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Relevant bibliographies by topics / Psalm setting

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Academic literature on the topic 'Psalm setting'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Psalm setting"

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Underwood, Dorothy C. "시편송에 의한 음악작품 (Setting)에 관한 연구." Yonsei Music Research 10 (December 31, 2003): 57–85. http://dx.doi.org/10.16940/ymr.2003.10.57.

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Menn, Esther M. "No Ordinary Lament: Relecture and the Identity of the Distressed in Psalm 22." Harvard Theological Review 93, no. 4 (October 2000): 301–41. http://dx.doi.org/10.1017/s0017816000016370.

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One of the most significant shifts in Psalms scholarship in recent years has been the emergence of a new interest in tracing how early religious communities interpreted this religious poetry within the context of an emerging scriptural canon. Whereas the form-critical studies that dominated much of the twentieth century concentrate on recovering the originalSitz im Leben(or “life setting”) of the liturgical compositions collected in the Psalter within Israel's religious cult, the recent scholarly turn emphasizes how these prayers and praises came to be reread in light of narratives and other material found elsewhere in the Bible. In point of fact, the earliest evidence for this practice of canonical relecture is preserved within the Book of Psalms itself, where historical superscriptions correlate a number of psalms with specific events in King David's life. Through the addition of superscriptions, the moving penitential prayer found in Psalm 51 becomes “A Psalm of David, when Nathan the prophet came to him, after he had gone in to Bathsheba” (compare 2 Samuel 11-12), the lament of an individual surrounded by threatening enemies found in Psalm 3 becomes “A Psalm of David, when he fled from Absalom his son” (compare 2 Samuel 15-18), and so forth.

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Human, D. J. "A tradition-historical analysis of Psalm 55." Verbum et Ecclesia 18, no. 2 (July 4, 1997): 267–79. http://dx.doi.org/10.4102/ve.v18i2.562.

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A tradition-historical analysis of Psalm 55. The text of Psalm 55 will be remembered for its musical setting by Felix Mendelsohn and others and also for the fact that it is one of the most difficult psalms to analyse. A tradition-historical analysis of the traditions and history of the poem confinns the unique and independent character of the text. The content of the psalm is characterised by vague allusions to well-known salvational and historical traditions as well as the psalm's characteristic fonnulations. Themes from the primeval history and desert wanderings of Israel are identifiable. Moreover, tenninology with a socalled priestly background, reflect the psalm's cultic setting and junction, while a theme from the Zion tradition is also evident. Prophetic language is evident in both legal concepts and tenninology which expresses guilt. Relationships with wisdom texts are also evident. This article is an attempt to identify and detennine the function of the above-mentioned traditionsgeschichtliche themes in order to gain a better understanding of the text.

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Human, D. J. "The tradition-historical setting of Psalm 25: How wisdom motives contribute to its understanding." Verbum et Ecclesia 17, no. 1 (August 2, 1996): 76–88. http://dx.doi.org/10.4102/ve.v17i1.1112.

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Psalm 25 is an acrostic psalm and an individual lament. Several tradition-historical motives and allusions can be identified in this text. Especially a few motives and images from the Old Testament wisdom literature contribute to the significance of the psalm. These motives are being identified and their function being determined in the context of the psalm as a whole. They are interwoven with other identified traditions and motives to contribute to the psalm’s understanding.

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Smith, Mark S. "Setting and Rhetoric in Psalm 23." Journal for the Study of the Old Testament 13, no. 41 (June 1988): 61–66. http://dx.doi.org/10.1177/030908928801304104.

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Snyman, Fanie. "Reading Psalm 117 against an Exilic Context." Vetus Testamentum 61, no. 1 (2011): 109–18. http://dx.doi.org/10.1163/156853311x551510.

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AbstractPsalm 117 is a well-known and at the same time an unknown psalm. It is a well-known psalm because it is known as the shortest psalm in the Psalter. Psalm 117 is also an unknown psalm. There is little reflection on this mini-psalm. This contribution offers an exegesis of Psalm 117 paying attention to the extent, text critical matters, structural features, literary genre, setting in life and tradition material referred to. The article argues for an exilic reading of the psalm over and above the usual post-exilic dating of the psalm.

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Hilber, John. "PSALM CX IN THE LIGHT OF ASSYRIAN PROPHECIES." Vetus Testamentum 53, no. 3 (2003): 353–66. http://dx.doi.org/10.1163/156853303768266344.

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AbstractNeo-Assyrian prophetic oracles oer comparable stylistic and form-critical features to Psalm cx which bear on the questions of the nature, form, setting and date of the psalm. On the basis of these similarities, Psalm cx should be classied as cultic enthrone-ment prophecy with compositional unity dating to the monarchic period.

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Gordley, Matthew E. "Creating Meaning in the Present by Reviewing the Past: Communal Memory in the Psalms of Solomon." Journal of Ancient Judaism 5, no. 3 (May 14, 2014): 368–92. http://dx.doi.org/10.30965/21967954-00503005.

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This article examines Psalms of Solomon with an eye toward how these compositions may have functioned within the setting of a first-century B. C. E. Jewish community in Jerusalem. Several of these psalms should be understood as didactic hymns providing instruction to their audience through the medium of psalmody. Attention to the temporal register of Pss. Sol. 8, 9, and 17 shows how the poet’s use of historical review and historical allusion contributed to a vision of present reality and future hope, which the audience was invited to embrace. Issues relating to the place of these psalms in the tradition of Solomonic discourse are also addressed insofar as they contribute to the didactic function of this psalm collection.

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Schuller, Eileen M. "Psalm 119: Matrix, Form and Setting (review)." Hebrew Studies 34, no. 1 (1993): 209–11. http://dx.doi.org/10.1353/hbr.1993.0032.

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Bennett, Peter. "Hearing King David in Early Modern France: Politics, Prayer, and Louis XIII's Musique de la Chambre." Journal of the American Musicological Society 69, no. 1 (2016): 47–109. http://dx.doi.org/10.1525/jams.2016.69.1.47.

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Scholars of Louis XIV have long recognized the “representational” strategy employed by the composers of the Chapelle Royale (and those who designed its liturgy), in which the words of the psalms (the work of poet-musician King David) allied to an elaborate musical setting (the grand motet) attested to the king's strength and power in both spiritual and temporal domains. By contrast, in the absence of a comparable repertory inspired by the psalms from an earlier period, the role of King David at the court of Louis XIII has received almost no attention. Yet, as this article shows, the biblical king did indeed play a central role at the court of Louis XIII, albeit in unexpected ways. The “public” voice of David—the voice of a warrior who defeated his enemies—spoke outside the confines of the court in orations, pamphlets, and psalm paraphrases (with simple musical settings), celebrating, in particular, the king's victory over the Huguenots at La Rochelle in 1628. On the other hand, study of the psalm-texted works composed for Louis XIII's Musique de la Chambre (recently identified in Bibliothèque Nationale de France, MS Vma rés. 571) reveals a “private” voice, a voice that reflected Louis's anxiety and penitence in the years around 1620 and that was heard only by the king's closest allies at court. By contextualizing this “private” voice it is also possible to account for the rise of the Domine salvum fac regem, a musical genre that originated in the same circumstances, and to suggest that Louis XIII and Louis XIV in fact had a common interest in David as supplicant.

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Dissertations / Theses on the topic "Psalm setting"

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Lowe, C. Jane. "The psalm settings of Marc-Antoine Charpentier." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239094.

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Temme, Diane. "Orlando di Lasso's psalm settings : an examination of genre in late sixteenth-century psalm motets and German Leider." Thesis, Bangor University, 2019. https://research.bangor.ac.uk/portal/en/theses/orlando-di-lassos-psalm-settings(734d892f-f377-4279-bda2-2b6315cbb6a1).html.

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Lasso was considered the greatest composer of his generation with undisputable mastery of all sixteenth-century genres. The dynamism of the late sixteenth century saw the most sophisticated compositions in the continuation of the psalm motet tradition. However, more flexible applications for the psalms in the form of meditations, vernacular translations, and paraphrases opened the door for new and diverse interpretations. This dissertation is a study of Lasso's engagement with established musical traditions and new trends in psalmody. This study unfolds in two parts. First in the discussion of the Latin psalm motet genre and then ensuing with investigation of the German Lied. In each of the genres (1) there is a focus on the definition and classification of terms and older traditions, (2) the examination of the text and the discussion of ways in which the music engages with the prose and poetic forms, and (3) the evaluation of Lasso's interpretation of psalm texts. From negligible German Lieder to expansive motet cycles, the psalms afforded endless polyphonic inspiration and the diversity of which categorically points to the shifts and development of cultural and aesthetic traditions. The use of psalms to reflect devotion and confession amplifies the Catholic Reform implemented at the Bavarian court during Lasso's lifetime. This context along with Lasso's compositional innovation provides an interesting study for the stylistic development of psalm settings in the late sixteenth century.

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Lynn, Debra J. "Learning sequences for the experimental choral psalm settings of Charles Ives." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164925.

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The experimental choral psalm settings of Charles Ives (1874-1954) show rhythmic, melodic, and harmonic innovations that pre-date many of his composing contemporaries such as Schonberg and Stravinsky. Of these works, only Psalm 67 is performed regularly. Regardless of their historical significance, the remaining experimental settings; Psalms 14, 24, 25, 54, 100, 135, and 150 are rarely performed due in part to their level of difficulty.This study presents a series of learning sequences for these psalm settings that can be implemented into typical rehearsal periods for advanced or auditioned choral ensembles. The sequences includes choral exercises and drills that introduce pertinent scalar and tonal structures, harmonic considerations, and varying rhythmic patterns. Various techniques are applied including musical chunking and octave displacement.A preliminary study was performed for the learning sequences designed for portions of Psalm 25. Participants and observers found the learning sequences to be effective in fostering an efficient use of rehearsal time. Revisions to the sequences were made according to suggestions from choral music faculty observers and completed participant questionnaires. Upon completion of the revisions for the method for Psalm 25, similar learning sequences were developed for the remaining psalm settings. Gregg Smith, conductor of the Gregg Smith Singers and editor of the psalm settings, was also interviewed regarding his editing, rehearsing, and performing experiences with these works.
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Rolf, Kathryn Anita. "A Choral Conductor's Analysis and Performance Practice Recommendations for Selected Psalm Settings by German Baroque Composers." Diss., North Dakota State University, 2019. https://hdl.handle.net/10365/29897.

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Psalm settings by German Baroque composers are comprised of meaningful texts illuminated by expressive music and have much to offer today’s choir. The composers of these settings were inspired by the Old Testament psalm texts and wrote choral works that incorporated both historical techniques adapted from types of psalmody and the expressive techniques of their day. Despite the significance of psalm settings, no detailed study exists on this music as a body of work. Additionally, Baroque music provides challenges to the conductor regarding performance practice choices. Both of these problems are addressed in this study. First, I establish a lineage of compositional development from Medieval chanted psalms to Baroque psalm settings and analyze the techniques composers used to express the text in specific examples. Then, I use the insights gleaned to make performance practice recommendations for each piece. By drawing on primary sources by Michael Praetorius (ca. 1571-1621) and Heinrich Schütz (1585-1672) and secondary sources by contemporary scholars Dennis Schrock, Helmuth Rilling, and Robert Donington, I provide an overview of German Baroque performance practices that includes instrumentation, tempo, dynamics, articulation, and ornamentation. Special emphasis is given to performance principles that are applicable to the psalm settings explored in subsequent chapters. I also draw on dissertations, books, and articles by Baroque scholars to provide highlights of the composers’ careers and details about the pieces studied. The six pieces included in this disquisition are “Wie lieblich sind deine Wohnungen,” SWV 29 from Psalmen Davids (1619) by Heinrich Schütz (1585-1672), Alleluja! Lobet den Herrn in seinem Heiligtum (1620) by Johann Hermann Schein (1586-1630), “Schaffe in mir Gott ein reines Herz” from Fest- und Zeit-Andachten (1671) by Andreas Hammerschmidt (1611-1675), Der Herr ist mit mir, BuxWV 15 (ca. 1687) by Dieterich Buxtehude (ca. 1637-1707), Gott, sei mir gnädig (1705) by Johann Kuhnau (1660-1722), and Lobet den Herrn, alle Heiden (n.d.), BWV 230 by Johann Sebastian Bach (1685-1750).

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Hafar, Matthew Alan. "The psalmody of Monteverdi : choral settings of the vesper psalms CX and CXI." Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/6031.

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Siddons, Kyle. "Utilizing North American Art Song Settings of Psalm Texts in Worship Services: an Annotated Guide for Singers, Voice Instructors, and Music Ministers." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500200/.

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This dissertation provides a guide for appropriate use of North American art song settings of biblical psalms for solo voice written after 1950 in the worship services of Christian faiths. The songs analyzed are for all voice parts and a variety of accompanying ensembles. The placement of each song on a specific calendar day is guided by the individual church calendars and lectionaries, on the prevalent themes of the text, and the characteristics of the musical setting. Performance of these songs only in a concert setting limits their usefulness for singers, voice teachers, and music directors alike. A new and worthy performing context can be established by analyzing the text and musical settings.

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Tasher, Cara Suzanne. "A Conductor’s Guide to the Choral Works of Lili Boulanger (1893-1918)." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148303598.

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"Telemann’s Psalm 117, Laudate Jehovam omnes gentes, TWV 7:25." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53874.

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abstract: Abstract Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts by Georg Michael Telemann based on his corrections to the autograph score. There are currently at least seven editions of this work readily available, none of which fully agrees with the autograph manuscript or original parts. The editions also differ substantially from one another: for example, two of them are in a different key from the others. This clearly points to the need for a new edition. Further, the additions and corrections by Georg Michael Telemann are interesting. These fall into several categories: changes made to correct errors or clarify ambiguities in Georg Philipp Telemann’s original, changes made to reflect performance practice that Georg Philipp might have assumed but that were no longer customary in Georg Michael’s time, adjustments to melody and rhythm that may reflect Georg Michael’s personal taste and preference, and the addition of parts for oboe and viola, along with significant changes to the second violin part that suggest that Georg Michael’s version was intended for performance by a chorus and orchestra, whereas Georg Philipp’s original could be performed as a chamber work, with one singer and instrumentalist per part, or by a larger ensemble. A discussion of the piece, along with scores of both the original version and Georg Michael’s version, provides both scholars and performers with greater insight into this brief but significant work.
Dissertation/Thesis
Doctoral Dissertation Music 2019

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Hardymon, Rocky D. "An Analytical Study of Selected Jazz Settings of Psalms Composed between 1958 and 2012." Diss., 2013. http://hdl.handle.net/10392/4289.

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AN ANALYTICAL STUDY OF SELECTED JAZZ SETTINGS OF PSALMS COMPOSED BETWEEN 1958-2012 Rocky DeWayne Hardymon, D.M.A. The Southern Baptist Theological Seminary, 2013 Chair: Esther R. Crookshank A trend in U. S. Protestant and Catholic churches that has gained popularity over recent decades is the use of jazz music as a means of expression in worship. The purpose of this study was to compile an analytical guide to select available jazz settings of the Psalms, published and unpublished. The methodology began with a systematic search for psalm settings fitting the chronological parameters in online databases and Christian jazz websites. Chapter 2 presents a reception history from primary sources of jazz in the church and U.S. society within the larger context of relationships between arts and the church since the Enlightenment. Primary sources include interviews with composers, correspondence, published interviews, contemporaneous newspaper reviews, and composers' liner or program notes. Search results yielded a list of 168 pieces by sixty-one composers composed between 1958 and 2012. Of these, twenty-eight psalm settings by 24 composers were selected for analysis, 19 with text and nine instrumental settings. Chapter 3 contains biographical sketches of the composers and examines their philosophies. All but two composers were from the United States, with two European. Analysis of the psalms in Chapters 4 and 5 focused on textual and musical forms, text-music relationships in the context of the psalmic genre, and distinctive musical traits associated with particular jazz styles, which ranged from art song, rock, bossa nova, blues, and free jazz to hybrid subtypes such as jazz/rock and gospel/pop. Instrumental psalms represented eight styles including lyrical ballad, gospel fusion shuffle, Afro-Cuban swing, and post-modern bop. The conclusions summarize the significance of jazz psalms within the broader history of sacred jazz, demographic data on the jazz composers, and performance considerations for jazz psalms. Included are four appendices: 1) a list of the select jazz psalms and their composers; 2) a complete list of the 61 jazz composers and 168 psalms found; 3) a list of all 168 Psalm settings found in numerical order; 4) a list of churches in North America that regularly offer jazz music.

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Kristanto, Billy [Verfasser]. "Musical settings of psalm 51 in Germany c. 1600 - 1750 in the perspectives of reformational music aesthetics / presented by Billy Kristanto." 2010. http://d-nb.info/1004275587/34.

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Books on the topic "Psalm setting"

1

Psalm 119: Matrix, form, and setting. Washington, DC: Catholic Biblical Association of America, 1991.

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2

Schoening, Dale A. Sing the Psalms: Metrical psalm settings based on the Common lectionary. Lima, Ohio: Fairway Press, 1988.

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Bell, John L. Psalms of patience, protest and praise: Twenty-four new psalm settings. Chicago: GIA Publications, 1993.

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Shapey, Ralph. Psalm I: For soprano, oboe, and piano. Bryn Mawr, PA: T. Presser, 1993.

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5

(Editor), Richard Charteris, ed. Laudate Pueri: Psalm Setting for Soprano and Orchestra. P R B Productions, 1998.

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Bach, Johann Christian. Domine Ad Adjuvandum: Psalm Setting for Soprano, Satb Chorus and Orchestra. P R B Productions, 1998.

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Lewis, Jayne Elizabeth. The Eighteenth-Century Psalm. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.150.

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Integral to both Anglican liturgy and nonconformist devotional practice in the eighteenth century, the “Englished” Psalm supplied a common currency between competing but increasingly compatible confessional groups. The Psalms also turn up everywhere in emergent, nonreligious literary genres. In both settings, the Psalms calibrated signature speech acts of imprecation, petition, and praise with lexical praxes that a commercialized print culture made not only possible and common but visible and adjustable by individual writers and readers. A novel experimental culture of the English Psalms held unprecedented potential to turn class, credal, and historical division into unity but also posed uniquely “modern” perils. While the Psalms could now be experienced directly as sources of freedom and pleasure available to a wide range of Christian readers and writers, they also potentially transferred the experience of pleasure from a many-personed God to printed English words.

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Clarke, Rebecca. He That Dwelleth in the Secret Place of the Most High: A Setting of Psalm 91 for Unaccompanied Mixed Choir (Ssaattbb) with Soloists (Saatb) (Oxford Sacred Music). Oxford University Press, 2003.

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Howard, Julie. Sing for Joy: Psalm Settings for God's Children. Health Policy Advisory Center, 1991.

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Sing for Joy: Psalm Settings for God's Children: Accompaniment Book. Health Policy Advisory Center, 1992.

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Book chapters on the topic "Psalm setting"

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Körting, Corinna. "Chapter Forty-Three The Psalms – Their Cultic Setting, Forms and Traditions." In Hebrew Bible / Old Testament. III: From Modernism to Post-Modernism. Part II: The Twentieth Century - From Modernism to Post-Modernism, 531–58. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666540226.531.

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"3 Setting Psalm 18 in Context." In Psalm 18 in Words and Pictures, 35–54. BRILL, 2014. http://dx.doi.org/10.1163/9789004263215_004.

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"The Religio-political Setting of Psalm 47." In The Bible and the Ancient Near East, 266–73. Penn State University Press, 2002. http://dx.doi.org/10.5325/j.ctv1bxh1cf.21.

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Larson, Katherine R. "Airy Forms." In The Matter of Song in Early Modern England, 32–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843788.003.0001.

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This chapter probes the lexical slipperiness of “song” in relation to the dynamic interplay between early modern lyric production and musical practice. It also activates the resonances at play within the equally elusive notion of “form” further to animate song as an embodied genre straddling the boundary between poetic and musical expression. Larson considers the implications these taxonomical reflections hold for an analysis of the anonymous settings of Mary Sidney Herbert’s translations of Psalms 51 and 130, preserved in the British Library. These pieces offer an opportunity to bring a musical approach to lyric form to bear on psalm translations that are typically studied and taught from a visual, rather than an acoustic, perspective. Reading the psalms in terms of sung performance transforms our understanding of Pembroke’s experimental translations and of women’s broader engagement with the genre in the early modern English context.

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Hefling, Charles. "Settling In." In The Book of Common Prayer: A Guide, 129–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190689681.003.0007.

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The Book of Common Prayer in its “classical” form came into general use in the English church as one component of the so-called “Elizabethan settlement” of religion enacted by Parliament in 1559. Certain alterations of the text, small but important, were made at that time. This chapter is mainly concerned with its use and reception in the century that followed. Among the topics considered are two texts that were very commonly bound with the Prayer Book as quasi-official adjuncts, the “singing Psalms” and “Godly Prayers”; the adaptation and abridgment of the contents for particular uses; and opposition to the Prayer Book on the part of the section of English protestants conventionally known as puritans.

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"The Social Setting of Book II of the Psalter." In The Book of Psalms, 349–67. BRILL, 2005. http://dx.doi.org/10.1163/9789047414797_019.

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McCarthy, Kerry. "Archbishop Parker’s Psalter." In Tallis, 147–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0013.

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Printed books of psalms in English verse were extremely popular in Elizabethan England. Matthew Parker, Archbishop of Canterbury, published his own metrical psalter in 1567. It includes eight deceptively simple musical settings by Tallis, one in each of the eight traditional modes. The third of these settings has become famous as the theme of a fantasia by Vaughan Williams. This chapter looks at Tallis’s eight “tunes” and the tradition of metrical psalms, as well as Elizabethan views on musical mode and expression. It also discusses the printer John Day, who published (sometimes with questionable accuracy) these and various other works by Tallis during the 1560s.

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Mercer-Taylor, Peter. "Antebellum Psalmody in Its Cultural Context." In Gems of Exquisite Beauty, 24–67. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190842796.003.0002.

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Christian worship factored centrally in the American circulation of psalm and hymn tunes in the 19th century, but the repertoire traveled far and wide beyond actual church services. Musical societies, conventions, singing schools, social gatherings of a religious nature, and domestic settings all provided venues for the singing of psalmody. This chapter undertakes a broad exploration of the place of psalm and hymn tunes in pre–Civil War American culture. In its closing stretch, however, it pivots toward those vibrant registers of American sacred music-making that lay beyond the Europeanized psalmodic practices that form this book’s focus. Psalmodic adaptations of classical music would never have been encountered by most of the nation’s enslaved, nor by most Native Americans. They also had little impact on the lives of many in the country’s southern and western regions who preferred the markedly different psalmodic tradition associated with “shape notes.”

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Körting, Corinna. "Lamentations: Time and Setting." In Functions of Psalms and Prayers in the Late Second Temple Period, edited by Mika S. Pajunen and Jeremy Penner. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110449266-009.

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"A Bayesian Approach to Setting Equipment Performance Criteria (PSAM-0438)." In Proceedings of the Eighth International Conference on Probabilistic Safety Assessment & Management (PSAM), 1896–900. ASME Press, 2006. http://dx.doi.org/10.1115/1.802442.paper234.

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