Academic literature on the topic 'Devotional songs'

Caspar Stiel er (1632-1707), known today chiefly as the author of erotic love songs, serio-comic musical dramas, a treatise on journalism, and a ground-breaking dictionary, also wrote numerous devotional songs. This study attempts to identify his original song texts from among those he published anonymously in devotional compilations, discuss their stylistic attributes and content in the context of this literary and musical oeuvre, and create a catalogue raisonné of the devotional songs that appear for the first time in the compilations he edited. This study is a companion to my article on the compilations that appeared in Daphnis 29 (2000), pp. 221-279.

Ginan bolore nit nure bharea;Evo haide tamare harakh na maeji.Recite continually theginanswhich are filled with light;Boundless will be the joy in your heart.Ginansare devotional songs rooted in the musical and poetic matrix of Indian culture. The term “ginan” carries a double significance: on the one hand, it means “religious knowledge” or “wisdom,” analogous to the Sanskrit wordjnana(knowledge). On the other hand, it means “song” or “recitation,” suggesting a link to the Arabicghannaand the Urdu/Hindighana, both verbs meaning “to sing.” For the past seven hundred years, Ismailis from the Indian subcontinent (Satpanth Khoja Ismailis) have been recitingginansas a part of their daily religious devotions at the congregational hall (Jamat Khana).

Vedic and non-Vedic religions spread their ideas directly, through songs and sermons. A sense of devotion was sown by making a connection between God and Human. In particular, devotional literature is designed to convey the flexibility of the structural definitions of religions. This can be seen by examining the background of all the devotional literatures and religious epics. The reading method, which was in the state of “Telling – Listening” have been changed into the state of “Seeing – Reading”. Thus, there was a significant place for paintings and pictures in journalism. Paintings and pictures were considered as tools to impress the readers. So, the magazines had the custom of drawing up a chart for the stories. Religious institutions changed the forms of expression as time went on. All the myths and Epics of poems were made into prose stories after the advent of journalism. Stories created as a series of illustrations (Sequential Art) throughout were put forward to explain the doctrine of Devotion. “Amarchitra Katha” is a globally recognized magazine that symbolizes the Indian comic book tradition. Similarly, the magazine ‘Sri Ramakrishna Vijayam’ made a significant contribution in Tamil. All the stories published in this way have been published as pamphlets under the name of “Kathaimalar”. Thus, this Article explores the notion that 'such magazines, which are based on devotion, treat religious virtues especially from evidences of the Epics”. Further, this article goes on to point out the way in which these stories have carried the doctrine of Devotion of religious institutions to the contemporary generation.

<em>One way to improve the process of student learning activities in mathematics is to package learning material through creative techniques, for example by singing or singing. The purpose of this PPM activity is to increase participants' insights about learning mathematics with the singing method so that it can improve the process of learning mathematics. The subjects of the training activities are classroom teachers and mathematics subject teachers at SD Negeri 2 Kalipetir. These service activities are carried out through the planning, implementation (presentation of material, singing practice, making mathematical songs), and evaluation. From the results of the evaluation of activities, more than 75% of teachers gave a positive value to the service activities. PPM activities have a great benefit and meaning for the service participants. PPM activities have a significant contribution to 1) improve competence and open insight into the devotion of participants 2) train devotional participants to create mathematical songs according to the material to be taught, and 3) increase motivation of devotion participants to further optimize the process of learning mathematics.</em>

AbstractThe devotional literatures across the Hindu bhakti traditions of medieval India are shaped by distinctive styles of affective responses to the divine reality. A theme which recurs in several layers of their songs is a theological dialectic between divine majesty and divine accessibility; the divine is not only simply transcendent in the sense of being a distant deity but is also immanently present in and through a range of human sensitivities, emotions, and affectivities. We will highlight the dialectic in the devotional songs of three medieval figures, Tulsīdās (c. 1600), Sūrdās (c. 1600), and Mādhavadeva (1489–1596), which are structured primarily by the devotional attitude of a servant (dāsa) towards the Lord. As we will see, this theological servitude is not to be understood as a form of abject servility, for the three poets, in their somewhat distinctive ways, can not only speak of the Lord as a friend and as a lover, but can even level various kinds of complaints, challenges, and accusations at the Lord. Thus, if the Lord’s transcendental sovereignty is emphasised by the devotee through the modes of self-censure, the Lord’s immanent availability is also highlighted through the protests that the devotee fervently makes to the seemingly uncaring Lord.

In this article, I look at how popular hymnody and the surrounding devotional and liturgical practices changed after the Second Vatican Council in Hungary. The songs amongst authoritarian, atheistic circumstances sounded astonishingly similar to the emerging “folk mass movement”. The discourse analysis of Hungarian popular hymnody contributes to a new perspective of Eastern European Catholicism and helps us understand how “lived Catholicism” reflects the post-Vatican spirit. Post-Vatican popular hymnody, a catalyst for a new style of devotional practices, is understood as “performed theology” behind the Iron Curtain expressing relationality, as it actualizes and manifests spiritual, eschatological, and ecclesial relationships.

Captured by the 16th-century Indian poetess Mirabai and her works (transcribed by Robert Bly), John Harbison was especially intrigued with the manner in which she combined religion with ritual and eroticism. He has stated:Her answers involved the ecstatic, the devotional and the artistic, but her independence and resolve and her dancer's vitality led my setting toward narrative and characterization, unusual territory for a song cycle.

Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).

This dissertation offers for the first time an extensive scholarly translation of an anthology of 106 ginans (sacred hymns) attributed to the Isma'ili saint-composer, Pir Shams. The Ginan tradition is a sacred corpus of devotional poetry belonging to a sub-sect of the Shiah Muslims known as the Satpanth Isma'ili Khojahs. Composed in various North Indian dialects, ginans are part of a broader rich and complex heritage of Indo-Muslim folk literatures in the Indian subcontinent. For centuries, however, the Satpanth Isma'ilis have carefully guarded this sacred tradition for fear of persecution. By thus presenting a major translation of ginans attributed to a pivotal figure in Satpanth Isma'ilism, this dissertation aspires to advance significantly the academic study and knowledge of this scarcely examined sacred literature.
To date, the syncretic nature of Satpanth Isma'ilism has been viewed within a framework of conversion. Thus, generally, the ginan literature has been explained as the creative attempts of Isma'ili pirs (venerated teachers) to effect changes in religious orientation by conveying Nizari Isma'ili teachings through Hindu symbols and themes. However, an examination of the internal evidence in the ginans of Pir Shams--who belonged to the beginnings of Satpanth--in conjunction with events in Sind and the greater Isma'ili world at the time, has brought into focus crucial social and political factors that may also have instigated the formation of Satpanth Isma'ilism.

My project locates the 18th century Tamil poem Apirāmi Antāti at the interstices of popular Tamil devotion (bhakti), a form of South Indian Tantra known as Śrīvidyā, and the upper-caste (Brahmin) social, cultural, and ritual worlds that engender the text. Bringing together inter-textual, and ethnographic analysis, I argue that the simultaneous appearance of Tantric themes, alongside themes of Brahmanic domesticity in the text point towards Śrīvidyā, a practice that integrates esoteric Tantric practice with uppercaste Brahmanic social behaviour. My linkage of the Apirāmi Antāti with Śrīvidyā is substantiated by a critical historcization of the Apirāmi Antāti that locates the text in the emergent Tamil Brahmin Tantric milieu at the Tanjavur court in the early eighteenth century. Finally, there is something about this milieu, the shrine of the goddess, and her consort at Tirukkadaiyur that has had an enduring value for the largest group of Tamil Brahmins known as Smārtas. Using ethnographic data the later part of this thesis examines the contemporary appeal of this poem to upper-caste devotees of the goddess. I discuss a rite-of-passage (samskāra), known as śatābhisekam, which is performed at Tirukkadaiyur, and allows the poem and its goddess to become identified with Smārta Brahmin cultural values.
Mon projet situe le poème Apirāmi Antāti à la croisée entre la dévotion populaire Tamoule (bhakti), une forme de Tantra d'Inde du Sud connu sous le nom de Śrīvidyā, et le monde social, culturel et rituel de la caste supérieure (Brahmane) qui ont engendré le texte. En reliant une analyse intertextuelle et ethnographique, je démontre que l'apparition simultanée de thèmes Tantrique avec des thèmes de la vie familiale Brahmanique dans le texte tend vers la Śrīvidyā, une pratique qui intègre des pratiques Tantriques ésotériques avec un comportement social de la caste supérieure Brahmanique. Mon association entre Apirāmi Antāti et Śrīvidyā est justifié par une historisation critique du Apirāmi Antāti qui situe le texte dans le milieu Tamoul Brahmane Tantrique émergent à la court de Tanjavur au début du dix-huitième siècle. Finalement, il se passe quelque chose au sujet de ce milieu, le tombeau de la déesse, et son époux à Tirukkadaiyur qui a eu une valeur durable pour le plus grand groupe de Tamouls Brahmanes appelé Smārthas. En utilisant des données ethnographiques, la dernière partie de cette thèse examine le rappel contemporain de ce poème pour les fidèles de la caste supérieure dévoués à la déesse. Je discute du rite de passage (samskāra), nommé śatābhiekam, qui se déroule à Tirukkadaiyur, et qui permet au poème et à sa déesse d'être identifié aux valeurs culturelles Smārtha Brahmanes

This thesis investigates ceramic figures portraying religious images made at the kilns of Longquan in Zhejiang province, China between the Song and the Ming periods. Through a thorough examination of the images' iconography alongside further related sources drawn from diverse areas of study, the thesis offers a new understanding of the cultural and religious importance of the figures and examines how they became prevalent in Longquan and how they were used and valued within and beyond the Chinese mainland. The range of figures examined, including Buddhas, bodhisattvas, deified monks, Daoist deities, immortals and popular gods, allows an exploration of religious beliefs and practices in Zhejiang at that time and demonstrates in particular the significance of the medium of ceramic in the development of popular devotion and its visual imagery in late imperial China. Small ceramic religious figures have so far gone unnoticed, in both the fields of Chinese ceramics and Chinese religious sculpture. Notwithstanding, they are an important part of the long, rich history of Chinese ceramic sculpture. By adopting an interdisciplinary approach, this exploration of Longquan figures demonstrates that small ceramic religious figures are illustrative of the rich visual and material culture of Chinese religion and provides a glimpse into the spiritual lives and religious customs of the Chinese in the pre-modern period.

Kirtan is devotional hymn singing, music and dance in praise of a deity usually performed by a group of devotees, as well as a literary tradition. Marai kirtan is a style of kirtan found in the rural area of West Bengal known as Rarh, particularly in the Purulia District (Manbhum) where the tradition exists in its most potent form of expression. It is performed inside the local temples by a variety of village based kirtan groups that are both egalitarian and competitive in nature. In Purulia, the term marai meaning "circular", but the inner meaning is "to grind", for "if you grind Hari nam, the name of god, like sugar cane in your heart, then it will also melt for god" (JM, 2006: Pers.comm.). Marai kirtan is considered the best way of worshipping god, of creating musical intensity and arousing devotion for god. It also has various utilitarian purposes such as the bringing of rain and auspiciousness to the village as well as a means of social protest. My research reveals that marai kirtan has a very distinctive performance structure consisting of various musical sections that generate musical/devotional intensity to reach a climax (katan matan). Elaborate melodic lines and complex rhythmic compositions are interwoven with improvisations and dance choreographies that produce ecstatic heights for prolonged periods with the use of only two words, Hari Bolo, highlighting the inherent creative musical dynamism within the marai kirtan performance. My methodology consists of ethnographic investigation built upon observation and interviews in the field, incorporating Rarhi terms and meanings, combined with an analysis of performances through a study of audio/visual recordings made on location. Due to the paucity of documentation on marai kirtan and lack of relevant literary material, my investigation concentrates on the collection of data at its source and a phenomenological perspective of the tradition. I have examined six different kirtan groups: the Brahmans, Mahatos, Rajwar, Karandhi villagers and the Vaisnavas with particular focus on the Mahato group from Kostuka village, whose lives have been transformed by marai kirtan.

This thesis contends that youth from age twelve to twenty-five played a pivotal role in the revivals of the Second Great Awakening in New York and New England. Rather than merely being passive onlookers in these religious renewals, the youth were active participants, influencing the frequency, spread, and intensity of the Christian revivals. Relying heavily upon personal accounts written by youth and revival records from various denominations, this work examines adolescent religious experiences during the first half of the nineteenth century. Chapter 1 explores the impact parents had on youth religiosity, showing how the teaching and examples they saw in their homes built the religious foundation for young people. The next chapter discusses how the youth continued to build upon what they were taught in their homes by seeking for personal conversion experiences. This chapter contends that conversion experiences were the crucial spiritual turning point in the lives of young people, and explores how they were prepared for and reacted to these experiences. Chapter 3 outlines personal worship among the youth and describes the specific tactics that churches implemented in helping convert and strengthen the young. As churches used revival meetings and clergy-youth relationships to fortify these converts, young people implemented the same practices in helping their peers. Finally, chapter 4 utilizes revival records and Methodist church data to provide quantitative evidence of the widespread and crucial role that young people had in influencing revivals. Understanding the widespread impact of these youth on nineteenth-century revivals provides new insight into the ways in which young people impacted the greater social, religious, and culture changes sweeping across America at the time.

Les Miracles de Nostre Dame sont constitués de deux livres de miracles encadrés de plusieurs cycles de chansons de dévotion. Ils sont l’œuvre de Gautier de Coinci, un moine poète nommé supérieur du couvent de Vic-sur-Aisne en 1214. En tant que moine, Gautier de Coinci s'adonne à la lectio divina, une méditation des textes bibliques qui est une mise en œuvre des arts de la mémoire désignés sous le terme de memoria. Cette pratique nous interroge, dans une première partie, sur l'influence de ces arts de la mémoire dans les Miracles de Nostre Dame et les chansons de dévotion qui alternent avec les récits.La compositio médiévale est perçue comme l'appropriation et la valorisation d'une œuvre antérieure. En tant que poète et musicien, Gautier de Coinci fait ainsi appel à des chansons de trouvères contemporains, et plus particulièrement à Blondel de Nesle. Ce travail veut approfondir la question de savoir en quoi ces œuvres empruntées peuvent être appréhendées comme des formes particulières d'auctoritas. Cette seconde partie de l'étude a pour but d'examiner, par une analyse des liens intertextuels et intervocaux, la manière dont le compositeur des Miracles de Nostre Dame s'approprie les chansons de Blondel de Nesle.En tant qu'abbé, enfin, Gautier de Coinci compose une œuvre de dévotion dont la conversion intérieure et l'édification sont le but ultime. Cette dernière partie, prenant en compte la double approche mémorielle et intervocale du répertoire de la chanson de dévotion, montrera que le chant, dans sa composition et dans son interprétation, est une mise en pratique nécessaire de cette conversion intérieure
The Miracles de Nostre Dame forms 2 books of miracles framed with several cycles of songs of devotion. They were written by Gautier de Coinci, a monk and a poet called Father Superior of Vic-Sur-Aisne monastery in 1214. As a monk, Gautier de Coinci devoted himself to the Lectio Divina which was a meditation on biblical texts and a demonstration of the memory arts known under the name of memoria. The first part of our study leads us to the analysis of the influence of these arts of the memory on the Miracles de Nostre Dame and on the songs of devotion which alternate with the narratives.The medieval compositio is seen as the appropriation and valorization of a former work. As a poet and a musician, Gautier de Coinci calls for songs of troubadours which are contemporary to him, particularly Blondel de Nesle. Our study aims at explaining why these works could be seen as specific forms of auctoritas. This second part develops the way the composer of the Miracles de Nostre Dame uses Blondel’s songs thanks to the analysis of the intertextual and intervocal links.Finally, as a monk, Gautier de Coinci creates a work of devotion the inner conversion and improvement of which, represent the ultimate goal. Our last part is a summary of the memorial and intervocal approach of the songs of devotion. It deals with the way singing is a significant application of the inner conversion thanks to its composition and performance

Esta Tesis Doctoral estudia los libros manuscritos de polifonía sacra renacentista copiados entre ca. 1550 y 1626 que se conservan en dos bibliotecas de Barcelona, examina su repertorio y explora su relación con la vida musical en Barcelona durante ese periodo. Esta investigación se centra en dos áreas hasta ahora insuficientemente consideradas en los estudios sobre la música en Barcelona durante la segunda mitad del siglo XVI y principios del siglo XVII: por un lado, los libros de polifonía conservados, que carecen, la mayoría, de estudios exhaustivos y actualizados, y, por otro, la exploración de la vida musical religiosa en la ciudad adoptando una perspectiva urbana, distinta al enfoque institucional y biográfico que ha prevalecido en trabajos previos. La Tesis consta de cuatro capítulos estructurados en dos partes (Volumen I: Estudio), y de diecisiete apéndices (Volumen II: Apéndices). La Parte I (Capítulos I y II) está dedicada al estudio de los libros manuscritos de polifonía de la época que se conservan en bibliotecas de Barcelona y de su repertorio. El Capítulo I investiga en detalle veinte manuscritos de polifonía sacra (ca. 1550-1626) de la Biblioteca de Catalunya y del Centre de Documentació de l’Orfeó Català. Cada manuscrito se analiza a partir de su codicología y de su contenido musical, lo que conduce a presentar hipótesis razonadas sobre su origen y cronología. Los veinte libros analizados muestran conexiones con instituciones eclesiásticas de Barcelona, pero también con otras localidades de Cataluña: Vic, Mataró, Tarragona, La Seu d’Urgell, Girona y Castelló d’Empúries. El Capítulo II estudia las características y circulación de la polifonía sacra en Cataluña entre ca. 1550-1626 a través de las más de 500 obras copiadas en los manuscritos estudiados; el Capítulo se organiza por géneros musicales: misas, motetes, salmos, himnos, magníficats, antífonas, pasiones, lamentaciones y responsorios. Este estudio se complementa también con la evidencia que proporcionan tanto inventarios de libros redactados en la época como los 119 libros impresos de polifonía conservados en bibliotecas de Barcelona. La Parte II (Capítulos III y IV) explora la vida musical religiosa en la ciudad. El Capítulo III muestra cómo el estatus privilegiado de la Catedral respecto al resto de instituciones eclesiásticas de la ciudad se concretó en prerrogativas específicas en materia musical, litúrgica y ceremonial. Mediante el análisis de los calendarios litúrgicos diocesanos y otras fuentes se realiza una aproximación a cómo los cambios litúrgicos propugnados por el Concilio de Trento incidieron a nivel local, y se explora la presencia de la música en el ceremonial de la Catedral, enfatizando la proyección que éste tenía en el espacio urbano. A continuación, se estudian, por una parte, el rol de la música en distintas tipologías de ceremonial funerario y, por otra, rituales festivos, de acción de gracias y de rogativas en los que el canto del himno Te Deum laudamus constituía la principal actividad musical. El Capítulo IV explora prácticas musicales vinculadas a la devoción mariana en el contexto de las cofradías de la Barcelona de la época. Al inicio del Capítulo se realiza una aproximación a la topografía de la devoción mariana en la ciudad, identificando los lugares de culto a la Virgen que existían en el espacio urbano y prácticas musicales que tenían lugar en algunos de estos espacios. Empleando fuentes documentales muy diversas, se muestran las actividades musicales de las que posiblemente fueron las dos cofradías marianas más destacadas en la ciudad: la cofradía de la Concepción en la Catedral y la cofradía del Rosario en el convento de Santa Caterina. El Volumen II contiene diecisiete apéndices que incluyen inventarios detallados de los veinte manuscritos estudiados, un censo completo de los libros impresos de polifonía en bibliotecas de Barcelona y abundante documentación relacionada con la investigación.
This Doctoral Dissertation studies manuscript books of Renaissance sacred polyphony extant in two Barcelona libraries copied between ca. 1550 and 1626, examines their repertoire, and explores their relationship with sacred musical life in Barcelona during that period. This research focuses on two areas hitherto insufficiently considered in music studies about Barcelona during the second half of the sixteenth and beginning of the seventeenth century: on the one hand, the books of polyphony, which lack, most of them, exhaustive and updated studies, and, on the other hand, the investigation of the sacred musical life in the city adopting an urban perspective, different from the institutional and biographic approach that has prevailed in previous research. The Dissertation consists of two volumes: Volume I (Study), with four chapters structured in two parts, and Volume II (Appendices). Part I (Chapters I and II) is devoted to the study of manuscript books of sacred polyphony (ca. 1550-1626) in two Barcelona libraries and their repertoire. Chapter I investigates in detail twenty manuscripts of sacred polyphony at the Biblioteca de Catalunya and the Centre de Documentació de l'Orfeó Català. The codicology and repertoire of each manuscript is analyzed, which leads to establish reasoned hypotheses about its origin and chronology. The twenty books of polyphony are related to ecclesiastical institutions in Barcelona and in other Catalan locations: Vic, Mataró, Tarragona, La Seu d’Urgell, Girona y Castelló d’Empúries. Chapter II analyses the characteristics and circulation of sacred polyphony in Catalonia from ca. 1550-1626 through more than 500 works copied in the studied manuscripts; the Chapter is organized by musical genres: masses, motets, psalms, hymns, magnificats, antiphons, passions, lamentations and responsories. This study is also complemented by the evidence provided by book inventories of the time and by the 119 printed books of polyphony preserved in Barcelona libraries. Part II (Chapters III and IV) explores religious musical life in the city. Chapter III shows the Cathedral’s privileged status —with particular musical, liturgical and ceremonial prerogatives— with respect to the other ecclesiastical institutions of the city. Through the analysis of the diocesan liturgical calendars and other sources, Chapter III explores how the changes promoted by the Council of Trent affected local liturgy, and describes the Cathedral’s music ceremonial, emphasizing its projection in the urban space. Chapter III studies the role of music in different types of funerary rituals, and the celebratory events, as well as processions for thanksgiving and rogations in which the singing of the hymn Te Deum laudamus was the main musical activity. Chapter IV is devoted to the study of musical practices linked to Marian devotion, a subject that leads to explore the world of the confraternities of Barcelona at that time. The chapter presents an approach to the topography of Marian devotion in the city, identifying places of Marian worship and musical practices that took place in some of these places. Chapter IV explores the musical activities of what were possibly the two most important Marian brotherhoods in the city: the Confraternity of the Immaculate Conception in the Cathedral and the Confraternity of the Rosary in the convent of Santa Caterina. Volume II contains seventeenth appendices that include detailed inventories of the twenty studied manuscripts, a complete census of printed books of polyphony in Barcelona libraries, and abundant documentation related to this research.

PLEASE NOTE: this dissertation was revised and is being published as a book on November 15th, 2014. We have restricted access to it to BU affiliates only until November 15th, 2016. If you a member of the BU community, please log in using your BU credentials, and you will be able to view the work.
This project analyzes Marian congregational song in the Roman Catholic Church in the United States from 1854 to 2010, focusing not only on the texts and music, but also on the contexts out of which these songs came. Marian devotion before 1854 is explored, in addition to pertinent developments in the Roman Catholic Church, as well as cultural developments that affected Marian congregational song from 1854 to 2010. Although many Marian congregational songs have been dismissed by academics as lacking sound theological content, they have been an important part of Roman Catholic spirituality in the United States. Through the analysis of these songs, this study develops a broader understanding of how Marian congregational song developed, persisted, and changed as a mediator of Marian devotion. During this survey of 120 Roman Catholic hymnals printed in the United States from 1854 to 2010 (sixty hymnals from 1854 to 1963, and sixty from 1964 to 2010), data was collected that allowed for the calculation of the percentage of Marian congregational songs in each hymnal and the percentage of Marian congregational songs in Latin, Latin and English, and English in each hymnal. A list of the thirty most frequently found Marian congregational songs was also compiled. Reasons for the decline found in Marian congregational songs after Vatican II are explored. There is also an investigation into the use of Latin and English before and after Vatican II, the number of Marian congregational songs based on musical styles before and after Vatican II, and the influence of Pope John Paul II’s papacy (1978–2005) on Marian congregational song. Looking through the lens of the Magnificat, suggestions are offered as to how Marian congregational song can be reinvigorated and reinvented to speak to the post-Vatican II, twenty- first-century Roman Catholic Church as well as other Christian denominations. A few current texts are held up as examples of excellent Marian congregational songs. Finally, proposals are made as to what qualities might be included in the texts of Marian congregational songs in the future.

This chapter examines Wolf Krakowski's legendary CD Transmigrations, which was the first example of Yiddish worldbeat. Transmigrations comprises principally secular songs, although these are at times referenced, as is nearly unavoidable in chronicles of Jewish life. Two songs, ‘Shabes, shabes’ and ‘Zol shoyn kumen di geule’ (Let the Redemption Come), are traditionally devotional, if non-liturgical. The songs that address the Holocaust and other Jewish suffering pose basic spiritual questions that Jews must ask, though not in formal prayer. In determining any music's Jewishness, lessons from the sacred repertoire of Judaism may be applied. On utilitarian grounds, all settings of sacred Hebrew texts for use in Jewish worship are Jewish music. This principle extends to all Yiddish song, since Jewish languages are tools of Jewish community. This includes all twelve songs on Transmigrations. Ultimately, Transmigrations—an album of Yiddish folk songs and works by Yiddish theatre and literary artists, its melodies forthrightly Jewish—defies expectations of Yiddish song in broader aspects of style.

This chapter explores how the sacrificium relates to offertory chants in other liturgical traditions, yielding insight into its prehistory and the influences that shaped its development. The textual, exegetical, and musical connections explored in this chapter establish that the sacrificium was part of a larger, pan-European tradition, whose practice extended into southern Gaul, northern Italy, North Africa, and Rome. The Old Hispanic repertory was nonetheless exceptional in its concentration of these particular kinds of chants, perhaps because they were so well suited to the educational and devotional milieu of Visigothic Iberia. After exploring these other repertories, the chapter turns to musical questions, illustrating certain commonalities in style between the Old Hispanic and Gregorian offertories and posing questions for further research.