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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 to the German Middle Ages, the emergence is described of church hymns as a genre represented by the most ancient artifacts of the German language. A borderline is drawn between seemingly similar phenomena: translations of Latin hymnography into German, which did not always have liturgical / paraliturgical significance, and actual church chants. Analysis of the writings (more than one and a half thousand texts) suggests a six-part subgenre system in medieval German Catholic hymnography (translated hymns, acclamations, leisen, canticles, antiphonic chants, church readings and macaronic songs). The peripheral role of German-speaking church chants in medieval pre-reformation Germany is highlighted.
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Triškaitė, Birutė. "Jono Berento giesmyno Is naujo perweizdėtos ir pagerintos Giesmu-Knygos ir maldyno Maldu-Knygelos antrasis leidimas (1735): nežinotas egzempliorius Prahoje." Archivum Lithuanicum, no. 22 (December 3, 2020): 33–82. http://dx.doi.org/10.33918/26692449-22002.
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T he second edition of J ohann B ehrendt ’ s hymn book ISZ naujo pérweizd ėtos ir pagérintos Giesm û-Knygos AND PRAYER BOOK Maldû-Knygélos (1735): an unknown copy in Prague The article presents a 1735 Lithuanian publication from Königsberg (Lith. Karaliaučius) which was believed to not have survived—the hymn book for Prussian Lithuania’s Evangelical Lutherans Iß naujo pérweizdėtos ir pagérintos Giesmû-Knygos (Reviewed and Improved Hymn-book) and the prayer book Maldû-Knygélos (Prayer-book). The only known copy of the second edition of the hymn book and the prayer book was discovered in the National Library of the Czech Republic (Czech Národní knihovna České republiky; NK ČR: 33 K 139) in Prague. It has not been registered in Lithuanian bibliographies. Just as the first 1732 edition, the second edition appeared thanks to the initiative of the theology professor of the University of Königsberg and the chief court preacher, Johann Jacob Quandt (Lith. Jonas Jokūbas Kvantas, 1686–1772), while the archpresbyter of Insterburg (Lith. Įsrutis), Johann Behrendt (Lith. Jonas Berentas, 1667–1737), led the editing team. Aiming to reveal the differences of the second edition from the first, and to highlight the editing tendencies of the hymn and prayer books, this article not only discusses the main features of the copy, but also analyzes the structure of the 1735 edition including the repertoire of new hymns and linguistic particularities of the texts of hymns and prayers written in Lithuanian. Provenance research revealed that the copy belonged to the Lithuanian Dovydas Blindinaitis or Bl(i)undinaitis before reaching this library, and this is supported by handwritten inscriptions on the front and back flyleaves. He acquired the book in 1736 for 33 groschen and must have been its first owner. The imprint “REGIÆ BIBLIOTH: ACAD: PRAGEN:” (“Royal Library of the Academy of Prague”) which is seen on the title page of the hymn book could only appear after 1777 when the Public Imperial-Royal University Library (Czech Veřejná císařsko-královská univerzitní knihovna) in Prague had been established. From the perspective of structure, the 1735 Lithuanian publication is a convolute which consists of two alligates: (1) hymn book and (2) prayer book. The hymn book comprises: (a) two introductions—one written by Quandt in German and one written by Behrendt in Lithuanian, (b) the main section of the hymn book and its appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”), (c) two indexes—the index for the Lithuanian hymns “Prirodijimas Wiſſû Gieſmû, ant kurro Laißko jos ßoſa Knygoſa randamos yra” (“A listing of all hymns which page they are found on in this book”) and the index of German original hymns called a “Regiſter” (“Register”). The prayer book comprises prayers, collects, the story of Christ’s suffering, and a list of thematic groups of these texts marked “Prirodijimas Wiſſû Maldû” (“A listing of all prayers”). The second (1735) edition of the hymn book differs remarkably from the first (1732) in its structure and scope: (1) All of the hymns that had been previously included in the 1732 edition’s “Appendix arba Kittos naujos Gieſmes ßwėey pridėtos” (“Appendix or other new recently added hymns”) (a total of 34) were integrated into the main section of the hymn book of the 1735 edition comprising 334 hymns; their thematic groupings and subgroupings remained the same; (2) The 1735 edition does not include one of the hymns published in 1732: Peter Gottlieb Mielcke’s (Lith. Petras Gotlybas Milkus, 1695–1753) translation “MIeli Krikßćionis dʒaukimės” (“Dear Christians let us rejoice”) (← Martin Luther, “Nun freut euch lieben Chriſten”); (3) The 1735 edition was supplemented with 26 hymns, that is to say, the second edition comprises 360 hymns. The new hymns are published in the appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”). Cryptonyms attached to these hymns attest to the fact that their translators were two priests of Prussian Lithuania. For the first time, 18 hymns of the priest of Didlacken (Lith. Didlaukiai), Fabian Ulrich Glaser (Lith. Fabijonas Ulrichas Glazeris, 1688–1747), were included in this hymn book. The priest of Popelken (Lith. Papelkiai), Adam Friedrich Schimmelpfennig (Lith. Adomas Frydrichas Šimelpenigis, 1699–1763), translated 8 new hymns (while 15 of his hymns that had been already published in the 1732 edition were presented in the main section of the hymn book of the 1735 edition). The new repertoire of the Lithuanian hymn book was compiled from the translations of the following German hymn creators of the 16th–18th centuries: Johann Georg Albinus (1624–1679), Martin Behm (1557–1622), Kaspar Bienemann (Melissander, 1540–1591), Simon Dach (1605–1659), Johann Burchard Freystein (1671–1718), Paul Gerhardt (1607–1676), Johannes Gigas (Heune, 1514–1581), Ludwig Andreas Gotter (1661–1735), Johann Heermann (1585–1647), Heinrich Held (1620–1659), Martin Moller (1547–1606), Johann Rist (1607–1667), Samuel Rodigast (1649–1708), Johann Röling (1634–1679), Gottfried Wilhelm Sacer (1635–1699), Arnold Heinrich Sahme (1676–1734), Benjamin Schmolck (1672–1737). In contrast to the hymn book, the structure of the 1735 prayer book published concurrently were not changed; the thematic groups of prayers remained essentially the same as they were in the first edition of 1732. Texts of both the hymn book and the prayer book were edited. The editing tendencies in both are similar and encompass all linguistic levels (phonetics, morphology, lexicon, syntax), as well as orthography and punctuation, but the intensity of editing was different. The orthographic corrections prevail and the most consistent of them are: [i·] <ij> → <y> (characteristic only of the hymn book), [č’] <ć> → <cʒ> (together with refusing the marker indicating consonant palatalization <i>), [·] <e> → <ė>, [ž] ir [ž’] <Ʒ> → <>, marking accent placement with an acute accent < ’ >. The second edition reflects an important stage in the quantitative and qualitative development of Behrendt’s hymn book. In the second edition that appeared just three years later, we see the further consistent efforts of the editors to expand the repertoire of hymns and improve the texts in terms of language (i.e. they first of all sought to standardize the orthography of texts written in different centuries by many different translators). In contrast to the hymn book, the prayer book was improved along only one vector: the language of the texts was edited according to the same principles, while the number of prayers was not increased. The fact that the editors of the second edition devoted more attention to the hymn book than the prayer book probably stems from the important place that hymns hold in the Evangelical Lutheran liturgy.
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Rudolf, Gerhild Ingrid. "The Translation of German Hymns into Romanian Between Poetry and Pragmatism." Review of Ecumenical Studies Sibiu 8, no. 1 (April 1, 2016): 85–99. http://dx.doi.org/10.1515/ress-2016-0006.
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Abstract After centuries of celebrating the divine services only in German language, the Evangelical Church A. C. in Romania (ECR) embarked during the last few decades on the use of a second language within church. The traditional “Evangelical-Saxon” identity of the congregations is undergoing a changing process. Having lost most of its members through emigration, the Evangelical Church A. C. in Romania copes with new social circumstances which have also an effect upon the choice of language. Therefore, in 2007, the ECR published a bilingual (German and Romanian) hymnal. Translating hymns is an intricate endeavour. The practical use of a bilingual hymn-book is challenging as well. The German-Romanian Evangelical hymnal is a witness of how the diaspora church accommodates itself to new linguistic conditions.
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Zhuk, Alexandra D. "The Problem of Genre in the Hymns by the Lake Poets and Thomas Moore." Imagologiya i komparativistika, no. 15 (2021): 7–30. http://dx.doi.org/10.17223/24099554/15/1.
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Though there are many seminal works on early Romanticism and Thomas Moore’s poetry, their hymns remain understudied. This article focuses on the genre problem in the hymns by the Lake Poets (S.T. Coleridge, W. Wordsworth, R. Southey) and Thomas Moore, whose poetry is studied in context of English Literature and German Romanticism. The characteristics of the hymn are emotionality, associative composition, abundance of repetitions and parallelisms, archaic grammatical forms of verbs and pronouns, and the use of verb contractions. The combination of genres in hymns results in such variants as the odic hymn, the idyllic and elegiac hymn, the mythological hymn, and even the satirical hymn, with each of them evolving in its own way in the period under study. The odic hymn is represented in “Hymn before Sun-rise, in the Vale of Chamouni” (1802) by S.T. Coleridge and “Hymn. For the Boatmen, as They Approach the Rapids under the Castle of Heidelberg” (1820/1822) and “To the Laborer’s Noon-Day Hymn” (1834/1835) by W. Wordsworth. These poems have such odic features as comparisons and conditional and cause-and-effect syntactic constructions. Coleridge’s hymn going back to the psalms of praise was influenced by German Romanticism, while Wordsworth’s hymns feature religious vocabulary and quotations from the Mass. The mythological hymn comes in two versions – one with idyllic features (“Hymn to the Earth” (1799, publ.1834) by S.T. Coleridge) and the mythological hymn-fragment (“Fragment of a mythological hymn to Love” (1812) by T. Moore). The fist is the translation of Stolberg’s hymn, from which the leitmotif of the Earth as the mother and the nanny of the World is borrowed. The image of the Earth has anthropomorphic features, with the marriage of the Earth and Heaven going back to W. Blake. The myth created by T. Moore is more complex. The creation of the world begins with the marriage of Love and Psyche. Love appears as the masculine principle of the Universe, while Psyche as the feminine one. The plot goes back to the ancient myths of the world creation from the Chaos and marriage of Eros and Psyche. However, T. Moore changed the myth and transformed the heroes into a source of life. “Hymn to the Penates” (1796) by R. Southey combines the idyllic, elegiac, publicistic and hymn features proper. The idyllic features are related to the image of the Penates that turn into a force controlling human lives and the souls of the dead. The childhood memories give rise to the elegiac features. The publicistic features appear in the verses of the people who do not worship the Penates. The composition, repetitions and parallelisms in the satirical “A Hymn of Welcome after the Recess” (1813) by T. Moore go back to the hymn genre; however the main stylistic devices used are irony and metonymy. Summing up, the genre of hymn in the works by the Lake Poets and Thomas Moore undergoes significant transformations, which will be further developed in late Romanism.
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Kim, Yong Hwa. "Wesley’s Conversion Hymns through German Pietist." Bible & Theology 93 (April 25, 2020): 125–54. http://dx.doi.org/10.17156/bt.93.05.
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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 (October 31, 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 confirm that this practice makes the songs more accessible for the youth. This article explores the development of selected hymns from the Liedboek van die Kerk (2001) (“Afrikaans Hymn book of the Church”) to determine their secular roots and describe how they developed into sacred hymns. It is pointed out that the utilisation of the melodies as settings for different sacred texts, illustrates their quality and flexibility and is instrumental in their acceptance as hymn tunes. It is also argued that historic distance between the secular source and the church hymn contributes to the weakening of the original secular association. The ongoing debate on the secular versus the sacred is also touched upon, and finally the renewed interest in contrafacta in the late 20th and early 21st century is discussed. Die kontrafaktuurpraktyk, waar sekulêre melodieë en/of tekste as bronne gebruik word in die skep van geestelike tekste en/of melodieë, kom al eeue lank in kerkliedere voor. Hierdie werkswyse het onder andere ʼn aantal Protestantse liedere opgelewer (veral in Duitse Reformatoriese verband), wat deesdae as groot liedere van die kerkliedskat geag word. Een voorbeeld is die lydenslied “Herzlich tut mich verlangen”. In verskeie historiese bronne word die gebruik van sekulêre melodieë by kerkliedtekste gemotiveer: die melodieë was reeds bekend en daarom kon die nuwe liedtekste makliker aangeleer word. Die toeganklikheid vir die jeug staan ook voorop. Hierdie artikel ondersoek enkele liedere in die Liedboek van die Kerk (2001) ten einde vas te stel wat die sekulêre wortels daarvan was. Voorts word aangetoon hoe die liedere as geestelike liedere ontwikkel het. Daar word verwys na die hergebruik van sekere melodieë by ʼn verskeidenheid tekste, wat dui op die aanpasbaarheid van die kontrafakmelodieë en die mate waarin dit inslag gevind het as kerkliedmelodieë. Verder word daar geredeneer dat historiese afstand tussen die sekulêre bron en die kontrafak daartoe bygedra het dat so ʼn lied sy sekulêre assosiasies mettertyd verloor het. In hierdie artikel kom die voortdurende debat waarin die geestelike teenoor die sekulêre musiek staan ten opsigte van gebruik in die erediens ook ter sprake. Die hernude belangstelling in en skepping van kontrafakte vanaf die laaste dekades van die 20ste eeu word ook ten slotte onder die soeklig geplaas.
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Thunberg, Lars. "Grundtvig og de latinske salmer - et teologisk perspektiv." Grundtvig-Studier 43, no. 1 (January 1, 1992): 67–92. http://dx.doi.org/10.7146/grs.v43i1.16076.
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Grundtvig and the Latin Hymns - A Theological PerspectiveBy Lars ThunbergA number of scholars have devoted attention to Grundtvig’s hymns, as they are represented in his magnificent Sang-Værk. The hymns form a kind of corona of Christian poetry, intended for the congregation to use in its worship and outside the church. A number of them are congenial renderings of hymns from other traditions: the Greek, the Latin, the Anglo-Saxon, beside the Lutheran. As far as the Greek and the Latin material is concerned, Jørgen Elbek, the literary historian, has made a remarkable contribution. This article follows up Elbek’s intentions.In his Sang-Værk Grundtvig follows the principle that his collection of hymns should reflect what is given - to Christendom as a whole, and the Danish congregation specifically - through the seven historical traditions: the Hebraic, the Greek, the Latin, the English, the German, the Nordic (= Danish) and possibly a seventh, not yet fully discovered. Theoretically Grundtvig develops this idea in his late work Christenhedens Syvstieme, where an Indian congregation is indicated as the seventh one. Elbek has shown that - against this background - Grundtvig wanted to give to the Danish Church a collection of hymns, expressing the unison hymnody of the present day Danish congregation..Among the classical traditions, the Latin ‘congregation’ occupies a particular place. This particularity, however, is a problem to Grundtvig at the same time. Elbek has underlined that Grundtvig was aware of the fact that no Christian is basically able to speak on behalf of the universal Church. Thus, this is also true of Grundtvig himself in his translation/rendering of Greek or Latin hymns. His translation of them into present-day Danish involves a contextualisation, which means that they are at the same time felt to be close and familiar as well as distinct from their original setting. They become songs of praise, integrated into the Danish contemporary situation.However, it is characteristic of Grundtvig that he is very faithful to his Latin originals (which he studied in different versions and very carefully), and at the same time feels free to render them according to his own understanding of what is of importance to his own Danish Church. This combination of faithfulness and freedom is a genuine expression of Grundtvig’s unique ability as a hymn writer. He uses it to express his very personal feeling of what is - as a matter of fact - universal Christian belief.In the article these principles of Grundtvig are illustrated through a short analysis of his rendering of the following 14 Latin hymns: Conditor alme siderum, Veni redemptor gentium, Puer natus in Bethlehem, Vexilla regis prodeunt, Salve crux arbor, Stabat mater dolorosa, Salve mundi salutare, Mane prima sabbad, Mundi renovatio, Zyma vetus expurgetur, Laus tibi Christi, Beata nobis gaudia, Urbs beata Ierusalem and Pange lingua gloriosi.
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H. Geyer, Martin. "On the Road to a German “Postnationalism”? Athletic Competition between the Two German States in the Era of Konrad Adenauer." German Politics and Society 25, no. 2 (June 1, 2007): 140–67. http://dx.doi.org/10.3167/gps.2007.250209.
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Sports have always been used to promote the nation state and the invention of national traditions with national symbols such as flags and national hymns playing an important role. This article looks at the peculiar situation of the post-war period when two Germanys established themselves also in the field of sports, yet cooperated in some athletic disciplines, and, most important of all, at the Olympic Games until 1968. This raised a great number of delicate political questions, particularly the politics of the nonrecognition of the GDR which strove hard to establish itself internationally by way of the international sports movement. Konrad Adenauer and the German Sports Organization clashed on this issue which brought to the fore the question of a German and an emerging West-German identity. In order to describe this negotiation of the nation state in the realm of sports, this article tries to make fruitful use of the term postnationalism in order to understand the ambiguities of identity of Germans towards their nation state. It also takes a brief look at the Olympic Games of 1972, which epitomizes more than anything else the peculiar postnationalism of the Federal Republic.
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Völker, Alexander. "The Tradition of Hymns and Hymnals in the German-Speaking World." Studia Liturgica 28, no. 1 (March 1998): 74–101. http://dx.doi.org/10.1177/003932079802800105.
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Siopsi, Anastasia. "Music in the Imaginary Worlds of the Greek Nation: Greek Art Music during the Nineteenth-Century's fin de siécle (1880s–1910s)." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 17–39. http://dx.doi.org/10.1017/s1479409811000048.
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This essay analyzes ways in which music becomes attached to the growing demand for national culture by the Greek middle class since the last decades of the nineteenth century.In modern Greece of that period, the predominant notions of ‘historic continuity’ and ‘Hellenism’, or ‘Greekness’, interpret Greek history as an uninterrupted evolution from the classical past to Byzantium. In terms of music, continuity was believed to be found from ancient Greek music to Byzantine hymns and folk songs. This theory, supported by important scholars and composers both in Greece and abroad, placed tradition in a privileged position both in composition and reception of music; composers incorporated rhythms, scales and the character of Greek folk songs and Byzantine hymns in their works and the middle-class audience was eager to accept folkloristic styles and the embodiment of tradition in art music because they reflected the notion of ‘national’. Musically, the theory of ‘historic continuity’ was strengthened by the links between German romanticism and attitudes to ancient culture. Moreover, German models, or the organic romantic perception of music, influenced representatives of the so-called National School of Music; the consequence was a growing alienation from Italian music in terms of offering aesthetic standards to composition and reception.
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Mahlmann-Bauer, Barbara. "Sigmund von Birken, der Literaturbetrieb, Netzwerke und Werkpolitik." Scientia Poetica 24, no. 1 (November 1, 2020): 1–56. http://dx.doi.org/10.1515/scipo-2020-001.
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AbstractSigmund von Birken belongs to the »Trio of poets from Nürnberg«, together with Georg Philipp Harsdörffer and Johann Klaj whose posthumous fame is mainly due to their pastoral poetry with fullsounding verses in praise of peace and love. Birken started his career with an enormous upshot as organizer of multi-media spectacles during the peace ceremony in Nürnberg in 1650. Apart from his hymns and pastoral love poems, Birken’s poetry does not belong to the canon of early modern literature in Germany. If he had lived longer, he would probably have edited later all those poems which he had written on demand for special occasions and immediately published as separate brochures or leaflets in at least four huge volumes. He would have properly arranged love poems, odes in praise of friendship, poems dedicated to noblemen and civilians, hymns and secular songs, starting like his famous predecessors with his Latin verses. This ambitious publication project is outlined in his manuscript collections, but was not realized during Birken’s lifetime. To correct for this oversight, the commented edition of Birken’s complete poetic manuscripts, which was recently finished by Hartmut Laufhütte, gives a broad impression of his talents as a playful virtuoso in all kinds of genres, teacher of poetry, advisor, ›ghostwriter‹ and promotor of young poets, male and female alike. His diaries and correspondence account for his enormous productivity and versatility, thus enabling modern readers to watch him during the creative procedure more closely than any other German poet of his time. The edition of Birken’s manuscripts is on the same scale as a few other recently completed long term editions of early modern German ego-documents and poetry and sets high standards for further editions.
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Drews, Luisa, Patrick Hohlweck, and Stefan Willer. "Schauplätze des Künftigen." Daphnis 51, no. 1 (March 10, 2023): 131–70. http://dx.doi.org/10.1163/18796583-12340079.
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Abstract The subject of this article are spatiotemporal manifestations of the future as they are formed in various genres of German-language Baroque literature. Using three examples – pastoral (Martin Opitz), religious poetry and hymns (Anna Ovena Hoyers), as well as Trauerspiel (Andreas Gryphius) – the authors examine how imminent, expected, planned, anticipated, or feared states are explored in 17th-century works, i.e., how they are composed processually and medially, and which spaces and places they occupy in each genre.
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Mortensen, Viggo. "Vartovbogen 1985." Grundtvig-Studier 38, no. 1 (January 1, 1986): 94–95. http://dx.doi.org/10.7146/grs.v38i1.15976.
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The Vartov Book 1985. Kirkeligt Samfunds Forlag, Copenhagen 1985.Reviewed by Viggo MortensenTwo features of this edition are given prominence in the review: the strong interest in narrative history, and in Grundtvig’s revisions of Kingo’s hymns from the 17th century. Alongside recollections of a German POW camp mention is made of a new version of Princess Leonora Christina’s “Memories of Woe” from the 17th century. Without a historical context modern man finds himself in a large, empty room. On the other hand Professor Svend Holm-Nielsen’s retelling of the patriarch, Jacob’s, story shows that the historicalcritical angle, far from destroying the story, actually enhances it. The article on Grundtvig and Kingo makes it clear that Grundtvig’s deep desire to renew the hymns for singing overrode any regard for the individual poet’s personal interest or copyright. “It is not an unreserved pleasure to be near Grundtvig, when he is passionate, ” says Rev. Jens Lyster.
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Minić, Ana. "NJEGOŠ U NJEMAČKIM PUTOPISIMA SVOGA DOBA NJEGOŠ IN GERMAN TRAVELOGUES OF HIS TIME." Folia linguistica et litteraria XII, no. 37 (October 30, 2021): 69–83. http://dx.doi.org/10.31902/fll.37.2021.6.
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Although travelogue is a marginalized literary genre, its role in imagological research is enormous and it cannot be disputed that as a media for studying relations between cultures, it mediated vast knowledge and information that was often taken as the only authoritative one. German travel writings of the 19th century about Montenegro were very scarce until Petar II Petrović Njegoš came to power, and with the change of government in Montenegro, the attitude of foreigners towards it also changed, so travel writers from Germany headed to this South Slavic country. Translations played a great role in arousing the interest of German writers, especially the translation of Karadžić's work "Montenegro and Montenegrins", but also the visit of the Saxon King Frederick Augustus II. The time of Njegoš's rule can be considered the blooming of German travel literature about Montenegro and the time when closer ties were established between these two cultures, which will affect the situation after Njegoš's death, when the most important travel writers of the 19th century came to Montenegro from the German-speaking area. In the German travelogues of Njegoš's time, the writers dealt with numerous topics that clearly reflected the image of the other and not all had the same approach and view of certain phenomena in Montenegrin society. However, the personality of the Montenegrin ruler united them and they all wrote hymns about Njegoš, without exception. He was the personification of kindness and hospitality, erudition and wisdom, masculine beauty and prudence in the German travelogues of his time, he was a reformer and an enlightener, and in every respect he was a symbol of progress.
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Wade, Richard Peter. "HYMNAL RECORD OF A MISSIONARY STRUCTURE AT THABANTŠHO (GERLACHSHOOP) OF THE BAKOPA OF KGOŠHI BOLEU." Studia Historiae Ecclesiasticae 41, no. 1 (July 14, 2015): 200–221. http://dx.doi.org/10.25159/2412-4265/79.
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This research sets out to answer a problem involving whether or not the first church was established across the Vaal River in the 1860’s at Gerlachshoop (Maleoskop). An incidental find of an unknown publication may corroborate an answer to the problem. Anecdotal notes in a hymnal songbook records the first inauguration of a bell of one of the earliest Berlin Missionaries north of the Vaal River. This may clarify the location within the landscape and whether the structure of a church at Gerlachshoop or Thabantšho was erected as opposed to being a deception or an historical figment of imagination by a subsequent director of the Berlin Missionary Society. The national heritage value of such rare early documentation of European/African literature and the built environment is of great significance and serves as one of the earliest records of German translations into the Sekopa language almost 150 years ago, with several early hymns set to musical notation, that marked the occasion with the actual Sekopa hymns that were sung at the occasion of the inauguration of an early church and its bell.
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Bambach, Charles. "Who is Heidegger’s Hölderlin?" Research in Phenomenology 47, no. 1 (February 14, 2017): 39–59. http://dx.doi.org/10.1163/15691640-12341355.
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The question of Hölderlin’s influence on Heidegger’s thinking has long preoccupied philosophers. In this essay I attempt to situate the Hölderlin-reception in Germany during the 1930s and show how (despite all the strong political currents running through Heidegger’s Hölderlin lectures) he comes to offer his own reflections on poetic dwelling that open an ethical relation within his work. There are deeply ethical moments that emerge in Heidegger’s reading of Hölderlin, moments marked by polarities between an assertion of the German Volk’s exceptionalist singularity and an awareness of the need to authentically encounter the “other,” the “alien,” the “foreign,” and the “stranger.” The Hölderlin lectures take place in this space of contention, strife, and upheaval. In and through his conversation with Hölderlin, Heidegger begins to think an originary ethics of dwelling attuned to the poietic power of beyng. It is in this ethos of poetic dwelling, one that comes to language in Hölderlin’s late hymns, that Heidegger rethinks Dasein as Aufenthalt, abode, and ἦθος.
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Magomedova, Dina. "ON A STRANGE QUOTATION IN ALEXANDER BLOK’S ARTICLE “APOLLON GRIGORIEV’S LIFE”." Lomonosov Journal of Philology, no. 6 (March 19, 2023): 152–57. http://dx.doi.org/10.55959/msu0130-0075-9-2022-6-152-157.
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Until now, a German quote from Grigoriev’s article “Th e Last Phase of Love” (1846) in A. Blok’s “The Fate of Apollo Grigoriev”, has remained not only uncommented, but also untranslated. A dictionary analysis showed that a major misprint was made in the magazine “Repertuar i Pantheon” (Erwürdigster instead of Ehrwürdigster). In Blok’s article, another inaccuracy was added to this typo, as a result of which the quote turned into an “obscure passage in the text”. Correction of typos showed that Grigoriev quotes a remark from a Masonic ritual, which corresponds to his passion for Freemasonry and mysticism during the translation of the “Hymns”, with which Block correlated the quoted fragment.
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Fajt, Anita. "At the Crossroad of Confessions." Central European Cultures 1, no. 2 (December 20, 2021): 3–28. http://dx.doi.org/10.47075/cec.2021-2.01.
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The focus of my study is a mid-seventeenth-century Latin manuscript prayer book. Its most basic characteristics should attract the attention of scholars of the period since it was compiled by a Lutheran married couple from Prešov for their individual religious practice. In examining the prayer book, I was able to identify the basic source of the manuscript, which was previously unknown to researchers: the compendium of the German Lutheran author Philipp Kegel. The manuscript follows the structure of Kegel’s volume and also extracts a number of texts from the German author’s work, which mainly collects the writings of medieval church fathers. In addition to Kegel, I have also been able to identify a few other sources; mainly the writings of Lutheran authors from Germany (Johann Arndt, Johann Gerhardt, Johann Rist, and Johann Michael Dilherr). I give a description of the physical characteristics of the manuscript, its illustrations, the hymns that accompany the prayers, and the copying hands. I will also attempt to identify the latter more precisely. The first compilers of the manuscript were Andreas Glosius and his wife Catharina Musoniana from Prešov. I also organize the biographical data we have about their life and will correct the certainly erroneous provenance of Andreas Glosius, whose name appears in the context of several important contemporary manuscripts, including the gradual of Prešov. In the last part of my paper, I will also show how well known and popular Philipp Kegel’s work was in the early modern Kingdom of Hungary. This is necessary because, although the data show that there was a very lively reception of Philipp Kegel’s work in Hungary, previous scholars have only tangentially dealt with the Hungarian presence of his work.
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Kareva, Natalia V., and Evgeny G. Pivovarov. "The first German grammar, intended for Russian students (1713): Language material peculiarities." Vestnik of Saint Petersburg University. Language and Literature 19, no. 2 (2022): 320–33. http://dx.doi.org/10.21638/spbu09.2022.207.
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The article explores the first grammar of the German language, intended for use of Russian students: “Die Deutsche Grammatica, Aus Unterschiedenen Autoribus zusammen gebracht Und Der in Deutschland Studierenden Rußischen Nation zum besten In einem Compendio herausgegeben von Charmyntes”. Peculiarities of the language material presented in the man ual are investigated. Deviations from the traditional German language description scheme are fixed: assignment of three article types; viewing a person as a nominal category, complicat ing system of verb tenses etc. We append the results of the research conducted by K.Koch (2002) and. conclude, that in addition to J.Bödiker’s work directly referred to in the manual, its author was influenced by the works of linguists from “Fruitbearing Society”: K. von Stieler, J.Clajus, and Ch. Gueintz. The author also relied on French grammar by J.R.Pepliers. The article analyzes the textbook illustrative material. Quotations from the Gospel, Psalms, evan gelic hymns, and catechistic literature were often used as examples. However, it also contained a heretical example — mentioning of Lucifer among angels. The latter, possibly, explains the mysterious circumstances of the manual publication. It was issued in Berlin in 1713 without indicating its printing house. The author also hid his real name. We describe its surviving copies in Saint Petersburg and Rostock libraries and conclude, that the work, brought to Rus sia in the first third of the 18th century, was significant for the national tradition of language description.
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Sibirtseva, Vera G. "Musicality of Klopstock’s poetry." Vestnik of Saint Petersburg University. Language and Literature 19, no. 4 (2022): 692–709. http://dx.doi.org/10.21638/spbu09.2022.403.
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The article analyzes the semantic and structural features of the poetry by Friedrich Gottlieb Klopstock, collectively demonstrating the affinity of the entire work of the outstanding German poet and music. The changing attitude towards symphonic and vocal music from the middle of the 18th century to the beginning of the 19th century and the spread of musical and aesthetic views in related fields of science had a significant impact on Klopstock’s work. The complex multidimensional musicality of his works was misunderstood by his contemporaries who perceived only the superficial layer of Klopstock’s poetry, the plot. Researchers started studying the compositional affinity of his religious epic poem, the Messias, and the symphony only in the 20th century; they suggested the concept of a plot of feelings as opposed to the usual interpretation of the plot as a chain of events. The structural similarity of Klopstock’s epic to the symphony and the use of dissonance are undoubtedly manifestations of musicality. However, we can point out a deeper sign of musicality which is the German poet’s desire not to portray nature in his odes and hymns, but to convey an attitude towards it. Franz Schubert managed to reflect the rich palette of feelings contained in Klopstock’s poetry; today Schubert’s songs based on Klopstock’s poems are still a part of the vocal repertoire. Schubert succeeded in overcoming the obvious difficulties of Klopstock’s poetry, namely the lack of rhyme and regular syllable stress.
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Слюжинскас, Р. "TEXTS OF LUTHERAN PSALMS ON THE TOMBSTONES OF THE HISTORIC CEMETERIES OF THE KLAIPĖDA REGION: EXAMPLE OF MULTICULTURAL AND BILINGUAL FOLKLORE TRADITION." Music Journal of Northern Europe, no. 1(17) (May 28, 2024): 26–47. http://dx.doi.org/10.61908/2413-0486.2019.17.1.26-47.
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Сохранение и изучение материального и нематериального культурного наследия каждого народа и региона – одна из главных задач современности. В данной статье наше внимание сконцентрировано на изучении до сих пор сохранившихся текстов лютеранских песнопений на надгробных памятниках исторических кладбищ (вторая половина XIX – первая половина XX века) Клайпедского края Литвы, исторически связанных с местными традициями евангелико-лютеранского вероисповедания. Даётся подробный их анализ, рассматриваются разные аспекты взаимовлияния обеих двуязычных местных культур – литовской и немецкой, унаследованных с времён Королевства Восточной Пруссии. The preservation and study of the tangible and intangible cultural heritage of every nation and region is one of the main tasks of our time. In this article, our attention is focused on studying the texts of Lutheran hymns still preserved on the tombstones of historic cemeteries (second half of the 19th – first half of the 20th centuries) of the Klaipėda region in Lithuania, historically associated with local traditions of the Evangelical Lutheran religion. Their detailed analysis is given, different aspects of the mutual influence of both bilingual local cultures – Lithuanian and German, inherited from the times of the Kingdom of East Prussia are considered.
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Thyssen, Peter. "Grundtvig, Laub og kirkesangen." Grundtvig-Studier 45, no. 1 (January 1, 1994): 229–55. http://dx.doi.org/10.7146/grs.v45i1.16148.
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Grundtvig, Laub and Church Singing.By Peter ThyssenThe article deals with the importance that Grundtvig’s hymn writing acquired for the development of church music in Denmark through the 19. and 20. centuries. At first, the lack of tunes for the hymns written by Grundtvig for his own metres, resulted in the appearance of a great number of romantic hymn tunes which became widely used in church singing all over the country through the 19. century. Compared with these new lively and romantic tunes, however, the old chorales, isorhytmical at that time, were bound to seem more and more »stiff« and »dead« when used in the church service. Inspired by the reform movements in church music, which had developed in Germany since the 1840s, Thomas Laub (1852-1927), the organist and composer, advocated a restoration of the old chorale tunes in accordance with their original melodics, rhythmics, and tempo (in his book Om kirke-sangen (On Church Singing) from 1887). After his work on the restoration of the old church tunes in the years 1888-1910, Thomas Laub embarked in earnest on the task of composing new tunes for Grundtvig’s hymns (thus, out of 100 original hymn tunes by Laub, 68 were composed for hymns by Grundtvig). Laub’s hymn tunes were written with .the old church tone. as a source of inspiration, but are equally influenced by the late romantic tone of his own age.The point then is that Laub’s work on the historical and modem mode of expression of church music can be understood as a parallel to Grundtvig’s hymns, viz. as a »renewal on the foundation of the old church« - a programme that Laub himself explains in the book Musik og kirke (Music and Church) from 1920. Owing to this »Grundtvigian programme«, Laub’s tunes have not only achieved a unique congeniality with Grundtvig’s hymns; among Danish church composers Thomas Laub is also the one who has created the largest number of original hymn tunes still in use in church services in Denmark today. Thus, modem Danish church singing has been decisively influenced by the two »learned artists«, N.F.S. Grundtvig and Thomas Laub.
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Daija, Pauls. "Kārlis Hūgenbergers 19. gadsimta sākumā latviešu literārās kultūras vēsturē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 137–54. http://dx.doi.org/10.37384/aplkp.2021.26-2.137.
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In the article, the literary works of Baltic German writer Carl Hugenberger have been explored. Anthology of his poetry translations, “Derrigs laika kaweklis” (Useful Pastime, I–II, 1826–1827), has been analysed. The anthology was significant in the emancipation of Latvian literary culture and liberation from moral didacticism as well as the development of the self-sufficient aesthetic value of literature. Thus, the anthology prepared the way for the formation of Latvian national literature in the mid-19th century. Special attention has been turned towards Hugenberger’s translations of poems by Johann Wolfgang Goethe and Friedrich Schiller. Besides, the evaluation and reception of Hugenberger’s works have been explored. The article concludes that despite the innovative role and poetic achievements of Hugenberger’s poetry, it did not gain popularity among wider circles of the Latvian reading public and met criticism regarding the shortcomings in the translation techniques that can be explained by the limits of the underdeveloped Latvian language at the time. The most important episodes in Hugenberger’s biography have been outlined as well as his religious hymns and works of popular enlightenment, including translations of “Schillings-Bücher des Rauhen Hauses”, a book series of German Inner mission, works by Jeremias Gotthelf, August Kotzebue, Gottfried August Bürger et al. Special attention has been paid to previously unidentified originals of Hugenberger’s translations – works by Matthias Claudius, Johann Hinrich Wichern, Heinrich Alexander Seidel, and Adolph Krüger as well as previously underexamined partial translation of Johann Peter Hebel’s “Allemanische Gedichte”. The literary works of Hugenberger have been interpreted within the context of the literary praxis of the late popular enlightenment in the Baltics.
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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Six, Veronika. "Aufstockung des äthiopischen Handschriftenbestandes zweier deutscher Bibliotheken." Aethiopica 12 (April 7, 2012): 172–89. http://dx.doi.org/10.15460/aethiopica.12.1.101.
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Two German libraries which hold collections of Oriental manuscripts again have enlarged their stock of Ethiopian manuscripts. The Berlin State Library: there is a dated Sǝnkǝssar representing the still living manuscript tradition. Without concrete dating (which exists) a cataloguer surely might come to a wrong judgment concerning the date of writing the manuscript, but the date is clear: 20th cent. The second manuscript is a gift from Professor Dr. Walter W. Müller (Marburg): the unbound parchment leaves contain chronicles in Amharic concerning the history of Ethiopia and Šäwa written in the second half of the 19th cent. Then a collection of Hymns (Sälam), a Psalter and a small manuscript containing a text which is used as protection of the soul either during funeral rites or – as it is the case here – as a separate text serving the daily protection of a human being. The second library: the University Library Tübingen with a long tradition of collecting Oriental and Ethiopic manuscripts as well, now has acquired two manuscripts: a dated Mäzmurä Dawit of the second half of the 19th cent. which also represents the manuscript tradition at its best and a parchment scroll containing prayers for protecting a female person, but in which the originally restricted purpose has been changed into a general protective function.
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Crook, David. "A Sixteenth-Century Catalog of Prohibited Music." Journal of the American Musicological Society 62, no. 1 (2009): 1–78. http://dx.doi.org/10.1525/jams.2009.62.1.1.
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In 1575 the Jesuit general in Rome issued an ordinance governing the use of music in the order's rapidly expanding network of colleges. Motets, masses, hymns, "and other pious compositions" were to be retained; indecent and "vain" music was to be burned. Sixteen years later the Jesuits' provincial administrator in Bavaria drew up a set of supplemental instructions, to which was appended a catalog of prohibited music as well as a complementary list of approved compositions (D-Mbs Clm 9237). Verbal texts treating drunkenness and erotic love account for the majority of banned pieces, but in some cases—a setting of the first verse of Psalm 137 by Orlando di Lasso, for example—the sound and style of the music led to its prohibition. Although intended for all colleges within the Jesuits' Upper German province, this catalog apparently derives solely from a review of the music collection of Munich's college on the occasion of its move in 1591 to a magnificent new building financed by the duke of Bavaria. Like the architecture and curriculum of the college, the music catalog reflected Bavaria's new understanding of its role as principal post-Tridentine defender of the true faith. And, like the formal confessions of faith, catechisms, and service books promulgated by Europe's Churches during the late sixteenth century, Bavaria's catalog of prohibited music gave expression to an ideology of difference and exclusion that lies at the very heart of post-Reformation Christianity.
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Macknight, Lorraine. "Politics, Patronage, and Diplomacy." Historical Reflections/Réflexions Historiques 47, no. 1 (March 1, 2021): 59–87. http://dx.doi.org/10.3167/hrrh.2021.470104.
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When a hymnbook is placed outside its more expected hymnological environment and put in a wider contextual framework, particularly a political one with significant diplomatic aspects, a better appreciation is gained of the hymnbook and the circumstances of its compilation. Critically, the complexity and progressive transparency of hymn transmission from one country to another is also revealed. This article focuses on Prussian diplomat Christian Karl Josias von Bunsen and his Gesang-und Gebetbuchs (1833). A primary source for several translators, notably Catherine Winkworth (1827–1878), the hymnbook directly affected the movement of many hymns from Germany to England, Scotland, and Australia.
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Lozko, Halyna. "THE EUROPIAN CONGRESS OF ETHNIC RELIGIONS AS INTERNATIONAL FORUM OF HEATHENS." Sophia. Human and Religious Studies Bulletin 13, no. 1 (2019): 38–42. http://dx.doi.org/10.17721/sophia.2019.13.9.
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From the beginning of the 20th century the crisis of world religions caused to the search for autochthonous spiritual alternatives. There is a steady trend towards the revival of ethnic religions in Europe for the whole century. In the article was considered the history and main conceptual foundations of The European Congress of Ethnic Religions (ECER) as an international forum for communication of European ethnoreligious communities, which revive authentic spiritual traditions and practices in their countries. In particular, a detailed ХVІ ECER (2018) report from the direct participant and Declaration XIV ECER (2014) were presented for illustration, as well as observations on the development of traditionalism in the Italian organization "Movimento Tradizionale Romano", which will have a scientific and applied value for religious studies. A conclusion was drawn about the historical patterns of ethnoreligious Renaissance. The Roman ethnic religion, whose development was interrupted by the expansion of Christianity in the 4th century, did not disappear suddenly after the decrees of the Emperor Theodosius I, but continued to exist in deeply veiled forms. Many literary sources of faith have been preserved, which gives the opportunity for Italian traditionalists to reliably revive their worldview, theological and ritual traditions. Now, the authentic Italian confession of the native faith is "Movimento Tradicionale Romano". The existence of common Indo-European sources of faith, such as the Vedas in India, the poems of Homer, the works of Hesiod, the orphan hymns in Greece, the works of ancient Greek and Roman philosophers, the German and Scandinavian epics, Slavic folklore, etc., provide an opportunity for scientific comparative methods to restore the ancient spiritual heritage of European nations with the aim of returning it in the living national environment.
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Newell, A. G. "A Study of German Hymns in Current English Hymnals by J. S. Andrews (European University Studies, Series 1, Vol. 614. Berne & Frankfurt/M.: Peter Lang, 1982. iii, 391 pp. Sw.Fr.69.00)." Evangelical Quarterly: An International Review of Bible and Theology 58, no. 1 (August 29, 1986): 93–95. http://dx.doi.org/10.1163/27725472-05801014.
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Beck, Wolfgang, and Florian Hellbach. "Eine mittelalterliche deutsche Kontrafaktur auf den Hymnus ‘Rex Christe factor omnium’." Zeitschrift für Deutsches Altertum und Deutsche Literatur 151, no. 4 (2022): 466–74. http://dx.doi.org/10.3813/zfda-2022-0015.
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McEwan, Dorothea. "Book Reviews : Regler-Bellinger, B., Die Himmelsherrin bin ich: Gebete und Hymnen an Göttinnen (I am the Lady of the Heavens: Prayers and Hymns to Goddesses) (Bonn: Verlag Gisela Meussling, 1993), pp. 352. German. DM39." Feminist Theology 6, no. 18 (May 1998): 123–24. http://dx.doi.org/10.1177/096673509800001809.
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Wamese, Ellia, Jolanda Tomasouw, and Kalvin Karuna. "Language Functions in German Supermarket TV Commercials." J-EDu: Journal - Erfolgreicher Deutschunterricht 1, no. 1 (February 14, 2021): 1–11. http://dx.doi.org/10.30598/j-edu.1.1.1-11.
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Commercials are unavoidable these days. They accompany us in everyday life. They are intended to motivate people to do something specific in the interests of the advertiser (Janich, 2013). There are plenty of studies conducted to examine the language function in advertisements. However, only few studies have been undertaken to investigate language function in commercials. Supriyono (2015) has conducted a study on language functions found in Mizone Fres’in TV Commercial based on Hymes and Grumperz’s (1964) theory of language function. Lestari (2018) has also investigated language functions, based on Jakobson (1960), used in twenty Maybelline commercials published in 2016 and 2018. Particular commercials were further studied in the present research, German supermarket TV Commercials, and which language function was emphasized. The results showed that the referential function was emphasized in the commercials.
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Morris, Lawrence. "The Autobiography of Bishop Wilhelm Wagner Orwig (1810–1889)." Methodist History 62, no. 1 (April 2024): 77–86. http://dx.doi.org/10.5325/methodisthist.62.1.0077.
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ABSTRACT Bishop Wilhem Wagner Orwig (1810–1889) was an influential leader in the Evangelische Gemeinschaft / Evangelical Association. Orwig founded the Association’s publishing house and developed its newspaper, Der Christliche Botschafter, into an important Christian periodical. Orwig held several other important positions throughout his career, including Bishop, President of Union Seminary, and President of the Missionary Society. Orwig also engaged in theological disputation, and was a key defender of the doctrine of entire sanctification. Orwig authored or compiled over 13 volumes, including sermon collections and hymn books. During Orwig’s lifetime, the Evangelische Gemeinschaft experienced profound language change. Orwig wrote primarily in German, but, by the time of his death, the younger members could no longer understand German. This language change has left German-language American Methodism relatively unstudied. Orwig’s autobiography, translated here, offers a glimpse into the spiritual and practical world of the German-speaking Gemeinschaft.
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Isler, H., H. Hasenfratz, and T. O'Neill. "A Sixth-Century Irish Headache Cure and Its Use in a South German Monastery." Cephalalgia 16, no. 8 (December 1996): 536–40. http://dx.doi.org/10.1046/j.1468-2982.1996.1608536.x.
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Medieval headache treatment is largely unknown. Medieval incantations against headache enumerate bodily organs to be protected. One 8th-century Latin hymn from Lake Constance using this device is addressed to St. Aid “mechprech”, who has been identified as Aed Mac Brice, Bishop of Killare, 6th century. This Irish Saint inspired unusual legends by some rather unorthodox activities: He abducted a young girl as hostage while his inheritance was withheld, but at the same time was seen surrounded by angels. He prayed for a nun who was pregnant and made the pregnancy vanish by a miracle, and he replaced the severed heads of maids, men and horses, creating a new spring as a by-product of this operation. Already at his birth his head had hit a stone, leaving a hole in the stone which collected rainwater that cured all ailments. In our own time, such “bullaun stones” are still believed to cure headache in Ireland. According to the legends collected by Plummer and Co1man, St. Aed Mac Bricc was well known for his power to cure headaches. He relieved St. Brigid's headache when she was suffering many miles away, but his most impressive cure was in convincing a headache sufferer that the patient's headache could actually be transferred to his own head. The headache hymn or incantation is intended to repeat Aed's unique miracle.
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PARK, Sa-Ra. "THE GERMAN CHURCH HYMN EIN FESTE BURG BY MARTIN LUTHER: ITS RECEPTION IN GERMANY AND IN KOREA DURING AND BETWEEN THE WORLD WARS." KOREA PRESBYTERIAN JOURNAL OF THEOLOGY 52, no. 4 (November 30, 2020): 261–80. http://dx.doi.org/10.15757/kpjt.2020.52.4.010.
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Faithful, George. "A More Brotherly Song, a Less Passionate Passion: Abstraction and Ecumenism in the Translation of the Hymn “O Sacred Head Now Wounded” from Bloodier Antecedents." Church History 82, no. 4 (November 20, 2013): 779–811. http://dx.doi.org/10.1017/s0009640713001145.
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When nineteenth-century American Presbyterian pastor James Waddel Alexander wrote the lyrics of the hymn “O Sacred Head Now Wounded,” he created what has become the most popular of numerous English translations of seventeenth-century German Lutheran pastor Paul Gerhardt's hymn “O Haupt voll Blut und Wunden.” That text was, in turn, a translation of part of an anonymous thirteenth-century cycle of passion poems, one dedicated to each of Christ's wounds. From the medieval original through Gerhardt to Alexander, each subsequent translation has diminished its depictions of blood and rendered its narrator's interaction with the crucified body of Christ less passionate, dictated by the theological needs and aesthetic sensibilities of the translator's religious tradition. At the same time, both Gerhardt and Alexander included significant elements from the original that were anomalous in their own contexts. The inclusion of a medieval poem in the worship of seventeenth-century Lutherans and nineteenth-century Presbyterians may reveal an ecumenical bent on their part, albeit with clear limits. A comparison of the various versions of the hymn demonstrates the complex interrelationship between an original text and translations of it, some of which may properly be called versions of it and some of which may have become something altogether different.
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di Fiore, David. "A Comparison of Hymn Playing Styles from the United States, France, Germany and Slovakia." Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 21, no. 4 (2022): 58–67. http://dx.doi.org/10.54937/ssf.2022.21.4.58-67.
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Hymn playing styles can vary from country to country in addition to what is sung for Masses. This article will compare those styles and repertoire, making observations about not only the accompanying styles but also about the kind of repertoire sung.
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Kowalke, Kim H. "For Those We Love: Hindemith, Whitman, and "An American Requiem"." Journal of the American Musicological Society 50, no. 1 (1997): 133–74. http://dx.doi.org/10.2307/832064.
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Hindemith's setting of Whitman's When Lilacs Last in the Dooryard Bloom'd has been called his only "profoundly American" work. However, the double entendre of its original subtitle, "An American Requiem," alluding to Brahms's Ein deutsches Requiem, mirrors Hindemith's ambivalence about his own postwar cultural identity. Although the work's intertextual links with the German polyphonic tradition extend back to Bach, "Taps" is the only overt "American" reference. But the phrase in quotation marks within the final subtitle, "A Requiem 'For those we love,' " is the incipit of a World War I hymn of commemoration, "For those we love within the veil." Hindemith quotes verbatim the melody for this hymn from the 1940 Episcopal Hymnal, which identifies it as "Gaza," a "Traditional Jewish Melody" (in turn derived from a Yigdal). The Requiem may be reinterpreted as a covert commentary on Whitman's text from the post-Holocaust perspective of Hindemith's conflicted personal and artistic circumstances.
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Rathey, Markus. "BUXTEHUDE AND THE DANCE OF DEATH: THE CHORALE PARTITA AUF MEINEN LIEBEN GOTT (BUXWV 179) AND THE ARS MORIENDI IN THE SEVENTEENTH CENTURY." Early Music History 29 (July 21, 2010): 161–88. http://dx.doi.org/10.1017/s0261127910000124.
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In his chorale partita Auf meinen lieben Gott (BuxWV 179) Dieterich Buxtehude combines the (sacred) genre of the chorale with the (secular) genre of a dance suite by modelling the variations of the partita on popular dances. This essay explores the Sitz im Leben of the composition and shows that it was part of a larger trend to turn hymn settings into keyboard pieces that borrowed stylistic features from contemporary dances. At the same time, the choice of the hymn has to be understood within the context of contemporary piety and the ars moriendi in particular. Both aspects converge in the musical and religious practices of the educated middle class in the second half of the seventeenth century in northern Germany.
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Høirup, Henning. "Omkring Grundtvig-Selskabets tilblivelse." Grundtvig-Studier 39, no. 1 (January 1, 1987): 45–54. http://dx.doi.org/10.7146/grs.v39i1.15983.
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How the Grundtvig Society was foundedA paper read by Henning Høirup to the Annual Conference of the GS on 15th January 1988This paper was given close to the fortieth anniversary of the date when the GS made itself known to the public with a press notice announcing its foundation at a meeting, held at Vartov on 13th January 1948 when the Society was formally constituted. The notice includes the names of the fifteen founder members. The reason why the GS has nevertheless insisted on 8th September 1947 as the date of its foundation is given by Bishop Høirup in this paper. The latter date is the correct one, and the place where the GS was founded is the episcopal residence at Ribe, but the six founders (who had come together at a meeting of Grundtvig scholars) agreed to widen the circle so as to include nine co-founders who were present at the meeting on 13th January 1948.Concurring with Albeck Høirup maintains that the renewed interest in Grundtvig began in the Thirties when the literary historian Georg Christensen had completed Svend Grundtvig’s edition of his father’s Poetiske Skrifter, which had come to a standstill after the Editor’s death in 1889. Approximately at the same time the Haandbog i N. F. S. Grundtvig’s Skrifier by Ernst J. Borup and Fr. Schrøder was published. It was also the time of appearance of Edvard Lehmann’s book on Grundtvig in Swedish with a Danish version following later on. All this occured about ten years earlier than the so-called Grundtvig Renaissance launched by Hal Kochs university lectures on Grundtvig in 1940.However, to Høirup the most important event in the Thirties was the appearance of the eleventh edition of the song-book of the folk high school with the scores for tunes by Carl Nielsen, Thomas Laub and Thorvald Aagaard, which gave new life to Grundtvig’s songs and hymns. Høirup’s pastor colleague of the adjacent parish in Funen, Kaj Thaning at Asperup, had started a card index on main concepts in Grundtvig’s work, and the two clerics got permission to take out Grundtvig mss. on loan pledging that they would keep the invaluable fascicles in the fire-proof safes of their vicarages. Bishop Hans .llgaard of Odense supported research on Grundtvig’s theology as when he convened a working synod of his diocese in 1946, where both Thaning and H.irup presented results of the research projects that led to their doctoral dissertations. At the Royal Library in Copenhagen Høirup met other Grundtvig scholars, Steen Johansen, William Michelsen and Helge Toldberg. In September 1947 those three and Høirup came to Ribe to meet Bishop C. I. Scharling and Villiam Grønbæk, the Diocesan Dean, both known as “High Church” men. But all misgivings about them were soon laid aside. Scharling was able to present his book on “Grundtvig and Romanticism”, that appeared in the same year. At this meeting the idea to set up a society for the advancement of cooperation in research and in the editing of documentary scholarly editions of Grundtvig’s writings was discussed along with a proposal from Bishop Øllgaard that a future yearbook be called Grundtvig-Studier. On the following day, Grundtvig’s birthday, regulations were drafted, just as it was agreed to widen the circle so as to include Bishop Øllgaard and Professor Poul Andersen and Hal Koch, as well as the literary historians Gustav Albeck, Georg Christensen and Magnus Stevns. Helge Toldberg was appointed Secretary and Høirup himself Editor of Grundtvig-Studier. The meeting at Ribe was not convened with the foundation of the GS as its aim. The resolve tofound it grew out of a feeling of the value that working together would entail. The proposed co-founders were all in favour and were joined by Pastor Balslev of Vartov. At the meeting at Vartov, where the Society was constituted, Bishop Scharling was elected President. When he died in 1951, Ernst J. Borup, the Warden of Vartov, rightly said that thanks to Scharling the Society “had been taken beyond the limitations of the partisan dominance to which it might otherwise have been confined.” The circle of co-founders were further augmented with Kaj Thaning and Holger Kjær, a folk high school teacher. An invitation to membership was issued, and at the first annual conference in 1948 the membership stood at 333. At the conference Magnus Stevns lectured on “The Kingo Hymn and Grundtvig”, though he was already hampered by the disease that was to bring him to his grave shortly afterwards.After some remarks about the activities of the Society over the past forty years Høirup pointed out that new scholars constantly have come forward including undergraduates, as those who wrote most of the chapters in the book “For the Sake of Continuity” (1977), which was published as a double-volume of Grundtvig Studier.The 1988 volume of Grundtvig Studier opens with an obituary on P. G. Lindhardt. He was a professor of ecclesiastical history in the University of Aarhus and a member of the Committee of the GS from 1956. He is the author of a biography of Grundtvig in English and contributed an article “Some Light Thrown on Grundtvig’s Trip to England in 1843” to Kirkehistoriske Samlinger 1972. He made an edition of Grundtvig’s sermons 1854-56 with a commentary (1974-1977). His monumental scholarly work was chiefly concerned with the rise of the revivalist movements in the 19th century. The obituarist is J. H . Schjørring, D.D ., who was elected a member of the Commitee of the GS in 1988.The Grundtvig Manuscript .Fragen aus Dänemark an die Universitäten Deutscher Zunge., an unpublished fragment lodged in the Grundtvig Archives of the Royal Library in Copenhagen (fasc. 168), dates from the period 1816-1820. It contains an appeal to the professors of German universities that they offer themselves to the German princes as intermediaries between these and their subjects in setting up constitutional rules of government after the Vienna Conference 1815-1816. As the situation changed, when the writer August von Kotzebue was murdered on 23. March 1819, the manuscript was probably written shortly before this date.
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Hamburger, Klára. "Unveröffentlichte Liszt-Briefe aus Weimar und Dresden." Studia Musicologica 56, no. 1 (March 2015): 39–70. http://dx.doi.org/10.1556/6.2015.56.1.2.
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This documentary contains 16 Liszt-letters preserved at the Goethe-Schiller- Archiv (GSA) in Weimar and further 14 items from the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek (SLUB) in Dresden. The Weimar letters include those in which Liszt addressed (in French) Ignaz Moscheles and Julius Benedict, both German musicians living in London, about his 1840 concert tour in England. Also, he wrote in French to singer Pauline Viardot-Garcìa, Madame Érard, and his Neapolitan pupil Luisa Cognetti. His letters in German to Hermann Levi deal with Richard Wagner. In another letter Liszt is asking the Vienna Home Secretary Baron Alexander von Bach, to have his Gran Mass published at the state administration’s expense. His letters to Count Sándor Teleki and Ede Reményi concern Hungarian musical life. Liszt is giving instructions for the publishing of his work Hymne de l’enfant à son réveil to his Hungarian publisher Nándor Táborszky and writing a dry refusal to his former Hungarian pupil Sándor Bertha. The envelope of a letter to Madame Munkácsy has a mistake in the orthography of the family name. The documents from Dresden include an Albumblatt Liszt wrote for Clara Schumann, a recommendation for Heinrich Ehrlich, the composer of the first Lento-theme of Liszt’s Hungarian Rhapsody no 2. Further letters were written to Laura Kahrer (one of them having been published in a slightly altered manner by La Mara) and a series of eight letters to Liszt’s Swiss disciple Bertrand Roth.
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Bonnefoy, Yves. "Traduction inédite de deux poèmes de John Donne : « A hymne to Christ, at the Authors last going into Germany », « Hymne to God my God, in my sicknesse »." Palimpsestes, no. 2 (January 1, 1990): 2–5. http://dx.doi.org/10.4000/palimpsestes.715.
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Piana, Marco. "Written in Blood: Blood Devotion in Gianfrancesco Pico’s Staurostichon." Renaissance and Reformation 42, no. 4 (April 9, 2020): 85–102. http://dx.doi.org/10.7202/1068576ar.
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This article aims to provide an analysis of Gianfrancesco Pico della Mirandola’s hymn Staurostichon in view of other examples of Savonarolan blood devotion. Staurostichon describes a supernatural event that took place in Germany between 1501 and 1503, when unusual rainfalls started to mark people’s bodies and garments with shapes of red crosses and other symbols generally connected to Christ’s Passion. Often interpreted as a rain of divine blood, the Kreuzwunder gave free rein to the imagination of many historians, astrologers, and prophets of the time. Deeply engrained with Savonarola’s devotion to Christ’s blood and wounds, Gianfrancesco Pico’s Staurostichon seeks to provide a biblical and prophetic explanation of the event: an explanation that is soaked in the gory events of the sacred Scriptures and the lives of the saints.
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Piana, Marco. "Written in Blood: Blood Devotion in Gianfrancesco Pico’s Staurostichon." Renaissance and Reformation 42, no. 4 (February 11, 2020): 85–102. http://dx.doi.org/10.33137/rr.v42i4.33709.
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This article aims to provide an analysis of Gianfrancesco Pico della Mirandola’s hymn Staurostichon in view of other examples of Savonarolan blood devotion. Staurostichon describes a supernatural event that took place in Germany between 1501 and 1503, when unusual rainfalls started to mark people’s bodies and garments with shapes of red crosses and other symbols generally connected to Christ’s Passion. Often interpreted as a rain of divine blood, the Kreuzwunder gave free rein to the imagination of many historians, astrologers, and prophets of the time. Deeply engrained with Savonarola’s devotion to Christ’s blood and wounds, Gianfrancesco Pico’s Staurostichon seeks to provide a biblical and prophetic explanation of the event: an explanation that is soaked in the gory events of the sacred Scriptures and the lives of the saints.
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Lorenc, Magdalena. "„Oczy szeroko zamknięte” — czyli o tym, co jest , a czego nie widać w nowych polskich muzeach o II wojnie światowej." Oblicza Komunikacji 10 (November 15, 2018): 99–115. http://dx.doi.org/10.19195/2083-5345.10.4.
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“Eyes wide shut”: On what there is and what cannot be seen in new Polish Second World War museumsMuseums have always been political institutions. Owing to this engagement, they are not neutral and they should not claim objectivity. Facts and artefacts at an exhibition exemplify the assumed hypotheses. This means that visitors are objects of manipulation. In case of the Warsaw Rising Museum, which was the first narrative museum in Poland, World War II was a trial, which the first victim of the German aggression — the Polish nation en bloc — underwent successfully. Th at was a time of heroes who should be imitated. The decision about the rising was right, even though the capital and its population were annihilated as a result of it. In contrast, in the Museum of World War II in Gdańsk, the war was a tragedy for the whole humanity and a hecatomb of the civilian population, with the presentation of the history of Poland nation as just one of many. If there were heroic deeds, they were individual and exceptional. Heroism was not only combat. Survival was the aim.This means that the first museum is about “men’s adventure”, which is fighting among faithful comrades — it’s a hymn of praise to the valour of the Poles under German occupation. The more innocent the victims, the higher the factor of heroism. By contrast, the other museum is a warning — every war is first of all a failure of humanity. These two interpretations of the events of World War II differ from each other as the target groups of both exhibitions are different. Supporters of the Warsaw Rising Museum do not accept the Museum of World War II and vice versa; they often voice opinions about something they did not have a chance or did not even feel like to see. These institutions are reflections of political disputes which divide Poles into supporters and opponents of certain historical policies which are pursued by making use of museums and in relation to them.
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Abedin, Zaynul. "Maurice Druon’s Tistou and His Green Thumbs: A Leap from Egophilia to Ecophilia." International Journal of Comparative Literature and Translation Studies 10, no. 2 (May 5, 2022): 1–8. http://dx.doi.org/10.7575/aiac.ijclts.v.10n.2p.1.
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An illegitimate son of a Russian Jewish immigrant, born in Paris on April 23, 1918 and one of the France’s most prolific men of letters, Maurice Druon made a name for himself as a patriotic egophiliac. Through his critically acclaimed series of historical novels, Les Rois Maudits, and Les Grandes Familles, for example, he intended to revive the long-lost French medieval egotistic glory. With his wartime resistance hymn, “Chant des Partisans”, which he and his uncle, Joseph Kessel, adapted from the Russian-born troubadour Anna Marly’s lyric song, he infused a strong sense of ego in the French fighters against the German wartime occupiers. It was for all such contributions to nation building and for his unflinching determination to promote French linguistic and political culture that he was made Minister of Cultural Affairs in Pierre Messmer’s cabinet (1973-1974), a Deputy of Paris (1978-1981) and a ‘perpetual secretary’ of the Académie Francaise. But in between his writing Les Rois Maudits, as he said in the preface to the story, he wanted to try his hands in something else and ended up writing Tistou Les Pouces Verts. This paper makes use of the properties of ecocritical theory in order to investigate the importance of Maurice Druon’s stride from egotistic to eco-conscious writing meant for children.
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Mazurczak, Urszula. "Panorama Konstantynopola w Liber chronicarum Hartmanna Schedla (1493). Miasto idealne – memoria chrześcijaństwa." Vox Patrum 70 (December 12, 2018): 499–525. http://dx.doi.org/10.31743/vp.3219.
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The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel comprises the complex historical knowledge about numerous woodcuts which present views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractual architecture, the existing places and the unrealistic (non-existent) places. The results show that there is a common detail in all the views – the defensive wall round each of the described cities. However, in reality, it may not have existed in some cities during the lifetime of the authors of the woodcuts. As for some further details: behind the walls we can see feudal castles on the hills shown as strongholds. Within the defensive walls there are numerous buildings with many towers typical for the Middle Ages and true-to-life in certain ways of building the cities. Schematically drawn buildings surrounded by the ring of defensive walls indicate that the author used certain patterns based on the previously created panoramic views. This article is an attempt of making analogical comparisons of the cities in medieval painting. The Author of the article presents Roman mosaics and the miniature painting e.g. the ones created in the scriptorium in Reichenau. Since the beginning of 14th century Italian painters such as: Duccio di Buoninsegna, Giotto di Bondone, Simone Martini and Ambrogio Lorenzetti painted parts of the cities or the entire monumental panoramas in various compositions and with various meanings. One defining rule in this painting concerned the definitions of the cities given by Saint Isidore of Seville, based on the rules which he knew from the antique tradition. These are: urbs – the cities full of architecture and buildings but uninhabited or civita – the city, the living space of the human life, build-up space, engaged according to the law, kind of work and social hierarchy. The tradition of both ways of describing the city is rooted in Italy. This article indicates the particular meaning of Italian painting in distributing the image of the city – as the votive offering. The research conducted by Chiara Frugoni and others indicated the meaning of the city images in the painting of various forms of panegyrics created in high praise of cities, known as laude (Lat.). We can find the examples of them rooted in the Roman tradition of mosaics, e.g. in San Apollinare Nuovo in Ravenna. They present both palatium and civitas. The medieval Italian painting, especially the panel painting, presents the city structure models which are uninhabited and deprived of any signs of everyday life. The models of cities – urbs, are presented as votive offerings devoted to their patron saints, especially to Virgin Mary. The city shaped as oval or sinusoidal rings surrounded by the defensive walls resembled a container filled with buildings. Only few of them reflected the existing cities and could mainly be identified thanks to the inscriptions. The most characteristic examples were: the fresco of Taddeo di Bartolo in Palazzo Publico in Siena, which presented the Dominican Order friar Ambrogio Sansedoni holding the model of his city – Siena, with its most recognizable building - the Cathedral dedicated to the Assumption of Mary. The same painter, referred to as the master painter of the views of the cities as the votive offerings, painted the Saint Antilla with the model of Montepulciano in the painting from 1401 for the Cathedral devoted to the Assumption of Mary in Montepulciano. In the painting made by T. di Bartolo, the bishop of the city of Gimignano, Saint Gimignano, presents the city in the shape of a round lens surrounded by defence walls with numerous church towers and the feudal headquarters characteristic for the city. His dummer of the city is pyramidally-structured, the hills are mounted on the steep slopes reflecting the analogy to the topography of the city. We can also find the texts of songs, laude (Lat.) and panegyrics created in honour of the cities and their rulers, e.g. the texts in honour of Milan, Bonvesin for La Riva, known in Europe at that time. The city – Arcadia (utopia) in the modern style. Hartman Schedel, as a bibliophile and a scholar, knew the texts of medieval writers and Italian art but, as an ambitious humanist, he could not disregard the latest, contemporary trends of Renaissance which were coming from Nuremberg and from Italian cities. The views of Arcadia – the utopian city, were rapidly developing, as they were of great importance for the rich recipient in the beginning of the modern era overwhelmed by the early capitalism. It was then when the two opposites were combined – the shepherd and the knight, the Greek Arcadia with the medieval city. The reception of Virgil’s Arcadia in the medieval literature and art was being developed again in the elite circles at the end of 15th century. The cultural meaning of the historical loci, the Greek places of the ancient history and the memory of Christianity constituted the essence of historicism in the Renaissance at the courts of the Comnenos and of the Palaiologos dynasty, which inspired the Renaissance of the Latin culture circle. The pastoral idleness concept came from Venice where Virgil’s books were published in print in 1470, the books of Ovid: Fasti and Metamorphoses were published in 1497 and Sannazaro’s Arcadia was published in 1502, previously distributed in his handwriting since 1480. Literature topics presented the historical works as memoria, both ancient and Christian, composed into the images. The city maps drawn by Hartmann Schedel, the doctor and humanist from Nurnberg, refer to the medieval images of urbs, the woodcuts with the cities, known to the author from the Italian painting of the greatest masters of the Trecenta period. As a humanist he knew the literature of the Renaissance of Florence and Venice with the Arcadian themes of both the Greek and the Roman tradition. The view of Constantinople in the context of the contemporary political situation, is presented in a series of monuments of architecture, with columns and defensive walls, which reminded of the history of the city from its greatest time of Constantine the Great, Justinian I and the Comnenus dynasty. Schedel’s work of art is the sum of the knowledge written down or painted. It is also the result of the experiments of new technology. It is possible that Schedel was inspired by the hymns, laude, written by Psellos in honour of Constantinople in his elaborate ecphrases as the panegyrics for the rulers of the Greek dynasty – the Macedonians. Already in that time, the Greek ideal of beauty was reborn, both in literature and in fine arts. The illustrated History of the World presented in Schedel’s woodcuts is given to the recipients who are educated and to those who are anonymous, in the spirit of the new anthropology. It results from the nature of the woodcut reproduction, that is from the way of copying the same images. The artist must have strived to gain the recipients for his works as the woodcuts were created both in Latin and in German. The collected views were supposed to transfer historical, biblical and mythological knowledge in the new way of communication.
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Blokhina, Elena Nikolaevna. "Linguocultural features of the anthems of Germany’s states." Philology. Issues of Theory and Practice 16, no. 8 (August 16, 2023): 2407–15. http://dx.doi.org/10.30853/phil20230378.
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The aim of the study is to determine the differentiating and integrating semantic features of the texts of the anthems of Germany’s states and their connection with the national anthem of Germany. Linguistic studies of hymn groups linked by a common criterion are dominated by the products of the collapse of the Soviet Union and colonial empires. The scientific novelty of the work lies in the fact that the connecting feature of the group under consideration is not the historical past, but the common present and future as a part of a single nation state. In each of the sixteen anthems of the states, the speech means of implementing the identifying, unifying and ideological functions of the anthem are highlighted. It is established that the range of lexical expressions for the basic patriotic concepts HOMELAND and THE PEOPLE is not limited to “small motherland”. The semantic connection of the songs of the states with Germany’s anthem is realized in one or another extent by an appeal to the basic values of the nation state, which are unity, the rule of law, freedom, and only a few old texts contain the morpheme ‘deutsch’. As a result of the study, the linguocultural equivalence of the official and unofficial anthems of the states was proved and the complementary semantic relations between the national and federal anthems were determined.
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Przybyszewska-Jarmińska, Barbara. "The Polish Contribution to Central European Musical Culture in the Seventeenth Century. The Case of Marcin Mielczewski." Musicological Annual 40, no. 1-2 (December 17, 2021): 137–48. http://dx.doi.org/10.4312/mz.40.1-2.137-148.
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The seventeenth-century Commonwealth of Poland and Lithuania, embracing the lands of the Polish Crown (together with the territory of present-day Ukraine) and the Grand Duchy of Lithuania, belonged geographically to both Central and Eastern Europe. It was a multiethnic and multiconfessional state, in which the Latin and Greek cultures were mutually interactive. With regard to the musical culture of the royal court, however, itwas the close ties with Italy that were of the greatest significance. The Polish kings of the Vasa dynasty (above ali Zygmunt III and Władysław IV) maintained music chapels consisting to a considerable extent of Italian musicians, among whom were Luca Marenzio, Giulio Cesare Gabussi, Asprilio Pacelli, Giovanni Francesco Anerio and Tarquinio Merula. Thanks to the Polish patronage, they not only composed newworks, but also trained musicians of various nations belonging to the royal ensembles. Among the composers trained at the Polish court was the Italian Marco Scacchi (d. 1662), chapel-master to Władysław IV, the composer of operas staged in the royal theatre, and also a music theorist – the author of a classification of musical genres which was produced during Scacchi's dispute over music theory with the Gdansk organist Paul Siefert. This dispute contributed to the popularisation across Europe of the works of Scacchi and also of other musicians associated with the court of the Polish Vasas. Extant handwritten sources of Silesian provenance (belonging to the Emil Bohn collection, currently held in the Staatsbibliothek Preussischer Kulturbesitz in Berlin) testify the considerable interest in this region (now within the Polish borders, but in the seventeenth century constituting a dominion of the Empire) in the religious compositions of Marcin Mielczewski (d. 1651), musician to Władysław IV (until 1644) and subsequently, until his death, chapel-master to Karol Ferdinand Vasa, Bishop of Płock and Wrocław. Of Mielczewski's compositional output for the needs of the Roman Catholic Church, copyists from Lutheran circles in Wrocław chose primarily psalms that were universal to the Christian repertory, furnishing those works whose texts chimed with the doctrine of the Augsburg confession with more appropriate texts of German-language contrafacta. However, this method was not always successful in eliminating traces of Catholicism, which remained, for example, in the melodies of works based on pre-compositional material drawn by Mielczewski from Marian songs that were popular in Poland (e.g. the church concerto Audite gentes et exsultate, also preserved in a version with the text of a German-language contrafactum entitled Nun höret alle, based on the song O gloriosa Domina, which in the former Commonwealth was treated as a chivalrous hymn).
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Utari Umar, Ramilia Laksmi, Yuni Budi Lestari, and Lalu Muhaimi. "A Discourse Analysis on Workplace with Hymes 'Speaking Model' Between Owner and Staff In Puri Itoma Corporate kuta Lombok: A study on Ethnography of communication." International Journal of Multicultural and Multireligious Understanding 11, no. 3 (March 7, 2024): 173. http://dx.doi.org/10.18415/ijmmu.v11i3.5551.
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Ethnography in general is communication in society. Ethnography of communication combines ethnography, description and structural and functional analysis of society and culture, and linguistics of cultural behavior that guides and helps share knowledge, art, morals, beliefs, and everything that people acquire as members of society. Communication Ethnography is an approach to understanding society and culture and reconstructing this ethnic group, especially society in general. Discourse is also very often used in communication in society, at work, offices, schools and public places, both formally and informally. Discourse in English is called discourse and is defined as expression in communicative interaction. Speech events are based on eight speech components. Hymes summarizes these components with the acronym SPEAKING. Ethnography of communication in this discussion refers to the use of language in certain community groups. A smile means, for example, eight components of speech: (1) Setting and scene, (2) Participants, (3) Ending, (4) Sequential action, (5) Key, (6) Instrument, (7) Interaction norms, and (8) Flow. This study shows that the main focus of workplace research is a professional workplace and the ability to express oneself calmly at work. However, as stated in this review article, there are several interesting studies regarding the topic of communication in workplace briefings, for example using relaxed language but still targeting different jobs and power or positions, different nationalities, even different cultures. but still respectful. with each other between the owner and sales marketing staff, as in the discussion above. Another potential growth area is the study of multilingual conversation patterns in the workplace and communication norms at press conferences. Recent research in this area explores the importance of ideology and effectiveness in multilingual communication in the workplace. The research clearly shows the importance of communication ethnography, namely the dense interaction of participants. High network density is essential. This research describes communication competence. each participant is considered to have expressed his opinion. All statements from the meeting created strong communication between the three members. At the same time, it can be assumed that the participants are owners and sellers who have long established close relations, even quite proper, relaxed, clear and concise cooperation. So, their level of cognition deserves thumbs up. Another important thing is to create clear communication in the office space. Another achievement is that Participant 2 is a sales marketer from Germany who is able to adapt to the work environment and belongs to a lower caste. But it shows the same thing as the relevant statement. However, external participants, despite coming from upper caste strata, gave conflicting statements. Even though people from different castes always try to fulfill their demands or desires in conversation.