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Journal articles on the topic 'Prayer songs'
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1
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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Marignay, Bisola. "Prayer Songs: Therapy That Aided a People' s Survival." International Journal of Transpersonal Studies 35, no. 1 (January 1, 2016): 92–105. http://dx.doi.org/10.24972/ijts.2016.35.1.92.
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Lesiv, Mariya. "Prayer and Power." Ethnologies 34, no. 1-2 (August 6, 2014): 227–49. http://dx.doi.org/10.7202/1026152ar.
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A young girl from the western Ukrainian village of Horodnytsia was seriously ill. In 2007, a family in Germany sent her a statuette of the Mother of God that was said to have miraculous power. The gift was intended to help the girl to recover from her illness. The statuette took on a new purpose, developing into a new tradition. It was incorporated into a homemade altar that traveled from house to house, accompanied by many local women performing religious songs and prayers. This paper draws attention to the Horodnytsia ritual’s collective significance. From an emic perspective, as shared by the ritual’s practitioners, the new tradition communicated women’s response to the ongoing post-Soviet socio-economic crisis. From my own, etic, perspective, informed by performance and gender studies, the altar’s role appeared to expand beyond this, revealing women’s creative, though unselfconscious, attempt to subvert the patriarchal order of vernacular Christianity. The ritual empowered the village women, especially because it was shaped by the familiar model of religious authority. The women consecrated their domestic space following a well-known pattern of church spatial organization. They established their own authority through the development of a kind of close contact with the sacred that they could not achieve in the context of the traditional church.
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Falk, Daniel K. "Liturgical Progression and the Experience of Transformation in Prayers from Qumran." Dead Sea Discoveries 22, no. 3 (November 3, 2015): 267–84. http://dx.doi.org/10.1163/15685179-12341362.
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A distinctive feature of the prayer collections found at Qumran is that they have different prayers for each day of the week, month, Sabbath, festival, purification ritual, and so on. In the cases of the Words of the Luminaries and the Songs of the Sabbath Sacrifice, these different prayers construct a liturgical progression over the course of the cycle. I argue that this is to engender a progressive religious experience among the worshipers: over the course of the week towards confident approach to God in preparation for Sabbath, and over the course of Sabbaths in the quarter towards ritual transformation. Moreover, I propose that the Daily Prayers and Festival Prayers may also form an intentional liturgical progression over the cycle. If so, I would also suggest that in the liturgical cycle as a whole, there is in the daily ritual scripted experience of the larger cycles.
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A, Renugadevi. "Religious Tolerance and Omnipotent God’s Nature in Kamba Ramayana." International Research Journal of Tamil 3, S-2 (April 30, 2021): 174–79. http://dx.doi.org/10.34256/irjt21s234.
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In Kambaramanyanam Religious tolerance are Recording in some Kanda and Songs. Kamban prayer song is the best example for his Religious tolerance. Principles of Samna Religion, Christian Religions principle, Islamic Divine theories are also found in Kambaramayanam. In the way love inspiration Kamban and Islamic Religion teaches world human brotherhood and social Integration. Love bonded brotherhood gives the guidelines of one God, one Religion and One caste that is human beings. Equality Between ma is the essence of religious tolerance. The aim and objectives of their articles is to find out the religious tolerance and omnipotent God’s Nature in Kambaramayanam.
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Mouw, Alex. "Berryman's Sickness Unto Death." Christianity & Literature 67, no. 2 (February 18, 2018): 361–78. http://dx.doi.org/10.1177/0148333117705668.
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In his copy of Søren Kierkegaard's The Sickness Unto Death, John Berryman inserted a handwritten note entitled “Sense of Guilt,” which ends in an existential prayer: “I tremble — I am afraid — Jesus, Son of God, help me.” Twenty years later, Berryman published one of his most substantial collections of poetry: 77 Dream Songs. And though the Dream Songs were published long after Berryman left his anxious comments in The Sickness Unto Death, I argue that they enact a struggle with the Christian concepts of despair and the self as Berryman learned them from Kierkegaard.
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Koenig, Elisabeth K. J. "Julian of Norwich, Mary Magdalene, and the Drama of Prayer." Horizons 20, no. 1 (1993): 23–43. http://dx.doi.org/10.1017/s0360966900026748.
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This article attempts to reveal how Julian uses imagery to make real and concrete for her readers the experience of affective union with God through contemplative prayer. Part of Julian's strategy involves an identification of herself with the figure of Mary Magdalene, in medieval times the seeker of Christ par excellence. I highlight imagery in the Book of Showings that Julian and her readers probably would have associated with the Magdalene. But the more important insight is that, through her use of Magdalene imagery, Julian emphasizes the dramatic elements in the soul's quest for God. In this, she is following the example of many medieval authors, including William of St. Thierry, her major influence, who stressed that the Song of Songs was, not allegory, but essentially a drama between the soul and God. In this study I try to uncover precisely what this drama is like through a word-study of Julian's term for her visions, schewynges, or showings. I also note striking similarities between Julian's individual showings and the actual drama performed in her time, with specific attention to the figure of the Magdalene.
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Kaunda, Chammah. "The Day of Prayer and Its Potential for Engendering Public Ecclesiology Ecumenism in Zambia." Religions 9, no. 12 (November 29, 2018): 393. http://dx.doi.org/10.3390/rel9120393.
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This article argues that while the National Day of Prayer in Zambia has its inception in political context, it has obligated the institutional churches to break out of their religiously fixed spaces, forcing them to suspend their official doctrinal positions for that specific day, and embrace each other in enacting what could be classified as “public ecclesiology ecumenism”. The article defines public ecclesiology ecumenism as the manifestation of institutionally-defined churches in public spaces to celebrate a common liturgical life in Christ through prayer, songs, preaching, and promotion of unified prophetic witness in the public. However, being a political initiative makes the Day of Prayer a potentially dangerous neo-colonial space for advancing a dominant political ideology which perpetuates corruption and exploitation of the masses. Thus, one of the core tasks of the churches is to liberate, reclaim, and reconstitute the Day of Prayer into a prophetic site of struggle against political corruption and poor governance by seeking to produce alternative public and political cultures.
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Askovic, Dragan, and Zoran Rankovic. "The poetics of liturgical chant between oral and written tradition." Zbornik Matice srpske za drustvene nauke, no. 157-158 (2016): 517–31. http://dx.doi.org/10.2298/zmsdn1658517a.
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In this work the authors explain the relevant terms from the Old Testament, biblical tradition and the Scripture, as well as from liturgical songs and prayers, which refer to liturgical music - chanting. On the basis of the translations from Hebrew into Greek, Latin and Church Slavonic, their original meaning is identified, and some new or possible discrepancies, created in the process of translation, or new meanings are pointed out. In this way, the role and meaning of the Christian liturgical poetics are stressed as well as its inseparable connection with the church chanting. Namely, liturgical chanting is a prayer, ?the theology of sound?, and that means that the word is more important than the music - although it is more complete with the music, and music is to follow and show the meaning of words, and to help their adoption.
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Eckerman, Chris. "THYRSIS’ ARCADIAN SHEPHERDS IN VIRGIL'S SEVENTH ECLOGUE." Classical Quarterly 65, no. 2 (August 12, 2015): 669–72. http://dx.doi.org/10.1017/s0009838815000142.
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In Virgil's seventh Eclogue, Meliboeus relates a singing contest that Corydon and Thyrsis undertook. Upon beginning their songs, Corydon invokes the Libethrian nymphs (21), and Thyrsis invokes ‘Arcadian shepherds’ (25–6). Scholars have previously interpreted Thyrsis’ Arcadian shepherds as people, but here I suggest that they should be interpreted as divinities. In support of this assertion, I rely on the expectations of the capping style (which requires that Thyrsis ‘cap’ Corydon's invocation of Libethrian nymphs), Virgil's description of the setting and the characters present, an epigram by Erucius (an intertext for this poem), the Greek and Roman literary tradition that developed especially in relation to gods associated with Arcadia, and Thyrsis’ quatrains, which can be profitably interpreted if we assume that Arcadian gods have heard Thyrsis' prayer and are now inspiring his song.
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(Freedman). "Polyphony and Poikilia: Theology and Aesthetics in the Exegesis of Tradition in Georgian Chant." Religions 10, no. 7 (June 26, 2019): 402. http://dx.doi.org/10.3390/rel10070402.
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Georgian polyphonic chant and folk song is beginning to receive scholarly attention outside its homeland, and is a useful case study in several respects. This study focuses on the theological nature of its musical material, examining relevant examples in light of the patristic understanding of hierarchy and prototype and of iconography and liturgy. After brief historical and theological discussions, chant variants and paraliturgical songs from various periods and regions are analysed in depth, using a primarily geometrical approach, describing the iconography and significance of style, musical structure, contrapuntal relationships, melodic figuration, and ornamentation. Aesthetics and compositional processes are discussed, and the theological approach in turn sheds light on questions of historical development. It is demonstrated that Georgian polyphony is a rich repository of theology of the Trinity and the Incarnation, and the article concludes with broad theological reflections on the place of sound as it relates to text, prayer, and tradition over time.
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Ożóg, Kazimierz. "Leksemy oznaczające imię Boga w polskich pieśniach religijnych." Słowo. Studia językoznawcze 11 (2020): 13–34. http://dx.doi.org/10.15584/slowo.2020.11.2.
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The subject of the analysis performed by the author were the names of God in the songs recorded in the “Church Songbook”, by Rev. Jan Siedlecki. It is a relatively large collection of nominations the centre of which contains a collection of the names related to God the Father, successively to the Son of God Jesus Christ and the Holy Spirit. There are also frequent references to “Lord, Creator, Lamb of God”. The use of a given name depends on Christian dogmas and the prayer purposes of the speech acts.
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Butler, Katherine. "Creating Harmonious Subjects? Ballads, Psalms and Godly Songs for Queen Elizabeth I's Accession Day." Journal of the Royal Musical Association 140, no. 2 (2015): 273–312. http://dx.doi.org/10.1080/02690403.2015.1075808.
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ABSTRACTQueen Elizabeth I (1558–1603) was the first monarch whose Accession Day (17 November) became an occasion for celebration. Poetic tributes to the day frequently evoked images of singing, music-making and dancing, evidence of which can be found in extant single-sheet publications, manuscripts and prayer books, as well as records of now-lost songs in the Stationers’ Register. These songs for Elizabeth's Accession Day reveal how cheaply printed or orally circulated music could become a medium for royal propaganda. Such genres spanned diverse social classes and contexts: from the educated to the illiterate, from street to church; from private household devotions to civic festivities. This countrywide singing was officially encouraged by church and government, as well as fuelled by the local enthusiasm of civic or parish authorities, individual households and commercial printers. It both created an image of England as a harmonious kingdom and attempted to instil such unity in difficult times.
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Harden, Glenn M. "The Complete Psalms: The Book of Prayer Songs in a New Translation - By Pamela Greenberg." Reviews in Religion & Theology 19, no. 1 (January 2012): 73–74. http://dx.doi.org/10.1111/j.1467-9418.2011.00964.x.
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Maziarz, Monika. "Semantyka nocy w pieśniach religijnych." Prace Językoznawcze 20, no. 4 (September 12, 2019): 143–62. http://dx.doi.org/10.31648/pj.4488.
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This article concentrates on the semantics of the lexeme night attested in the religious songs collected in Śpiewnik kościelny by Father Jan Siedlecki. The paper falls within the scope of research on artistic texts; however, it is special in the sense that religious songs include elements of imagery typical of general Polish. Conventionally, in the metaphorical sense,the night denotes something evil and threatening to a man. This meaning is also confirmed in the material studied in our analysis. However, the textual connotations revealed in the songs were confronted not only with the language facts but also with the conceptualizationof the night in the Holy Bible. The meaning of the lexeme night, which is reconstructedin this way, shows both a robust semantic motivation by general Polish and also influences on the cultural level. Thus the negative connotations of the night are made specific as “sin” and “suffering”, and there are also positive meaning components of this lexeme, for instance, “time of God’s action” or “time of prayer”. The textual connotations allow to enrich the semantic structure of the word, then, unveiling its conceptual ambivalence which is hardly discerniblein the conventional language use. The analysis also demonstrated that connotational components, both ones in actual use and ones potentially present in language, play a significant role in the overall semantic structure of a word.
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Perszon, Jan. "Empty Night: Kashubian “Home Liturgy” in the Context of Death." Religions 12, no. 2 (February 20, 2021): 136. http://dx.doi.org/10.3390/rel12020136.
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Based on ethnographic field research and thanatological literature, this article analyzes the continuing, but rapidly disappearing, Kashubian custom of bidding farewell to a deceased member of the local community known as “empty night”. Its essence is the night prayer vigil in the house of the deceased, performed by neighbors and relatives. The prayer consists mainly of singing religious songs on “the last things”—in particular about purgatory, human fragility, God’s mercy, and the Passion of Christ. The efforts of the orants are motivated by the concern for the salvation of the soul of the deceased, that is, the shortening and relieving the purgatorial punishment. The centuries-old tradition of “empty night” has been rapidly disappearing over the past 50 years as a result of both economic and social transformations, the gradual erosion of living faith, and the abandonment of the priority of salvation by younger Kashubians. The progressive medicalization of life and change of the approach to death play a crucial role in weakening the tradition of the ancestors. Thus the traditional “empty night” becomes a relic of “tamed death,” giving way to its tabooization and the illusion of “technological immortality”.
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Poliakov, Nikolai S. "“My Rap Is a Prayer but with a Razor in the Mouth”: Religious Themes in Russian Rap." Study of Religion, no. 3 (2019): 110–16. http://dx.doi.org/10.22250/2072-8662.2019.3.110-116.
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The paper presents the analysis of religious themes in the lyrics of Russian rap artists. The songs of such musical groups and artists as “Kasta”, Detsl, FACE, Husky, Noize MC, “Sol’ Zemli”, “25/17” are considered. The article proves that rap in Russia has become a significant cultural phenomenon, and the lyrics of rap artists can be interpreted as poetry, inscribing it in the tradition of Russian literature. The article demonstrates that in Russian rap we can find such religious themes as God-seeking, anti-clericalism, criticism of religion as an institution, philippics against its individual representatives, a premonition of the coming Apocalypse, expressing a general sense of impending disaster. Musicians sensitively capture the atmosphere of the era and reflect it in their lyrics. Despite the fact that rap is a new form of art, in the world’s poetic tradition, dating back to the biblical texts, is reflected the works of Russian rap musicians, and at the same time it has a clear and sharp social character.
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Nocoń, Arkadiusz. "Poeta poranka i wieczoru. Hymny św. Ambrożego w Liturgii godzin." Vox Patrum 57 (June 15, 2012): 437–51. http://dx.doi.org/10.31743/vp.4144.
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Following the example of the Lord, who frequently sang hymns with his disciples, and encouraged to sing by St Paul, the early Christians praised God in music and song. The first Latin hymns were composed by Hilary of Poitiers. Their metrical complexity and content discouraged their liturgical use by the Church. Thus, St. Ambrose of Milan is considered the first „official” Latin hymnodist. He composed several hymns, still used in the Liturgy of the Hours, which were musicated by himself. These hymns come from the particular circumstances of the Arian controversy and derive, in the main, from the necessity of encouraging „orthodox” Christians in their defence of the Basilica Porziana in Milan. They were designed to guide their prayer at different times of the day. The Author’s text-critical analysis of two of these hymns – Aeterne rerum conditor, sung at dawn (in gallicinium) and Deus, creator omnium, sung at dusk as the lamps were lit (ad horam incensi) – well testifies to the literary and pastoral genius of the Bishop of Milan as he transforms the complex theological reflection of his time into poetry and music, while not only retaining the integrity of the depth of that reflection but also enhancing its aesthetic profile by drawing on a repertoire of images based on the parallelism of cosmic reality and human reality. St Ambrose’s corpus of hymns, together with his prose works, was admired both by his contemporaries and by successive generations. They promoted the flowering of a merciful Christocentricity which, according to the experts, is the most original and attractive feature of his poetry. As is clearly seen in the hymns received into the Divine Office, Ambrose’s singular ability effectively to stimulate the soul to prayer through a powerful and insuperable lyrical inspiration, is capable literally of transforming the daily hours into songs of praise, and explains Petrarch’s habit of rising during the night to sing hymns to the Lord.
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Sperling, Valerie. "Russian feminist perspectives on Pussy Riot." Nationalities Papers 42, no. 4 (July 2014): 591–603. http://dx.doi.org/10.1080/00905992.2014.924490.
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While Pussy Riot's “Punk Prayer” and its aftermath constituted something of a turning point for Russia politically - as well as personally for the women imprisoned afterwards - it was neither the first nor last of Pussy Riot's endeavors. Among other things, their series of songs, published as video clips on the web, endorsed mass protest against the Putin regime, criticized state-sponsored homophobia, and praised feminism as a possible curative for Russia's many ills. In setting forth their ideas, however, Pussy Riot's lyricists made use of traditional masculine and feminine gender norms as well as homophobia, wielding these against their opponents in the regime and thereby reinforcing them in ways that other self-identified Russian feminists found problematic at best.In this article, I review Pussy Riot's collection of songs in chronological order, highlighting the areas where gender norms and apparent misogyny, sexism, and homophobia appear. I weave my explications of the content of Pussy Riot's productions in with the responses of Russian feminist activists to Pussy Riot's lyrics and actions. Taking into account the views of some non-feminist Russian commentators in addition to self-identified feminist activists, I discuss a range of evaluations of the content of Pussy Riot's compositions, as well as differing appraisals of the means that Pussy Riot employed to achieve what they viewed as feminist ends: undermining or even unseating the Putin regime.
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Paulissen, P. C. J. M. (Jarell). "The Devil’s Music: Satanism and Christian Rhetoric in the Lyrics of the Swedish Heavy Metal Band Ghost." Religions 12, no. 3 (March 21, 2021): 214. http://dx.doi.org/10.3390/rel12030214.
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This paper is an inquiry into a contemporary heavy metal band from Sweden called Ghost. Ghost released its first studio album in 2010 and, while there is some discussion as to what their genre is exactly, they immediately became a rising star in the metal scene. Yet what is of particular interest from a storytelling point of view, especially with regard to theological answers to philosophical questions in popular culture, is that the band presents itself as a satanic version of the Catholic Church through their stage act and lyrics. This made me curious whether they are trying to convey a message and, if yes, what that message might be. For the present paper, I have focused on the latter by performing a non-exhaustive textual analysis of the lyrics in a selection of songs from each of the four studio albums released so far. Ghost turns Christian liturgy on its head by utilizing devout language that is normally reserved for God and Christ to describe Satan and the Antichrist, a strategy I have called the ”satanification” of Christian doctrine, and in doing so their songs evoke imagery of a satanic faith community at prayer. The band then uses this radical inversion of traditional Christian themes to criticize certain elements of society, especially those aspects they associate with organized religion.
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Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.
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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying profession of badkhones (wedding orator) displayed both the fusion of the religious and secular in Jewish life, and a continuing tension between secular and religious allusions, moods, and techniques. The “Jewishness” in musical style – especially in instrumental klezmer music but also in Hasidic niggunim and to some extent in Yiddish song – grew by a process of cultural differentiation.This process involved both the preservation and development of ancient features, and the reinterpretation of borrowed musical material to suit principles alien to the original source.This chapter briefly characterizes the system of repertoires and genres of the East European Jews, beginning with the music of prayer, through the various paraliturgical songs, to the music of Hasidism, and the many sub-genres of religious, secular and professional song in the Yiddish language. The chapter concludes with a presentation of the two established musical professionals in traditional East European Jewish life – the khazn (cantor) and the klezmer.
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Cherkashina, O. V., N. M. Utesheva, and O. M. Yakymchuk. "Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 60–73. http://dx.doi.org/10.34064/khnum2-17.04.
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Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The holistic musical-theoretical analysis is applied to determine the figurative content of the work, to identify the peculiarities of form-building and the use of compositional ways of expressiveness (the intonational structure of the basic elements of the form, the tonal-harmonic plan, the methods of development of the thematic material). In the analysis of music the method of comparison was used (to identify correspondence between the means of musical expressiveness and the features of the canonical text). Results. The material of the analysis are four chants (“The King of Heaven”, “Glory to the Father, and the Son, and the Holy Spirit”, “My voice to the Lord”, “Holy, holy, Lord of Sabaoth”), which are united in the cycle “Spiritual chants for female choir a cappella”. In the process of researching the algorithm of sequence of the chants in the cycle is revealed, as well as the correspondence of musical means of expressiveness to canonical text. It is concluded that all chants expressly convey the meaning and the features of the canonical text. Musical structures clearly correlate to verbal. The greatest number of repetitions in the chants the stable formulations of the canonical text acquires: “Lord have mercy”, “Hallelujah”, “Glory to the Father, and to the Son, and to the Holy Spirit”, “Holy Lord”. The semantic significance of the canonical text is reproduced through the rich harmony and inventional polyphony, through the changes of time signatures, text repetitions, the wide choir range, dramatic development and contrasts of all means of expressiveness. Four abovementioned spiritual chants for the female choir a cappella on the canonical texts were written by I. Aleksiichuk in different times during 2002–2011. The order of the canonical text and the logic of the deployment of the musical material allowed the composer to combine them into a fourpart concert for a female choir. The cycle begins with the evening prayer “The King of the Heaven” (prayer to the Holy Spirit). This prayer is а part of the early and evening Church rules. Anumber of services that are performed during the day in the Orthodox Church opens by the evening Divine service, since the day, according to the Church’s Charter, begins in the evening. That is why in first the evening service is, which included the repentant prayers for everyday sins and gratitude to God for this day. The chanting begins and ends with the sound of the bells that by and by go silent. The similarity of the finale to the introduction, the repetition of the musical and verbal texts contributes to the roundness of the musical form and helps to its holistic perception. The music of the incantation “Glory to the Father, and the Son, and the Holy Spirit” reproduces his exalted character. Applied by the author the ways of expressiveness correspond to the canonical text, which glorifies the God in his three hypostases. The definitive feature of the musical work is the presence of a genre sign characterizing of Orthodox worship, the bells. This feature is reproduced in the homophonic-harmonic texture of the composition relying on the main harmonic functions, singing the repeated sounds, etc. In this chant, I. Aleksiichuk is working on three small parts of the canonical text: “Glory to the Father, and to the Son, and to the Holy Spirit”, “now and always and forever” and “Hallelujah”, giving each of them the certain musical themes. The complete formula of prayer sounds in the work three times gaining dynamic development. In the third chorus, “My voice to the Lord”, verses from Psalm 141 are used. This Psalm is the prayer of David to the Lord in the cave in time of his persecution by Saul. Of the seven verses of David’s Psalm, I. Aleksiychuk used four – 1, 2, 4, 5, in which the main content of the work is concentrated. The last part of the cycle is the hymn “Holy, holy, Lord of Sabaoth” performing finale function. This prayer is a part of the Eucharistic canon and it sounds in the most important section of the Divine Liturgy – the Liturgy of the Faithful. The chant begins immediately with the glorification of the God. Conclusions. An analysis of spiritual chants with canonical texts for the female choir a cappella by I. Aleksiichuk illustrates the following. All the songs very clearly express the meaning and features of the canonical text. I.Aleksiichuk choses three-part forms with reprise, in which clearly, according to the text, the musical structures built; the stable formulations of the canonical text “Lord have mercy”, “Hallelujah”, “Glory to the Father, and the Son, and the Holy Spirit”, “Holy Lord” are most often repeated; at the end of the three chants (except «My voice to the Lord»), the final confirming formula of the prayers “Amen” sounds; means of expressiveness (changing of meter signatures, repetitions of the sounds, a wide range of the choir, singing of the main sounds of melody) are designed to create the illusion of chime that is the genre sign of the Orthodox worship; the semantic meaning of the canonical text is passing through the rich harmony, in which dissonances and chromaticism aggravate the expressiveness of the spoken words, through the dramatic development of the words of praise (“Hallelujah”, “Glory to the Father, and Son”), poly-timbre sounds, contrasting of all means of expressiveness, etc.
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P, Sasireka. "The Spiritual Expressions of Dhayumaanavar and Gunangudiyar in Paraparakkanni." International Research Journal of Tamil 3, S-2 (April 30, 2021): 102–6. http://dx.doi.org/10.34256/irjt21s220.
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Spiritual literature takes the foremost role in the history of literature. Spiritual literature has the tendency to impact our spirit and leads us afloat on the ocean of happiness. Every religion has been at certain points of time propounded by a teacher and later spread throughout the globe by their students. However some of the worship methods predate the era of literature. Islam is a religion that grew through the teachings of Nabi. Many saints have expressed the immense state of spiritual attainment by forsaking the material joys of the world through their songs. Many religions have used the Tamil language as a medium of expressing their ideology. All religions are unified by their emotive spirituality. Dhayumanavar and Gunangudiyar occupy a significant position in the history of literature. Eventhough their means to spirituality differs they express similar spiritual experiences. The purpose of this article is to research on the similarity observed in their mode of prayer and descriptions in each of their Paraparakkanni.
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Ekawati, Nia. "Penyuluhan Berinternet dan Beribadah Pada Ibu Pengajian Perumahan Bandara Mas." PUAN INDONESIA 2, no. 1 (July 30, 2020): 83–94. http://dx.doi.org/10.37296/jpi.v2i1.24.
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Over the years Islamic sites have sprung up. In addition to many new names, now the categories are also increasingly diverse. There is a portal of Islamic studies in general. There are also special for teens, families, or the public. Not only that. Now worship is increasingly free. Through the virtual universe can. From searching for Islamic references, the Koran and digital Hadiths, to participating in online study sessions, everything can be done. You can even download nasyid songs, Islamic wallpapers, to the call to prayer program for free. Now, we are referencing back a number of Islamic sites that are worthy of your visit. Some are old, but with a variety of new features. There is also something really new with a variety of information. Everything you can use to worship and strengthen faith. Koran recitals at the Mas Airport housing are an Islamic container that helps the residents of the Mas Airport housing to continue to carry out and implement Islamic law, such as recitation, lectures from informants. So that it can provide additional knowledge from the Islamic side
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Frankfurter, David. "Where the Spirits Dwell: Possession, Christianization, and Saints' Shrines in Late Antiquity." Harvard Theological Review 103, no. 1 (January 2010): 27–46. http://dx.doi.org/10.1017/s0017816009990290.
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With its clear-glass, brightly-lit, whitewashed interior, Harvard Divinity School's Andover Chapel reflects all the values of elite Protestant culture in New England history: quiet prayer, thoughtful sermons, an approach to God through the heart rather than the senses, and a minimum of iconic reminders that the space is Christian. And it was here, in April 2007, that this author beheld the Voudoun spirits Danbala and Ogoun arrive through several experienced mediums. The ceremony had not really been intended to call down the spirits, only to praise them in a kind of broad sampling of Haitian Voudoun songs.1 But the altar was full of their treats, the room was full, the drummers were good, the singing was loud, and the mediums were expert. So the spirits arrived: various Danbalas slithering across the floor and a very martial Ogoun huffing and puffing around the altar to get his rum. And they were greeted, with awed interest by the Harvard students, familiarity by the Haitians, and annoyed tolerance by one Adventist woman.
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Shin, Wonchul. "“Our Tongue-Cut God, Respond to Us”: Prayer of Righteous Anger and Communal Lament as Theology of the Oppressed." Theology Today 78, no. 1 (April 2021): 29–42. http://dx.doi.org/10.1177/0040573620968098.
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This article offers a theological reflection on prayer of anger and lament as a formative source for the oppressed in constructing and embodying their own theology. For this purpose, particular attention is paid to Kim Heunggyum’s scandalous prayer-song “The Father of Minjung,” which was widely sung by Korean minjung amid their political resistance against the authoritarian regimes in the 1980s. This article historically traces this prayer-song’s original context and developmental stages and analyzes its use of cross-genre that blends the styles and structures of the minjung-gayo and the lament psalms. Theological reflection on this prayer-song focuses on particular religious affections, righteous anger and communal lament, shaped by the Korean minjung’s collective performance to sing this prayer-song as a means of political resistance. By drawing on Audre Lorde, Johann Baptist Metz, and Emmanuel Levinas, this article points out limitations of Barth’s theology of prayer and presents how Kim’s prayer-song that evokes righteous anger and communal lament served as a formative source for the Korean minjung in doing their own critical and incarnational theology.
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Murphy, Emilie K. M. "Music and Catholic culture in post-Reformation Lancashire: piety, protest, and conversion." British Catholic History 32, no. 4 (September 11, 2015): 492–525. http://dx.doi.org/10.1017/bch.2015.18.
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AbstractThis essay adds to our existing understanding of what it meant to be a member of the English Catholic community during the late Elizabeth and early Stuart period by exploring Catholic musical culture in Lancashire. This was a uniquely Catholic village, which, like the majority of villages, towns and cities in early modern England, was filled with the singing of ballads. Ballads have almost exclusively been treated in scholarship as a ‘Protestant’ phenomenon and the ‘godly ballad’ associated with the very fabric of a distinctively Protestant Elizabethan and Stuart entertainment culture. By investigating the songs and ballads in two manuscript collections from the Catholic network surrounding the Blundell family this essay will show how Catholics both composed and ‘converted’ existing ballads to voice social, devotional, and political concerns. The ballads performed in Little Crosby highlight a vibrant Catholic community, where musical expression was fundamental. Performance widened the parochial religious divide, whilst enhancing Catholic integration. This essay uncovers the way Catholics used music to voice religious and exhort protest as much as prayer. Finally, by investigating the tunes and melodies preserved in the manuscripts, I demonstrate how priests serving this network used ballads as part of their missionary strategy.
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Gribble, David. "GETTING READY TO PRAY: SAPPHO'S NEW ‘BROTHERS’ SONG." Greece and Rome 63, no. 1 (March 29, 2016): 29–68. http://dx.doi.org/10.1017/s0017383515000248.
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With the recent publication of the new Sappho song by Dirk Obbink, we now have two largely preserved songs by Sappho apparently dealing with prayers for a brother away at sea. Both are examples of a type of song relating not to eros, marriage, or hymns to gods, but to bonds of love and duty between women and their male family; songs whose primary emotional focus is not other women, but male relatives absent from home.
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Karmela, Siti Heidi, Ferry Yanto, and Malynda Ayu Aprilia. "Lembaga Olah Seni Budaya Jambi Kota Seberang Mengenal Kompangan Dan Hadrah Sebagai Seni Tradisional Melayu Jambi 1995-2017." Jurnal Ilmiah Universitas Batanghari Jambi 20, no. 3 (October 1, 2020): 926. http://dx.doi.org/10.33087/jiubj.v20i3.1079.
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This research is a historical study with the theme of cultural history, with the object of research being the Kompangan Group and the Hadrah Group belonging to the Jambi seberang cultural arts institute in Jelmu village, Kampung Tengah Sekoja district. The main research problem is about “Kompangan and Hadrah Group Managed by LOSBJKS in Jelmu Village Since 1995 – 2017”, with two formulation of the problem proposed, namely; why LOSBJKS as an art institution can advance and develop the arts of Kompangan and Hadrah especially in Jelmu village and generally in the Sekoja area, and how LOSBJKS in preserving the values contained in the art of Kompangan and Hadrah as Jambi Malay traditional arts. The research objective is to explain the development of the Kompangan and Hadrah Groups belonging LOSBJKS which are the pioneers for the emergence of other traditional art groups especially in Jelmu village and generally in Sekoja area. In addition, it can also describe the roles and contributions of the board and members who are members of LOSBJKS to preserve the arts of Kompangan and Hadrah as traditional Jambi Malay arts. The research method used is the historical method which is method in historical research, where according to Kuntowijoyo the method starts from the heuristic, criticism, interpretation, and historiography. The findings show that there are change and developments from LOSBJKS, namely, first it can be seen from the name change from Riyadusholihin to LOSBJKS. Second, it is seen in the wider area of origin of permanent and non-permanent members. Third, in the terms of musical instruments, fourth, namely the costumes used especially the members of the Hadrah Group. Fifth, there was a change in the Kompangan technique (straight and circular patterns), if previously it was more characteristic of the Palembang (irregular) hitting technique, it had changed to Jambi striking technique that was more polite and neat. Sixth, in therm of singing there has also been a change, namely generally prayer and Malay songs, but at festivals sometimes there are also local songs so that they are not monoton.
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Gips, Allie. "Prayer Song." Journal of Medical Humanities 34, no. 4 (September 1, 2013): 505–6. http://dx.doi.org/10.1007/s10912-013-9253-5.
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Asha, S. "History in the Attic: Search for Roots in Ramabai Espinet’s The Swinging Bridge." SMART MOVES JOURNAL IJELLH 9, no. 2 (February 27, 2021): 82–96. http://dx.doi.org/10.24113/ijellh.v9i2.10908.
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In most of diaspora literature there is an attempt to retrieve the past. This makes one measure time in many ways, different calendars, change of seasons, past encounters narrated through wars, defeats, encounters and disasters. It is remembered through family history, ancestral heritage, nostalgia, memory and even through national disasters. This interaction portrays the immigrants caught in flight of memories, relationships and images. The relocation has its disgust for one thing or the other. The author has to live in the reminiscences, a collective memory representing a symbolic relationship between past and present. The Swinging Bridge by Ramabai Espinet chronicles the multiple exiles that are part of the Indian experience in the Caribbean and Canada through two figures one from the past- great grandmother Gainder and the other from the present - Mona, the protagonist. The novel commemorates the maternal roots and routes of Indo-Caribbean history by establishing the subjectivity of widows and young girls from India who crossed the Kala Pani (Black waters of the Atlantic) in search of new beginnings in Trinidad and the great-grand-daughter who engages in an existential quest for selfhood in Canada. Grief motivates a flood of personal memories as Mona begins to remember intimate details of family life that had been repressed under the cover of migration. Bits and pieces of the past, fragments scattered in various places, childhood memories, overheard conversations, prayer songs, all come together in the attic. She explores the secret songs, photographs and letters giving her a powerful voice for her culture, her family, her fellow women and for herself. Mona’s drive to document history enables her to reveal the family’s carefully guarded secrets- domestic violence, drunken rampages, sexual abuse, illegitimate children, and even AIDS. This paper seeks to analyse the novel’s diasporic contents and find out whether this attempt at retrieval of the past brings about a change in the perception of today’s generation. The author brings to light the problems of a plural society calling for need for relationships and need for mutual respect- all to avoid conflict situations through this effective tracing of history in the novel.
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Mihanović-Salopek, Hrvojka. "Pjesništvo u najpoznatijim crkvenim pjesmaricama za djecu i mlade na području zagrebačke nadbiskupije." Magistra Iadertina 14, no. 2 (November 16, 2020): 11–32. http://dx.doi.org/10.15291/magistra.3144.
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The paper analyzes verses intended for church singing and recitation in Croatian church hymnals that were specifically intended for catechesis of high school students or for the use of even younger elementary school students. The first church hymnals in recent Croatian literature with a special purpose for young people were written in the second half of the 19th century (authors: Josip Torbar - Ivan Stohl, Ante Truhelka, Šime Balenović-Franjo Šic, Ljudevit Tomšić, Đuro Šimončić, etc.), and then more and more intensively at the beginning of the 20th century (authors: Vilko Novak, Franjo Medricky, Josip Celinščak, etc.). The analysis of the poetic opus shows that earlier editions of the songbooks did not pay much attention to the special level of understanding and possibilities of perception of the adolescence age, and in these poems we still find quite a few motives of a serious penitential character, an exaggerated romantic stylistic overemphasis on emotions, and even a lot of rigor in re-examining ethical norms. The biggest turn towards the world of children’s literature was made by teacher Ante Truhelka, who adapted his texts of church songs in the middle of the 19th century to the level of children’s world and interest, and introduced into the texts features of playfulness and easy-to-remember rhyme. However, the greatest popularity achieved the manuals of the Jesuit Josip Celinščak, whose prayer book Kruh nebeski (Bread of Heaven) was published for the first time in Zagreb in 1909, and later printed in 36 editions.
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Kurniasih, Dwi. "DAKWAH MILENIAL ERA DIGITAL: ANALISIS LINGUISTIK KOGNITIF PADA LAGU BALASAN JARAN GOYANG." al-Balagh : Jurnal Dakwah dan Komunikasi 4, no. 2 (December 14, 2019): 235. http://dx.doi.org/10.22515/balagh.v4i2.1817.
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This study aims to deliver the message of representation for the milenial generation in the digital era. The method used in this research is descriptive qualitative, which describe the objects based on reality. Data from this research are the lyrics of Jaran Goyang song and The Reply Song of Jaran Goyang. The technique used to analyze data is qualitative content analysis. Results of this study indicate that the milenial generation utilizes Youtube social media accounts to carry out da'wa activities by changing the song Jaran Goyang which is titled The Reply Song of Jaran Goyang intos lyrics filled with da’wa messages. Results of this study indicate that the da'wa language in the songs analyzed uses cognitive-linguistic aspects in a cognitive semantic perspective that contains the meaning of da'wa, namely the invitation to perform night prayers, recites the Al-Qur’an, and avoid shirk.
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Kabui, Dr Kamei Budha, and Dr Oinam Ranjit Singh. "Partaking And Responsibility Of Zeliangrong Women In Gaan-Ngai Festival." Think India 22, no. 1 (March 3, 2019): 37–42. http://dx.doi.org/10.26643/think-india.v22i1.8250.
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Festivals are considered as safety valve. It removes the stress and strain of time and circumstances. In a year, the Zeliangrong people of Northeast India celebrate nine festivals based on agricultural operations of lunar calendar. The ways of life of the people are reflected in their various festivals and their social relevance is very great. They provide not only entertainment and social festivities to them, but also act as an integrating force for the community as a whole. Among the festivals, Gaan-ngai is the biggest festival of the Zeliangrongs and it lasts for five days. It is during the celebration that they perform rites and rituals, offer prayer to Tingkao Ragwang, the Supreme God for abundant harvest, well-being and general prosperity for the whole village community. They also bid ritual farewell to the dead ancestors. The cultural values, the aesthetic and creative senses, their love of beauty and color are expressed in the festival. Dances, folk songs, drum beating, shouting of hoi, traditional games and sports etc. are performed in the festival. Various items of delicious food and drink for the festival are prepared and consumed. The role of women is very great as they actively take part in the festival like their male counterparts. The girls of the dormitory perform the dances called Chapa Laam and the married women too perform dances on the fifth day. Food and drink of the festival are prepared by them only. Without women the celebration of Gaan-ngai festival is incomplete. Usually, the Gaan-ngai festival is celebrated in the month of December or January every year.
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Ayu Fitria, Indah. "Balungan Ladrang Slamet Laras Slendro Pathet Manyura Ditinjau dari Konsep Mancapat." Resital: Jurnal Seni Pertunjukan 19, no. 3 (December 8, 2018): 131–45. http://dx.doi.org/10.24821/resital.v19i3.3512.
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Ladrang Slamet bagi masyarakat Jawa tradisonal rupa-rupanya telah dipandang sebagai gending doa keselamatan. Namun, menariknya di dalam Ladrang Slamet tidak dijumpai syair yang secara eksplisit merujuk pada hal-hal yang berkenaan dengan keselamatan. Bahkan syair yang digunakan adalah cakepan salisir, yang juga sering digunakan pada gending-gending yang lain. Merujuk pada permasalahan di atas, studi ini ingin menjawab pertanyaan tentang pemaknaan keselamatan dalam Ladrang Slamet yang diasumsikan terletak pada susunan nada-nadanya. Analisis struktural yang berpijak pada konsep Mancapat dengan pendekatan mitologi digunakan untuk menguraikan struktur balungan Ladrang Slamet laras slendro pathet manyura. Melalui analisis tersebut diperoleh kesimpulan bahwa struktur Ladrang Slamet merupakan manifestasi dari sistem relasi dewa-dewa, yakni Siwa-Kama-Brahma-Narada yang mana dalam hubungan relasinya menunjukkan kapasitas Siwa sebagai sumber kekuatan yang mengatur waktu dalam mencapai kesempurnaan.Balungan Ladrang Slamet of the Slendro Pathet Manyura Reviewed from the Mancapat Concept. Ladrang Slamet for traditional Javanese people seems to be as a genre of prayer for salvation. However, interestingly, in Ladrang Slamet there are no poems that explicitly refer to matters relating to salvation. Even the poetry used is cakepan salisir, which is also often used in other songs. The study wants to discuss the meaning of salvation in Ladrang Slamet, which is assumed found in the arrangement of the notes. The structural analysis which is based on the Mancapat concept with a mythological approach is used to describe the structure of balungan Ladrang Slamet, the harmony of slendro pathet manyura. Through this analysis, it was concluded that the structure of Ladrang Slamet is a manifestation of the system of relations of the gods, namely Shiva-Kama-Brahma-Narada which in the relationship shows Shiva’s capacity as a source of power that governs time in achieving perfection.Keywords: ladrang slamet; balungan; mancapat
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Shanley, Kathryn W. (Kathryn Winona). "Prairie Songs and Poor Prayers." Studies in American Indian Literatures 16, no. 4 (2004): 101–2. http://dx.doi.org/10.1353/ail.2005.0019.
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Newberg, Adina B. "New Prayers, Here and Now: Reconnecting to Israel Through Engaging in Prayer, Poetry, and Song." Israel Studies Review 23, no. 2 (December 1, 2008): 77–98. http://dx.doi.org/10.3167/isf.2008.230204.
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Israelis who have until now viewed themselves as "secular" in the rigid Israeli dichotomy between "religious" and "secular" are finding new ways of creating communities of meaning that connect to Jewish sources and yet stay aligned to values of pluralism and humanism.These communities that do not follow the letter of the halakhah are developing in highly "secular" environments such as Tel Aviv and Nahalal and create Shabbat and holiday services combining live music, traditional prayers, and newly created prayers. By doing this, they come nearer to finding a closer echo and a truer mirror to their concerns and spiritual searches while, at the same time, finding spiritual expressions to their deep longing for connection to Judaism. Beyond the services and the communities that are forged, a new identity that bridges aspects of secularism, humanism, and spirituality is being created.The article analyzes the reasons for this relatively new phenomenon in the context of Israeli religious and political life, and the existential crisis that has evolved as a result. The article also describes in detail two such communities as examples of this development.
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ROTHENBERG, DAVID J. "The Marian Symbolism of Spring, ca. 1200-ca. 1500: Two Case Studies." Journal of the American Musicological Society 59, no. 2 (2006): 319–98. http://dx.doi.org/10.1525/jams.2006.59.2.319.
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Abstract As the season of earthly rebirth, spring in the high and late Middle Ages provided both an ideal setting for secular love songs and a symbolic underpinning for the liturgical season of Eastertide. With the Virgin Mary acting as a spiritual point of mediation, Eastertide liturgy and secular springtime song resonated symbolically with one another, a resonance seen nowhere more clearly than in polyphonic compositions in which Eastertide chants, Marian prayers, and secular springtime songs sound simultaneously. This essay presents two case studies that explore the confluence of these diverse elements within polyphonic music. The first examines thirteenth-century compositions on the widespread tenor In seculum, positing its origins in the Mass for Easter Sunday —and by extension its associations with spring—as the reason that it was used so often and combined with such diverse textual and musical materials as pastourelles, dances, courtly love songs, and Marian prayers. The second study examines the use of multiple cantus firmi in Isaac's Laudes salvatori (from Choralis Constantinus) and Josquin's Victimae paschali laudes, both paraphrase settings of Easter sequences that comment upon their primary cantus firmus by simultaneously quoting additional melodies. Isaac uses the chants Regina caeli and Victimae paschali laudes to emphasize the central role that Mary plays in the miracle of the Resurrection, while Joquin accomplishes this same goal by employing the well-known chansons D'ung aultre amer and De tous biens plaine as vernacular symbols of Christ and the Virgin Mary, respectively. The two case studies, taken together, illustrate a consistent mode of symbolic thought that endured for over three centuries.
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M, Devi, and Balasubramaniyan S. "The work and life of Namakkal Kavignar Ramalingam through my story book." International Research Journal of Tamil 3, no. 4 (September 11, 2021): 50–57. http://dx.doi.org/10.34256/irjt2147.
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Various types of literature in Tamil have appeared and developed over time. Literature refines our lives. The literature that appeared in each period is able to reveal the living environment of the people of the respective period. Sangam Literature, Sangam Forgotten Literature, Devotional Literature, Folk Literature, Short Story, Novel, Renewal Poetry, Drama, Prose Literature. In this order his historical literature appears and develops. Her history is a collection of events that took place in a person's life. Traces of his historical literature can be found in the Sangam literature. When he and his friend Kopperuncholan, who was dying in the north, went to die in the north, many witnesses there asked why he had not lost his hair for so long. He has the best character wife in life, and people. He says that the Evelars who do not say what he thinks, and that the king is a good protector. And in our town live many learned, virtuous, well-meaning people with goals and principles. So I don't care. So he says I don't have gray hair. Through this, the news about Pichirantaiyar, his hometown, the witnesses in Avur, the people, the king and the evildoer are revealed. And he records through his songs that he lived a quiet contented life without any problems or interruptions. The above biographical notes are able to know the capital of his historical literature. Autobiography is written by a wide variety of writers, political leaders, scholars, and writers from all walks of life. One of the most significant of these biographies is considered to be that of the poet Ramalingam Pillai. The poet Ramalingam of this book is not only talking about the child's own life. Rather it speaks to the community as well. Because the poet Ramalingam Pillai has expressed in his works that he loved this community and what he experienced in his life. In particular, many of the events under the headings of Prayer, Thirukkural Pride, Gandhi, Nattukkummi, Feminism, Bharathidarshanam can be traced back to his works.
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Situmorang, Dominikus David Biondi. "A Prayer for Nation." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 74, no. 4 (November 23, 2020): 290–91. http://dx.doi.org/10.1177/1542305020955153.
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The Faculty of Education and Language, Atma Jaya Catholic University of Indonesia, has entered the Indonesian World Records Museum (MURI) by hosting a virtual singing collaboration by the greatest number of faculty members. I am a lecturer in the Faculty of Education and Language and also the songwriter of this song, expressing gratitude for this achievement. This work is dedicated as a gift to Indonesia amid this COVID-19 pandemic.
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Monaghan, Leila. "Arapaho Stories, Songs, and Prayers: A Bilingual Anthology." Plains Anthropologist 61, no. 238 (April 2, 2016): 188–91. http://dx.doi.org/10.1080/00320447.2016.1173434.
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