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Relevant bibliographies by topics / Hymns and songs of the church

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Journal articles

Academic literature on the topic 'Hymns and songs of the church'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Hymns and songs of the church"

1

Peno, Vesna. "Communion songs not regulated by the typicon in the recent tradition of Serbian church singing." Muzikologija, no. 4 (2004): 121–52. http://dx.doi.org/10.2298/muz0404121p.

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In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced fr

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2

Koryshev, Mikhail V. "On the subgenre system in medieval German catholic hymnography." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 54–59. http://dx.doi.org/10.20339/phs.6-20.054.

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This paper is an analysis of church hymns in the folk language using medieval German-speaking Catholic hymnography as a case study. Understudied by literary scholars, this phenomenon used to be in the center of attention of liturgics scholars. The only exceptions included philological and historical studies of ancient writings in the German language. The existence of church chant (German Kirchenlied) is manifested by a separate genre, which, in contrast to the views of Germanic language philologists in Germany is not a special case of the spiritual song (German Geistliches Lied). In relation t

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3

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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4

Groenewald, H. C. "The role of political songs in the realisation of democracy in South Africa." Literator 26, no. 2 (2005): 121–36. http://dx.doi.org/10.4102/lit.v26i2.231.

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The issue this article attempts to explore is whether a form of oral art – political songs – played a part in achieving democracy in South Africa, and, if so, how this aim was achieved. In this regard it should be kept in mind that political songs form part of the large, vibrant body of oral art in South Africa. An aspect of oral art that is particularly relevant to political songs is that it is often performed to be efficacious, that is, it is performed to achieve a desired result. Equally important is the attribute of performance. It is obvious that the political song derived much of its pow

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5

Žičkienė, Aušra, and Kristina Syrnicka. "Funeral Hymns of Lithuanians and Vilnius Region Poles’: General Features and Trends of the Repertoire." Vilnius University Open Series, no. 5 (December 4, 2020): 163–88. http://dx.doi.org/10.15388/vllp.2020.8.

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The article discusses the key features and trends of the repertoire of Catholic funeral hymns, functioning in Lithuania in both Polish and Lithuanian; at the same time attempts are made to grasp the possible causes of mutual interactions and influences. In combining literary and ethnological approaches, field research data, historical sources, printed and manuscript hymns are analysed and interpreted, related scientific literature is examined. The conclusion is reached that the similarity and commonalities of the Lithuanian and Vilnius Region Poles’ folk piety funeral repertoire were, and stil

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6

Lon, Yohanes S., and Fransiska Widyawati. "Adaptasi dan Transformasi Lagu Adat dalam Liturgi Gereja Katolik di Manggarai Flores." Jurnal Kawistara 10, no. 1 (2020): 17. http://dx.doi.org/10.22146/kawistara.45244.

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Manggarai, a community in Flores, Eastern Indonesia is known for its rich culture of folk songs with unique rhythm and lyrics. There are various types of folk songs for different purposes such as traditional chants, harvest celebrations, lamentation of the dead, war anthems, children songs, and other profane functions. When European missionaries started Catholic evangelization in Manggarai in the beginning of the 20th century, many of these folk songs were prohibited due to their use in rituals deemed idolatry. However, some missionaries saw the potential of folk songs for evangelization and e

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7

Høirup, Henning. "Nekrolog over Uffe Hansen." Grundtvig-Studier 46, no. 1 (1995): 18–25. http://dx.doi.org/10.7146/grs.v46i1.16174.

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Uffe Hansen 14.12. 1894 - 11.9. 1994By Henning HøirupThe obituary begins with a description of Uffe Hansen’s background as an Independent Congregation clergyman (from 1925) to the Grundtvigian Independent Congregation (Danish valgmenighed, i.e. a congregation within the National Church, claiming the right to employ their own minister) of Ubberup, where the prominent clergymen V.J.Hoff and Carl Koch were his predecessors. Carl Koch’s extensive writings, theologically erudite, but .popular. in their language, and thus accessible to the layman, were to become the model for Uffe Hansen’s studies i

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8

Müller, Alfons. "Message Becomes Incarnate in Song: Church Hymns in the Diocese of Kenge." Mission Studies 7, no. 1 (1990): 76–86. http://dx.doi.org/10.1163/157338390x00100.

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AbstractAs one cannot dance without music, so there is no music without dancing - so goes the popular thinking in Zaire. The Zairean Catholics have shown in the past admirable patience to imported European melodies and imposed language structures and their songs, robbed of their natural rhythm, were stilled until vernacular liturgy was approved in 1965. There is now music in the land, rich in the variety of various African traditions. The Catholic Church in Zaire is at last able to express itself in its own culture, and the Christian message becomes incarnate in songs and hymns.

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9

Wild-Wood, Emma, and Peter Wood. "'One Day we Will Sing in God's Home': Hymns and Songs Sung in the Anglican Church in North-East Congo (drc)." Journal of Religion in Africa 34, no. 1-2 (2004): 145–80. http://dx.doi.org/10.1163/157006604323056750.

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Abstract'Songs preach a lot' claim members of the Anglican Church in North-East Congo (DRC). This article analyses what these songs preach and how they convey their message. It examines the theology of the texts as sung in their musical and social context. The songs fall into two broad categories: western hymns translated by missionaries and contemporary songs often composed locally or nationally. They have different but overlapping theologies and functions within worship. Heaven emerges as a central motif in both categories, presenting an eschatological oral theology, which offers comfort, es

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10

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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