 and 1566. The great majority of the books listed survive, either in the Cappella Giulia collection of the Vatican Library or (in the case of two prints) in other collections. Nearly half of the compositions contained in these books are the work of Carpentras, Festa, and Morales, the dominant composers of the Cappella Sistina from 1513 to 1548; the remainder show a bias towards French compositions and

APA, Harvard, Vancouver, ISO, and other styles

29

Gosfield, Avery. "I Sing it to an Italian Tune . . . Thoughts on Performing Sixteenth-Century Italian-Jewish Sung Poetry Today." European Journal of Jewish Studies 8, no. 1 (2014): 9–52. http://dx.doi.org/10.1163/1872471x-12341256.

Full text

Abstract:

Although we know that Jewish musicians and composers were active in Renaissance Italy, very few compositions by Jewish authors or music specifically destined for the Jewish community has survived. There are few exceptions: Salamone Rossi’s works, the tunes from Guglielmo Ebreo da Pesaro’s dance manuals, Ercole Bottrigari’s transcriptions of Jewish liturgy, a handful of fragments. If we limit the list to pieces with specifically Jewish content, it becomes shorter still: Rossi’s HaShirim asher liShlomo and Bottrigari’s fieldwork. However, next to these rare musical sources, there are hundreds of

APA, Harvard, Vancouver, ISO, and other styles

30

Dănilă, Irina Zamfira. "An Account of the Works of Nektarios Protopsaltis and Nektarios Frimu in Manuscript no. 7 from the “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina." Artes. Journal of Musicology 19, no. 1 (2019): 150–74. http://dx.doi.org/10.2478/ajm-2019-0008.

Full text

Abstract:

Abstract The “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina (reffered to below as LMCMB) from Iasi has an invaluable collection of theological books and documents, consisting of more than 100,000 items. The library also has an important number of rare books – 35 of which are psaltic music manuscripts. Manuscript no. 7 from LMCMB is a psaltic Antologhion with Chrysantine notation, written in Romanian using the Cyrillic alphabet. The copyist and the place where it was copied are unknown, but it is possible that it was written at Mount Athos, between 18

APA, Harvard, Vancouver, ISO, and other styles

31

Chamakhud, Daryna. "“Wedding” by Yakiv Yatsynevych: Peculiarities of Verbal Texts Musical Reading." Ukrainian musicology 49 (June 30, 2023): 61–82. http://dx.doi.org/10.31318/0130-5298.2023.49.298981.

Full text

Abstract:

The relevance of the research. Among the Ukrainian composers who, in the first third of the 20th century, turned to the musical design of the Sacrament of Marriage, is Yakiv Yatsynevych. In his work, the composer issued the structure of the cycle in a new way. There are no thorough studies of the music of "The Wedding" by Y. Yatsynevych. In the short analytical description of O. Zasadna, not all characteristics of the cycle are identified and commented on. Today there are no performances or audio recordings of "The Wedding". The reason for this is the lack of interest of choral groups in the s

APA, Harvard, Vancouver, ISO, and other styles

32

Mariasina, Nonna. "The Divine Service of the Liturgy of Presanctified Gifts in works of composers of the New direction (the turn of the 19th century)." St.Tikhons' University Review. Series V. Christian Art 28 (December 31, 2017): 141–58. http://dx.doi.org/10.15382/sturv201728.141-158.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Bennett, Peter. "Hearing King David in Early Modern France: Politics, Prayer, and Louis XIII's Musique de la Chambre." Journal of the American Musicological Society 69, no. 1 (2016): 47–109. http://dx.doi.org/10.1525/jams.2016.69.1.47.

Full text

Abstract:

Scholars of Louis XIV have long recognized the “representational” strategy employed by the composers of the Chapelle Royale (and those who designed its liturgy), in which the words of the psalms (the work of poet-musician King David) allied to an elaborate musical setting (the grand motet) attested to the king's strength and power in both spiritual and temporal domains. By contrast, in the absence of a comparable repertory inspired by the psalms from an earlier period, the role of King David at the court of Louis XIII has received almost no attention. Yet, as this article shows, the biblical k

APA, Harvard, Vancouver, ISO, and other styles

34

Salkowski, David. "The “Economy of Incarnation” and the Cherubic Hymn in Nineteenth-Century Russia." Journal of Musicology 41, no. 1 (2024): 115–48. http://dx.doi.org/10.1525/jm.2024.41.1.115.

Full text

Abstract:

The Russian Orthodox liturgy constantly hovers on the boundary of representation and supposed real presence of the divine. This tension is dramatically illustrated by the Cherubic Hymn, which purports to “mystically represent” angelic song and accompanies the transfer of the bread and wine that will be transformed into the body and blood of Christ in the Eucharist. The Cherubic Hymn was the most commonly set liturgical text in modern Russia, attracting many of Russia’s leading composers, including Dmitry Bortniansky, Mikhail Glinka, Pyotr Tchaikovsky, Milii Balakirev (who arranged the text to

APA, Harvard, Vancouver, ISO, and other styles

35

Karas, Hanna, Zhanna Zvarychuk, Adelina Yefimenko, Liudmyla Obukh, and Lidiia Kurbanova. "Liturgical choral art of Stepan Spiech." Herança 7, no. 3 (2024): 13–24. https://doi.org/10.52152/heranca.v7i3.825.

Full text

Abstract:

The relevance of the study is conditioned by the fact that understanding the integrity of Ukrainian musical culture encourages its analysis in two manifestations – in mainland Ukraine and in the diaspora. The purpose of the study is to highlight the contribution of the composer Stepan Spiech from Germany to spiritual and canonical art since this is an understudied issue. The leading methods used in the study are historical and cultural – to consider the liturgical Ukrainian choral music of the second half of the 20th century in historical dynamics; source and textual – to identify the primary

APA, Harvard, Vancouver, ISO, and other styles

36

Tylyk, Ihor, and Vladyslav Lysenko. "Specificity of Artemii Vedel’s Performing Interpretation of Liturgical Works on the Example of the Liturgy of St. John Chrysostom’s (C-Dur) Artistic Presentation." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 53–64. http://dx.doi.org/10.31866/2616-7581.7.1.2024.303766.

Full text

Abstract:

The purpose of the research is to highlight the peculiarities of the artistic interpretation of A. Wedel’s liturgical works, on the example of the artistic presentation of the Liturgy of St. John Chrysostom (C-dur). The research methodology is based on the universal methods of scientific knowledge: induction, deduction, synthesis, structural and comparative analysis, cultural reconstruction, principles of objectivity and historicism. The scientific novelty of the research lies in the formation of a clear idea of artistic and interpretive approaches to the performance presentation of A. Vedel’s

APA, Harvard, Vancouver, ISO, and other styles

37

DĂNILĂ, IRINA ZAMFIRA. "Greek-Romanian manuscript nr. 107 from the “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina in Iasi –an instance of the practice of bilingual church musicin Moldova at the end of the 18th century." ARTES. JOURNAL OF MUSICOLOGY 27, no. 27-28 (2023): 185–203. http://dx.doi.org/10.35218/ajm-2023-0011.

Full text

Abstract:

The present paper is part of a larger project, intended to catalogue the fund of musical manuscripts from the “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldova and Bukovina of Iasi and aims to highlight the repertoire and musical semiography of Ms. 107, which can be classified as a small scale Anthologhion in terms of the type of musical collection. What sets it apart from the rest of the codices in the Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina (abridged as LMCMB) of the Iasi manuscript fund is the exegetical, transitional medio-Byzantine

APA, Harvard, Vancouver, ISO, and other styles

38

Tylyk, Ihor, and Vladyslav Lysenko. "Specificity of Artemii Vedel's Performing Interpretation of Liturgical Works on the Example of the Liturgy of St. John Chrysostom's (C-Dur) Artistic Presentation." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 53–64. https://doi.org/10.31866/2616-7581.7.1.2024.303766.

Full text

Abstract:

<strong>The purpose of the research </strong>is to highlight the peculiarities of the artistic interpretation of A. Wedel’s liturgical works, on the example of the artistic presentation of the Liturgy of St. John Chrysostom (C-dur). <strong>The research methodology </strong>is based on the universal methods of scientific knowledge: induction, deduction, synthesis, structural and comparative analysis, cultural reconstruction, principles of objectivity and historicism. <strong>The scientific novelty </strong>of the research lies in the formation of a clear idea of

APA, Harvard, Vancouver, ISO, and other styles

39

Moody, Ivan. "‘THE SPACE OF THE SOUL’: AN INTERVIEW WITH SOFIA GUBAIDULINA." Tempo 66, no. 259 (2012): 31–35. http://dx.doi.org/10.1017/s0040298212000046.

Full text

Abstract:

AbstractIn this interview Gubaidulina discusses her understanding of religion and the way in which it relates to her music, by means of symbolism and metaphor. In particular she speaks of her understanding of the Apocalypse as a book of light, greatly influenced by the writings of Fr Aleksandr Men. She talks about the symbolism of instruments in her work, notably percussion, which she sees as a way to the subconscious; her understanding of the role of modernism in music, and the way in which her work connects with this historical process; and also her use of the Fibonacci sequence. The relatio

APA, Harvard, Vancouver, ISO, and other styles

40

Vasenina, E. V. "Liturgy by Leonide Massine and Liturgy by Olga Tsvetkova: In Search of Historical and Cultural Dialogue." Art & Culture Studies, no. 2 (June 2024): 378–403. http://dx.doi.org/10.51678/2226-0072-2024-2-378-403.

Full text

Abstract:

The article is devoted to studying the reasons for the historical and cultural connection between Leonide Massine’s unstaged ballet Liturgy, which was conceived by him together with Sergei Diaghilev, and the production of the Liturgy ballet shown in 2023 at the Zaryadye concert hall in Moscow. The creators of the new Liturgy ballet, choreographer Olga Tsvetkova and composer Sergei Akhunov, directly point to Massine’s Liturgy as a source of inspiration and highlight the personal need to reflect on the divine principle in art. The article cites a number of sources documenting the three‐year long

APA, Harvard, Vancouver, ISO, and other styles

41

Marchesini, Maren Haynes. "Holden Village Vespers ’23: (Re)Sounding a Transforming Community." Religions 14, no. 9 (2023): 1191. http://dx.doi.org/10.3390/rel14091191.

Full text

Abstract:

Nestled in the remote Cascade mountains of Washington State, Holden Village operates as a year-round Lutheran retreat center with a robust musical and liturgical culture. While on sabbatical in the Village in 1986, composer Marty Haugen wrote his Holden Evening Prayer liturgy, a now-iconic setting beloved around the world. Known in the Village as Vespers ’86, Haugen’s liturgy soon became canonical. Over 35 years later, however, Vespers ’86 is a fraught icon of collective identity. As Village leadership welcomes a greater diversity of people, Haugen’s liturgical language, theological perspectiv

APA, Harvard, Vancouver, ISO, and other styles

42

Huaichao, Zhao. "BEHIND THE MASK OF IRONY AND BRAVADO HE HID HIS TRAGIC FACE." Arts education and science 1, no. 30 (2022): 186–96. http://dx.doi.org/10.36871/hon.202201022.

Full text

Abstract:

The article is devoted to the work of the outstanding Russian composer Nikolay Nikolayevich Sidelnikov (1930–1992), who made a great contribution to modern Russian music. The composer worked in various genres, each time choosing an extraordinary interpretation for them. The musician's erudition, which was especially noted by his friends, colleagues and students, allowed him to address the topics from various literary sources, whether from the ancient Russian chronicles of the XIIth – XVIth centuries (the oratorio "The Sword Raised"), F. Engels' philosophical work "Dialectics of Nature" (the sy

APA, Harvard, Vancouver, ISO, and other styles

43

Pivoda, Ondřej. "Žalmové kompozice Pavla Haase." Musicologica Brunensia, no. 2 (2023): 69–77. http://dx.doi.org/10.5817/mb2023-2-6.

Full text

Abstract:

Pavel Haas's psalm compositions, or fragments of them, represent the only three works that relate more closely to the Jewish faith and that set to music the religious text used in Jewish liturgy. Haas was educated in the Jewish religion at both the grammar school and the secondary school, and his father was involved in Czech-Jewish associations and in the Brno Jewish religious community. However, it is difficult to determine what role the Jewish faith played in the composer's life. The setting of the 19th Psalm for tenor and organ to a German text dates from 1916 and may have been somehow rela

APA, Harvard, Vancouver, ISO, and other styles

44

Макарова, А. В. "Stylistic Features of Works for Choir A Cappella by Dmitry Smirnov on the Example of Choir Concerto “Insomnia”." OPERA MUSICOLOGICA, no. 2021 (September 15, 2021): 38–57. http://dx.doi.org/10.26156/om.2021.13.3.003.

Full text

Abstract:

В творчестве современного петербургского композитора Дмитрия Валентиновича Смирнова (р. 1952) хоровые сочинения занимают особое место. В жанровом отношении именно концерт для хора представляет собой своеобразное «зеркало» творческого поиска композитора. Начиная с ранних сочинений начала 1980-х годов («Приявший мир», «Рождение крыла», Концерт для хора на стихи Н. Некрасова) и вплоть до созданного в 2006 году цикла «Набоковские песнопения» многочастные композиции хоровых концертов играли ключевую роль в процессе становления и постепенного усложнения хорового письма автора. Хоровой концерт «Бессо

APA, Harvard, Vancouver, ISO, and other styles

45

Harkavyy, Oleh. "The Liturgy of St John Chrysostom: a work of ecclesiastical or concert character?" Journal of the International Society for Orthodox Music 6, no. 1 (2022): 188–204. http://dx.doi.org/10.57050/jisocm.113241.

Full text

Abstract:

When a composer intends to write a setting of the Liturgy of St John Chrysostom (“Liturgy”, for short), he or she needs to be sure what the character of the work to be composed would be: ecclesiastical in character, to be performed in church during a service, or of a concert character to be performed in a concert hall? What are the differences between the works of ecclesiastical character and works of concert character? To answer the question, we need to compare a performance of a musical work in church during a service and at a concert hall during a concert, i.e., using the method of oppositi

APA, Harvard, Vancouver, ISO, and other styles

46

Moiseev, Grigory A. "Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich: A Posthumous Dialogue." Observatory of Culture 17, no. 5 (2020): 496–509. http://dx.doi.org/10.25281/2072-3156-2020-17-5-496-509.

Full text

Abstract:

Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich (the august poet K. R.) were linked by many years of friendship and creative cooperation. After the composer’s death (October 25, 1893), K. R. became involved in the process of perpetuating his memory. The posthumous dialogue was manifested in various forms: Grand Duke Konstantin Konstantinovich’s participation in church and secular memorial ceremonies, private commemorations, and his close communication with M.I. Tchaikovsky and V.L. Davydov — the composer’s brother and nephew. In addition, K. R. reexamined his creative and ep

APA, Harvard, Vancouver, ISO, and other styles

47

Azarova, Valentina Vladimirovna. "Theological aspects of the libretto "St. Francis of Assisi. Franciscan Scenes" by Olivier Messiaen." Человек и культура, no. 4 (April 2024): 41–58. http://dx.doi.org/10.25136/2409-8744.2024.4.70768.

Full text

Abstract:

In the space of the literary text of the "poem" written by the composer, the author of the article explores the features of the artistic interpretation of the fundamental religious ideas of Catholicism: the grace of the Holy Spirit, Christian revelation, mysticism, theocentrism. The elements of temple sacredness (lauda), the metamorphosis of the role of the choir, the "dancing form", as well as new forms of theatrical liturgy (prayers, responsories) are considered. Messiaen's embodiment of the principles of the mystery of the XIV–XVI centuries is considered through the prism of the composer's

APA, Harvard, Vancouver, ISO, and other styles

48

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.

Full text

Abstract:

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 loca

APA, Harvard, Vancouver, ISO, and other styles

49

Roshchenko, Olena, and Nataliya Byelik-Zolotaryova. "The Roman Catholic Liturgy and Its Role in the Composer's Missa Formation." Anastasis. Research in Medieval Culture and Art 8, no. 1 (2021): 39–50. http://dx.doi.org/10.35218/armca.2021.1.02.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Dănilă, Irina Zamfira. "Psaltic repertoire, authors and transcribers of Ms. Rom.- Greek 23 Anthologhion from the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldova and Bukovina in Iasi." Artes. Journal of Musicology 22, no. 1 (2020): 312–35. http://dx.doi.org/10.2478/ajm-2020-0017.

Full text

Abstract:

AbstractThe present study concerns the musical repertoire in the Romanian-Greek manuscript inventory number 23 from the ‘Dumitru Stăniloae’ Ecumenical Library of of the Metropolitan Church of Moldavia and Bukovina in Iasi, its authors, and the musical sources these authors used. The musical content of the manuscript is comparatively rich; there are mainly chants from the Holy Liturgy, Vespers and Matins. From the service of the Holy Liturgy, it stands out the group of “extensive” style cherouvika composed by Konstantinos Potopsaltis, translated in Romanian version, less commonly found in the M

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!