Relevant bibliographies by topics / Genres of modern sacred music

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

Academic literature on the topic 'Genres of modern sacred music'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Genres of modern sacred music"

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Ritzarev, Marina. "King David and the Frog." Musicological Annual 50, no. 2 (2015): 31–42. http://dx.doi.org/10.4312/mz.50.2.31-42.

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The interrelations between the liturgical and paraliturgical genres of sacred music in both live practice and in historiography are explored. Parallels are found between eighteenth-century Russian and modern Hebrew religious music. The author's theory of the vernacular in music is applied to explain the stylistic openness in paraliturgical music (as a parallel to onto-vernacular folklore).
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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (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
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HERISSONE, REBECCA. "““Fowle Originalls”” and ““Fayre Writeing””: Reconsidering Purcell's Compositional Process." Journal of Musicology 23, no. 4 (2006): 569–619. http://dx.doi.org/10.1525/jm.2006.23.4.569.

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ABSTRACT Purcell's surviving autographs have long been a source of fascination, and the extensive evidence they preserve of his working methods has been examined in several academic studies. However, methodology has focused on analyzing notational changes within the sources, and neither the appropriateness of the standard labels ““working draft”” and ““fair copy”” nor the directness of the relationship between the creation of a composition and its encoding in notation has been questioned. This article challenges current assumptions about Purcell's compositional processes, arguing that because
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Purciello, Maria Anne. "Early Modern Comedy and the Politics of Religion: Reconsidering Comedy in Rospigliosi's Il Sant'Alessio." Journal of the Royal Musical Association 143, no. 1 (2018): 51–87. http://dx.doi.org/10.1080/02690403.2018.1434341.

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ABSTRACTGiulio Rospigliosi and Stefano Landi's 1634 revisions of Il Sant'Alessio for the Barberini stage expanded the role of comedy within the opera. These revisions reveal an important juncture in the history of religious comedy and lay the foundation for the development of a comic rubric for the still-developing operatic genre. This article examines the legend of St Alexis and its potential for historic reinterpretation in light of the Barberini family's religious and political goals. Its consideration of the interrelationship of religion and comedy in early modern sacred drama provides the
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Rathey, Markus. "CARNIVAL AND SACRED DRAMA: SCHÜTZ’SCHRISTMAS HISTORIAAND THE TRANSFORMATION OF CHRISTMAS IN THE SECOND HALF OF THE SEVENTEENTH CENTURY." Early Music History 36 (September 12, 2017): 159–91. http://dx.doi.org/10.1017/s026112791700002x.

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The celebration of Christmas in Early Modern Europe underwent a significant transformation in the second half of the seventeenth century. Even after the Protestant Reformation, European Christmas traditions maintained numerous features of their medieval practices, such as carnivalesque celebrations, processions, masks, and riotous behaviour. This changed during the seventeenth century. Popular carnivalesque Christmas plays were prohibited and replaced with a more internalized devotion that emphasized the individual’s relationship with the newborn Child. This transformation was part of a larger
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ". World Science 3, № 8(48) (2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.

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 Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his intere
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Smith, Norman E. "The Earliest Motets: Music and Words." Journal of the Royal Musical Association 114, no. 2 (1989): 141–63. http://dx.doi.org/10.1093/jrma/114.2.141.

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The birth of a genre surely is one of the most fascinating occurrences in the history of music, and no genre of medieval music had a more interesting birth than the motet. Study of the motet in modern times found special impetus and direction in 1898 when Wilhelm Meyer announced his discovery of the origin of the motet in the discant clausulae of the Notre Dame organa. Demonstrating the musical identity of certain Latin motets and discant clausulae, he concluded that the motet arose through the addition of Latin texts to the melismatic upper voices of the two-voice clausulae and was thereby ab
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Arefieva, Anna. "Dialogue of cultures as a synthesis of arts: experience of formation of integrative poetics in Diaghilev's seasons." Filosofiya osvity. Philosophy of Education 26, no. 2 (2021): 100–108. http://dx.doi.org/10.31874/2309-1606-2020-26-2-7.

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The article is devoted to the definition of the synthesis of arts in Serge Diaghilev's seasons as a dialogue of cultures. In contrast to the interpretation of the dialogue of cultures as a sociological phenomenon, which has become a truism, when the dialogue of cultures in the Diaghilev's seasons is seen as a dialogue of French and Russian cultures, it is provided the interpretation of the dialogue of cultures in a work of art. In particular, in Ihor Stravinsky's "Sacred Spring" staged by Waclaw Nizynski, scenography by Nikolay Rerich, there is a dialogue between pagan and Christian cultures a
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Iațeșen, Loredana Viorica. "Number 13 / Part I. Music. 6. Requiem by Karl Jenkins. An Analytical Approach to The Interweaving of Various Traditions in Music." Review of Artistic Education 13, no. 1 (2017): 43–59. http://dx.doi.org/10.1515/rae-2017-0006.

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Abstract In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musi
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari
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Dissertations / Theses on the topic "Genres of modern sacred music"

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Friman, Anna Maria. "Modern performance of sacred medieval music, with particular reference to women's voices." Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/14212/.

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Van, Dalen Carissa R. "Debates in sacred music from the protestant reformation to the modern United States : Martin Luther, John Calvin, and modern reformed Baptist." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1334.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Music
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POLÍVKOVÁ, Milada. "Užití moderní duchovní hudby v liturgii katolické církve v českých zemích." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-47387.

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The dissertation concerns the use of modern music during liturgy. The first chapter is devoted to a music mentioned in the Bible. Church documents about the music in liturgy are investigated in the second and third chapter. Fourth chapter describes musical instruments and their use. Fifth chapter brings knowledge about modern scared music in Czech countries from beginning till today. Sixth chapter describes particular genres of modern sacred music. The specification of genres begins with spirituals and gospel music. These songs are traditional sacred music from Africa and America. The chapter
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Books on the topic "Genres of modern sacred music"

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Østrem, Eyolf. Medieval ritual and early modern music: The devotional practice of lauda singing in late-Renaissance Italy. Brepols, 2008.

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Modern noise, fluid genres: Popular music in Indonesia, 1997-2001. University of Wisconsin Press, 2008.

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King, Dennis. Art of modern rock mini. Chronicle Books, 2007.

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Catholic Church. A manual of liturgic chants in modern notation, and sacred melodies. [Brothers of Christian Instruction, 1994.

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Richard, Lana Turner. A modern day prodigal son. L.T. Richard, 2005.

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Humanism and the reform of sacred music in early modern England: John Merbecke the orator and The booke of common praier noted (1550). Ashgate, 2008.

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E, Gert͡sman. Grecheskie muzykalʹnye rukopisi Peterburga: Katalog. Glagol, 1996.

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Barendregt, Bart, Peter Keppy, and Henk Schulte Nordholt. Popular Music in Southeast Asia. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984035.

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From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at
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Marie, Kroeger, ed. An index to Anglo-American psalmody in modern critical editions. A-R Editions, 2000.

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Paskevska, Anna. Getting started in ballet: A parent's guide to dance education. Oxford University Press, 1997.

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Book chapters on the topic "Genres of modern sacred music"

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Grebosz-Haring, Katarzyna, and Simone Heilgendorff. "Zwischen Podium und Publikum." In Gender und Neue Musik. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839447390-015.

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Katarzyna Grebosz-Haring und Simone Heilgendorff widmen sich aktuellen Publikum und den Ausführenden von zeitgenössicher (Kunst-)Musik im Kontext von Festivals. Festivals der zeitgenössischen (Kunst-)Musik haben in den letzten Jahrzehnten die Entwicklung und Wahrnehmung der zeitgenössischen (Kunst-)Musik maßgeblich beeinflusst. Ihre Wirkungs-Radien erweiterten sich ästhetisch und interdisziplinär und korrelieren mit einem für Vieles offenen und auf Kreativität Bezug nehmenden Zeitgeist "kultur-orientierter Städte". Für die neuen soziokulturellen Praktiken sind auch Prozesse des "Degendering" wesentlich. Es geht darum, wie sich in diesem Kontext die Geschlechter-Strukturen auf dem Podium und beim Publikum wandelten. Der Beitrag befasst sich mit der Diskrepanz zwischen einer nahezu paritätischen Relation männlicher und weiblicher Besucher von Veranstaltungen bei Festivals zeitgenössischer (Kunst-)Musik und der vergleichsweise geringen Beteiligung von Musikerinnen und Komponistinnen an diesen Veranstaltungen auf dem Podium. Die Beobachtungen basieren u.a. auf Daten der 2014 durchgeführten, groß angelegten komparativen Studie zum Publikum zeitgenössischer (Kunst-)Musik, die im Rahmen des Forschungs-Projekts "New Music Festivals as Agorai - Their Formation and Impact on Warsaw Autumn, Festival d'Automne in Paris, and Wien Modern Since 1980" bei 14 Veranstaltungen fünf verschiedener Genres durchgeführt wurde. Mit über 1500 retournierten komplexen Fragebögen ist die Studie repräsentativ und ihre Ergebnisse erlauben einen umfassenden Blick auf die Publika der zeitgenössischen (Kunst-)Musik. Darüber hinaus werden mittels konkreter Gegenüberstellungen Gender-relevante Aspekte herausgearbeitet: einerseits bezüglich der Zusammensetzung der Ensembles und der Programme der untersuchten Veranstaltungen und andererseits hinsichtlich der Gender-Balance in Spezialensembles zeitgenössischer Musik. Eine Rahmung für diese Überlegungen bieten Ansätze zur sich wandelnden sozio-kulturellen Praxis, wie sie etwa Andreas Reckwitz erfasst. Abschließend werden wesentliche Problemfelder und Lösungsansätze zur Gender-Balance in der zeitgenössischen (Kunst-)Musik dargelegt.
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"Sic ego te dilegebam: Music, Homoeroticism, and the Sacred in Early Modern Europe." In Gender, Sexuality, and Early Music. Routledge, 2013. http://dx.doi.org/10.4324/9780203055496-16.

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Kennedy, T. Frank. "Some Unusual Genres of Sacred Music in the Early Modern Period: The Catechism as a Musical Event in the Late Renaissance - Jesuits and 'Our Way of Proceeding'." In Early Modern Catholicism, edited by Kathleen M. Comerford and Hilmar Pabel. University of Toronto Press, 2001. http://dx.doi.org/10.3138/9781442674202-018.

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Varwig, Bettina. "Music in the Margin of Indifference." In Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0007.

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This chapter considers the role of a specific Lutheran idea of freedom in the emancipation of sacred music from liturgy during the early modern period. It proposes that the Lutheran appropriation of the classical notion of ‘adiaphora’, as a stance of indifference towards practices and objects not essential for salvation, opened up a quasi-autonomous space for musical elaboration, within which music could gradually acquire its modern status as a self-sufficient artistic practice. The eighteenth-century tradition of Passion performances in Protestant Germany offers a rich test case for this process of ecclesiastical divestment, in particular J.S. Bach’s St. Matthew Passion of 1727, which made claims for music that clearly outstripped its functional remit, and Carl Heinrich Graun’s immensely popular setting of Karl Wilhelm Ramler’s Der Tod Jesu of 1755, which consolidated the genre’s move from the liturgy to the concert hall. Yet this migration outside the church walls by no means provides straightforward confirmation of a standard secularization narrative of Western modernity. Rather, in absorbing and retaining crucial aspects of sacrality, these musical repertories and practices reveal the rootedness of the modern aesthetic sphere in that Lutheran margin of indifference.
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"Church and Sacred Music Genres." In Church and Worship Music in the United States. Routledge, 2016. http://dx.doi.org/10.4324/9781315638218-7.

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Borgerding, Todd M. "Sic ego te dilegebam: Music, Homoeroticism, and the Sacred in Early Modern Europe 1." In Music and Identity Politics. Routledge, 2017. http://dx.doi.org/10.4324/9781315090986-1.

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Vera, Alejandro. "Convents and Monasteries." In The Sweet Penance of Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190940218.003.0003.

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This chapter studies musical life in convents and monasteries during the colonial period. Among other aspects, it shows how music represented for the nuns both a tool for entering the convent and an authentic vocation. It explores the musical links between monastic institutions, and between them and the cathedral, explaining how these frequent contacts facilitated the circulation of musicians and sacred music throughout the city. It also studies the prevailing instruments, repertoires, and musical genres, including music performed by drummers and trumpeters during the main fiestas. Finally, it also analyzes some pieces preserved in the cathedral, but linkable to religious orders, such as three lessons for the Dead by the Franciscan Cristóbal de Ajuria, some villancicos composed for the profession of nuns, and a villancico entitled “Qué hará Perote pasmado,” possibly composed for a monastery in the early 19th century. All of this contributes to situating monastic music in Santiago’s soundscape.
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PATRICIA, FORTINI BROWN. "Seduction and Spirituality: The Ambiguous Roles of Music in Venetian Art." In The Music Room in Early Modern France and Italy. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265055.003.0002.

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This chapter examines the tensions between the sacred and profane in attitudes towards the art of music as manifested in Venetian Renaissance painting. Choirs of pious music-making angels playing a variety of musical instruments were a notable feature of Venetian altarpieces from the fourteenth century on. And yet, by the early years of the sixteenth century, these concerts of sacred music were eclipsed by secular images of flute-playing shepherds and lute-strumming youths. While household inventories tell us that musical instruments played a central role in family congeniality, paintings of the time also associate musical performance with ladies of dubious respectability. Thus, while music was treasured for its spiritual enlightenment and contribution to refined domesticity, it was also suspect because of its seductive sensuality.
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Bohlman, Philip V. "Redemption through Sacred Song." In Song Loves the Masses. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520234949.003.0012.

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Music, especially sacred song, was also a critical subject in Herder’s professional life as a theologian and pastor in Weimar, the center of the German Enlightenment. Chapter 6 is an epistolary essay, in which Herder circulates thoughts about the ways in which song shapes the history, character, and national traits of a people. Beginning with Classical Greek and Roman vocal and poetic traditions, Herder traces the role of sacred song through different national traditions to the modern publications of song in England and the German lands. He concludes with a set of exegetical reflections on Handel’s Messiah as the epitome of sacred music.
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Frangos, Stavros K. "George Katsaros: The Last Café-Aman Performer 1." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0007.

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There is probably no more prolific writer on Greek American culture and history than anthropologist Steve Frangos. His essays span many realms of culture, but the body of work regarding early Greek American recordings is particularly strong. His essay on “George Katsaros: The Last Café-Aman Performer” examines early Greek musical forms and transformations as documented by the recording industry. By using the career of iconic musician Katsaros as an example, he finds a reflection of the collective Greek American experience and illustrates that Greek music must be viewed through the lens of modern music history in order to determine whether certain genres are created traditions.
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Conference papers on the topic "Genres of modern sacred music"

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Liu, Tse. "The main directions of development of patriotic education of students by means of vocal art in the People's Republic of China." In Наука России: Цели и задачи. НЦ "LJournal", 2021. http://dx.doi.org/10.18411/sr-10-04-2021-69.

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The purpose of the article is to show how modern technologies expand the educational possibilities of children's patriotic songs by enriching this genre with new means of expression, as well as the emergence of new forms of song representation (songs for movies, TV shows for children, laser shows, open-air performances, etc.). The direct participation of children in the preparation for participation in the events, performances in front of the audience, as well as the presence as spectators and the use of music teachers of these genres in the classroom have an effective educational impact on ch
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