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Journal articles on the topic 'Em> (antiphone)'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Zahradníková, Zuzana. "Anton Aschner’s Marian Antiphons." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 9 (2014): 19–33. http://dx.doi.org/10.16926/em.2014.09.02.

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2

Silva, Jerônimo Pereira. "Introibo ad altare Dei (Sl 42,4). Uma antífona para “com-pose” a procissão da comunhão." Revista Eclesiástica Brasileira 80, no. 316 (2020): 409. http://dx.doi.org/10.29386/reb.v80i316.2054.

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Desde a Antiguidade a lex orandi da Igreja selecionou versículos da Sagrada Escritura (lectio divina), que, depois de artisticamente musicados (lex canendi), se tornaram formas rituais (lex celebrandi) chamadas “antífonas”. A celebração eucarística é ritmada por três antífonas: da Entrada; do Ofertório e da Comunhão. O presente artigo, dividido em três partes, desenvolve um estudo sobre a terceira delas. Na primeira parte, o Autor apresenta a Antífona da Comunhão in genere e nas segunda e terceira trata especificamente da Antífona da Comunhão ad libtum para as missas do Comum da Dedicação das

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3

O'Regan, N. "Italian small-scale motets and antiphons." Early Music 41, no. 1 (2013): 161–63. http://dx.doi.org/10.1093/em/cas141.

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4

Bowers, Roger. "The ‘votive antiphon’ among other sacred textual forms." Early Music 48, no. 2 (2020): 147–55. http://dx.doi.org/10.1093/em/caaa021.

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Abstract Alongside settings of liturgical texts effected in manners strictly consistent with liturgical performance, there survive large numbers of early vocal pieces engaging Latin words of a religious or devotional nature all commonly subsumed together, both then and now, under the ‘catch-all’ term of ‘motet’. These, however, encompassed a remarkably diverse range of textual content, each destined for a distinct performance occasion and purpose no less likely to have been domestic than ecclesiastical; and these textual types, in turn, possess potential to have been reflected in corresponding

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5

Taborda, Francisco Taborda. "Estarei amanhã (Ero cras). Uma meditação teológica para o Advento." Revista Eclesiástica Brasileira 76, no. 303 (2018): 644–73. http://dx.doi.org/10.29386/reb.v76i303.181.

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Síntese: Este artigo reflete teologicamente sobre as antífonas ao Magnificat próprias dos dias 17 a 23 de dezembro. São conhecidas como “antífonas maiores” ou “antífonas do Ó”, pois começam com esta exclamação. Depois da invocação ao Messias sob 18 diferentes títulos tomados do Antigo Testamento, segue-se em cada antífona uma segunda parte em que se pede a vinda do Senhor. O texto das antífonas está carregado de referências bíblicas, que se procuram destrinçar neste artigo, e constituem um convite à reflexão cristológica em preparação ao Natal. Depois de breve introdução geral de caráter descr

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6

Gibbs, Daisy M. "England’s most Christian king: Henry VIII’s 1513 campaigns and a lost votive antiphon by William Cornysh." Early Music 46, no. 1 (2018): 131–48. http://dx.doi.org/10.1093/em/cax122.

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7

Milsom, J. "Review: Ludford and Croce: Mass 'Inclina cor meum deus' and antiphons, Ed. David Skinner, Early English Church Music, Xliv." Early Music 32, no. 2 (2004): 335–36. http://dx.doi.org/10.1093/em/32.2.335.

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8

Pavlina Radia. "Djuna Barnes and The Antiphon: From State Politics to Theatre of Ideas." Journal of Modern Literature 40, no. 4 (2017): 150. http://dx.doi.org/10.2979/jmodelite.40.4.12.

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9

Manuel Morgadinho dos Santos Coelho, Nuno. "Justiça e contradição. Dissídio e reconciliação(?) na interpretação do sofista antifonte no século XX." Revista da Faculdade de Direito da UFG 42, no. 3 (2019): 85–113. http://dx.doi.org/10.5216/rfd.v42i3.56537.

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Este artigo examina as diferentes interpretações oferecidas por especialistas no século XX acerca da estrutura antilógica dos textos de Antifonte, intelectual Ateniense do Séc. V. a.C. autor do mais extenso conjunto de textos de que nos chegou da Sofística, entre os quais discursos forenses e fragmentos filosóficos que exercitam a antilogia como o poder de fazes dois discursos opostos sobre qualquer assuntos (na tradição de Protágoras) e problematizam fortemente o clássico binômico justiça natural e justiça convencional. As interpretações contemporâneas de Bignone, Untersteiner, Caizzi, Cassin

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10

Kachmar, Maria. "BIBLICAL IMAGES IN LITURGICAL СHANTING PENITENTIAL TEXTS". Siverian chronicle (2022) 4 (11 грудня 2022): 122–25. https://doi.org/10.5281/zenodo.7423768.

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<em>I</em><em>n the practice of the Ukrainian Orthodox Church</em><em> the</em><em> liturgical books have been preserved: Oktoih, Triod, Mineya, Anfologion, Irmologion</em><em> and others</em><em>.</em> <em>Repentance themes were especially reflected in the texts of the Octoich and the Triodion, depending on the time of performance in the church year. It was single</em><em>d</em><em> out the genres of worship (canon, stykhyra, </em><em>sidalen</em><em>, antiphons), </em><em>and was </em><em>observe</em><em>d</em><em> the figurative and poetic features used by hymnological theologians to create

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11

Shumilo, Svіtlana. "A MUSICAL SUBTEXT IN "FLOWERY STYLE" HAGIOGRAPHY (ON THE EXAMPLE OF EPIPHANIUS THE WISE'S WORKS)." Siverian chronicle (2022) 4 (December 29, 2022): 115–21. https://doi.org/10.5281/zenodo.7491911.

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  <strong><em>The article aims</em></strong><em> to raise the issue of a musical subtext presence in the hagiographies created by Epiphanius the Wise in “flowery style”. Hermeneutic and comparative <strong>methods</strong> of research are used. The examined works’ musicality is closely related to the phenomenon of a literary amplification and the method specific for Epiphanius the Wise to borrow many excerpts from hymnographic texts, re-sing them and expand with numerous amplifications. Liturgical works consist of two parts – textual and musical, –

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12

Kalvāne, Skaidrīte. "SEARCHING FOR THE SOURCES OF 18TH AND 19TH CENTURY LATGALIAN RELIGIOUS SONGS." Via Latgalica, no. 7 (March 22, 2016): 172. http://dx.doi.org/10.17770/latg2015.7.1218.

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<p><em>Latgalian </em><em>„</em><em>svātuos dzīsmis”</em><em> (‘sacred songs’) were not only sung in the church in the 18<sup>th</sup> and 19<sup>th</sup> centuries. These songs became integral and necessary components of both home and spiritual life.</em></p><p><em>Some publications of spiritual song and prayer books written by the Latvians of Latgale have been preserved until today: </em><em>„</em><em>Nabożeństwo” (1771, 1786, etc.) and </em><em>„</em><

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13

Beinyk, Yevheniia. "Cultural Peculiarities of Franz Liszt's Spiritual Work." Issues in Cultural Studies, no. 42 (November 13, 2023): 34–43. https://doi.org/10.31866/2410-1311.42.2023.293699.

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<em>The aim of the article </em>is to examine the spiritual works of Franz Liszt, dedicated to fragments of Holy Week, identify Christian worldview motifs in compositions of this type; outline the cultural features of the composer’s spiritual work. <em>The results of the research </em>are based on the study of the intonation approach of B. Asafiev school in Ukraine, demonstrated in the works of D. Androsova, O. Markova, O. Muravska, O. Roshchenko, and O. Sokol. In particular, the highlighted materials are the basis for further research into the cultural traditions of F. Li

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14

Ruiz, Jiménez Juan. "Visita a Jerusalén (6). Rezos y cánticos de los peregrinos en las estaciones del viaje a Belén." Paisajes sonoros históricos (c.1200-c.1800), May 30, 2025. https://doi.org/10.5281/zenodo.15552181.

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15

Knights, Francis, Mateo Rodríguez, and Pablo Padilla. "O splendor gloriae: Taverner or Tye?" Early Music, April 2, 2022. http://dx.doi.org/10.1093/em/caab072.

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Abstract The five-part votive antiphon O splendor gloriae is attributed to Taverner in two important sources, but to both Taverner and Tye in the other two 16th-century sources. Joint works of this kind in classical music are extremely rare, and common authorship is difficult to assess. In this case, scoring and many other musical features are consistent, but the style of each half seems different. In his edition of 1978, Nigel Davison cautiously attributes the second part to Tye on stylistic grounds. It certainly seems more modern in its imitative treatment, which may be consistent with the f

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16

Gibbs, Daisy M. "‘Your Muse Remains Forever’: memory and monumentality in Elizabethan manuscript partbooks." Early Music, February 1, 2022. http://dx.doi.org/10.1093/em/caab076.

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Abstract The presence within Elizabethan music collections of antiphons and motets with explicitly Catholic themes has long been a source of interest and historiographical argument. The old theory that the inclusion of such pieces reveals covert Catholic beliefs among early modern collectors has been undermined by recent historical research, and it is now more frequently taken as evidence of their education and discerning musical taste. This article argues that the most important shared characteristic of this musical corpus is not its Catholic origins, but the status of its composers as (nearl

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17

Ruiz, Jiménez Juan, and Palacios Juan Carlos Asensio. "Stella cæli extirpavit una antífona contra la peste." Paisajes sonoros históricos (c.1200-c.1800), December 15, 2023. https://doi.org/10.5281/zenodo.10393291.

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La tradición remonta a 1317 la milagrosa entrega de San Bartolomé a las monjas del convento de Santa Clara de la antífona <em>Stella </em><em>cæli extirpavit</em> para que las protegiera contra la epidemia de peste que asolaba la ciudad. En 1677, esta antífona se imprime en Barcelona, coincidiento con la llegada de la última epidemia de peste a España, la cual había entrado por Cartagena en 1676. Tradition dates back to 1317 the miraculous handing over of Saint Bartholomew to the nuns of the convent of Santa Clara of the antiphon <em>Stella cæli extirpavit </em>to protect them against the plag

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18

Ruiz, Jiménez Juan, and Palacios Juan Carlos Asensio. "Stella cæli extirpavit una antífona contra la peste." Paisajes sonoros históricos (c.1200-c.1800), December 15, 2023. https://doi.org/10.5281/zenodo.10393293.

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La tradición remonta a 1317 la milagrosa entrega de San Bartolomé a las monjas del convento de Santa Clara de la antífona <em>Stella </em><em>cæli extirpavit</em> para que las protegiera contra la epidemia de peste que asolaba la ciudad. En 1677, esta antífona se imprime en Barcelona, coincidiento con la llegada de la última epidemia de peste a España, la cual había entrado por Cartagena en 1676. Tradition dates back to 1317 the miraculous handing over of Saint Bartholomew to the nuns of the convent of Santa Clara of the antiphon <em>Stella cæli extirpavit </em>to protect them against the plag

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19

Ruiz, Jiménez Juan. "Procesión del traslado de los restos del arzobispo de Sevilla Gonzalo de Mena al monasterio cartujo de Santa María de las Cuevas (1594)." Paisajes sonoros históricos (c.1200-c.1800), December 15, 2023. https://doi.org/10.5281/zenodo.10393401.

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El 26 de enero de 1594 tuvo lugar la procesión del traslado de los restos del arzobispo de Sevilla Gonzalo de Mena desde la catedral hispalense al monasterio cartujo de Santa María de las Cuevas. En el nutrido cortejo, la capilla de música catedralicia, a cuyo frente se encontraba Francisco Guerrero, interpretó salmos, himnos y motetes que él había compuesto para la ocasión. Participó también en la solemnización musical de las exequias, celebrabas en el citado monasterio, donde probablemente se cantó la <em>Missa pro defunctis</em> compuesta por Guerrero y publicada en 1582 en el <em>Missarum

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20

Ruiz, Jiménez Juan. "Dotación pía de una Salve anual a la Virgen del Patrocinio en la catedral de Granada (1699)." Paisajes sonoros históricos (c.1200-c.1800), December 24, 2023. https://doi.org/10.5281/zenodo.10429533.

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En 1699, Juan Antonio Rico, racionero organista de la catedral de Granada, dota el canto de la antífona <i>Salve regina</i> después de las Vísperas de la fiesta del Patrocinio de Nuestra Señora, cuya imagen de devoción coronaba el facistol del coro catedralicio que se iluminaría especialmente para esta ocasión. In 1699, Juan Antonio Rico, prebendary organist of the cathedral of Granada, endowed the singing of the antiphon <em>Salve regina</em> after Vespers of the Feast of the Patronage of Our Lady, whose image of devotion crowned the lectern of the cathedral choir that would be specially

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21

Ficagna, Alexandre. "Poética do contágio: estudos analíticos como mote para uma conversa entre compositores." Orfeu 5, no. 1 (2020). http://dx.doi.org/10.5965/2525530405012020047.

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Estudos analíticos (formais ou despretensiosos) tomados como mote para iniciaruma conversa entre compositores, de modo a amplificar uma poética do contágio. Lidoa partir de Deleuze e Guattari (1997) e Ferraz (2007), o conceito fornece uma imagempara se pensar os pequenos diálogos que permeiam o processo de criação, com focona conversa entre compositores: conversa que pode ser diretamente verbal, mas principalmente através de suas obras, quando comumente participa a análise. Na composição de duas peças, o autor se valeu da análise para estabelecer conversas e diálogos. Em Inquietações, o contág

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22

Morehouse, Benjamin R., Matthew C. J. Yip, Alexander F. A. Keszei, Nora K. McNamara-Bordewick, Sichen Shao, and Philip J. Kranzusch. "Cryo-EM structure of an active bacterial TIR–STING filament complex." Nature, July 20, 2022. http://dx.doi.org/10.1038/s41586-022-04999-1.

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AbstractStimulator of interferon genes (STING) is an antiviral signalling protein that is broadly conserved in both innate immunity in animals and phage defence in prokaryotes1–4. Activation of STING requires its assembly into an oligomeric filament structure through binding of a cyclic dinucleotide4–13, but the molecular basis of STING filament assembly and extension remains unknown. Here we use cryogenic electron microscopy to determine the structure of the active Toll/interleukin-1 receptor (TIR)–STING filament complex from a Sphingobacterium faecium cyclic-oligonucleotide-based antiphage s

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23

Liao, Fumeng, Guimei Yu, Chendi Zhang, et al. "Structural basis for the concerted antiphage activity in the SIR2–HerA system." Nucleic Acids Research, September 1, 2024. http://dx.doi.org/10.1093/nar/gkae750.

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Abstract Recently, a novel two-gene bacterial defense system against phages, encoding a SIR2 NADase and a HerA ATPase/helicase, has been identified. However, the molecular mechanism of the bacterial SIR2–HerA immune system remains unclear. Here, we determine the cryo-EM structures of SIR2, HerA and their complex from Paenibacillus sp. 453MF in different functional states. The SIR2 proteins oligomerize into a dodecameric ring-shaped structure consisting of two layers of interlocked hexamers, in which each subunit exhibits an auto-inhibited conformation. Distinct from the canonical AAA+ proteins

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24

Mazuela, Anguita Ascensión. "Las monjas de los conventos de Jerusalén y Santa Catalina de Zaragoza celebran con música la beatificación de Teresa de Ávila (1614)." Paisajes sonoros históricos (c.1200-c.1800), December 15, 2023. https://doi.org/10.5281/zenodo.10393269.

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En las fiestas de beatificación de Santa Teresa en Zaragoza las clarisas de los monasterios de Jerusalén y Santa Catalina se distinguieron por su música. Según narra Luis Díez de Aux, pasaron la noche en la parte alta de sus monasterios cantando motetes y villancicos en "concertados coros" que podían oírse desde la distancia. El cronista considera que la voz de una de estas monjas era de las más destacadas de España y comenta que cantó la antífona <em>Veni sponsa Christi</em> de forma tan "celestial" que parecía imposible que su voz no fuese la de un "ángel". The nuns of the Poor Clare convent

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25

Zhen, Xiangkai, Xiaolong Xu, Le Ye, et al. "Structural basis of antiphage immunity generated by a prokaryotic Argonaute-associated SPARSA system." Nature Communications 15, no. 1 (2024). http://dx.doi.org/10.1038/s41467-023-44660-7.

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AbstractArgonaute (Ago) proteins are ubiquitous across all kingdoms of life. Eukaryotic Agos (eAgos) use small RNAs to recognize transcripts for RNA silencing in eukaryotes. In contrast, the functions of prokaryotic counterparts (pAgo) are less well known. Recently, short pAgos in conjunction with the associated TIR or Sir2 (SPARTA or SPARSA) were found to serve as antiviral systems to combat phage infections. Herein, we present the cryo-EM structures of nicotinamide adenine dinucleotide (NAD+)-bound SPARSA with and without nucleic acids at resolutions of 3.1 Å and 3.6 Å, respectively. Our res

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26

sprotocols. "A method for quantifying phonotaxis in the concave-eared torrent frog." May 8, 2015. https://doi.org/10.5281/zenodo.17435.

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The protocol describes quantitative analysis of males’ phonotaxis induced by female calls. This protocol is used to demonstrate that the ultrasonic concave-eared torrent frogs <em>Odorrana tormota</em> inhabiting noise habitats, as a model of acoustic communicating animals, show hyperacute phonotaxis to the female’s courtship calls (1). The acoustic recording and playback systems used have several advantages over the more widely used call or song detection methods: 1) the systems allow continuously recording diverse types of calling with a sampling rate (96-480 kHz); 2) calls can be simultaneo

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27

Zhang, Manling, Ruchao Peng, Qi Peng, et al. "Mechanistic insights into DNA binding and cleavage by a compact type I-F CRISPR-Cas system in bacteriophage." Proceedings of the National Academy of Sciences 120, no. 18 (2023). http://dx.doi.org/10.1073/pnas.2215098120.

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CRISPR-Cas systems are widespread adaptive antiviral systems used in prokaryotes. Some phages, in turn, although have small genomes can economize the use of genetic space to encode compact or incomplete CRISPR-Cas systems to inhibit the host and establish infection. Phage ICP1, infecting Vibrio cholerae , encodes a compact type I-F CRISPR-Cas system to suppress the antiphage mobile genetic element in the host genome. However, the mechanism by which this compact system recognizes the target DNA and executes interference remains elusive. Here, we present the electron cryo-microscopy (cryo-EM) st

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28

Herbert, Helen Sophia. "Rituales pro pluvia celebrados en Barcelona en 1687." Paisajes sonoros históricos (c.1200-c.1800), September 6, 2024. https://doi.org/10.5281/zenodo.13709713.

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Además de los detalles de las convenciones y ceremonias ordinarias del calendario litúrgico de la Catedral de Barcelona, el <em>Manual del Cabiscol</em> proporciona información sobre eventos extraordinarios, incluidos los rituales <em>pro pluvia</em> celebrados en tiempos de sequía entre los años 1687 a 1703. Estos relatos demuestran una densidad cambiante de actividad ritual en respuesta a una situación de sequía en evolución y la participación de espacios tanto dentro como fuera de la ciudad en los rituales de procesiones y oficios. La fuente también destaca el papel central de la música y e

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29

Ruiz, Jiménez Juan. "Rezos y cánticos de los peregrinos en los lugares santos de Rama (1602)." Paisajes sonoros históricos (c.1200-c.1800), September 3, 2024. https://doi.org/10.5281/zenodo.13643183.

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Mosén Miquel Matas, en <em>La devota peregrinació de la Terra Sancta y ciutat de Hierusalem</em> (1604), nos proporciona una relación de los rezos y cánticos de los peregrinos en los lugares santos de Rama. Mosén Miquel Matas, in <em>La devota peregrinació de la Terra Sancta y ciutat de Hierusalem</em> (1604), provides us with an account of the prayers and chants of the pilgrims in the holy places of Rama.

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30

García, Martínez Adrián. "La música exequial de Francisco López Capillas para las Honras Fúnebres de Felipe IV en la Ciudad de México (1666)." Paisajes sonoros históricos (c.1200-c.1800), January 27, 2025. https://doi.org/10.5281/zenodo.14746578.

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Tras la muerte de Felipe IV, un año más tarde, en 1666, se celebraron en la Ciudad de México las honras fúnebres correspondientes en memoria del monarca. Como era costumbre, se imprimieron libros que narran los festejos de aquel hecho histórico. Dos de ellos, hoy conservados en la Biblioteca Nacional de México, detallan las actividades mortuorias en torno al rey, pero, además, son testimonio de la música escrita ex profeso, hasta hoy desconocida, por el entonces maestro de capilla de la Catedral de México: Francisco López Capillas. After the death of Philip IV, a year later, in 1666, the corre

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