Journal articles: 'Devotional songs'

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Aikin, Judith P. "THE DEVOTIONAL SONGS OF CASPAR STIELER." Daphnis 30, no. 1-2 (March 30, 2001): 97–158. http://dx.doi.org/10.1163/18796583-90000742.

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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.

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Korom, Sagaree Sengupta, Narsī Mehtā, Swami Mahadevananda, and Narsi Mehta. "Devotional Songs of Narsī Mehtā." Journal of the American Oriental Society 107, no. 4 (October 1987): 847. http://dx.doi.org/10.2307/603393.

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Gillani, Karim. "The IsmailiGinanTradition from the Indian Subcontinent." Middle East Studies Association Bulletin 38, no. 2 (December 2004): 175–85. http://dx.doi.org/10.1017/s0026318400046940.

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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).

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S, Prabavathi. "Devotional Theory in Comics." International Research Journal of Tamil 3, S-2 (April 30, 2021): 213–17. http://dx.doi.org/10.34256/irjt21s240.

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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.

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Padoux, André. "Hugh B. Urban, Songs of Ecstasy. Tantrie and Devotional Songs from Colonial Bengal." Archives de sciences sociales des religions, no. 124 (October 1, 2003): 63–170. http://dx.doi.org/10.4000/assr.1017.

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Bécam, Susan E. ""Prions en chantant": Devotional Songs of the Trouvères.Marcia Jenneth Epstein." Speculum 75, no. 1 (January 2000): 176–78. http://dx.doi.org/10.2307/2887444.

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Trisnani, Novy. "Learn to Math With The Singing Method (Implementation of PPM Activities in SDN Kalipetir 2)." Social, Humanities, and Educational Studies (SHEs): Conference Series 2, no. 1 (December 19, 2019): 162. http://dx.doi.org/10.20961/shes.v2i1.37641.

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<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>

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Barua, Ankur. "The Agonistic Poetics of Dāsya-bhāva: the Soteriological Confrontation Between Deity and Devotee." Journal of Dharma Studies 3, no. 1 (December 9, 2019): 155–74. http://dx.doi.org/10.1007/s42240-019-00062-x.

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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.

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Povedák, Kinga. "Popular Hymnody and Lived Catholicism in Hungary in the 1970s–1980s." Religions 12, no. 6 (June 12, 2021): 438. http://dx.doi.org/10.3390/rel12060438.

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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.

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Bonous-Smit, Barbara. "JOHN HARBISON'S ‘MIRABAI SONGS’: RELIGION, RITUAL, LOVE AND EROTICISM." Tempo 62, no. 246 (October 2008): 22–34. http://dx.doi.org/10.1017/s0040298208000259.

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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.

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Aikin, Judith P. "Songs by and for Women in a Devotional Songbook of 1703." Daphnis 31, no. 3-4 (November 23, 2002): 593–642. http://dx.doi.org/10.1163/18796583-0310304007.

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Gaeffke, Peter, Constantina Rhodes Bailly, and Utpaladeva. "Shaiva Devotional Songs of Kashmir: A Translation and Study of Utpaladeva's Shivastotravali." Journal of the American Oriental Society 109, no. 1 (January 1989): 156. http://dx.doi.org/10.2307/604381.

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GORDON-SEIFERT, CATHERINE. "From Impurity to Piety: Mid 17th-Century French Devotional Airs and the Spiritual Conversion of Women." Journal of Musicology 22, no. 2 (2005): 268–91. http://dx.doi.org/10.1525/jm.2005.22.2.268.

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ABSTRACT With his three books of airs de déévotion (1656, 1658, 1662), Father Franççois Berthod offered singers the best of two worlds: newly-written sacred texts set to preexisting love songs by prominent French composers. In his dedications, he indicates that his parodies were written for women, enabling them to sing passionate melodies while maintaining their ““modesty, piety, and virtue.”” Inspired by the adopted musical settings, Berthod retained the provocative language of the original texts but directed expressions of concupiscent love toward Jesus in lieu of mortal man. Drawing on church documents, devotional treatises, and introductions to sources of sacred music, it can be shown how Berthod's devotional airs——a repertory virtually ignored by scholars——were part of a Catholic campaign to convert female aristocrats from a life of frivolity and immorality to one of religious devotion. This study examines Berthod's choice of airs, his organization of topics, and his parodic procedures as representations of religious ““conversions.”” Also addressed is the debate surrounding his textual transformations, for some questioned whether women could enter into the spirit of the devotional text without thinking about its ““sinful”” version. The airs, in fact, embody a central, yet controversial, interpretation of post-Tridentine doctrine: In order to know what is good one must know what is not. Ultimately this study reveals that Church leaders believed that by singing airs de déévotion, a woman, even if married with children, would transcend worldly desire, fantasize amorous conversations with Jesus, and express her love for him ““as her true husband.””

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Caldwell, Mary Channen. "Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853." Journal of the American Musicological Society 74, no. 1 (2021): 91–156. http://dx.doi.org/10.1525/jams.2021.74.1.91.

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Abstract This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century manuscripts and conclude with its unnotated appearance in nineteenth-century printed Catholic songbooks. I argue that the refrain’s long-standing appeal can be located in its function as a poetic and liturgical trope of time itself. While tropes often enhance the “hic et nunc” (here and now) of the liturgy, the “Fulget dies” refrain gained additional temporal significance through its intimate link to songs of the Christmas season. The “shining day” imagery introduced by the refrain offered a tangible way of marking seasonal time in devotional rites, poetically indexing the light-based symbolism of Christmas, the winter solstice, and the New Year. The inherently temporal meaning of the refrain lent it flexibility as a trope, enabling its movement across genres and liturgies. Integrated into sacred Latin songs, the “Fulget dies” refrain functioned as a pithy musical and poetic commentary on liturgical, calendrical, and seasonal temporalities—in other words, as a trope of time in sacred song.

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BREWER, CHARLES E. "Plato, Aristotle, Paris and Helen at the Last Judgement: the legacy ofAudi tellus, audi magni maris limbus." Plainsong and Medieval Music 27, no. 2 (October 2018): 101–20. http://dx.doi.org/10.1017/s0961137118000074.

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ABSTRACTThe twenty-four stanzaabecedarium, beginningAudi tellus, audi magni maris limbus(Montpellier, Bibliothèque de la ville, 6), stands at the beginning of a long tradition of similar songs of judgement. A closer study of the sources provides for a deeper understanding of the transformation of the original song into a versicle to theLibera meand by the thirteenth century the first two lines of the song were transformed into the beginning of an unusual litany asking ‘Ubi sunt’, which was again most often described in the rubrics as a trope to theLibera me, particularly on All Souls Day. Here, however, an unusual and varying cast of characters enter the text of the song and the liturgy, including classical philosophers, such as Plato and Aristotle, historic figures, such as Paris and Helen, and even the biblical heroes Samson and King David. By the later Middle Ages, the trope had been further transformed into a devotional song and was especially prominent in sources associated with the cloisters of theDevotio modernaand later in polyphonic settings by Caspar Othmayr, Jacobus Gallus and Orlandus Lassus.

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P, Umadevi. "Folk Elements in Sakkai Novel." International Research Journal of Tamil 3, S-1 (June 8, 2021): 51–59. http://dx.doi.org/10.34256/irjt21s18.

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Despite the advancement in the literacy knowledge of the human race, the truth and happeinings infered from the experiences of the ancestors is quite evident till today. The references of Folklore, devotional songs, work songs, Lullobies, Proverb, Quizzes, Medicinal hints in the literature till date proves the timelessness of the culture the way, the author expresses the rituals, traditions, Culture use of local languages, lifestyle of a particular region makes literature a tool to carry forward them to future. whenever the medical hints are mentioned in Literature. It is easier for the readers to understand the nature of the disease and the simple ways of cure in the literature by kalaiselvi, the objective of the article is to research the Pleasure and displeasure happenings in one life through folklore.

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Rosenberg, Samuel N. "'Prions en chantant': Devotional Songs of the Trouvères, ed. and trans. Marcia Jenneth Epstein." Romance Philology 52, no. 2 (January 1999): 179–85. http://dx.doi.org/10.1484/j.rph.2.304322.

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Llewellyn, J. "Saints, Hagiographers, and Religious Experience: The Case of Tukaram and Mahipati." Religions 10, no. 2 (February 15, 2019): 110. http://dx.doi.org/10.3390/rel10020110.

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One of the most important developments in Hinduism in the Common Era has been the rise of devotionalism or bhakti. Though theologians and others have contributed to this development, the primary motive force behind it has been poets, who have composed songs celebrating their love for God, and sometimes lamenting their distance from Her. From early in their history, bhakti traditions have praised not only the various gods, but also the devotional poets as well. And so hagiographies have been written about the lives of those exceptional devotees. It could be argued that we find the religious experience of these devotees in their own compositions and in these hagiographies. This article will raise questions about the reliability of our access to the poets’ religious experience through these sources, taking as a test case the seventeenth century devotional poet Tukaram and the hagiographer Mahipati. Tukaram is a particularly apt case for a study of devotional poetry and hagiography as the means to access the religious experience of a Hindu saint, since scholars have argued that his works are unusual in the degree to which he reflects on his own life. We will see why, for reasons of textual history, and for more theoretical reasons, the experience of saints such as Tukaram must remain elusive.

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Quinlan, Meghan. "Can melodies be signs? Contrafacture and representation in two trouvère songs." Early Music 48, no. 1 (February 2020): 13–27. http://dx.doi.org/10.1093/em/caz094.

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Abstract The trouvère repertory contains over a hundred groups of contrafacta with a variety of parodic, satirical and devotional functions. This article discusses how certain cases of contrafacture can reshape the ways in which we imagine text–music relations. Through two cases—a serventois protesting the policies of King Louis IX of France, modelled on a song by Blondel de Nesle, and a contrafact of a song by the Chastelain de Coucy that comments on its own contrafaction—I argue not only for a medieval interest in melody’s representative potential, but also that this kind of representation was generated in a process similar to that of language—through repeated use in various contexts. Drawing briefly on semiotics, I suggest that these two melodies become ‘signs’ in that they represent or stand in for something else.

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Koudal, Jens Henrik, and Michael Talbot. "Pastor Iver Brink's Sacred and Secular Music: A Private Collection of Music from Copenhagen at the Beginning of the Eighteenth Century." Journal of the Royal Musical Association 135, no. 1 (2010): 1–39. http://dx.doi.org/10.1080/02690401003597748.

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Iver Brink (1665–1728) is familiar to students of Danish religious literature, but a published auction catalogue of his books (1729) shows him also to have been a discerning collector of music. Born in Norway, Brink settled in Copenhagen in 1686. After ordination, he became, in 1691, the first official pastor to the Danish community in London. Returning in 1701, he worked as pastor at two Copenhagen churches. In 1708–9 he accompanied King Frederik IV to Italy as chaplain. Brink's musical collection reflects his religious vocation, his travels to England, Italy and Germany, and especially his fondness for solo song of any description. He penned the texts of several devotional songs, and the ensemble music in his possession hints at his participation in social music-making. The breadth and connoisseurship displayed by his collection reinforces a growing perception that Danish musical culture in the early eighteenth century was less provincial than previously believed.

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Tilley, Janette. "LEARNING FROM LAZARUS: THE SEVENTEENTH-CENTURY LUTHERAN ART OF DYING." Early Music History 28 (August 24, 2009): 139–84. http://dx.doi.org/10.1017/s0261127909000345.

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The story of the Rich Man and Lazarus is the foundation upon which German composers of the seventeenth century experimented with longer musical forms. Composers interpolate new poetic material to a higher degree than with any other scriptural story, apart from the Passion. Additions to the story range from simple funeral songs for Lazarus to elaborate contrapuntal drinking songs for the Rich Man and his five brothers. We would expect the meaning imposed on the story in musical settings to be in line with local theology and exegesis. However, a close look at musical settings reveals how much they diverge from common theological explications. Onto the story of poverty, wealth, mercy and the fate of the soul are welded other topoi of Lutheran theology, including vanitas, penitence and the art of dying (Sterbekunst or ars moriendi), which effectively reinterpret the story in a direction not typically undertaken by writers of sermons and devotional volumes.

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Macchiarella, Ignazio, and Roberto Milleddu. "“Bella festa si fa ncelu”: Jesuits and Musical Traditions in the Heart of the Mediterranean." Journal of Jesuit Studies 3, no. 3 (June 8, 2016): 415–36. http://dx.doi.org/10.1163/22141332-00303009.

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Still today, in Sicily, Sardinia, and Corsica, the three main islands of the western Mediterranean, there is a great flourishing of orally transmitted devotional songs which can be traced back to the acculturation processes brought about by Jesuit missionaries in the early modern era. Adopting an ethnomusicological approach, our essay focuses on some significant case studies, aiming to contribute to the discussion about Jesuits and music both in a contemporary and in a historical perspective. On the one hand, we observe the special consideration given today to some widespread popular religious songs that are commonly regarded as “historical Jesuit heritage.” On the other hand, we investigate historical sources, looking for traces of past music practices and hints about the relationships between Jesuit missionaries and traditional musicians. Rather than provide definitive answers, our purpose is to raise questions about the inherent complexity of the interpretation of past musical practices, and about the thought-provoking interconnections between these practices and the variegated music scenarios of the present day.

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van der Linden, Bob. "Songs to the Jinas and of the Gurus: historical comparisons between Jain and Sikh devotional music." Sikh Formations 15, no. 1-2 (January 11, 2019): 230–45. http://dx.doi.org/10.1080/17448727.2019.1565304.

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Rosowsky, Andrey. "Globalisation, the practice of devotional songs and poems and the linguistic repertoires of young British Muslims." Culture and Religion 19, no. 1 (December 26, 2017): 90–112. http://dx.doi.org/10.1080/14755610.2017.1416645.

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DeNapoli, Antoinette Elizabeth. ""Write the Text Letter-by-Letter in the Heart"." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 1 (June 5, 2010): 3–40. http://dx.doi.org/10.1558/post.v4i1.3.

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The performance of the Rāmāyan, a popular, medieval Hindi text composed by the Indian poet/saint Tulsidas, constitutes an important genre in the “rhetoric of renunciation” for female Hindu ascetics (sādhus) in Rajasthan. It is used by them, along with the singing of devotional songs (bhajans) and the telling of religious stories (kahānī), as integral to their daily practice of asceticism. This essay examines the performance and textual strategies by which non- and semi-literate female sādhus create themselves as “scriptural”—how they perform a relationship with the literate textual tradition of the Tulsi Rāmāyan—and thus engender female religious authority in the male-dominated institution of renunciation, in which men are often considered by Indian society as “the” experts in sacred texts. For these female sādhus, Rāmāyan performance functions as a rhetorical strategy with which they construct their tradition of devotional asceticism as a non-orthodox and vernacular alternative to the dominant (and orthodox) Sanskritic textual model of Brahmanical asceticism. The sādhus’ identification of Rāmāyan expressive traditions with Tulsidas’ written text contributes a new perspective on the concept of scripture, and their textual practices provide an alternative model of scripturality to current analytical models which equate it with individuals’ engagement with the written sacred text.

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Hatcher, Brian A. "Songs of Ecstasy: Tantric and Devotional Songs from Colonial Bengal. By Hugh B. Urban. Oxford: Oxford University Press, 2001. 187 pp. $45.00 (cloth); $19.95 (paper)." Journal of Asian Studies 62, no. 4 (November 2003): 1305–7. http://dx.doi.org/10.2307/3591826.

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Smits. "Practice, Process, and Performance: Shaping a Devotional Habitus in the Margins of Bernard of Clairvaux's Sermons on the Song of Songs." Journal of Medieval Religious Cultures 47, no. 1 (2021): 1. http://dx.doi.org/10.5325/jmedirelicult.47.1.0001.

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R, Veerapathiran. "Insights on Romantic Medieval Literature." Indian Journal of Multilingual Research and Development 1, no. 1 (January 12, 2021): 27–33. http://dx.doi.org/10.34256/ijmrd2014.

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Literature (Tholkapiyar) originated under the name of love, as later epistemological grammars expanded on the levels of theft and chastity found in the Tholkapiyar period. In Sangam literature, the human love was sung over the leader and gradually became the divine love in the devotional literature and later turned into human love again in the cynical period. Romantic Medieval Literature were created in defiance of the notion that the leader should not be named in the songs, and that the hunting action was based on the side. It was a combination of love and heroism. Although Romantic Medieval Literature have declined due to the inability of later poets to combine love and heroism, romantic medieval literature has become an excellent literature in terms of subject matter and content analysis.

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Das, Basudevlal. "Maithili in Medieval Nepal : A Historical Apprisal." Academic Voices: A Multidisciplinary Journal 3 (March 9, 2014): 1–3. http://dx.doi.org/10.3126/av.v3i1.9704.

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Nepal is a multi-linguistic nation. Maithili is one of the major languages of Nepal. This is spoken as a mother-tongue in eastern Tarai of Nepal. Historically speaking, the development of Maithili language took place in medieval period, where the two dynasties i.e. the Karnatas of Mithila and the Senas of Makawanpur had played major roles. Maithili expanded towards Kathmandu valley also. There are many manuscripts written in Maithili preserved in National Archive, Kathmandu. Even now, in the devotional songs sang by the aged persons in Kathmandu valley, there are many Maithili words found. Describing the importance of Maithili language in medieval period, this article may be a historical background for the people engaged in policy making and the language movement. Academic Voices, Vol. 3, No. 1, 2013, Pages 1-3 DOI: http://dx.doi.org/10.3126/av.v3i1.9704

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Ramzy, Carolyn M. "SINGING HEAVEN ON EARTH: COPTIC COUNTERPUBLICS AND POPULAR SONG AT EGYPTIANMŪLIDFESTIVALS." International Journal of Middle East Studies 49, no. 3 (July 26, 2017): 375–94. http://dx.doi.org/10.1017/s0020743817000290.

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AbstractThis article explores the performative politics of devotional soundscapes at Coptic Christianmūlidfestivals. Echoing the state's reformist efforts in the 1990s to transform Muslim saint festivals into utilitarian spaces and their goers into “modern” Egyptian citizens, today the Coptic Church works to refashion these popular festivals from places of debauchery into morally productive spaces. Aided by affluent Cairene-based volunteers, church choirs travel from Cairo's poshest neighborhoods to these festivals to actively sing, disseminate, and teach popular religious songs (taratīl) in an effort to develop poorer Christian pilgrims into modern, pious, and more audible “citizens of heaven.” Through the analysis of one church choir'staratīlministry at themūlid, I illustrate how middle-class spiritual volunteers disrupt and, at times, reinscribe the Coptic Church's disciplinary efforts on the festival's poorer pilgrims, particularly as they look to modernize popular festivity into grounds of Christian ethical transformation.

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Aikin, Judith P. "DEVOTIONAL SONGS AS EVIDENCE OF A WOMEN'S FRIENDSHIP: MAGDALENA SIBYLLA OF WÜRTTEMBERG-STUTTGART AND AEMILIA JULIANA OF SCHWARZBURG-RUDOLSTADT." German Life and Letters 67, no. 4 (September 24, 2014): 496–511. http://dx.doi.org/10.1111/glal.12056.

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Witalisz, Władysław. "“I cluppe and I cusse as I wood wore”: Erotic Imagery in Middle English Mystical Writings." Text Matters, no. 3 (November 1, 2013): 58–70. http://dx.doi.org/10.2478/texmat-2013-0026.

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The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined as the Bride of the poem, whose “breasts are like two young roes that are twins” (Cant. of Cant. 4:5). Glimpses of medieval female erotic imagination, also employed to express religious meanings, can be found in the writings of the mystical tradition: in England in the books of visions of Margery Kempe, in the anonymous seers of the fourteenth century, and, to some extent, in Julian of Norwich. Though subdued by patriarchal politics and edited by male amanuenses, the female voice can still be heard in the extant texts as it speaks of mystical experience by reference to bodily, somatic and, sometimes, erotic sensations in a manner different from the sensual implications found in the poetry of Marian adoration. The bliss of mystic elation, the ultimate union with God, is, in at least one mystical text, confidently metaphorized as an ecstatic, physical union with the human figure of Christ hanging on the cross.

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Murphy, Emilie K. M. "Music and Catholic culture in post-Reformation Lancashire: piety, protest, and conversion." British Catholic History 32, no. 4 (September 11, 2015): 492–525. http://dx.doi.org/10.1017/bch.2015.18.

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AbstractThis essay adds to our existing understanding of what it meant to be a member of the English Catholic community during the late Elizabeth and early Stuart period by exploring Catholic musical culture in Lancashire. This was a uniquely Catholic village, which, like the majority of villages, towns and cities in early modern England, was filled with the singing of ballads. Ballads have almost exclusively been treated in scholarship as a ‘Protestant’ phenomenon and the ‘godly ballad’ associated with the very fabric of a distinctively Protestant Elizabethan and Stuart entertainment culture. By investigating the songs and ballads in two manuscript collections from the Catholic network surrounding the Blundell family this essay will show how Catholics both composed and ‘converted’ existing ballads to voice social, devotional, and political concerns. The ballads performed in Little Crosby highlight a vibrant Catholic community, where musical expression was fundamental. Performance widened the parochial religious divide, whilst enhancing Catholic integration. This essay uncovers the way Catholics used music to voice religious and exhort protest as much as prayer. Finally, by investigating the tunes and melodies preserved in the manuscripts, I demonstrate how priests serving this network used ballads as part of their missionary strategy.

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Oza, Preeti. "History of Protest Literature in India: Trails from the Bhakti Literature." International Journal of Interreligious and Intercultural Studies 3, no. 2 (December 3, 2020): 38–49. http://dx.doi.org/10.32795/ijiis.vol3.iss2.2020.711.

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Abstract: “Better is to live one day virtuous and meditative than to live a hundred years immoral and uncontrolled” (The Buddha) Bhakti movement in India has been a path-breaking phenomenon that provided a solid shape and an identifiable face to the abstractions with the help of vernacular language. As a religious movement, it emphasized a strong personal and emotional bond between devotees and a personal God. It has come from the Sanskrit word Bhaj- ‘to share’. It began as a tradition of devotional songs, hagiographical or philosophical – religious texts which have generated a common ground for people of all the sects in the society to come together. As counterculture, it embraced into its fold all sections of people breaking the barriers of caste, class, community, and gender. It added an inclusive dimension to the hitherto privileged, exclusivist, Upanishadic tradition. It has provided a very critical outlook on contemporary Brahminical orthodoxy and played a crucial role in the emergence of modern poetry in India. This paper elaborates on the positioning of the Bhakti Movement in the context of Protest narratives in India.

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Hellemans, Babette S. "Abelard’s Rib: Dialectics of a Twelfth-Century Monastic Marriage and the Historical Epistemology of Spirituality." Journal of Religion in Europe 6, no. 1 (2013): 64–89. http://dx.doi.org/10.1163/18748929-00601005.

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This article proposes to describe the oxymoronic aspect of twelfth-century ascetic life, as it is couched in the semantics of marital ‘love-talk.’ By extending Christian asceticism to the field of marital semantics, I hope to come closer to a more intellectual kind of spirituality, situated in the philosophical discourse of the ars dialectica. While it is commonplace to state that affective speech in the twelfth century is a constitutive element of Western ‘spirituality’—up to the point that this period is sometimes credited with being the founder of an individual love-talk—the nature of a ‘matrimonial’ love-speech firmly located within monastic walls is far from self-evident. Furthermore, there is the issue of physical desire in both Christian worship (hymns, liturgy) and reflective, religious language. This ‘incarnation’ of love inside the history of Christianity was coined by the twelfth-century reformer and intellectual Bernard of Clairvaux in the most tangible terms possible, especially in his Sermons on the Song of Songs and in his devotional texts on Mary. However, it is not a broad claim with regard to the status of ‘spirituality’ within history that dominates the present article. If anything, this contribution could be characterized as exploring the opposite of the common semantics of spirituality: the argumentative and dialectical speech on the one hand and the fragility of poetry on the other, glooming beneath the surface of a meandering Christian tradition. My analysis of the work of Peter Abelard (1079–1142)—a fierce opponent of Bernard—will demonstrate a rather radical view of ‘spirituality’ as a sometimes veiled (integementum) and sometimes shattered specimen of medieval love-talk.

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MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (May 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.

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Raeside, I. M. P. "Devotional songs of Narsī Mehtā. Translated by Swami Mahadevananda with an introdution by Sivapriyananda. pp. vi, 146, front., 4 pl. Delhi etc., Motilal Banarsidass, 1985. Rs. 80." Journal of the Royal Asiatic Society of Great Britain & Ireland 120, no. 1 (January 1988): 217–18. http://dx.doi.org/10.1017/s0035869x00164640.

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Fine, Abigail. "Beethoven's Mask and the Physiognomy of Late Style." 19th-Century Music 43, no. 3 (2020): 143–69. http://dx.doi.org/10.1525/ncm.2020.43.3.143.

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This article shows how discourse on Beethoven's late works has been underpinned by material fascination with the composer's body, most apparent in the cult veneration of his dying face, which was commodified in the form of his mask. From 1890 to 1920 in Germany and Austria, Beethoven's mask became a ubiquitous item of decor for the music room, a devotional object linked with the face of Christ in the popular imagination. This mislabeled “death” mask was cast during Beethoven's lifetime, a stoic visage that put a face to the legend: that is, to the legendary 1868 account by Anselm Hüttenbrenner that recounted Beethoven's death as a heroic battle with the storm clouds. Two conflicting physiognomies—the stubborn Napoleonic commander and the suffering Christ-like redeemer—led to a critical divide that saw late works as either transcendent of, or marred by, suffering. When we unmask a prehistory of late style, we see how modern discourse on lateness still orbits around this tension between the spiritual and material, between transcendence and decay, and how this critical tradition crystallized around Theodor W. Adorno's stark resistance to the transcendent deathbed that was epitomized by the writings of Ludwig Nohl. Lateness, then, has a hidden backbone in a popular fascination with the artist's body. This same fascination led many to imagine Beethoven's final compositions as almost tangible traces of his person, hearing his late Adagios as “grave-songs,” as the composer's dying voice.

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Young, Frances. "Sexuality and Devotion: Mystical Readings of the Song of Songs." Theology & Sexuality 2001, no. 14 (January 2001): 80–96. http://dx.doi.org/10.1177/135583580100701407.

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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (January 29, 2019): 85. http://dx.doi.org/10.3390/rel10020085.

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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.

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Orehovs, Ivars. "Liepājai – veltījuma dzejas / dziesmu piemēri mūsdienās un 19. gadsimta baltvācu literārajā mantojumā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 5, 2020): 26–34. http://dx.doi.org/10.37384/aplkp.2020.25.026.

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In a literary heritage with a developed tradition of genres, works whose main purpose is to attract the attention of readers to a selected geographical location, are of particular culture-historical and culture-geographical interest. The most widespread in this respect is travel literature, which is usually written by travellers and consist of impressions portrayed in prose after visits to foreign lands. Another type of literary depiction with an expressed poetic orientation, but a similar goal, is characteristic of dedicatory poetry. The author’s position is usually saturated with emotional expressiveness as well as the artistry of symbols, encouraging the reader or listener to feel the formation of a spontaneous attitude. It is possible to gain confidence in the engagement of the author of the poetry as an individual in the depicted cultural-geographical environment, which can be conceptually expressed by words or pairs of words ‘resident’, ‘native place’, ‘patriot’. With regard to the devotional depictions on the Latvian urban environment, one of the earliest examples known in the history of literature is the dedicatory poem in German by Christian Bornmann to the town Jelgava with its ancient name (Mitau, 1686/1802). The name of Liepāja town in this tradition of the genre has become an embodiment later – in the poetry selection in German, also using the ancient name of the town (Libausche Dichtungen, 1853), but in terms of contemporary literary practice with Imants Kalniņš’ music, there is a convincing dominance of songs with words of poetry. The aim of the article is, looking at the poetry devoted to Liepāja in the 19th century and at the turn of the 20th/21st century in the comparative aspect, to present textually thematic peculiarities as well as to provide the analytical interpretative summary of those.

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Entwistle, Alan W., Winand M. Callewaert, Bart Op de Beeck, Dādū, Kabīr, Nāmdev, Raidās, et al. "Devotional Hindī Literature: A Critical Edition of the Pañc-Vāṇī or Five Works of Dādū, Kabīr, Nāmdev, Raidās, Hardās with the Hindī Songs of Gorakhnāth and Sundardās, and a Complete Word-Index." Journal of the American Oriental Society 113, no. 4 (October 1993): 609. http://dx.doi.org/10.2307/605800.

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TAYLOR, KATHLEEN. "HUGH B. URBAN: Songs of Ecstasy: Tantric and Devotional Songs from Colonial Bengal. xi, 187 pp. New York: Oxford University Press, 2001. £35. HUGH B. URBAN: The Economics of Ecstasy: Tantra, Secrecy and Power in Colonial Bengal. xvii, 286 pp. New York: Oxford University Press, 2001. £45." Bulletin of the School of Oriental and African Studies 67, no. 2 (June 2004): 258–60. http://dx.doi.org/10.1017/s0041977x0438016x.

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Kripal, Jeffrey J. "The Economics of Ecstasy: Tantra, Secrecy, and Power in Colonial Bengal. By Hugh B. Urban. New York: Oxford University Press, 2001. Pp. 304. $55.00.Songs of Ecstasy: Tantric and Devotional Songs from Colonial Bengal. By Hugh B. Urban. New York: Oxford University Press, 2001. Pp. xi+187. $19.95." History of Religions 43, no. 1 (August 2003): 74–77. http://dx.doi.org/10.1086/381330.

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M, Devi, and Balasubramaniyan S. "The work and life of Namakkal Kavignar Ramalingam through my story book." International Research Journal of Tamil 3, no. 4 (September 11, 2021): 50–57. http://dx.doi.org/10.34256/irjt2147.

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Various types of literature in Tamil have appeared and developed over time. Literature refines our lives. The literature that appeared in each period is able to reveal the living environment of the people of the respective period. Sangam Literature, Sangam Forgotten Literature, Devotional Literature, Folk Literature, Short Story, Novel, Renewal Poetry, Drama, Prose Literature. In this order his historical literature appears and develops. Her history is a collection of events that took place in a person's life. Traces of his historical literature can be found in the Sangam literature. When he and his friend Kopperuncholan, who was dying in the north, went to die in the north, many witnesses there asked why he had not lost his hair for so long. He has the best character wife in life, and people. He says that the Evelars who do not say what he thinks, and that the king is a good protector. And in our town live many learned, virtuous, well-meaning people with goals and principles. So I don't care. So he says I don't have gray hair. Through this, the news about Pichirantaiyar, his hometown, the witnesses in Avur, the people, the king and the evildoer are revealed. And he records through his songs that he lived a quiet contented life without any problems or interruptions. The above biographical notes are able to know the capital of his historical literature. Autobiography is written by a wide variety of writers, political leaders, scholars, and writers from all walks of life. One of the most significant of these biographies is considered to be that of the poet Ramalingam Pillai. The poet Ramalingam of this book is not only talking about the child's own life. Rather it speaks to the community as well. Because the poet Ramalingam Pillai has expressed in his works that he loved this community and what he experienced in his life. In particular, many of the events under the headings of Prayer, Thirukkural Pride, Gandhi, Nattukkummi, Feminism, Bharathidarshanam can be traced back to his works.

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Fulton, Rachel. "Mimetic Devotion, Marian Exegesis and the Historical Sense of the Song of Songs." Viator 27 (January 1996): 85–116. http://dx.doi.org/10.1484/j.viator.2.301123.

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Setia Sari, Winda. "Stepping Out of The Cultural Identity: A Critical Analysis of Cathy Song’s Memory Poetry." International Journal of Culture and Art Studies 2, no. 1 (April 30, 2019): 54–59. http://dx.doi.org/10.32734/ijcas.v2i1.948.

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Cathy Song, a Chinese-Korean ancestry woman poet, grew up in Hawaii, America. In “What Belongs to You”, a poem taken from her second poetry publication, she chronicles the memory of a child who is trapped between her dream and devotion. The theme of the poem is portrayed in a strong poetic devices. The poems lean in vivid visual imageries to evoke to the poet’s life memory. The speaker of What Belongs to You dreams of having the freedom and attempts to escape from her parental tie. Ironically, she finds herself devote to her family and tradition. The poems use past materials ranging from domestic domain and landscape which define the speaker’s personal memory. Comparing than Cathy’s Song first poetry publication, arguably, the cultural materials in the poem cannot be traced through Song’s poetic devices as an ethnic woman poet. In fact, song locates the dream and devotion in visual imageries and nostalgic tones in a general way. This is true; Song has denied herself as a cultural visionary. Song merely mines the memory from the point of view and identity of a woman, leaving her cultural traits behind.

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Aikin, Judith P. "PRIVATE PIETY IN SEVENTEENTH-CENTURY GERMANY AND THE DEVOTIONAL COMPILATIONS OF CASPAR STIELER." Daphnis 29, no. 1-2 (March 30, 2000): 221–79. http://dx.doi.org/10.1163/18796583-90000707.

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Caspar Stieler (1632-1707), chiefly known today as the author of erotic love song texts and melodies, serio-comic musical dramas, a treatise of journalism , and his ground-breaking dictionary, also wrote devotional texts and published compilations of prayers together with devotional song texts and their melodies that combined his own creations with those of other authors of Evangelical Lutheran Germany. His four surviving compilations (and their various later editions) are discussed in the context of treatment of the religious practices of the times, especially private and domestic devotional exercises. In addition, the study places the compilations in the spiritual movements with which Stieler became involved in the period from around 1665 through 1686, and in particular examines the evidence in these collections of his relationship with Ahasverus Fritsch, an early proponent of Philipp Jakob Spener's Pietism. This study of the devotional handbooks also relates them to Stieler's life, to his other publication activities, and to his life-long involvement with vocal music as composer and as poet of texts designed to be set to music.

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Hart, George L., and Norman Cutler. "Songs of Experience: The Poetics of Tamil Devotion." Journal of the American Oriental Society 112, no. 3 (July 1992): 514. http://dx.doi.org/10.2307/603107.

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&, Milton; quot, Mickey& quot, Eder, and Norman Cutler. "Songs of Experience: The Poetics of Tamil Devotion." Pacific Affairs 60, no. 4 (1987): 696. http://dx.doi.org/10.2307/2759219.

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Journal articles on the topic 'Devotional songs'

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