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Journal articles on the topic 'Gospel hymns and sacred songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Petrošienė, Lina. "Parodies of Religious Hymns in Žemaitijan Carnival: Social Interaction and Cultural Expression: Everyday Life, Festivities and Ritual Forms." Yearbook of Balkan and Baltic Studies 4 (December 2021): 245–66. http://dx.doi.org/10.7592/ybbs4.10.

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On costumed processions in Žemaitija on Shrove Tuesday, the ‘beggars’ were and are among the main characters, as attested by the mask’s distribution area, the name ‘Shrovetide beggars’ being given to the whole band of masked people, and the relative abundance of the costumed “beggars”’ songs. This study examines some examples from the repertoire of Shrove Tuesday carnival songs in Žemaitija, parodies of religious hymns and folk songs, which the performers called hymns and which were performed in imitation of sacred singing. The present analysis identifies their features, origins and function a

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Richardson, Paul A. "Book Review: Songs of Glory: Stories of 300 Great Hymns and Gospel Songs." Review & Expositor 88, no. 4 (1991): 494–95. http://dx.doi.org/10.1177/003463739108800459.

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Van der Mescht, H. H. "Karakterisering en die gebruik van verwysings na psalms, gesange en hallelujaliedere in die roman Agaat van Marlene van Niekerk." Literator 32, no. 3 (2011): 37–60. http://dx.doi.org/10.4102/lit.v32i3.209.

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Characterisation and the use of references to psalms, hymns and hallelujah songs in Marlene van Niekerk’s novel Agaat The qualities of the main characters in Marlene van Niekerk‟s Afrikaans novel “Agaat” (2004) are often emphasised by the use of references to classical, folk and sacred music. As religious songs constitute an integral part of the Afrikaans community, it is fitting to include references to the texts of psalms, hymns and hallelujah hymns in an Afrikaans novel set on a farm. The novel makes extensive use of such references to portray the characters and their context. These referen

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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

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முனைவர், ச. ஆனந்தி /. Dr. S. Ananthi. "ஆழ்வார்கள் பாசுரங்களில் திவ்யதேசங்கள் / Divya Desangal in Azhwars Pasurangal". PTJTS 4, № 1 (2024): 1–12. https://doi.org/10.5281/zenodo.10586012.

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<em>In this article, the Vaishnava religion and the life of azhwars are recorded. There are twelve Alvars and they have sung four thousand divine Prabandhams. This article gives a clear idea about the hymns that induce the spiritual spirit. This research is also a study based on the original lines taken from the select songs and does a conducive study to know the Divyadesams portrayed in the spiritual hymns sung by the Alwars. The 108 Divyadeshas are indicated with ample citations. Through this study, it is known that the Alvars have recorded in their sacred scriptures about the Vaishnava holy

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Van Dyken, Tamara J. "Worship Wars, Gospel Hymns, and Cultural Engagement in American Evangelicalism, 1890–1940." Religion and American Culture: A Journal of Interpretation 27, no. 2 (2017): 191–217. http://dx.doi.org/10.1525/rac.2017.27.2.191.

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AbstractThis article argues that gospel hymnody was integral to the construction of modern evangelicalism. Through an analysis of the debate over worship music in three denominations, the Methodist Episcopal Church, the Christian Reformed Church, and the Reformed Church in America, from 1890–1940, I reveal how worship music was essential to the negotiation between churchly tradition and practical faith, between institutional authority and popular choice that characterized the twentieth-century “liberal/conservative” divide. While seemingly innocuous, debates over the legitimacy of gospel hymns

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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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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were i

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Kruger, Daleen. "“Mein Gmut ist mir verwirret”: contrafactum-practice in the Liedboek van die Kerk (“Afrikaans Hymn book of the Church”)." Koers - Bulletin for Christian Scholarship 81, no. 2 (2016): 61–79. http://dx.doi.org/10.19108/koers.81.2.2252.

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The contrafactum-practice which utilises secular melodies and/or texts as sources in the creation of sacred hymns, is an age-old tradition. This practice generated amongst others a few Protestant hymns (particularly in the German Reformed context), which are viewed today as important hymns in the hymn corpus. One example would be the hymn for lent, “Herzlich tut mich verlangen”. In several historic sources the use of secular melodies in church hymns is motivated: the fact that the melodies are already well-known amongst the congregation would make it easy to learn the new texts. Sources also c

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Wilkins, Frances. "Singing and the Dùsgaidhean: The Impact of Religious Awakenings on Musical Creativity in the Outer Hebrides." Scottish Studies 40 (January 24, 2024): 111–24. http://dx.doi.org/10.2218/ss.v40.9292.

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The evangelical revivals (known in English as ‘awakenings’ and in Gaelic as na dùsgaidhean) of the nineteenth and twentieth centuries had an immediate impact upon singing and music-making in Presbyterian communities in the Western Isles as well as a significant long-term effect on both traditional and sacred musical practice and performance. Awakenings often led converts to re-evaluate their participation in traditional music-making and singing and compelled many to give up their secular music practices upon conversion. Even so, music-making itself was not discouraged, and these religious revi

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Mirea, Ruxandra. "Mirroring the Authorʼs Personality in Composer Carmen Petra-Basacopolʼs Sacred Music". Artes. Journal of Musicology 21, № 1 (2020): 169–92. http://dx.doi.org/10.2478/ajm-2020-0010.

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AbstractFor centuries, the study of personality has been a need for understanding human nature, but it also has become a scientific endeavour, starting with the first half of the twentieth century. Research in this matter has materialised through papers by important psychologists, who considered the unitary study of human beings, the understanding of their motivation, as well as the understanding of the psychological differences that make us unique. Thus, personality is a dynamic concept which reveals the behaviour of a person that allows the possibility of adapting to the environment. While h

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Ramsten, Märta. "En muntlig sångkultur kopplad till skrift." Puls - musik- och dansetnologisk tidskrift 9 (May 22, 2024): 10–26. http://dx.doi.org/10.62779/puls.9.2024.23731.

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An oral song culture connected to printed worksThe aim of this article is to investigate the process of diachronic transmission with reference to oral material. Departing from field recordings from the very north of Sweden this article intends to account for the transmitting of oral song traditions connected with two pious song books, Sions sånger/Sion’s Songs and Sions nya sånger/Sion’s New Songs from the 18th century. The song books were published in numerous editions up until 1975 and foremost used by religious dissenters. Only song texts were provided in the books – as for melodies the con

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Williams, Sonja D. "Wade in the Water." Resonance 1, no. 1 (2020): 15–24. http://dx.doi.org/10.1525/res.2020.1.1.15.

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In January 1994, Wade in the Water: African American Sacred Music, a first-time radio series collaboration between the Smithsonian Institution and National Public Radio, began airing on hundreds of NPR affiliate stations throughout America. An ambitious and influential series of 26 hour-long documentary programs, Wade explored 200 years of black sacred music, including spirituals, ring shouts, lined hymns, jazz, and gospel. The series also featured the insights of music creators, performers, listeners, and historians who could place African American sacred music traditions within the social, p

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முனைவர், சி. முத்துச்செல்வி /. Dr. S. Muthguselvi. "ஆண்டாள் அருளிய திருப்பாவையும் திவ்ய தேசங்களும் / Thirupavai and Divya Desams Rendered by Andal". PTJTS 4, № 1 (2024): 64–75. https://doi.org/10.5281/zenodo.10587238.

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<em>Andal is a prominent figure in Tamil literature and mythology. She is often referred to as the Tamil saint and is known for her devotion to Lord Vishnu. Andal's most famous work is the Thiruppavai, a collection of thirty hymns. In these hymns, Andal expresses her love and longing for Lord Vishnu and seeks his blessings. The Thiruppavai is considered as a divine text and is recited and sung during the Tamil month of Margazhi. Andal is also known for her association with the Divya Desams, which are 108 sacred temples dedicated to Lord Vishnu in the Tamil Nadu region. She is believed to have

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Gärtner, Stefan. "The Passion of Christ on Television: Intertextuality as a Mode of Storytelling." Religions 11, no. 11 (2020): 603. http://dx.doi.org/10.3390/rel11110603.

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The Passion is a contemporary performance of the passion of Christ live on stage, combined with pop music, city marketing, social media, and entertainment. The result is an encounter between the Christian gospel and traditional elements of devotion like a procession of the cross on the one hand, and the typical mediatization and commercialization of late modern society on the other. In this article, I will first briefly describe the phenomenon, including the different effects that the event has upon the audience and the stakeholders and benefits it has for them. It is one characteristic of The

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Pérez, Elizabeth. "Spiritist Mediumship as Historical Mediation: African-American Pasts, Black Ancestral Presence, and Afro-Cuban Religions." Journal of Religion in Africa 41, no. 4 (2011): 330–65. http://dx.doi.org/10.1163/157006611x604760.

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Abstract The scholarship on Afro-Atlantic religions has tended to downplay the importance of Kardecist Espiritismo. In this article I explore the performance of Spiritist rituals among Black North American practitioners of Afro-Cuban religions, and examine its vital role in the development of their religious subjectivity. Drawing on several years of ethnographic research in a Chicago-based Lucumí community, I argue that through Spiritist ceremonies, African-American participants engaged in memory work and other transformative modes of collective historiographical praxis. I contend that by inse

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Chinnasamy.P. "21st Century Tamil and Power Politics." MASIVAN : JOURNAL OF LANGUAGE AND LITERATURE STUDIES 2, no. 1 (2025): 8–14. https://doi.org/10.5281/zenodo.14719851.

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Language has undergone many changes over time. At the same time, it can be seen that language has adapted to the geographical environment. Language was formed by human labor, and after the discovery of agriculture, it became settled and moved around for trade and industry, and language mixing became inevitable.During the Sangam period, the Sangam hymns have recorded the situation where trade goods from many countries like Egypt, Greece, Rome, and China entered the Tamil territory. Similarly, Tamil scholars have pointed out that language mixing has also occurred. The mixing of these languages w

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Weber, Jane. "CHARLEY PATTON MED SAKRALNIM IN PROFANIMCHARLEY PATTON BETWEEN SACRAL AND PROFANE." Traditiones 48, no. 2 (2019): 149–80. http://dx.doi.org/10.3986/traditio2019480208.

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Prispevek obravnava sakralne skladbe Charleyja Pattona, posnete med letoma 1929 in 1934 na gramofonskih ploščah z 78 o/min. Na njih so dokumentirane Pattonove številne glasbene značilnosti. Moč njegove glasbe je na primer pogosto najočitnejša v njegovih spiritualih in gospelih. Avtor preučuje ločnico med posvetno in sakralno glasbo v Pattonovi glasbeni zapuščini in širše v afroameriški kulturi, pri čemer se osredinja na prehajanja te ločnice in prepletanje glasbenih slogov ter ugotavlja, da se je Patton v glasbenih izvedbah zlahka sprehajal med sakralnim in posvetnim.***The article introduces

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Wilson, Elisabeth. "“Hymns of a More or Less Idiotic Character”: The Impact and Use of “Sankey's” Gospel Songs in Late Nineteenth-Century Australia." Journal of Religious History 42, no. 2 (2017): 265–88. http://dx.doi.org/10.1111/1467-9809.12471.

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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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Зулумян, Б. С. "Spiritual Songs of Grigor Narekatsi. Evolution of the Genre." Theological Herald, no. 1(7) (September 15, 2022): 74–95. http://dx.doi.org/10.31802/metafrast.2022.7.1.004.

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Статья посвящена духовным песнопениям Григора Нарекаци, широко известного как автора шедевра армянской и мировой литературы «Книги скорбных песнопений». Показано значение песен и в плане содержания, и в аспекте художественности в эволюции жанра и в истории армянской литературы. Нарекаци ввёл в активное церковное употребление таги - народные песни. Продолжая евангельскую тематику шараканов, в своих произведениях применил широкий спектр средств художественной выразительности: эпитеты, сравнения метафоры, расширил семантическое поле стиха картинами и аналогиями с природой, включал земной мир в ко

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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 (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 publicat

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Daniel, Ayuch. "El Quds de los hermanos Rahbani y la Jerusalén Bíblica: Poesía popular libanesa entre la causa palestina y las tradiciones populares bíblicas." TeoLiterária. Revista Brasileira de Literaturas e Teologias 4, no. 8 (2014): 23–40. https://doi.org/10.19143/2236-9937.2014v4n8p23-40.

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The Lebanese nationalism of the 60ies and 70ies and their expression in the songs and plays of the brothers Azi and Manzur Rahbani have been studied in several articles and books. The characteristic voice of these two poets and composers has always been the great Fairuz, one of the most iconic performers of Lebanon and the Arab World in the twentieth century. In 1967, shortly after the end of the Six-Day War, the song “Flower of Cities” (Zahrat el-Mada’en) was premiered at the Cedar Festival to become one of the most popular hymns in modern Arabic for the Palestinian cause. T

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Kosmana, Ignacy OFMConv. "Pieśni o św. Maksymilianie jako źródło kaznodziejskie." Teologiczne Studia Siedleckie VII (2010) 7, no. 2010 (2022): 99–115. https://doi.org/10.5281/zenodo.6533936.

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There are books written about music used for Church service, both Church hymns and religious songs. Ratzinger wrote about this subject; also other experts such as Twardy, Pawlak, Kucharska-Dreiss. This brief sketch is only a small part of a subject to encourage preachers in their work and practice to encompass the wide range of source possibilities for their homilies, so that the Word of God will be secured not only in “heaven” but also on “earth”; so that the truth of a person’s calling to a Godly community be firmly rooted in the human <em>here and now</em>. Oth

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Lastovetska, Lyubomyra. "The Creative Heritage of Hryhorii Skovoroda in the Dimension of Ukrainian Musical Art." Bulletin of KNUKiM. Series in Arts, no. 49 (December 15, 2023): 92–98. https://doi.org/10.31866/2410-1176.49.2023.293291.

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<strong>The aim of the article</strong> is to study the creative heritage of Hryhorii Savych Skovoroda (1722–1794) in the dimension of national musical culture from the position of modern paradigm of research discourse. <strong>Results.</strong> It is emphasized that Hryhorii Skovoroda occupies a prominent place in the pantheon of illustrious figures of Ukrainian national history as an unsurpassed philosopher, notionalist, poet, musician, singer, teacher, theologian and enlightener of the Baroque era. It is found out that in each of these areas, the master left a noticeable mar

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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.

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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which be

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НАЗАРОВ, НАЗАРІЙ А. "Індоєвропейські витоки обрядовості слов’янського епосу". Studia Slavica Academiae Scientiarum Hungaricae 64, № 1 (2019): 117–30. http://dx.doi.org/10.1556/060.2019.64110.

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Was there a goddess Slava in Slavic pagan antiquity? Though there have been voices that it was possible, the analysis of Slavic folklore texts proved the issue to be more complex. The present paper shows that Ukrainian folklore as well as the folklore of other Slavic peoples may have preserved stable compositional clichés that can be traced back to Indo-European prototypes. In their turn, these clichés may be explained as the verbal reflections of ritual practices and sacred etiquette. It is stated that the final parts of Ukrainian dumas, Russian bylinas, and Serbian heroic songs that contain

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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T

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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1;

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Chykalova, Olha. "The spiritual concept “Hope in God!” in the psalms by F. Mendelssohn-Bartholdy." Aspects of Historical Musicology 34, no. 34 (2024): 7–24. http://dx.doi.org/10.34064/khnum2-34.01.

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Statement of the problem. The spiritual music by Felix Mendelssohn-Bartholdi remains insufficiently covered in domestic scientific research. To a greater extent, the interest of musicologists is observed in his secular work – large symphonic or chamber-instrumental compositions (the overture “A Midsummer Night’s Dream”, “Songs Without Words” for piano etc.). However, the musical embodiment of religious texts by F. Mendelssohn testifies to how deeply they were heard by the author. Since the composer was a religious person, spiritual choral music occupies a significant place in his legacy. In ad

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Podoprigora, V. V., and A. N. Kovalenko. "CYRILLIC TYPE BOOKS OF THE XVII–XX CENTURIES IN THE COLLECTIONS OF KUPINO PARISH LIBRARY." Proceedings of SPSTL SB RAS, no. 4 (January 24, 2021): 5–16. http://dx.doi.org/10.20913/2618-7575-2020-4-5-16.

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The article presents the results of work on archaeographic research of the Metropolinate of Novosibirsk parish book collections, done in 2019–2020. The researchers of the Department of Rare Books and Manuscripts of SPSTL SB RAS inventoried the books of Cyrillic and civil press kept in the parish library of Holy Apostle and Evangelist Luke in Kupino (Kupinsky district of Novosibirsk province). 35 Orthodox books of the Cyrillic tradition and of the Russian civil type of the first half of the 17th – early 20th centuries were made known, among them, 2 editions of the 17th century printed by the Mo

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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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Koptak, Paul. "“I’m On My Long Journey Home”: Rhetorical Identification in the Bluegrass Gospel Singing of Ralph Stanley and the Stanley Brothers." "Res Rhetorica" 4, no. 2 (2017). http://dx.doi.org/10.29107/rr2017.2.3.

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The gospel songs of Ralph Stanley offer solace by means of identifi cation with the singer’s losses and struggles, but they also offer a metaphoric framework of journey and homecoming found in many folk and country songs. The framework gives shape and meaning to the troubled aspects of life that make up much of the content of bluegrass songs, sacred and secular. Referencing Kenneth Burke’s early theories of rhetorical identifi cation and symbolic appeal, this study reads the inclusion of gospel songs in stage and recorded performance as a secularized means of self-definition: singers and liste

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Yende, Sakhiseni Joseph. "Sacred Weaponry: The Historical and Theological Role of Gospel Music in Spiritual Warfare and Liberation in Christianity—A Perspective of Acts 16:25–26." Studia Historiae Ecclesiasticae, February 24, 2025. https://doi.org/10.25159/2412-4265/17959.

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Gospel music, an integral part of Christian worship, holds profound theological and historical significance, particularly in its role as a vehicle for spiritual liberation. Rooted in the traditions of early Christian worship, gospel music has evolved as a unique genre that expresses faith and serves as a powerful tool for spiritual warfare and deliverance. The central theological foundation for understanding the spiritual potency of gospel music is derived from Acts 16:25–26, where the Apostle Paul and Silas, bound in prison, sing hymns and pray, leading to their miraculous liberation. This st

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Bareghamyan, Mane A. "Երաժշտական կրթական հաստատություններում երաժշտության՝ որպես ուսումնական առարկայի, ձևավորման ու զարգացման պատմական նախադրյալները Հայաստանում / The Historical Background of the Formation and Development of Music as a Subject of Study in Musical Educational Institutions in Armenia". Регион и мир / Region and the World, 19 квітня 2025, 77–83. https://doi.org/10.58587/18292437-2025.2-77.

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During the 10th to 15th centuries, Armenian musical art experienced unprecedented development. The musical compositions inherited from early medieval times, including psalms and hymns, gradually gave way to taghs (liturgical and lyrical songs) and melodies. By the late 10th century, the Armenian Renaissance began, marked by Grigor Narekatsi’s poem The Book of Lamentations and his innovative taghs, which became guiding elements for the future development of Armenian cultural life, literature, and various branches of the arts, including vocal music, poetry, visual arts, miniature painting, and m

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Kloppers, Elsabé C. "Singing and Sounding the Sacred - the Function of Religious Songs and Hymns in the Public Sphere." Journal for the Study of Religion 33, no. 1 (2020). http://dx.doi.org/10.17159/2413-3027/2020/v33n1a2.

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Bhandari, Pabitra Mani. "Theology in Melody: An Indigenous Theological Method of the Nepali Church." Missiology: An International Review, June 24, 2024. http://dx.doi.org/10.1177/00918296241256374.

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Even after seven decades of Christianity in Nepal, an Indigenous Nepali theology has yet to emerge. Although Christianity is rapidly growing, it is unclear how the Nepali church is meeting its theological needs. Nepali Christians have long composed Christian hymns. This article argues that Nepali Christian leaders were unintentionally using songwriting to fulfill their duty of doing theology. This article focuses primarily on two tasks related to this topic. First, it argues that singing songs is a form of expression used by the Nepali people that the church may view as a theological method. S

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Senokoane, Boitumelo B. "The transmission and reception of biblical discourse in Africa: The language of the oppressor in Hymn 11, Hosanna." HTS Teologiese Studies / Theological Studies 80, no. 2 (2024). http://dx.doi.org/10.4102/hts.v80i2.9242.

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Singing is central in African life and among the many reasons provided is that traditionally it is believed that people who can sing have a very special connection with the spiritual world. Songs are celebratory and could convey the message of joy and happiness in context of freedom, culture, love, gospel, etc. and could convey joy and happiness that is unique and beautiful. However, the songs can equally be dangerous. Music has the potential and possibility to carry messages of oppression, suppression, exclusion, abuse, rape, crime, xenophobia, among others. In this article, the author uses t

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Гучева, А. В., and М. М. Шериева. "«IMAGE-MEANING» OF THE SACRED IN THE WORLD MUSICAL MODEL OF THE CIRCASSIANS (ADYGHES)." Всеобщая история, no. 4 (December 23, 2020). http://dx.doi.org/10.25791/vseist.04.2020.1113.

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В статье рассматривается покровительница пчел и богиня плодородия Мерисса как архитектоника образа и архитектоника смысла в мифологической картине мира. Взаимодействие и взаимовлияние архитектоники образа и архитектоники смысла позволило нам выявить «образ-смысл» в мифе, тогда как образ «образа» – это образ богини, а смысл «смысла» – это образ богини-покровительницы. Мерисса – Мать Великого бога Мерем проанализирована нами как сложный образ символических воплощений, соединивший эмпирическую, мистическую и метафизическую сферы на основании сохранившихся образцов аутентичной музыки, а также текс

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Souza, Sérgio Rodrigues de, and Ana Rita César Lustosa. "MEMORY AND RHETORIC IN THE ANCIENT AGE." November 12, 2023. https://doi.org/10.5281/zenodo.10116619.

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<strong>ABSTRACT</strong>This essay aims to present reflections on memory and rhetoric in ancient times. This is a bibliographic study, based on analytical hermeneutics. As a methodology, for the accomplishment of this study, the analyzes were carried through researches in books, considering the main aspects and approaches on the rhetoric and the influence of the memory in the ancient period, in terms of politics and religion. It was not about speaking well, it was something far beyond that, the speaker should sing the sacred songs and hymns, the prayers obeying the same original phonetic metr

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Մուրադյան, Ալմաստ. "Սրբազան արժեքներ՝ մեղեդային շնչով. զրադաշտական տեքստերի երաժշտական ոգին". Մերձավոր Արևելք. Պատմություն, քաղաքականություն, մշակույթ, 30 серпня 2023, 26–43. http://dx.doi.org/10.54503/1829-0833-2023.16-26.

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Analyzing a number of evidences of Zoroastrian melodies, the earliest manifestations of Iranian ancient culture and especially music, we can state that we are talking about ancient sources in Persian music, which were created under the influence of religious prayers and became an integral part of the culture. Zoroastrian traditions, including traditions of musical and poetic art, were preserved or transformed under the conditions of the common Indo-Iranian cultural complex. And the Zoroastrian musical tradition was interconnected with the social structure of the society and the changes in it.

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Mojalefa, Mawatle J. "Thulaganyo ya seretotumišo (sa Sepedi), pesalema (ya Bibele) le sefela sa kereke (ya Lutere)." Verbum et Ecclesia 46, no. 1 (2025). https://doi.org/10.4102/ve.v46i1.3171.

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The structure of Sepedi traditional praise poem, a psalm (of the Bible) and a hymn (of Lutheran Church). Readers appear to recognise similarities in the structures of hymns, psalms, and ancient praise poems. This article examines whether the proposition is based on facts or truth. Similarity or difference will be realised by contrasting the strata of the three literary texts through the lens of the adapted narratological model. In the content of traditional praise poem, the poet uses the traditional events which are not extracted from his own source. When comparing psalm and hymnal content eve

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Ruiz, Jiménez Juan. "Procesión de recibimiento de la bula de Cruzada en la ciudad de Sevilla (1632)." Paisajes sonoros históricos (c.1200-c.1800), December 22, 2023. https://doi.org/10.5281/zenodo.10422266.

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La procesión de recibimiento de la bula de Cruzada era la primera de las procesiones generales que se celebraban en Sevilla cada año. Se pregonaba el día anterior con trompetas, atabales y ministriles. La procesión partía del convento de San Francisco, Casa Grande, para dirigirse a la catedral, en la que se predicaba el sermón de la cruzada. En ella se interpretaban canciones e himnos propios del tiempo litúrgico en que tenía lugar. The procession to receive the Bull of Crusade was the first of the general processions held in Seville each year. It was announced the day before with trumpets, dr

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