Journal articles: 'Psalm setting'

1

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Amzallag, Nissim. "The Cosmopolitan Character of the Korahite Musical Congregation: Evidence from Psalm 87." Vetus Testamentum 64, no. 3 (July 28, 2014): 361–81. http://dx.doi.org/10.1163/15685330-12341164.

Full text

Abstract:

Psalm 87 is generally interpreted as a song of pilgrimage praising Jerusalem as the ‘mother of nations’. This theme is, however, unknown in the Bible. Furthermore, both the structure and meaning of psalm 87 remain very obscure in this thematic context of interpretation. Alternatively, the present analysis suggests that psalm 87 evokes the diffusion abroad of the musical worship of yhwh by Korahite singers, its contribution to the fame of Zion, and of this congregation of singers. It also deals with the mutual commitment between the Jerusalemite singers and their peers living far away. A coherent articulation of these meanings emerges after setting the psalm in cross responsa fashion, a mode of complex antiphony in which distant cola are combined through the intertwinement of voices during performance. This interpretation is supported by biblical sources evoking the presence of Jerusalemite singers in foreign lands and their involvement in local musical worship of yhwh. The esoteric character of Psalm 87 and its complex mode of performance suggest that this song was specifically composed for the small congregation of Jerusalemite singers, and not for public cult.

APA, Harvard, Vancouver, ISO, and other styles

12

Ross, William A. "David’s spiritual walls and conceptual blending in Psalm 51." Journal for the Study of the Old Testament 43, no. 4 (June 2019): 607–26. http://dx.doi.org/10.1177/0309089218786097.

Full text

Abstract:

Owing to the apparent topical disjunction of the final two verses of Psalm 51, many commentators consider them a later addition, particularly given the attitude toward sacrifice and the reference to Jerusalem’s walls. By taking a cognitive linguistic approach, particularly applying Fauconnier and Turner’s theory of conceptual blending, this article demonstrates the unity of the Psalm as a discourse unit. Additionally, this article builds upon literary structural analyses of others to suggest the complementarity of the cognitive linguistic and literary approaches. This analysis of Psalm 51 as a whole demonstrates that, not only do vv. 20–21 cohere with the entire psalm, they do so by interacting with vv. 18–19 to build meaning from a single conceptual blend network, one that depends upon the conceptual structures prompted by the narrative setting throughout the discourse. On this reading, David himself is Zion/Jerusalem whose damaged spiritual walls require restoration by Yhwh as a builder.

APA, Harvard, Vancouver, ISO, and other styles

13

Howard, Alan. "Composition as an Act of Performance: Artifice and Expression in Purcell's Sacred Partsong Since God so tender a regard." Journal of the Royal Musical Association 132, no. 1 (2007): 32–59. http://dx.doi.org/10.1093/jrma/fkl012.

Full text

Abstract:

Since God so tender a regard is one of a small number of ‘domestic sacred’ pieces Purcell entered into his manuscript scorebook, London, British Library, Add. MS 30930. Its particular interest lies in its construction over a ground bass, and the range of artificial devices Purcell employs in its setting. Its background in seventeenth-century psalm settings, and its likely performance circumstances, allowed Purcell to turn these features to rhetorical advantage, with highly imaginative and individual results.

APA, Harvard, Vancouver, ISO, and other styles

14

Bellinger, W. H. "Psalm Xxvi: a Test of Method1." Vetus Testamentum 43, no. 4 (1993): 452–61. http://dx.doi.org/10.1163/156853393x00395.

Full text

Abstract:

AbstractPs. xxvi is a lament, perhaps from a setting of accusation, and yet various persons could easily appropriate the prayer, persons who are part of a community of faith and who face a similar troubling circumstance. The text centers on the "I-Thou" relationship and on the protection Yahweh offers in the face of trouble. I draw the following theological conclusions: 1. In contrast to the death-giving company of evildoers, the I-Thou relationship between worshiper and Yahweh gives life. 2. This relationship has dimensions connected to the renewal found in the worshipping community and to the significant activity of social justice, "integrity" in Ps. xxvi. 3. An honest dialogue of faith nurtures the relationship between worshiper and Yahweh.

APA, Harvard, Vancouver, ISO, and other styles

15

Dell, Katharine. ""I WILL SOLVE MY RIDDLE TO THE MUSIC OF THE LYRE" (PSALM XLIX 4 [5]): A CULTIC SETTING FOR WISDOM PSALMS?" Vetus Testamentum 54, no. 4 (2004): 445–58. http://dx.doi.org/10.1163/1568533042650822.

Full text

Abstract:

AbstractThis paper explores the relationship between wisdom psalms and the cult, asking whether Mowinckel's characterization of the wisdom psalms as late and non-cultic is justified. It explores the possibility of wisdom influence on the psalter in early and later times, looking at questions of context and theology. Rather than seeing wisdom influence as mainly a scribal activity that was a post-exilic editing of thefinal form of the psalter, it is argued that the influence of wisdom went back to the days of the early Israelite cult. Its influence was strong also in post-exilic times, which confirms a connection between wisdom and cult at this stage (Perdue), however wisdom forms that shaped the literary development of some psalms and wisdom ideas that included an emphasis on creation and order are seen to be an essential part of the earliest self-identification of Israel through her worship.

APA, Harvard, Vancouver, ISO, and other styles

16

Cox, John K. "Danilo Kiš and the Hungarian Holocaust: The Early Novel Psalm 44." Hungarian Cultural Studies 5 (January 1, 2012): 167–84. http://dx.doi.org/10.5195/ahea.2012.73.

Full text

Abstract:

Danilo Kiš's little known second novel, Psalm 44 (1962) is his first major prose work about the Holocaust. This novel was published for the first time in Hungarian translation in 1966 and English translation in 2012. The novel is quite different from Kiš's later works on the Holocaust, the autobiographical trilogy comprising Early Sorrows, Garden, Ashes, and Hourglass. The first difference is in setting. In Psalm 44, a number of important flashbacks take place in Újvidék/Novi Sad, the region of northern Serbia (then Yugoslavia) under Hungarian occupation after 1941; much of the rest of the book takes place in Auschwitz and associated camps in Poland. The amount of Hungarian material is significant, but the inclusion of so much material from Auschwitz is not found elsewhere in Kiš 's oeuvre. The second difference is in the author's graphic portrayal of gruesome atrocities. For the literary historian, Psalm 44 is an important milestone in the development of Kiš 's thematic and stylistic inventory. For other historians, the novel functions in part as a microhistory of the Újvidék massacres (the "Cold Days") of early 1942. Kiš 's quest to find his own voice to attempt to convey the tragedy of the Holocaust—as important for the entire human family and the very region of Central Europe as it was for his own family—finds a parallel expression in the confusion, exhaustion, and skepticism of the characters in this novel.

APA, Harvard, Vancouver, ISO, and other styles

17

Mtshiselwa, Ndikho. "Context and context meet! A dialogue between the Sitz-im-Leben of Psalm 23 and the South African setting." Old Testament Essays 28, no. 3 (2015): 704–23. http://dx.doi.org/10.17159/2312-3621/2015/v28n3a9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Kim, Minji. "Handel’s choruses of ‘praise and thanksgiving after victory’ and Non nobis Domine." Early Music 47, no. 4 (November 2019): 551–68. http://dx.doi.org/10.1093/em/caz070.

Full text

Abstract:

Abstract Handel highlights several climactic moments in his works with choruses composed of closely related cantus firmus themes and contrapuntal settings. Parallels can be traced through individual sections of some of the key compositions that define his career in England: ‘Oh Lord, in thee have I trusted’, from the Utrecht Te Deum (1713), ‘Blessed be God’, from Let God arise (1717–18/1726), ‘I will sing’, from Israel in Egypt (1738), and ‘Hallelujah’ from Messiah (1741). The common purpose of giving thanks and praise to God for military victory further links these choruses. While several different melodic sources have been suggested for the cantus firmus subjects thus far, the affinity of all four of Handel’s themes to the incipit of a very well-known canon, Non nobis Domine, invites an exploration of its possible citation. The customary practice of singing the canon or reciting its psalm text at celebratory moments, modelling the psalmist’s deflection of all the honour of his accomplishments to God, makes its reference in Handel’s works highly appropriate. Understanding Handel’s multiple reuse of his choral setting in the context of this tradition deepens the relevance of his music as well as our perspective on his self-borrowing.

APA, Harvard, Vancouver, ISO, and other styles

19

Merkley, Paul. "Josquin Desprez in Ferrara." Journal of Musicology 18, no. 4 (2001): 544–83. http://dx.doi.org/10.1525/jm.2001.18.4.544.

Full text

Abstract:

The recovery of two notarial documents prepared in Ferrara on behalf of Josquin Desprez soon after his arrival in that city in the spring of 1503 demonstrates his intentions at that time to obtain the provosty of Notre Dame of Condéé and reveals the complicated exchange of benefices that brought about that result. The documents name Loyset Compèère and Pierre Duwez as respondents to Desprez in a quadrangular exchange of positions. In this transaction Josquin appointed the dean of the chapter of Condéé to resign the benefice he held in the collegiate church of Saint-Quentin. Since this was a position over which the King of France enjoyed full legal rights of collation, Josquin ordered the position to be surrendered to that monarch or his confessor, rather than to the pope. Accordingly these documents provide a very strong indication that Louis XII of France was the composer's patron before he came to Ferrara and that the king approved of this benefice exchange. In light of these implications, aspects of the composer's career before and after his Ferrarese service are reconsidered, including occasions on which he composed works for patrons in the French and imperial networks, such as Margaret of Austria, and his collaboration with the poet Jean Lemaire de Belges. Repertoire from Josquin's year in Ferrara is discussed, along with the Hercules Mass. Sections of his setting of the psalm Miserere mei deus are commented on, in connection both to a Biblical passage concordant with a verse of the psalm and to remarks by the theorist Glareanus. The expressive qualities of the Miserere are related to the devotional and ceremonial of duke Ercole, especially in the context of the outbreak of the plague in Ferrara.

APA, Harvard, Vancouver, ISO, and other styles

20

STOCKIGT, JANICE B., and MICHAEL TALBOT. "TWO MORE NEW VIVALDI FINDS IN DRESDEN." Eighteenth Century Music 3, no. 1 (March 2006): 35–61. http://dx.doi.org/10.1017/s1478570606000480.

Full text

Abstract:

Two further unknown sacred vocal compositions by Vivaldi, a Dixit Dominus and a Lauda Jerusalem, have turned up in a collection that has already witnessed two similar discoveries in recent decades: that of the former Saxon Hofkapelle, today in the Sächsische Landesbibliothek / Staats- und Universitätsbibliothek Dresden. Like their predecessors, the newly discovered works were acquired between the mid-1750s and early 1760s from the copying shop of Iseppo Baldan in Venice, who falsified the attribution on the title page to make the composer Galuppi instead of Vivaldi. Whereas the Lauda Jerusalem is an arrangement by Vivaldi of an anonymous stile antico setting of the same psalm in his own collection (and in turn the model for his own Credidi propter quod, rv605), the Dixit Dominus, scored for choir, soloists and orchestra, is an entirely original composition of outstanding musical quality that dates from the composer’s late period. This article explores the background to the Hofkapelle’s purchases from Baldan and provides a description of the new compositions, together with several arguments (based on musical concordances, general stylistic features and notational characteristics) for their attribution to Vivaldi.

APA, Harvard, Vancouver, ISO, and other styles

21

Crook, David. "A Sixteenth-Century Catalog of Prohibited Music." Journal of the American Musicological Society 62, no. 1 (2009): 1–78. http://dx.doi.org/10.1525/jams.2009.62.1.1.

Full text

Abstract:

In 1575 the Jesuit general in Rome issued an ordinance governing the use of music in the order's rapidly expanding network of colleges. Motets, masses, hymns, "and other pious compositions" were to be retained; indecent and "vain" music was to be burned. Sixteen years later the Jesuits' provincial administrator in Bavaria drew up a set of supplemental instructions, to which was appended a catalog of prohibited music as well as a complementary list of approved compositions (D-Mbs Clm 9237). Verbal texts treating drunkenness and erotic love account for the majority of banned pieces, but in some cases—a setting of the first verse of Psalm 137 by Orlando di Lasso, for example—the sound and style of the music led to its prohibition. Although intended for all colleges within the Jesuits' Upper German province, this catalog apparently derives solely from a review of the music collection of Munich's college on the occasion of its move in 1591 to a magnificent new building financed by the duke of Bavaria. Like the architecture and curriculum of the college, the music catalog reflected Bavaria's new understanding of its role as principal post-Tridentine defender of the true faith. And, like the formal confessions of faith, catechisms, and service books promulgated by Europe's Churches during the late sixteenth century, Bavaria's catalog of prohibited music gave expression to an ideology of difference and exclusion that lies at the very heart of post-Reformation Christianity.

APA, Harvard, Vancouver, ISO, and other styles

22

Stockigt, Janice B. "Szenenin Zelenka’s Vespers psalm settings." Musicology Australia 21, no. 1 (January 1998): 50–58. http://dx.doi.org/10.1080/08145857.1998.10415953.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Papatzalakis, Dimos. "The Amomos in the Byzantine chant: a diachronical approach with emphasis on musical settings of the 19th and 20th centuries." Artes. Journal of Musicology 17, no. 1 (January 1, 2018): 24–73. http://dx.doi.org/10.2478/ajm-2018-0002.

Full text

Abstract:

Abstract The book of the Psalms constitutes the main source from where the Offices of the Orthodox church draw their stable parts. It has been diachronically one of the most used liturgical books of the cathedral and the monastic rite. In this paper we focus on the Psalm 118, which is well known under the designation “Amomos”. In the first part of our study we look for the origin of the book of the Psalms generally. Afterwards we present the Offices in which the Amomos is included, starting from the Byzantine era and the use of the Amomos in the cathedral and the monastic services. Then, we negotiate the question of its use in the post-Byzantine era. In the next section we quote the most important settings of the Byzantine, post-Byzantine and new-Byzantine composers in Constantinople, Smyrna and Thessaloniki, as well as some evidence of their lives and their musical works. In the next section we introduce some polyprismatic analyses for the verses of the first stanza of the Amomos, which are set to music in 19th and 20th centuries. After some comparative musicological analyses of the microform of the compositions or interpretations, we comment on the music structure of the settings of Amomos in their liturgical context. Our study concludes with some main observations, as well as a list of the basic sources used to write this paper.

APA, Harvard, Vancouver, ISO, and other styles

24

Rilett Wood, Joyce. "Writing and Rewriting of Psalm 22." Studies in Religion/Sciences Religieuses 48, no. 2 (June 2019): 189–215. http://dx.doi.org/10.1177/0008429819830071.

Full text

Abstract:

Rewriting has converted a personal lament psalm into a complex literary work with diverse topics and themes, with distinct genres and settings, and with opposite and contradictory meanings. We can discover the original psalm by unravelling the editorial process and by observing the revision techniques of repetition, reversal and cross reference. What characterizes the second edition of the psalm is a gradual shift from individual experience to the concerns of the whole community. The reviser draws on historical tradition to transform the earlier composition into a new story with an entirely different theological perspective.

APA, Harvard, Vancouver, ISO, and other styles

25

Wook Kim, Sun. "Structural and Thematic Similarities between Psalm 78(77 LXX):12–32 and Mark 4:35–8:21 in Light of Spatial Settings and Exodus Imagery." Expository Times 128, no. 7 (October 1, 2016): 334–42. http://dx.doi.org/10.1177/0014524616668107.

Full text

Abstract:

This article explores the intertextual relationships between Psalm 78(77 LXX):12–32 and Mark 4:35–8:21 in terms of their structural and thematic similarities. The spatial settings of the sea and the desert in both texts function as a framework of the narratives in which Mark 4:35–8:21 reflects the Exodus imagery following the pattern of Psalm 78(77 LXX):12–32. In relation to the main theme, Mark has similarity with the Psalm in that as the Israelites fail in their faith despite experiencing God’s mighty works, the disciples show ignorance of who Jesus is despite witnessing his miraculous works.

APA, Harvard, Vancouver, ISO, and other styles

26

LeMon, Joel M. "Symphonizing the Psalms: Igor Stravinsky’s Musical Exegesis." Interpretation: A Journal of Bible and Theology 71, no. 1 (December 20, 2016): 25–49. http://dx.doi.org/10.1177/0020964316670949.

Full text

Abstract:

The twentieth-century composer Igor Stravinsky’s setting of the psalms can resonate with faithful communities today that find themselves in complex and often confusing relationships with God. In the Symphony of Psalms, Stravinsky’s use of Scripture shapes the listener’s sense of the Psalter as a whole and can lead worshipers in an honest, bold alleluia.

APA, Harvard, Vancouver, ISO, and other styles

27

Carter, Chandler. "The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text." Journal of the American Musicological Society 63, no. 3 (2010): 553–640. http://dx.doi.org/10.1525/jams.2010.63.3.553.

Full text

Abstract:

Abstract Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care to set the text intelligibly, and at certain moments, even expressively. By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first efforts at serial composition in the Cantata (1952), this article contextualizes the seemingly anomalous expressiveness in The Rake's Progress. Discovery of this evolution in his approach to setting text also entails a reassessment of the composer's aesthetic concerns.

APA, Harvard, Vancouver, ISO, and other styles

28

Laposata, Martha E., Michael Laposata, Elizabeth M. Van Cott, Dion S. Buchner, Mohammed S. Kashalo, and Anand S. Dighe. "Physician Survey of a Laboratory Medicine Interpretive Service and Evaluation of the Influence of Interpretations on Laboratory Test Ordering." Archives of Pathology & Laboratory Medicine 128, no. 12 (December 1, 2004): 1424–27. http://dx.doi.org/10.5858/2004-128-1424-psoalm.

Full text

Abstract:

Abstract Context.—Complex coagulation test panels ordered by clinicians are typically reported to clinicians without a patient-specific interpretive paragraph. Objectives.—To survey clinicians regarding pathologist-generated interpretations of complex laboratory testing panels and to assess the ability of the interpretations to educate test orderers. Design.—Surveys were conducted of physicians ordering complex coagulation laboratory testing that included narrative interpretation. Evaluation of order requisitions was performed to assess the interpretation's influence on ordering practices. Setting.—Physicians ordering coagulation testing at a large academic medical center hospital in Boston, Mass, and physicians from outside hospitals using the academic medical center as a reference laboratory for coagulation testing. Outcome Measures.—Physician surveys and evaluation of laboratory requisition slips. Results.—In nearly 80% of responses, the ordering clinicians perceived that the interpretive comments saved them time and improved the diagnostic process. Moreover, the interpretations were perceived by ordering clinicians to help prevent a misdiagnosis or otherwise impact the differential diagnosis in approximately 70% of responses. In addition, interpretations appeared to be able to train the ordering clinicians as to the standard ordering practices. Conclusions.—The results demonstrate physician satisfaction with an innovative information delivery approach that provides laboratory diagnostic interpretation and test-ordering education to clinicians in the context of their daily workflow.

APA, Harvard, Vancouver, ISO, and other styles

29

Fitzgerald, Danny. "Translating the Hebrew Psalms to be Sung: The 2010 Revised Grail Psalms, a Case Study." Między Oryginałem a Przekładem 27, no. 3(53) (September 21, 2021): 31–54. http://dx.doi.org/10.12797/moap.27.2021.53.02.

Full text

Abstract:

This article explores the theme of “translating poetically organized discourse to be sung.” The 2010 English translation of the Hebrew Psalms, entitled The Revised Grail Psalms: A Liturgical Psalter (RGP), is presented as a case study. The Hebrew Psalms, for the most part, were composed to be sung, yet more often than not, they are translated to be read. Such translations are primarily characterized by the absence of poetic rhythm, despite the plain evidence and significance of poetic rhythm in the Hebrew. The RGP, on the other hand, privileges the rhythmic dimension of the Psalms. As a result, the RGP is said to be remarkably “adaptable to the exigencies of different musical settings,” and more importantly, eminently singable. Nonetheless, the challenges of translating and formalizing a text according to a given rhythmic principle are in practice formidable, for when translators set out to feature a lyric’s rhythmic dimension, its semantic, rhetorical, and syntactic art is often found lacking. This article examines some of the principal reasons the translators of the RGP chose to re-emphasize the Hebrew Psalms’ rhythmic art and, more importantly, how those translators negotiated some of the more problematic translation challenges that ensued from that choice.

APA, Harvard, Vancouver, ISO, and other styles

30

Lowe, C. Jane. "Large-Scale Structural Procedures in the Psalm Settings of Marc-Antoine Charpentier (1643–1704)." Seventeenth-Century French Studies 12, no. 1 (January 1990): 189–205. http://dx.doi.org/10.1179/c17.1990.12.1.189.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Smith, John Arthur. "Musical aspects of Old Testament canticles in their biblical setting." Early Music History 17 (October 1998): 221–64. http://dx.doi.org/10.1017/s0261127900001650.

Full text

Abstract:

The Hebrew Old Testament contains, besides prose narratives and laws, a considerable amount of poetry. The books of Lamentations, Proverbs and Psalms and the Song of Solomon, together with the prophetic oracles that make up the books of Amos, Habakkuk, Joel, Micah, Nahum, Obadiah and Zephaniah, consist entirely, or almost entirely, of poetry. In several other books, especially Job and the books of the prophets Haggai, Isaiah and Jeremiah, poetry predominates, while in the books of history and law, although prose predominates, poetry is never entirely absent, brief though its manifestations sometimes are. The vast majority of the poetry is sacred, as would be expected from texts that occur within religious writings. The relatively small amount of profane poetry consists of a handful of short examples and the Song of Solomon.

APA, Harvard, Vancouver, ISO, and other styles

32

Hankle, Dominick D. "The Therapeutic Implications of the Imprecatory Psalms in the Christian Counseling Setting." Journal of Psychology and Theology 38, no. 4 (December 2010): 275–80. http://dx.doi.org/10.1177/009164711003800405.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Hamme, Joel Travis. "A Prayer to Sîn and the Psalms." Journal of Ancient Near Eastern Religions 17, no. 1 (July 7, 2017): 1–27. http://dx.doi.org/10.1163/15692124-12341284.

Full text

Abstract:

The paper argues that scribes in Mesopotamia and Israel adapted prayers into various contexts for different purposes. The adaptations introduced were governed by the larger purposes of the prayer’s new context. The paper uses Pss 14 and 53 and Sîn 6 to illustrate this point. Psalms 14 and 53 were adapted to fit into the larger purpose and message of the first and second Davidic Psalters, respectively, while Sîn 6 was adapted into rituals or a collection of dingir.ša.dib.ba prayers. The paper concludes that the purposes for which prayers were adapted were based upon setting, and that, as such, it is unwise to suggest that only corruptions in Vorlagen explain text differences.

APA, Harvard, Vancouver, ISO, and other styles

34

Hann, Robert R. "The community of the pious: The social setting of the Psalms of Solomon." Studies in Religion/Sciences Religieuses 17, no. 2 (June 1988): 169–89. http://dx.doi.org/10.1177/000842988801700204.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Albl, Martin C. "“David sang about him”: A Coptic Psalms Testimonia Collection." Vigiliae Christianae 66, no. 4 (2012): 398–425. http://dx.doi.org/10.1163/157007212x613429.

Full text

Abstract:

Abstract This study analyzes a fragmentary Coptic Psalms testimonia collection (CPT), published by Charles W. Hedrick in 2006. The text lists approximately 30 events from Jesus’ life; each event is paired with a Psalms quotation understood as a prophetic witness (testimonium) to that event. The collection is creedally structured, focusing on Jesus’ birth, his passion and death, and his resurrection, ascension, and heavenly enthronement. This study situates each of the CPT’s events and testimonia in the context of early Christian testimonia literature, noting especially close connections with catechetical works such as Rufinus’ Commentary on the Apostolic Creed. Of special interest is the CPT’s quotation of Christian additions to Ps 96:10 (“on the wood”) and to Ps 51:7 (“by the blood of the wood”). Its likely life-setting is the catechesis of fifth-century Egyptian monasticism.

APA, Harvard, Vancouver, ISO, and other styles

36

Wendland, Ernst. "FROM “DEATH” TO “LIFE” – םָּ ד IN THE PSALMS: A LEXICAL-SEMANTIC-CULTURAL SURVEY, WITH SPECIAL REFERENCE TO THE TRANSLATION OF “BLOOD” IN A WESTERN AND AN AFRICAN SETTING." Journal for Semitics 25, no. 2 (May 9, 2017): 503–22. http://dx.doi.org/10.25159/1013-8471/2528.

Full text

Abstract:

After a brief lexical-semantic summary of the principal senses of םָּ ד in the Hebrew Bible (HB), our focus shifts to this word’s 21 occurrences in the Psalms. How widely and diversely was the notion of “blood” employed in the psalmists’ manifold prayers to the Lord? We then consider the practice of translation in two greatly contrasting sociocultural settings – Western versus African. What are some of the main challenges that translators confront when they attempt to convey the distinct “meanings” of םָּ ד meaningfully – with functionally equivalent content, intent, impact and appeal – in these two disparate contexts? In a Western setting, as expressed in English, the biblical, symbolically sacred understanding of “blood” is virtually non-existent, thus necessitating significant paratextual supplementation, whereas in an African linguistic environment, Chichewa for example, the ancient symbolical sense of “blood” and its contemporary connotations remain so powerful that it requires great care in translation in order to avoid possible misunderstanding or offense in the vernacular text. In the latter case and in certain Psalmic passages, it turns out that instead of some expression relating to “death”, one that rather conveys the notion of “life” may well be more accurate and acceptable, especially when uttered in prayer or praise to the Lord.

APA, Harvard, Vancouver, ISO, and other styles

37

AQUILINA, FREDERICK. "A SHORT BIOGRAPHY OF BENIGNO ZERAFA (1726-1804): A MID-EIGHTEENTH-CENTURY MALTESE COMPOSER OF SACRED MUSIC." Eighteenth Century Music 4, no. 1 (March 2007): 107–18. http://dx.doi.org/10.1017/s1478570607000723.

Full text

Abstract:

The outstanding (though still insufficiently recognized) development of Maltese sacred music in the mid-eighteenth century culminated in the works of Benigno Zerafa (1726–1804), a highly talented priest-composer who served as maestro di cappella at the Cathedral of St Paul at Mdina from 1744 to 1786. Zerafa’s entire collection of sacred vocal works, with one exception, was discovered in 1969 by the then-curator of the Archives of Mdina, Mgr Rev John Azzopardi. The collection, comprising, among others, masses, Credo settings, psalms, graduals, offertories, litanies, hymns, sequences, antiphons, Holy Week responsories and motets, was transferred to the archives of the cathedral, where it was professionally catalogued and shelved. One work, a recently discovered Requiem Mass for four voices and organ, is preserved in the Archivio Crypta Sancti Pauli (CSP) at Rabat. The compositions, numbering 148, are divided into two categories – (1) for voices and instruments (104), and (2) for voices and organ (44) – and range, in scoring, from works for eight, five, four, three and two voices, to others for solo voice. This essay aims to provide information on Benigno Zerafa’s life.

APA, Harvard, Vancouver, ISO, and other styles

38

Clarke, Colin. "Knussen - KNUSSEN: Choral; Triptych: Autumnal; Whitman Settings; Secret Psalm; Prayer Bell Sketch; Violin Concerto; Requiem – Songs for Sue; Ophelia's Last Dance. BBCSO, BCMG c. Oliver Knussen, Alexandra Wood, Leila Josefowicz (vlns), Claire Booth (sop), Huw Watkins, Ryan Wigglesworth (pnos). NMC D178." Tempo 67, no. 265 (July 2013): 108. http://dx.doi.org/10.1017/s0040298213000685.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Scott, Allen. "Simon Lyra and the Lutheran liturgy in the second half-century of the Reformation in Breslau." Muzyka 65, no. 1 (April 2, 2020): 3–18. http://dx.doi.org/10.36744/m.309.

Full text

Abstract:

In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and devotional songs. The music in the collections contain all of the items necessary for use in the liturgies performed in the St. Elisabeth Church and Gymnasium in the last quarter of the sixteenth century. This list provides valuable clues into the musical life of a well-established Lutheran church and school at the end of the sixteenth century. When studying collections of prints and manuscripts, I believe it is helpful to make a distinction between two types of use. Printed music represents possibilities. In other words, they are collections from which a cantor could make choices. In Lyra’s case, we can view his recommendations as general examples of what he considered liturgically and aesthetically appropriate for his time and position. On the other hand, manuscripts represent choices. The musical works in the six Bohn manuscripts associated with Lyra are the result of specific decisions to copy and place them in particular collections in a particular order. Therefore, they can provide clues as to what works were performed on which occasions. In other words, manuscripts provide a truer picture of a musical culture in a particular location. According to my analysis of Lyra’s recommendations, by the time he arrived at St. Elisabeth the liturgies, especially the mass, still followed Luther's Latin "Formula Missae" adopted in the 1520s. The music for the services consisted of Latin masses and motets by the most highly regarded, international composers of the first half of the sixteenth century. During his time as Signator and cantor, he updated the church and school choir repertory with music of his contemporaries, primarily composers from Central Europe. Three of these composers, Gregor Lange, Johann Knoefel, and Jacob Handl, may have been his friends and/or colleagues. In addition, some of the manuscripts collected under his direction provide evidence that the Breslau liturgies were beginning to change in the direction of the seventeenth-century Lutheran service in which the "Latin choir" gave way to more German-texted sacred music and greater congregational participation.

APA, Harvard, Vancouver, ISO, and other styles

40

Van Rooy, H. F. "Die messiaanse interpretasie van die psalms in enkele Antiocheense en Oos- Siriese psalmkommentare." In die Skriflig/In Luce Verbi 45, no. 2/3 (June 22, 2011). http://dx.doi.org/10.4102/ids.v45i2/3.33.

Full text

Abstract:

The messianic interpretation of the psalms in a number of Antiochene and East Syriac psalm commentariesThe Antiochene exegetes interpreted the psalms against the backdrop of the history of Israel. They reconstructed a historical setting for each psalm. They reacted against the allegorical interpretation of the Alexandrian School that frequently interpreted the psalms from the context of the New Testament. This article investigates the messianic interpretation of Psalms 2 and 110, as well as the interpretation of Psalm 22, frequently regarded as messianic in non-Antiochene circles. The interpretation of these psalms in the commentaries of Diodore of Tarsus, Theodore of Mopsuestia and Išô`dâdh of Merv will be discussed, as well as the commentary of Denha-Gregorius, an abbreviated Syriac version of the commentary of Theodore. The commentaries of Diodore and Theodore on Psalm 110 are not available. The interpretation of this psalm in the Syriac commentary discussed by Vandenhoff and the commentary of Išô`dâdh of Merv, both following Antiochene exegesis, will be used for this psalm. The historical setting of the psalms is used as hermeneutical key for the interpretation of all these psalms. All the detail in a psalm is interpreted against this background, whether messianic or not. Theodore followed Diodore and expanded on him. Denha-Gregorius is an abbreviated version of Theodore, supplemented with data from the Syriac. Išô`dâdh of Merv used Theodore as his primary source, but with the same kind of supplementary data from the Syriac.

APA, Harvard, Vancouver, ISO, and other styles

41

Botha, Philippus J. "Psalm 27:4 – To reflect in his temple: Communion with YHWH as the culmination of the journey of life." HTS Teologiese Studies / Theological Studies 77, no. 4 (May 13, 2021). http://dx.doi.org/10.4102/hts.v77i4.6623.

Full text

Abstract:

Since the time of Mowinckel, the verb בקר (pi) in Psalm 27:4 was often interpreted as referring to a priest’s function of examining an offering. The parallel part of the verse and other intratextual and intertextual considerations render this interpretation of the verb improbable. The context of the psalm and the cluster of Psalms 25–34, as well as parallels Psalm 27 has with Psalm 23, suggest that the verb בקר refers to reflection on the privilege of being in YHWH’s presence. The enjoyment of such communion with YHWH, which includes the study of his Torah, is portrayed as the culmination of the journey of life in Psalms 25–34. The author argues that this is also hinted at in Psalm 27.Contribution: The contribution of this article towards the focus of HTS as “Historical Thought and Source Interpretation” centered around its use of the literary context of a psalm to question the notion of a reconstructed cultic setting as the only possible hermeneutical key to interpret Psalm 27.

APA, Harvard, Vancouver, ISO, and other styles

42

Potgieter, Annette. "Psalm 26 and Proverbs: Tracing wisdom themes." Verbum et Ecclesia 35, no. 1 (January 14, 2014). http://dx.doi.org/10.4102/ve.v35i1.818.

Full text

Abstract:

The discernment of Psalm 26 as a cultic psalm has prevented noticing vital connections with wisdom literature. These connections with Proverbs and other known wisdom psalms provide clues for the composition of Psalm 26 to be set in the post-exilic period. The way in which wisdom literature is used conveys the religious ethos and daily life of a community. The fact that the wisdom character of Psalm 26 has been overlooked can be viewed as one of the main reasons why Psalm 26 has been interpreted solely in a cultic setting. The sapiential influence of this psalm has been confused to only reflect the cultic aspects. The psalmist wants to live a life according to wisdom as he seeks the rewards of being close to Yahweh.

APA, Harvard, Vancouver, ISO, and other styles

43

Kloppers, Elsabé. "Hymns across the water … translated and relocated: The reception of Scottish hymns in translation." HTS Teologiese Studies / Theological Studies 73, no. 2 (February 16, 2017). http://dx.doi.org/10.4102/hts.v73i2.4500.

Full text

Abstract:

In this article a broad overview of the reception of Scottish hymnody in translation is given. Considering the pivotal role the metrical Psalms used to play in the Scottish churches, they are considered first. Only one metrical Psalm made it to be translated widely and to be included in hymnals over the world. It is the metrical setting of Psalm 23, The Lord’s my Shepherd, paired to the tune of Scottish origin, CRIMOND. It is argued that the metrical psalm owes much of its popularity to the tune. A hymn with a text from the Scottish Paraphrases, paired to a Scottish tune, DUNDEE, and for long the only hymn in the Afrikaans churches with a Scottish connection, is discussed with regard to its reception in these churches. It serves as an example of how a hymn could be translated and relocated and function in a new context. In an overview of Scottish hymns translated and included in the newest hymnals in other countries, such as the Netherlands and Norway, it is shown that primarily hymns and songs of the Iona Community are translated and included in the newest hymnals, with John Lamberton Bell being the main exponent as text, hymn and song writer.

APA, Harvard, Vancouver, ISO, and other styles

44

Ramond, Sophie. "“Seek Peace And Pursue It” (Ps 34:15): A Call to Beleaguered Members of a Community." Journal of Hebrew Scriptures 19 (September 1, 2019). http://dx.doi.org/10.5508/jhs.2019.v19.a.

Full text

Abstract:

Psalm 34 contains a call to promote peace in a context where peace is threatened by damaging speech. This paper seeks to define the social setting that could explain such a call. Its thesis is that the psalm is addressed to Jews who are beleaguered by others speaking deceit. It is an attempt to convince them not to be seduced by Hellenistic culture and not to be misled by deceitful discourses of those who discard their traditions in favour of Hellenistic beliefs and lifestyles.

APA, Harvard, Vancouver, ISO, and other styles

45

"Soll, W., Psalm 119: Matrix, Form and Setting (CBQMS, 23; Washington, DC: Catholic Biblical Association, 1991), pp. vii + 192. N.p. (paper), ISBN 0-915170- 22-1." Journal for the Study of the Old Testament 17, no. 55 (September 1992): 121. http://dx.doi.org/10.1177/030908929201705515.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Stocks, Simon P. "‘Like the snail that dissolves’: Construction of Identity of Psalmist and Enemy in the Lament Psalms of the Individual." Journal for the Study of the Old Testament, September 21, 2021, 030908922110049. http://dx.doi.org/10.1177/03090892211004971.

Full text

Abstract:

The paper explores how the psalms of lament of the individual constructed the identity not only of the Israelites who used them in worship but also of their antagonists. It starts with a critique of Amy Cottrill’s Language, Power, and Identity in the Lament Psalms of the Individual, which is critical of the psalmist’s non-specific presentation of the enemies that ‘obscures the humanity of the one he prays against’. This alleged dehumanisation of the enemies is explored further through the dialogical framework of Martin Buber’s ‘I-Thou’. A consideration of Buber’s two basic word pairs, ‘I-You’ and ‘I-It’, prompts the question of whether the psalmist treats the enemies as ‘You’ or ‘It’. Further arguments based on the social setting of the lament psalms lead to the conclusion that they construct an identity of a psalmist who is in real relationship with both God and the enemy and who treats them as genuine relational beings.

APA, Harvard, Vancouver, ISO, and other styles

47

Dietz, Hanns-Bertold. "The Neapolitan School: Francesco Durante (1684-1755) - Aspects of Manuscript Dissemination, Misattributions, and Reception." Música em Perspectiva 2, no. 2 (October 25, 2010). http://dx.doi.org/10.5380/mp.v2i2.19526.

Full text

Abstract:

After the Austrian conquest of Naples in 1707, Masses, motets and Psalm settings, by Francesco Mancini, Nicola Fago, Domenico Sarro and the still little-known Francesco Durante, made their way into Bohemia, the Austrian Netherlands, and Saxony. All of Durante's early exported pieces of church music are found in these locations only. From the Zenith of his career, 1738 to 1755, dated manuscripts cover almost every year. The period includes all of the works upon which rests Durante's posthumous fame. During the nineteenth century, his church music, especiallly his works in "Palestrina style," became objects for collectors of "ancient music." The demand for sacred works by Durante and other Neapolitan composers led to misattributions of manuscripts, not always out of ignorance. During the second-half of the nineteenth century, changing attitudes toward church music, the Bach restoration, and the emergence of a view of history tinged with nationalistic overtones led to a change in Durantes's historic position. By 1904, The "Epoch of the Neapolitan School: Leo and Durante, 1725-1766" had been replaced by "The Age of Bach and Handel." The lack of interest in Neapolitan church music that followed led to a neglect of scholarly studies until the second half of the twentieth century, when musicologists began to revive the topic.

APA, Harvard, Vancouver, ISO, and other styles

48

Barrett, Creighton, and Bertrum MacDonald. "“Nearer to the Exercises of Heaven”: Nineteenth-Century Maritime Presbyterians and The Choir (pp 49-87)." Papers of The Bibliographical Society of Canada 53, no. 1 (February 10, 2016). http://dx.doi.org/10.33137/pbsc.v53i1.21008.

Full text

Abstract:

Singing, particularly psalm singing, has enjoyed a lengthy tradition among Christian churches. “Singing God’s praises brings us nearer to the exercises of Heaven than any other service we can engage on earth” proclaimed one nineteenth-century advertisement. Churches as well as singing schools frequently relied on tunes that circulated across countries and oceans through oral transmission and increasingly through printed tune books, as the capacity of printing technologies expanded in the nineteenth century and pricing of books became affordable to larger numbers of citizens. Singing instructions, tunes, and hymns were printed, reprinted, and modified to meet local demand. Music styles that lost favour in some countries continued to flourish in other settings. The first printed music in Nova Scotia, The Harmonicon, was produced in a Presbyterian context in 1838. Three decades later, demand for a new tune book prompted the Synod of the Presbyterian Church of the Lower Provinces of British North America to publish The Choir, a compilation designed to satisfy “a healthy taste for sacred music.” First published in Halifax in 1871, this volume was the mainstay of Maritime Presbyterian congregations for the remainder of the century. This paper traces the history of the production of The Choir, compiled by the church’s Committee on Psalmody. Details about the editions and reprinting of the tune book are provided. The paper concludes with an examination of the contents of the volume, where particular attention is given to elements of the book that illustrate the compilers’ attention to the local audience for which it was intended, including the use of local place names for tune titles, and the inclusion of locally composed tunes and fuging tunes, which were written for an antiquated singing style that persisted in the Maritimes long after it faded from church music in other parts of North America and the United Kingdom.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Psalm setting'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles