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Academic literature on the topic 'Prayer songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Prayer songs"

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Grinevich, A. A. "On the structural organization of ritual songs of the Kazym Khanty Bear Feast: songs of the gods luck mish ar and prayer-songs poekty ar." Languages and Folklore of Indigenous Peoples of Siberia, no. 37 (2019): 46–52. http://dx.doi.org/10.25205/2312-6337-2019-1-46-52.

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The article is devoted to the plot construction principles of ritual songs of the bear feast of Kazym Khanty. The ritual songs of a bear feast are characterized by multilevel text structure. In the field of view of the author are 8 mish songs (the songs of deity luck) and 7 poekty songs (prayers to a great gods). Comparing of mish songs the author distinguishes its two main types: male and female mish songs which are characterized by the following constant elements in the structure of the narrative: beginning; the description of the house of the deity; deity goes out of house; deity gets news from a crow; deity picks up; deity arrives to a bear feast; deity performs a dance that brings good luck in hunting. The number of constant motifs in poekty prayer songs is fewer: the description of the house in which the great deity sits; deity writes destinies; deity picks up; final: deity performs a dance that makes people’s life better. Thereby the typicality of the mish and poekty songs is of different degrees. Male and female deities in mish songs have a large number of similarities. But the prayer-songs dedicated to great deities are more individual.

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Běhalová, Štěpánka. "The Journey of the Spiritual Song Pozdvihni se duše z prachu [Raise, Thou Soul, Thyself from the Dust] from a Printed Broadside to a Hymn Book." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 58–64. http://dx.doi.org/10.1515/amnpsc-2017-0007.

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The article deals with the publication of the song for the Holy Mass with the incipit Pozdvihni se duše z prachu [Raise, Thou Soul, Thyself from the Dust] in the 19th century. The author of the text of this song is the Premonstratensian Eugen Karel Tupy, also known under the pseudonym Boleslav Jablonsky. This song for the Holy Mass is included in the current unified hymn book in the section of the Ordinary and common chants of the Mass as number 517. In the 19th century, the song was published in several types of printed media. Its earliest extant edition is a broadside from 1845, which was followed by similar editions from 1849 and 1850, 1854, 1855, 1859 and another two undated. In 1852, the author himself included it in the second edition of the prayer book Růže sionská [The Rose of Zion], although it is not part of the first edition from 1845. In the same year, the song was included in the hymn book Písně ke mši svaté pro školní mládež [Songs for the Holy Mass for School Children] and three years later in a hymn book from the same printing house Písně ke mši svaté, k úžitku osady Hostounské a Únětické [Songs for the Holy Mass to Be Used in the Settlements of Hostouň and Unětice] and in 1860 in the Zpěvník pro chrám, školu i dům [The Hymnal for Church, School and Home]. At that time, it also appeared in the contemporary Perla pravých křesťanů [A Pearl of True Christians], compiled by František Křenek and published in 1860, as well as in the prayer book Květinná malá zahrádka [A Small Flower Garden], published in the printing house of Alois Josef Landfras and his son in Jindřichův Hradec around 1860. The song was also included in Písně a modlitby pro studující katolickou mládež [Songs and Prayers for Young Catholic Students] by Blahorod Čap, who had the collection printed in Litomyšl in 1869. The penetration of the text of the song by a renowned poet and writer from broadsides to hymnals and prayer books provides interesting and rare evidence of the journey of an artificial song to the unified hymn book.

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Nowak, Józef. "Tradycyjne formy kultu św. Mikołaja w tomaszowskich dekanatach diecezji zamojsko-lubaczowskiej." Vox Patrum 40 (March 15, 2002): 425–41. http://dx.doi.org/10.31743/vp.7992.

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The cult of saints is a significant aspect of the Paschal mystery. The cult practices concerning the saints mainly include the prayer and offerings. They are of religious and social dimensions. Integration of the rural parish community takes place through the common prayer at home, participation in liturgical services and performance of the deeds of love. Besides, customs, rites and folk beliefs point to the scope of the saints' cult. They are reflected in songs, prayers, proverbs, tales and legends.

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Nasrullah, Nasrullah. "Mulai Lawan Bismillah: Religiosity of the Banjar People in the Banjar Songs Composed by Anang Ardiansyah." Al-Albab 7, no. 1 (October 9, 2018): 33. http://dx.doi.org/10.24260/alalbab.v7i1.987.

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Local folk songs are often only enjoyed by local people and, of course, only a few of these songs can become national songs. However, through the song called Paris Barantai composed by Anang Ardiansyah, the Banjar song can become a nationally recognized regional folk song. In addition, Anang Ardiansyah‘s other songs have a message or religious content that reflects the Islamic culture of the Banjar community. Therefore, this paper explores religious content of four songs composed by Anang Ardiansyah with the aim that the local folk songs are not only sung but reinforce the distribution of religious values and knowledge in relation to the Banjar culture. The results of this paper describe the religious practice of urang (people of) Banjar related to faith, prayer and shalawat in everyday life and the term haram menyarah (surrender is forbidden) as Banjar people's struggle doctrine depicted from the Banjar song composed by Anang Ardiansyah. Therefore, through these songs it becomes an important part of the efforts to strengthen the Banjar religious identity and religious value distribution will take place continuously.

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Galanciak, Dawid. "Kult św. Józefa na podstawie współczesnych modlitewników." Sympozjum 25, no. 1 (40) (2021): 185–210. http://dx.doi.org/10.4467/25443283sym.21.011.13724.

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The cult of. St. Joseph based on contemporary prayer books The ongoing year of St. Joseph is a great opportunity to have a look at the cult of the Saint in the light of the available prayer books. The article presents the diversity of the cult and discusses various forms of the worship since its beginning. It analyses prayers to St. Joseph such as: the litany, the novena prayer, the Rosary, the Oath, the Morning prayers, the Scapular prayer, the Akathist and other prayers, services and songs in honour of St. Joseph. The aim of the article is to encourage Christians to adapt the cult of St. Joseph to their individual needs. Abstrakt Trwający w Kościele Rok św. Józefa jest okazją do spojrzenia na kult tego świętego przez pryzmat dostępnych modlitewników. Począwszy od zarysu historii kultu, w artykule ukazano różnorodność jego form. Omówiono następujące rodzaje modlitw ku czci św. Józefa: litanie, nowenny, szkaplerz, płaszcz, cześć nieustającą, miesiąc ku czci św. Józefa, telegram, różaniec i koronkę, godzinki, akty i oddania, pieśni, akatyst, a także inne modlitwy oraz nabożeństwa: siedmiu boleści i radości, septennę (siedem kolejnych śród), siedmiu niedziel, do Przeczystego Serca (pięciu pierwszych śród miesiąca), do opieki. Artykuł stanowi zachętę do osobistego praktykowania nabożeństwa do św. Józefa dostosowanego do indywidualnych potrzeb wierzących.

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

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<p><em>Latgalian </em><em>„</em><em>svātuos dzīsmis”</em><em> (‘sacred songs’) were not only sung in the church in the 18<sup>th</sup> and 19<sup>th</sup> centuries. These songs became integral and necessary components of both home and spiritual life.</em></p><p><em>Some publications of spiritual song and prayer books written by the Latvians of Latgale have been preserved until today: </em><em>„</em><em>Nabożeństwo” (1771, 1786, etc.) and </em><em>„</em><em>Dzismies Swatas” (1801, etc.). Of these are both first editions and reissues. These compilations represent the basic core of 19<sup>th</sup> century spiritual songs in conjunction with the book </em><em>„</em><em>Piļneigajā gruomotā lyugšonu” (“The Complete Book of Prayers”) published in the latter half of the century. Psalms which were written well before the birth of Christ are among the oldest religious songs. Psalms of penance and prayers for the dead were first published in Latgalian in the 1786 edition of </em><em>„</em><em>Nabożeństwo”.</em></p><p><em>The diversity of genres of songs is surprising: songs using scriptural texts, hymns of the Fathers of the Church, sequences and antiphonies. The progress of the liturgical year was supported by additional processionary hymns, hour songs (godzinkas), descriptions of the lives of saints set to music, catechism songs and prayers which are written as prose but given a melody in order to be sung. Directly arrhythmic language and certain metrical text used for worship in prayers made it unclear exactly how many texts were in fact songs.</em></p><em>It is not possible to determine the authors of all songs. Text recognition is also hampered by the lack of a printed Polish source – the work that the Jesuits translated to create the hymnals has not been found. Thus, for comparison of these texts it is necessary to find them in various books or consult the wider body of 19<sup>th</sup> century songs, wherein the content of songs is usually altered. The “sacred songs” examined and analyzed in this article were selected at random. The majority of songs so far sourced are from „Nabożeństwo”, but identification work continues at present.</em>

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Cahyono, Agus, Widodo Widodo, Muhamad Jazuli, and Onang Murtiyoso. "The Song of Macapat Semarangan: The Acculturation of Javanese and Islamic Culture." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 10–18. http://dx.doi.org/10.15294/harmonia.v20i1.25050.

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The research objective is to explain the macapat Semarangan song which is the result of acculturation of Javanese and Islamic culture. The study used qualitative methods by uncovering the concept of processing of Javanese music and acculturation. Research location was in Semarang with the object of macapat Semarangan song study. Data was collected through interviews, observations, and study documents. The validity of the data was examined through triangulation techniques and the analysis is done through the stages of identification, classification, comparison, interpretation, reduction, verification, and making conclusions. The results showed that the macapat Semarangan song has unique characteristics of arrangement. The song’s grooves use long and complicated musical ornamentations with varying pitch heights to reach high notes. This is a manifestation of the results of acculturation of Javanese and Islamic culture seen from arrangement on the parts of Adzan (call to prayer) and tilawatil Qur’an. The process of acculturation of elements of Islamic culture also involves scales. Azan songs use diatonic scales, some macapat Semarangan songs also use the same scales, but a cycle of five notes close to nuances of Chinese music scales. Various elements of arrangement on the Azan, Chinese and European musical scales then formed a new culture, macapat Semarangan.

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Xiaojing, Z. ""Come Ye Not Without Song, Offering, Prayer": Ecological Ethics in Hawai'ian Songs." Interdisciplinary Studies in Literature and Environment 16, no. 1 (January 1, 2009): 3–22. http://dx.doi.org/10.1093/isle/isn023.

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Butting, Klara. "A Transforming Path – The Pilgrims’ Songs." European Judaism 54, no. 2 (September 1, 2021): 104–12. http://dx.doi.org/10.3167/ej.2021.540212.

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This article introduces the composition of the Pilgrim Psalms (120–134). Psalm 122 plays a key role in this. Jerusalem, the destination of the trip, will be a stop on the way. The pilgrimage to the place of faith becomes a path to the points of suffering in society. The background comes into view with Psalm 123, a psalm lacking an expression of trust, the low point of the entire trip. It begins the spiritual work that always occurs in places of faith: The language of power and the language of religion have become intermingled and perverted perceptions of God. Psalm 123 counteracts this misunderstanding of God by addressing God. In Psalm 123 the power and nature of prayer can be experienced intensely. Prayer is the discovery of God’s surrender to us humans and an act of freedom in relation to the existing balance of power.

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Bolman, Filip. "The politics of power, pleasure and prayer in the Eurovision Song Contest." Muzikologija, no. 7 (2007): 39–67. http://dx.doi.org/10.2298/muz0707039b.

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Since the first annual Eurovision Song Contest in 1956, politics and popularity have intersected to influence the ways in which Eurovision songs have reflected the complex forms of European nationalism. With the Eurovision victory of Marija Serifovic?s ?Molitva? at the 52nd Eurovision in Helsinki the politics of regionalism and nationalism fully enveloped Southeastern Europe, creating the impression that old and new European alignments, from Habsburg nostalgia to an emerging Balkan brotherhood, overwhelmed the criteria that would otherwise mean that the grand prix would go to the best song. Taking Marija Serifovic?s ?Molitva? 2007 as a point of departure, this article examines the extremely complex set of networks that intersect at the Eurovision Song Contest and the national rituals and competitions that transform the power and pleasure driving European popular song in the twenty-first century.

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Dissertations / Theses on the topic "Prayer songs"

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Hamill, Chad Stephen. "Songs from spirit: Power and prayer in the Columbia Plateau." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337041.

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Davidson, Jill D. "Prayer-songs to our elder brother : Native American Church songs of the Otoe-Missouria and Ioway /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841275.

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Au, Siu-ming Stefan. "Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277770/.

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Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.

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Simbandumwe, Samuel S. "Israel in two African prophet movements : an inquiry into the Mount Zion-Jerusalem concept and the Prophet's role as reflected in the aspects of hymns and prayer-songs of the Kimbangu and Shembe Prophet movements." Thesis, University of Edinburgh, 1990. http://hdl.handle.net/1842/30755.

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When the profane world and secular society threaten man's socio-religious life, he takes refuge in the centre of the world of his religion. This centre for the Israelite, Kimbangu and Shembe Prophet Movements is the cosmic mountain. The phenomenon of theophany on it characterises the genesis of earth's unpolluted life, through which they try to transcend the profane world. In such a situation the Israelite, Kimbangu and Shembe Prophet Movements were born and emerged in protest against colonisation and corruption. The prophets of these Afro-Israel movements claimed to be under the control of the Spirit. They were compelled to deliver a divine message of both condemnation and redemption through the spoken and sung word. With their prophecies, hymns and prayer-songs they attempted to reform the evil systems of their societies, they questioned the right of the oppressor and led pilgrims to the road of the New Jerusalem, the place of comfort and liberation. The thesis analyses the cosmological significance of the sacred mountain and discusses what Zion-Jerusalem is believed to have in common with Nkamba-Jerusalem of the Kimbanguists, Nhlangakazi and Ekuphakameni of the Shembeites. It observes parallels between the three Prophet Movements in their socio-religious traditions. The research was conducted within the guideline of a major research question and four subsidiary questions. The answers to the questions were reached through the interpretation of the socio-religious traditions and analysis of prophecies, hymns and prayer-songs of the prophet Movements. As a result, the thesis concludes that the cosmic mountain in the Prophet Movements is pre-eminently the centre of the pilgrim's world of socio-religious life. Through the phenomenon of theophany on the cosmic mountain, the pilgrim re-enters into the realm of the primal instant perfection of nature and foretastes the paradisiacal life. He feels the need to be and stay always at the centre of this life-giving force. It is his sanctuary, the centre of divine powers and axis mundi where he meets his ancestors and God. The reading of the Bible opened the eyes of the prophets Kimbangu and Shembe to see the sacred symbols of Zion-Jerusalem in their holy mountains, the rich heritage of their traditional religion and values of their socio-cultural traditions. Thus they established Churches based authentically on African Christianity.

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Mirza, Raiomond. "The house of song : musical structures in Zoroastrian prayer performance." Thesis, SOAS, University of London, 2004. http://eprints.soas.ac.uk/29222/.

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This thesis uncovers the presence of musical structures within Zoroastrian prayer performance and articulates the details of these structures and also the way in which they are manifested and are passed down through generations. Initial research included an amalgamation and examination of the few references to music in Zoroastrian prayer that there are to be found in existing literature. The bulk of the research involved travelling to different countries to make contemporary sound recordings of prayers and to conduct extensive interviews with priests. Archival recordings were also gathered as data for examination. The evolution of the status and role of priests within the Zoroastrian community from antiquity to the present day as well as the training they receive is presented in order to understand the social as well as religious context within which Zoroastrian prayer is performed and taught. A substantial body of evidence is provided in the form of musical notations of the prayers of over thirty men and boys as well as more than an hour of accompanying sound recordings. Interview data is also provided to illuminate the perspectives of the performers on their own material. The musical analysis of the notations uncovers musical structures in Zoroastrian prayer, and an examination of interview data first reveals the mechanism by which these structures are manifested and transmitted and then synthesises the conclusions into a model for music making which operates to shape the sound of Zoroastrian prayer. The final analysis explores the age of these musical structures from the most recent and provable point of existence to a possibly ancient origin.

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Monroe, Deborah Jean. "Prayers of adoration, confession, thanksgiving and supplication a composition for soprano and chamber ensemble /." connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/monroe%5Fdeborah%5Fjean/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.
For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).

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Monroe, Deborah J. "Prayers of Adoration, Confession, Thanksgiving and Supplication: A Composition for Soprano and Chamber Ensemble." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4584/.

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This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.

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Silva, Dâmaris de Oliveira Batista da. "Entre sons, movimentos e tempos." Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/84004.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Graduação em Engenharia de Produção.
Made available in DSpace on 2012-10-20T05:24:44Z (GMT). No. of bitstreams: 0
Esta pesquisa partiu do objetivo geral de conhecer uma categoria profissional detentora, no senso comum, de um sentido salutar de trabalho. A partir disto, construiu-se os objetivos específicos de a) compreender a relação entre trabalho e promoção da saúde; e b) identificação da organização do trabalho e das relações humanas envolvidas com o prazer no trabalho. Trata-se de uma Pesquisa Qualitativa, tipo Estudo de Caso, feito com uma orquestra de câmara de vinte músicos. Utilizou-se como instrumento, de coleta de dados, entrevista semi-estruturada. Investigou-se como é a organização do trabalho deste grupo, o processo de formação, capacitação, seleção e produção dos trabalhadores para, em seguida, pesquisar o quê eles apontam como variáveis vinculadas ao prazer no trabalho. Analisando-se o discurso e construindo categorias a partir da fala dos sujeitos, aprendeu-se que persiste neles o sentido de trabalho enquanto "tripalium", ou seja, sofrimento, portanto, o que eles fazem não é trabalho, é prazer. As variáveis que determinam este sentido envolvem gestão participativa, autonomia, conteúdo e significado social da tarefa, produção em equipe e aqui-agora. Apesar do caráter prescritivo e repetitivo de suas atividades, e estrutura anti-anatômica dos seus instrumentos, a prioridade é o prazer que o trabalho proporciona. Há presença de dores e lesões ósteo-musculares, compreendida sob a lógica do culpabilização e inexperiência do indivíduo com a atividade. Não percebem suas atividades como trabalho nem como instâncias sociais co-partícipes na produção de saúde e doença.

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Kassam, Tazim R. "Songs of wisdom and circles of dance : an anthology of hymns by the Satpanth Ismāʻīlī Saint, Pīr Shams." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39477.

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This dissertation offers for the first time an extensive scholarly translation of an anthology of 106 ginans (sacred hymns) attributed to the Isma'ili saint-composer, Pir Shams. The Ginan tradition is a sacred corpus of devotional poetry belonging to a sub-sect of the Shiah Muslims known as the Satpanth Isma'ili Khojahs. Composed in various North Indian dialects, ginans are part of a broader rich and complex heritage of Indo-Muslim folk literatures in the Indian subcontinent. For centuries, however, the Satpanth Isma'ilis have carefully guarded this sacred tradition for fear of persecution. By thus presenting a major translation of ginans attributed to a pivotal figure in Satpanth Isma'ilism, this dissertation aspires to advance significantly the academic study and knowledge of this scarcely examined sacred literature.
To date, the syncretic nature of Satpanth Isma'ilism has been viewed within a framework of conversion. Thus, generally, the ginan literature has been explained as the creative attempts of Isma'ili pirs (venerated teachers) to effect changes in religious orientation by conveying Nizari Isma'ili teachings through Hindu symbols and themes. However, an examination of the internal evidence in the ginans of Pir Shams--who belonged to the beginnings of Satpanth--in conjunction with events in Sind and the greater Isma'ili world at the time, has brought into focus crucial social and political factors that may also have instigated the formation of Satpanth Isma'ilism.

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Heichler, Kate. "More than a new song new approaches to worship for the age-old church /." Theological Research Exchange Network (TREN) Access this title online. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Books on the topic "Prayer songs"

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Songs of sunrise, seeds of prayer. Mystic, CT: Twenty-third Publications, 1994.

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Barr, Andrew. Songs of Praise book of prayer. Oxford: Lion, 2007.

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ill, Littlewood Karin, and Bacharach Burt F. 1928-, eds. I say a little prayer for you. New York, NY: Scholastic Inc., Chicken House, 2002.

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Dāsa, Narottama. Prārthanā: Songs & prayers of loving devotion. 2nd ed. Vr̥ndāvana: Kr̥ṣṇa Balarāma Mandira, 2000.

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Foundation, Ascended Master Teaching. AMTF songs and decrees. Mount Shasta, CA (P.O. Box 466, Mount Shasta, 96067): Ascended Master Teaching Foundation, 1995.

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The Psalms in haiku: Meditative songs of prayer. Berkeley, Calif: Seastone Press, 1998.

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ill, Parks Kathy, ed. My good night prayers: 45 quiet times with prayers, songs & rhymes. Cincinnati, OH: Standard Pub., 2002.

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Falling in love with God: Passion, prayer, and the Song of Songs. Cambridge, Mass: Cowley Publications, 2005.

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ill, O'Connor Tim, ed. Prayer & promise. Nashville: Broadman & Holman, 2002.

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Gathered at table in prayer and song. Winona, Minn: Saint Mary's Press, 2000.

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Book chapters on the topic "Prayer songs"

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Grace, Nancy M. "Songs and Prayers: Mexico City Blues and Other Poems." In Jack Kerouac and the Literary Imagination, 161–99. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-349-73466-5_7.

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Brock, Sebastian P. "A prayer Song by St. Jacob of Serugh recovered." In The Harp (Volume 16), edited by Geevarghese Panicker, Rev Jacob Thekeparampil, and Abraham Kalakudi, 349–54. Piscataway, NJ, USA: Gorgias Press, 2011. http://dx.doi.org/10.31826/9781463233044-026.

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Mertens, Thom, and Dieuwke van der Poel. "Individuality and Scripted Role in Devout Song and Prayer." In Inwardness, Individualization, and Religious Agency in the Late Medieval Low Countries, 159–79. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.mcs-eb.5.119394.

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Brock, Sebastian. "A Prayer Song by St Jacob of Serugh Recovered." In Jacob of Serugh and His Times, edited by George Kiraz, 29–38. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463216092-004.

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Zieme, Peter. "THE SONG OF THE THREE MEN IN THE FURNACE AND THE BENEDICTION PRAYER (DAN 3:24-91)." In Hugoye: Journal of Syriac Studies (volume 17), edited by George Kiraz, 325–52. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463236878-015.

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Lehmhaus, Lennart. "5. Blessed be He, Who Remembered the Earlier Deeds and Overlooks the Later – Prayer, Benedictions, and Liturgy in the New Rhetoric Garb of Late Midrashic Traditions." In "It’s better to hear the rebuke of the wise than the song of fools" (Qoh 7:5), edited by W. David Nelson, Ilaria L. E. Ramelli, Steven Sacks, Jonathan Kaplan, Jonathan Jacobs, Nehemiah Polen, and Lennart Lehmhaus, 95–140. Piscataway, NJ, USA: Gorgias Press, 2015. http://dx.doi.org/10.31826/9781463236809-006.

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"I. PRAYER SONGS." In Bride of Light, edited by Sebastian P. Brock, 21–124. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463216443-004.

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"The Last Prayer." In A World of Songs, 47–48. University of Toronto Press, 2019. http://dx.doi.org/10.3138/9781487531522-025.

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"SONGS OF PRAISE." In Qumran Prayer and Religious Poetry, 173–200. BRILL, 1994. http://dx.doi.org/10.1163/9789004350137_012.

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"SERMON 28. THE INCENSE OF PRAYER." In Sermons on the Song of Songs, II, edited by Lawrence C. Braceland SJ, 341–48. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463218348-013.

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Conference papers on the topic "Prayer songs"

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Hadzantonis, Michael. "Becoming Spiritual: Documenting Osing Rituals and Ritualistic Languages in Banyuwangi, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.17-6.

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Abstract:

Banyuwangi is a highly unique and dyamic locality. Situated in between several ‘giants’ traditionally known as centres of culture and tourism, that is, Bali to the east, larger Java to the west, Borneo to the north, and Alas Purwo forest to the south, Banyuwangi is a hub for culture and metaphysical attention, but has, over the past few decades, become a focus of poltical disourse, in Indonesia. Its cultural and spiritual practices are renowned throughout both Indonesia and Southeast Asia, yet Banyuwangi seems quite content to conceal many of its cosmological practices, its spirituality and connected cultural and language dynamics. Here, a binary constructed by the national government between institutionalized religions (Hinduism, Islam and at times Chritianity) and the liminalized Animism, Kejawen, Ruwatan and the occult, supposedly leading to ‘witch hunts,’ have increased the cultural significance of Banyuwangi. Yet, the construction of this binary has intensifed the Osing community’s affiliation to religious spiritualistic heritage, ultimately encouraging the Osing community to stylize its religious and cultural symbolisms as an extensive set of sequenced annual rituals. The Osing community has spawned a culture of spirituality and religion, which in Geertz’s terms, is highly syncretic, thus reflexively complexifying the symbolisms of the community, and which continue to propagate their religion and heritage, be in internally. These practices materialize through a complex sequence of (approximately) twelve annual festivals, comprising performance and language in the form of dance, food, mantra, prayer, and song. The study employs a theory of frames (see work by Bateson, Goffman) to locate language and visual symbolisms, and to determine how these symbolisms function in context. This study and presentation draw on a several yaer ethnography of Banyuwangi, to provide an insight into the cultural and lingusitic symbolisms of the Osing people in Banyuwangi. The study first documets these sequenced rituals, to develop a map of the symbolic underpinnings of these annually sequenced highly performative rituals. Employing a symbolic interpretive framework, and including discourse analysis of both language and performance, the study utlimately presents that the Osing community continuously, that is, annually, reinvigorates its comples clustering of religious andn cultural symbols, which are layered and are in flux with overlapping narratives, such as heritage, the national poltical and the transnational.

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