Relevant bibliographies by topics / Easter hymns

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

Academic literature on the topic 'Easter hymns'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Easter hymns"

1

Balslev-Clausen, Peter. "Easter flower! what would you here?" Grundtvig-Studier 65, no. 1 (May 29, 2015): 201–4. http://dx.doi.org/10.7146/grs.v65i1.20953.

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Easter flower! what would you here? Anthology of songs and hymns by N.F.S.Grundtvig. Translated into English by John Irons, Selected and editedAnne-Marie Mai & Jørn Henrik Petersen, Odense, Syddansk Universitetsforlag,2013. 83 pp.
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Holm, Jette. "Salmen at sige Verden ret Farvel - belyst ved Grundtvigs samtidige prædikener." Grundtvig-Studier 48, no. 1 (January 1, 1997): 148–84. http://dx.doi.org/10.7146/grs.v48i1.16249.

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The Hymn To Say the World a Right Farewell - in the Light of Grundtvig 's Contemporary SermonsBy Jette HolmGrundtvig wrote the hymn At sige verden ret farvel (To Say the World a Right Farewell) for himself.The first 5 stanzas and the final stanza were composed in Easter 1843 (2 drafts). Stanzas 6-8 were added around Advent 1844.In Easter 1843 Grundtvig felt immensely moved by the sound of His voice saying: I am the resurrection and the life: he that believeth in me, though he were dead, yet shall he live; And whosoeverr liveth and believeth in me shall never die (John 11). The sermon on Easter morning ends by quoting 2 stanzas and the final stanza of the hymn To say the World a Right Farewell. The version of these three stanzas varies slightly compared with Grundtvig’s hymn manuscript and has not previously been known to Grundtvig scholars.It is argued that Grundtvig probably composes the two new stanzas in connection with his sermons for Easter Sunday and Easter Monday, and these sermons help to throw light on the content of the hymn.In the spring of 1843 Grundtvig is preparing a hymn book supplement: Psalm-Leaves for Church-Use (or Unprinted Psalm Leaves) in reply to Mynster’s A Proposal for a Supplement to the Evangelical-Christian Hymn Book, 1843. The issue of the hymns takes a new turn when the Clerical Conference of Copenhagen sets up a committee in February-March 1844 with Grundtvig as a member. The task of the committee is to attempt to put together a new hymn book to replace the Evangelical-Christian Hymn Book. In the spring of 1844 Grundtvig is ill and in a deep crisis; but in the autumn of 1844 he begins work in the committee. When Mynster criticizes the work on a complete hymn book, Grundtvig decides to edit his Unprinted Psalm Leaves. The first two sheets of Printed Psalm Leaves have left the printers in November 1844, but the Hymn Committee persuades Grundtvig to have the supplement published as a specimen copy: Church Hymns Published on Trial by the Hymn Committee of the Clerical Conference of Copenhagen, January 1845.In the specimen copy the hymn To say the World a Right Farewell has 3 stanzas added to it. These stanzas reflect Grundtvig’s crisis in the spring of 1844. The content of the new or altered stanzas of the hymn is discussed and elucidated through Grundtvig’s contemporary sermons.In the autumn of 1844 Grundtvig often preaches about faith, hope and charity. As Christianity is always and everywhere three-fold, embracing faith, hope and charity, so is Grundtvig’s own hymn, too. With a certain caution it may be said that the three stages in the development of the hymn correspond to faith, hope and charity: the two first drafts corresponding to faith and hope, and the third in 1844 to charity.
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Thodberg, Christian. "Grundtvigs krise i foråret 1844. Forholdet mellem prædiken og salme med henblik på “Sov sødt, Barnlille”." Grundtvig-Studier 56, no. 1 (January 1, 2005): 38–67. http://dx.doi.org/10.7146/grs.v56i1.16469.

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Grundtvigs krise i foråret 1844: Forholdet mellem prædiken og salme med henblik pa “Sov sodt barnlille ”[Grundtvig’s crisis in Spring 1844: The Relationship between sermon and hymn with reference to “Sov sodt barnlille ” ( “Sleep sweet, my baby) ”]By Chr. ThodbergIn Spring 1844 Gr was struck down by depression associated with an attack of mumps [parotitis epidemica] which in its final phase developed into inflammation of the brain. His handwriting became small and frail. In the period towards Easter, a number of his sermons were taken on in turn by friends and followers, and the illness reached its peak in the weeks following Easter, and elicited an unreasonable criticism from Bishop J. P. Mynster, who accused Gr of dereliction of duty because he had difficulty in keeping up with his services. Gr’s debilitation culminates in a deep spiritual crisis on the Third Sunday after Easter. The words of Jesus, that in “a little while” he will leave the disciples and in “a little while” will see them again (John 16,16) Gr made into his own words: he was going to die and was now being laid in the bosom of God and the congregation and he would first meet again in God’s kingdom. And three days later he took his leave of the congregation in the form of a sermon in which he summed up his Christian endeavours as his last word and testament. On 3 May he set off with the family on a convalescence-visit to various clerical friends, and during this period almost the whole of “Sov sødt, barnlille” was written, verse by verse, in a fascinating process. His sermon of the Third Sunday after Easter had already set the tone and reinforced a particular context in the baptismal ritual which Gr used, namely the transition from the Gospel-reading concerning Jesus and the little children (Mark 10,13-16) and its conclusion (“And he took them up in his arms, put [his] hands upon them, and blessed them”) on the one side, and, on the other side, the priest’s laying on of hands with the Lord’s Prayer - in combination, an expression of consolation in the midst of assailing doubt and fear of death. Within the same period of time, the hymn became known to Gr’s followers and was construed and taken to heart as the most popular of evening hymns.
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Korshunova, Evgeniya A. "S.N. Durylin’s Easter story “On someone else's grave”: genre update." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2021): 82–86. http://dx.doi.org/10.20339/phs.3-21.082.

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The article explores poetics of the unpublished Easter story by S.N. Durylin “On an unrelated grave” (1922). The story is important mainly because the author manages to renew the genre not only by returning to the original spiritual meanings, but also presenting the unique ontological project. Taking into account the experience of the predecessors-classics, first of all, A.P. Chekhov and his story “Holy night” (1886), the writer expands possibilities of the biblical subtext by creating an intertextual evangelical plot that unfolds in parallel with the main one. Using modernist experience of L.N. Andreev and M. Gorky, the symbolist writers, Durylin disputes it, disagreeing with travesty and fantastic versions of the interpretation of Easter story. The author depicts the plot of the resurrection of the soul of the main character Andrei Omutov, who, experiencing the tragic death of his mother, thinks about eternity for the first time. The author’s ontological concept, affirming infinity and the absence of boundaries, is expressed by the special construction of the temporal triad “past — present — future”. The idea of transcendental reality, suggesting Absolute, is formed by alternating passages in present and future tense: these are descriptions of mother’ existence and church hymns quotations. In the past tense, the story of hero’s childhood and his mother’s death are given. The spiritual path to the eternal “to be” represents the inner plot of this story. The milestones of this plot are intertextually indicated by Easter exapostillarium, which is quoted three times: in the epigraph, at the time when it sounds at Easter services and, finally, on a grave of a stranger during matin service, conducted by Father Alexander, when the hero’s spiritual resurrection occurs.
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Zharkova, Valeriya, Tymur Ivannikov, Tetiana Filatova, Oleksandr Zharkov, and Olena Antonova. "Choral Music by Samuel Barber: Genre and Style Aspects." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 63–77. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.05.

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"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. "
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TUCĂ, Nicuşor. "KENOTIC THEOLOGY IN THE EASTERN CHURCH HYMNS." Icoana Credintei 7, no. 14 (June 6, 2021): 13–19. http://dx.doi.org/10.26520/icoana.2021.14.7.13-19.

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The hypostatic or personal union (enosis ipostatiki) is the wreath and the bond between man and God. The consequences of the hypostatic union form the object of most of the hymns from the cultic treasure of the Eastern Church. The theandric person of our Saviour Jesus Christ is intrinsically present under one form or the other in all the hymns of our Church. Kenosis represents one of the consequences of the hypostatic union and a profound expression of God’s supreme love for mankind. The Orthodox teaching - both in dogma and in divine service - is against a radical kenosis that would nullify the sense of Jesus’ Embodiment as overflowing of the divine energies in the world and in mankind.
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Holt, Else Kragelund. "Stat op i Gry, min Gud! Tre gammeltestamentlige salmer, gendigtet af Grundtvig." Grundtvig-Studier 47, no. 1 (January 1, 1996): 77–96. http://dx.doi.org/10.7146/grs.v47i1.16226.

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Grundtvig 's version of Three Old Testament HymnsBy Else Kragelund HoltThe article seeks to demonstrate the significance of Grundtvig’s interpretative use of the old Testament in Sangværk /. The methodological inspiration for the study is not to be found in the ongoing Grundtvig research, but in Old Testament exegesis, especially in the shape of Tradition History and Wirkungsgeschickte.The questions raised are not primarily why Grundtvig did so and so with his Old Testament Vorlage, but rather what he did with it. The material of the investigation is three hymns from the Easter part of the Sangværk. According to Grundtvig, SV #206, / de gyldne Himmel-Sale (»In the Golden Halls of Heaven«), was written »after the 16th Psalm of David«. On the basis of its form, this psalm should be designated as a psalm of confidence, i.e. a psalm expressing trust in the Lord’s will to take care of those faithful to him, while life will be burdensome to the godless. The Psalmist presents himself as a man obedient to God (v.2), a man who knows that the Lord has given him counsel (v.7), and that He will not let him meet an untimely death (v. 10). One might expect Grundtvig to use Ps 16 as an expression of the Christian’s joy of life, but this is not what he does. Presumably inspired by Christian Vi’s Danish Bible, he reproduces Ps 16 as a heavenly dialogue between the Father and the Son. The Father consults the Son about how mankind can be delivered. Whereas Ps 16 depicts God as the support of man, Grundtvig uses the words of the psalm as a prediction of Christ supporting the Father’s plan of deliverance. In stanza six the speaker changes: Jesus praises the Father for the help that He will show him, when He is to fight Death. Ps 16, 9-10 becomes a prediction of Jesus’ victory over Death, and Ps 16, 11, correspondingly, a prediction of the Ascension. Grundtvig uses Ps 16 »prophetically«, reinterpreting the Old Testament motif of the guidance of the Lord in a different context. Where Ps 16 has an earthly orientation, the perspective of the reproduction becomes cosmic - and, one might add, part of the Easter service in church.SV #207 - O min Gud, min Gud og Fader! (»Oh, My God, My God and Father!«) is said to be »the 22nd Psalm of David, freely translated«. This is the psalm which opens with Jesus’ last words from the Cross: My God, my God, why hast thou forsaken me? The Old Testament psalm is a personal lament. Vv. 2-22a describe the despair of one, abandoned by God and community, vv. 22b-31 are the praise of a man whose cries have been heard.Grundtvig does not overtly take up the theme of the Passion. Rather he reproduces the psalm very closely, as if to make it usable as a hymn for the Danish church. Nevertheless, a personal adaptation is detectable. First, the hymn talks to God as a father - a divine metaphor, which is not used in the Book of Psalms at all. Here the words from the Cross are traceable. Another vestige of the Passion can be found in the beginning of the hymn, where the poet asks »my God and Father« to »stay with me now«. It seems as if the worshipper has not yet been abandoned, but that he knows that he will be, like Jesus in Gethsemane. Finally, Grundtvig identifies the enemy from whom the worshipper asks to be saved, as Death.In SV #209 - Stat op i Gry, min Gud! stat op! (.Arise at Dawn! My God, Arise.) Grundtvig again translates the Old Testament psalm very closely. PS 68 is a rather martial psalm of thanksgiving for a royal victory, and Grundtvig uses it to portray the victorious resurrection of Christ. Literally between the lines, Grundtvig puts christological interpretations, using allusions to Christmas for instance, and to the Word that bears a giant’s strength. In stanza four Grundtvig changes the reference of the Old Testament psalm to the Wanderings in the Wilderness as a metaphor of fertility and creation (vv. 8-9), using, instead, the stream rising in Eden (Gen 2,4) which he interprets as baptism.What can be concluded is that Grundtvig at the same time re-writes and reinterprets the Old Testament poetry more or less in the tradition of how the Old Testament was re-interpreted in the New.
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Wallace, James Buchanan. "Called to the Third Heaven: 2 Corinthians 11:21–12:9 in the Eastern Orthodox Liturgical Tradition." Journal of Theological Interpretation 6, no. 2 (2012): 179–99. http://dx.doi.org/10.2307/26421411.

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Abstract In Russian and Greek Orthodox churches, 2 Cor 11:21–12:9 serves as a lectionary reading for the Divine Liturgy on the Feast of Sts. Peter and Paul, and 2 Cor 11:30–12:9 is read again on the 19th Sunday after Pentecost. These lectionary readings suggest the importance of this passage for the Eastern Orthodox Church's construal of Paul. 2 Corinthians 11:21–12:9 tells of Paul's suffering, his flight from Damascus, his ascent to the third heaven and paradise, as well as his reception of a thorn in the flesh. This essay explores the use of this passage in the hymns of the Orthodox liturgy. References to the passage, especially Paul's ascent to heaven where he heard "ineffable words" (12:4), feature prominently in hymns for the Feast of Sts. Peter and Paul and the Feast of the Synaxis of the Apostles. Moreover, allusions also occur in hymns for the Exaltation of the Cross and the Feast of St. Andrew the Fool. The essay explores the theological interpretations implied by these hymns, and it traces the rich and often multifaceted traditions of interpretation that inform the language of the hymns. Modern scholars frequently detect a polemic against ecstatic experiences such as Paul's ascent in this portion of 2 Corinthians and thus view 2 Cor 12:1–4 as having limited theological value. The Orthodox tradition, by contrast, interprets the passage as revealing crucial aspects of Paul's theological vision. The essay concludes by suggesting ways this tradition of interpretation might transform contemporary reading of the passage, especially in the context of the church.
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Wallace, James Buchanan. "Called to the Third Heaven: 2 Corinthians 11:21–12:9 in the Eastern Orthodox Liturgical Tradition." Journal of Theological Interpretation 6, no. 2 (2012): 179–99. http://dx.doi.org/10.2307/jtheointe.6.2.0179.

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Abstract In Russian and Greek Orthodox churches, 2 Cor 11:21–12:9 serves as a lectionary reading for the Divine Liturgy on the Feast of Sts. Peter and Paul, and 2 Cor 11:30–12:9 is read again on the 19th Sunday after Pentecost. These lectionary readings suggest the importance of this passage for the Eastern Orthodox Church's construal of Paul. 2 Corinthians 11:21–12:9 tells of Paul's suffering, his flight from Damascus, his ascent to the third heaven and paradise, as well as his reception of a thorn in the flesh. This essay explores the use of this passage in the hymns of the Orthodox liturgy. References to the passage, especially Paul's ascent to heaven where he heard "ineffable words" (12:4), feature prominently in hymns for the Feast of Sts. Peter and Paul and the Feast of the Synaxis of the Apostles. Moreover, allusions also occur in hymns for the Exaltation of the Cross and the Feast of St. Andrew the Fool. The essay explores the theological interpretations implied by these hymns, and it traces the rich and often multifaceted traditions of interpretation that inform the language of the hymns. Modern scholars frequently detect a polemic against ecstatic experiences such as Paul's ascent in this portion of 2 Corinthians and thus view 2 Cor 12:1–4 as having limited theological value. The Orthodox tradition, by contrast, interprets the passage as revealing crucial aspects of Paul's theological vision. The essay concludes by suggesting ways this tradition of interpretation might transform contemporary reading of the passage, especially in the context of the church.
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Diaconu, George. "One of the First Liturgical Hymns of the Eastern and Western Christian Church: the Great Doxology – Gloria in excelsis Deo." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 313–35. http://dx.doi.org/10.1515/ress-2015-0027.

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Abstract The doxological character is one of the essential aspects of the Christian worship, taken from the Hebrew divine worship. Thus, the doxological character of many Christian prayers and liturgical hymns represents the foundation and at the same time the key which reveals and explains the theology of the Creation, its mystery and purpose. The role of the Creation is to praise the Creator, as invited conclusively by the last verse of the last canonical Psalm: ”Let everything that has breath praise the Lord!” (Ps. 150, 6). We will bring to the forefront of our debate the Great Doxology, one of the first liturgical hymns of the three basic doxological structures (the small, the great and the maximum doxologies) of the Eastern and Western Christian Church.
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Dissertations / Theses on the topic "Easter hymns"

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Fredin, Tuva. "Påskens psalmer : En studie av de fyra evangeliernas uttryck genom påskens psalmer i Svenska kyrkan." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-186757.

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The study consists of a survey in which church musicians answered questions about which hymns are played during the various gatherings of Easter in the Church of Sweden. Based on the Swedish Hymn Book, the answers to the questionnaire are presented and a selection of hymns is made for the study. The psalms are analyzed on the basis of a hermeneutic method and in the light of reception theory regarding the origin of the psalms through the narrative of the biblical gospels. The study compares the Bible reading that occurs during Easter gatherings in the Church of Sweden and the hymns that are sung. It describes whether these different texts are common to the psalms and the reading or whether they are independent of each other. Finally, what happens to the Gospel texts when they are converted into a psalm is discussed. What happens is that the whole of the Gospels is included and not just specific pericopes. The psalm does not reflect the feeling of what is happening in the reading of the gospel, but contributes with a completely different feeling. This means that the experience of the gospel narrative through the psalm becomes different from the gospel narrative through reading.
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Smith, Lynette Arlene. "Hannah's hymn an exercise in contemporary Orthodox hermeneutics /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p090-0336.

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Beal, John C. "An introduction to the musical octoechos of the Georgian Orthodox Church." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Pätzold, Alexandra. "Der Akathistos-Hymnos die Bilderzyklen in der byzantinischen Wandmalerei des 14. Jahrhunderts /." Stuttgart : F. Steiner Verlag Wiesbaden, 1989. http://catalog.hathitrust.org/api/volumes/oclc/20586117.html.

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Niousha, Eslahchi. "BEYOND THE WATER: HOW PRONUNCIATION AFFECTS MELODY IN THE ZOROASTRIAN HYMN " THE WATER'S BIRTHDAY" IN AHMAD-ABAD, IRAN." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1595845477078896.

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Brashier, Kenneth Edward. "Evoking the ancestor : the stele hymn of the Eastern Han Dynasty (25-220 C.E.)." Thesis, University of Cambridge, 1997. https://www.repository.cam.ac.uk/handle/1810/272286.

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Lippert, Jordan. "From Profane to Divine: The Hegemonic Appropriation of Pagan Imagery into Eastern Christian Hymnody." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/151.

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Spanning the first seven centuries of Christianity, this paper explores how Eastern Christian and Byzantine hymn chant was developed alongside pagan and Jewish worship traditions around the Near East. Comparison of hymns by Christian composers such as St. Romanos the Melodist and pagan poetry reveals many similarities in the types of metaphorical imagery used in both religious expressions. Common in Christian hymn texts, well-known metaphors, like the “Light of God,” are juxtaposed with pagan mythological gods, such as Apollo and Helios. This paper attempts to explain how and why Christians appropriated and adopted ancient pagan imagery into the burgeoning musical tradition of Christian hymn singing.
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Books on the topic "Easter hymns"

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Resch, Richard. Lent Easter. St. Louis, MO: CPH, 1999.

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1958-, Maule Graham, ed. The courage to say no: Twenty-three songs for Lent and Easter. Glasgow: Wild Goose Publications, 1996.

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Haroyan, Ṛudik. Zatik. Erevan: Hamazgayin Hay krtʻakan ev mshakutʻayin miutʻyun, 2008.

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Haroyan, Ṛudik. Zatik. Erevan: Hamazgayin Hay krtʻakan ev mshakutʻayin miutʻyun, 2008.

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Haroyan, Ṛudik. Zatik. Erevan: Hamazgayin Hay krtʻakan ev mshakutʻayin miutʻyun, 2008.

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J, Morgan Robert. Then sings my soul: 150 Christmas, Easter, and all-time favorite hymn stories. Nashville, TN: Thomas Nelson, 2005.

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Ephraem. Inni pasquali: Sugli azzimi, sulla crocifissione, sulla risurrezione. Milano: Paoline, 2001.

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Juliusz, Nowak-Dłużewski, and Korolko Mirosław, eds. Polskie pieśni wielkanocne: Średniowiecze i wiek XVI. Warszawa: Instytut Wydawniczy Pax, 2001.

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Albert-Zerlik, Annette. Wandlungen in Glaubensverständnis und Spiritualität?: Traditionelle und moderne Osterlieder im Vergleich. Tübingen: A. Francke, 2014.

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L'eccesso dell'amore: La Quaresima e la Settimana Santa a Licodia Eubea. Caltagirone (CT) [i.e. Catania, Italy): S. Di Pasquale, 2011.

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Book chapters on the topic "Easter hymns"

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Hong, Li-Xing. "Evangelization Through Religious Music and Hymns: China and Taiwan." In The Palgrave Handbook of the Catholic Church in East Asia, 1–28. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-9365-9_11-1.

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Ugolnik, Zachary. "The Reflexivity of Love in Fakhruddin ‘Iraqi’s Divine Flashes and St. Symeon the New Theologian’s Hymns of Divine Eros." In Love, Marriage and Family in Eastern Orthodox Perspective, edited by Theodore Grey Dedon and Sergey Trostyanskiy, 223–44. Piscataway, NJ, USA: Gorgias Press, 2016. http://dx.doi.org/10.31826/9781463237028-018.

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Chamroy, Pamyo. "Hau Laa and Hymn: Musicking Dynamics of the Hau-Tangkhuls." In Materiality and Visuality in North East India, 87–103. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1970-0_6.

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Kwon, Youngpa. "Music as a Bridge of Culture and Passageway of Faith: Evangelization Through Religious Music and Hymns in Korea." In The Palgrave Handbook of the Catholic Church in East Asia, 1–24. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-15-9365-9_24-1.

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Pozhidaeva, Galina A. "Attribution of Singing Schools of Moscow Rus’ by the Features of Musical Style." In Hermeneutics of Old Russian Literature. Issue 22, 529–60. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/horl.1607-6192-2023-22-529-560.

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The article examines the attribution of singing schools of Moscow Rus’ by the features of musical style. The regional attribution of works of literature and art used in literary criticism and art history according to stylistic features is also possible in musical medievalistics. The basis for this is the stylistic commonality of monastic schools of church singing — Northern and Central Russian — with the main singing schools, respectively, Novgorod and Moscow. Since Veliky Novgorod and Moscow, as major cultural centers, served the monasteries of the regions, singing culture of the parish churches of these centers could not be isolated from the monastic culture. Therefore, projection of the stylistic norms of monastic singing, more studied by the author, on the parish one makes it possible to reveal its belonging to Novgorod or Moscow school (while specific general monastic features are not considered). The analysis was carried out on the material of hymns: hymns of Dormition of the Theotokos and Easter of demetic chant and the stichira “Come, let us please Joseph” of the 5th and 8th voices of the znamenny chant. The results of analysis prove that Dormition’s hymn and stichira to the 8th voice belong to the Novgorod singing school, and the Easter-hymn of tune of Fyodor Krestyanin and stichira of the 5th voice belong to the Moscow singing school.
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Sudhalter, Richard M. "Adrian Rollini and the California Ramblers." In Lost Chords, 159–80. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195055856.003.0008.

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Abstract On Easter Sunday 1925, New York radio station WGBS serenaded listeners with a program of hymns, played by a dance orchestra called the California Ramblers. It was decorous, reverential, eminently innocuous. Or so the station management thought. Calls from irate listeners swamped the tiny WGBS switchboard; over the next few days, protests swelled the letters columns of newspapers. One such, in the New York Herald-Tribune, cursed the participating musicians for a bunch of ill-educated clods, too ignorant to realize the offense they’d caused.
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"Easter Hymn." In The Works of Henry Vaughan, Vol. 1: Introduction and Texts 1642–1652. Oxford University Press, 2018. http://dx.doi.org/10.1093/oseo/instance.00258336.

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"Egyptian Hymns." In The Ancient Near East, translated by John A. Wilson, 324–29. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv21r3q0w.19.

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"Mesopotamian Hymns." In The Ancient Near East, translated by John A. Wilson, S. N. Kramer, Robert H. Pfeiffer, Robert D. Biggs, and H. L. Ginsberg, 330–42. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv21r3q0w.20.

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Wilson, John A. "XIII. Egyptian Hymns." In The Ancient Near East, 324–29. Princeton University Press, 2011. http://dx.doi.org/10.1515/9781400836215-017.

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Conference papers on the topic "Easter hymns"

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Karasavvidis, Konstantinos, Dimitris Kampelopoulos, Lazaros Moysis, Achilles D. Boursianis, Spiridon Nikolaidis, Panagiotis Sarigiannidis, and Sotirios K. Goudos. "Recognition of Greek Orthodox Hymns Using Audio Fingerprint Techniques." In 2023 8th South-East Europe Design Automation, Computer Engineering, Computer Networks and Social Media Conference (SEEDA-CECNSM). IEEE, 2023. http://dx.doi.org/10.1109/seeda-cecnsm61561.2023.10470476.

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Kataoka, Kuniyoshi. "Poetics through Body and Soul: A Plurimodal Approach." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-1.

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In this presentation, I will show that various multimodal resources—such as utterance, prosody, rhythm, schematic images, and bodily reactions—may integratively contribute to the holistic achievement of poeticity. By incorporating the ideas from “ethnopoetics” (Hymes 1981, 1996) and “gesture studies” (McNeill 1992, 2005), I will present a plurimodal analysis of naturally occurring interactions by highlighting the interplay among the verbal, nonverbal, and corporeal representations. With those observations, I confirm that poeticity is not a distinctive quality restricted to constructed poetry or “high” culture, but rather an endowment to any kind of natural discourse that is co-constructed by various semiotic resources. My claim specifically concerns a renewed interest in an ethnopoetic kata ‘form/ shape/ style/ model’ embraced as performative “habitus” among Japanese speakers (Kataoka 2012). Kata, in its broader sense, is stable as well as versatile, often serving as an organizational “template” for performance, which at opportune moments may change its shape and trajectory according to ongoing developments. In other words, preferred structures are not confined to an emergent management of performance, but should also incorporate culturally embedded practices with immediate (re)actions. In order to promote this claim, I explore a case in which mutually coordinated performance is extensively pursued for sharing sympathy and camaraderie. Such a kata-driven construction was typically observed in a highly involved, interactional interview about the Great East Japan Earthquake, in which both interviewer and interviewee were recursively oriented and attuned to the same rhythmic and organizational pattern consisting of an odd-number of kata. Based on these observations, I argue that indigenous principles of organizing discourse are as crucial as the mechanisms of conversational organization, with the higher-order, macro cultural preferences inevitably infiltrating into the micro management of spontaneous talk.
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