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Journal articles on the topic 'Psalter player'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Yarmola, Victoria. "Itinerant Musicians of Western Polissia: Mykola Muravets." Problems of music ethnology 17 (November 17, 2022): 33–39. http://dx.doi.org/10.31318/2522-4212.2022.17.270904.

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The person and career of the outstanding traveling musician Mykola Muravets from Western Polissia were characterized in general terms on the basis of the newly acquired expedition materials. This notorious hurdy-gurdy player was born in 1906 on the Murava farm near the village of Shtun of the Volodymyr-Volyn District, Volyn Gubernia. At the age of 11, because of burns from a fired gas shell, he completely lost his sight. The boy was distinguished by his beautiful voice and had an excellent memory and musical ear, so the fellow villagers advised his parents to send him to study with an experien

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2

Geerdink, Nina. "Printing Privileges for Psalters in the Seventeenth-Century Dutch Republic." Early Modern Low Countries 8, no. 2 (2024): 186–205. https://doi.org/10.51750/emlc20857.

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Starting from the assumption that printing privileges were an important way of enhancing a publication’s reputation, this article focuses on psalters, which played an important role in Protestant religious life in the Dutch Republic. Psalters were among the earliest books granted privileges by the States of Holland and the States-General, and were published with a privilege more often than other works. Furthermore, while privileges were generally applied for by publishers, in the case of psalters it was often the psalmists themselves who were the applicant. This article argues that this remark

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3

Goswell, Gregory. "Finding Jesus in the Psalter." Evangelical Quarterly 94, no. 2 (2023): 97–112. http://dx.doi.org/10.1163/27725472-09402001.

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Abstract A Christological reading of the Psalter in which individual psalms are viewed as primarily the prayers of Jesus is evaluated. This recent evangelical tradition of interpretation goes as far as to assert that the Psalms are only secondarily our prayers. However, while the portrait of David the chief psalmist anticipates Jesus Christ as the ideal Davidic king, this does not require that everything in every psalm be applied to Jesus. When David confesses his sins and failings, these words cannot be placed on the lips of Jesus. It remains nonetheless legitimate for believers to make use o

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4

Geerdink, Nina. "Printing Privileges for Psalters in the Seventeenth-Century Dutch Republic." Early Modern Low Countries 8, no. 2 (2024): 186–205. https://doi.org/10.51750/emlc20857.

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Starting from the assumption that printing privileges were an important way of enhancing a publication’s reputation, this article focuses on psalters, which played an important role in Protestant religious life in the Dutch Republic. Psalters were among the earliest books granted privileges by the States of Holland and the States-General, and were published with a privilege more often than other works. Furthermore, while privileges were generally applied for by publishers, in the case of psalters it was often the psalmists themselves who were the applicant. This article argues that this

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5

Карачорова [Karachorova], Ивона [Ivona]. "Неизвестен славянски текст на катена към Псалтира в два ръкописа от Хилендар". Slavia Meridionalis 16 (21 жовтня 2016): 82–102. http://dx.doi.org/10.11649/sm.2016.007.

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An unknown Slavic text of a catena to the Psalter, in two manuscripts from the Hilandar monasteryThis article presents a hitherto unknown catena to the Psalter. It is divided in two parts, placed in two manuscripts: in Manuscript No. 116 (psalms 1 through 76), and in Manuscript No. 117 (the remaining psalms). The catena contains commentaries of more than 15 Byzantine authors. The article then goes on to compare the Psalter text accompanying the catena with texts of other editions. It becomes clear that the text of the Hilandar manuscripts is very close to the texts of the Mount Athos edition

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6

Péter, Éva. "Jenő Ádám’s Church Music Compositions." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (2021): 265–76. http://dx.doi.org/10.24193/subbmusica.2021.2.19.

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"In the present study I intend to present the church music compositions of Jenő Ádám. I will analyze the choral works of the composer that were based on the melodies of Protestant church hymns. The composer was also active as a conductor, but his name is primarily known in the field of music pedagogy. He played an important role in the elaboration and implementation of the Kodály method. In his works pertaining to church music, he adapted the melodies of the most representative church hymns of different ages. He uses both homophonic and polyphonic approaches with his works that have strophic s

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7

Damgaard, Andreas Riis. "Hvem er ærens konge, der?" Dansk Teologisk Tidsskrift 80, no. 4 (2017): 258–81. http://dx.doi.org/10.7146/dtt.v80i4.106360.

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Sigmund Mowinckel created a highly influential interpretation of the Psalter. In this interpretation, Ps 24 played a particularly important role due to its antiphonic style. The antiphonic style of the psalm is widely represented in the reception history of the psalm – especially in classical music. For example, Handel's chorus piece Lift up ye Heads in his oratorio Messiah is structured in an antiphonic manner. Mowinckel’s exegesis and the music composed by Handel have similar structures in their representations of Ps 24 – in spite of the different aims of their interpretations. However, both

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8

Иванова, Татьяна Григорьевна. "The image of the gusli player in Russian fine art of the 19th - 20th centuries." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 22–31. http://dx.doi.org/10.26158/tk.2019.20.3.002.

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В статье выдвигается тезис, согласно которому процесс формирования образа гуслей/гусляра в русском культурном коде начался с литературы; затем гусли вошли в изобразительное искусство; и лишь в начале XX в. благодаря деятельности Н. И. Привалова образованное общество услышало гусли. Анализируются процессы формирования образа гусляра в русском изобразительном искусстве XIX-XX вв. Рассматриваются образы певца-трибуна (Бояна у В. М. Васнецова), призывающего воинов к защите родной земли, и образ удалого молодца, певца веселых песен (Садко у И. Я. Билибина). Специально указывается на появление социа

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9

Zinkiv, Iryna Ya. "Academization of the Ukrainian Bandura by the Proficient Bandura-Craftsmens of the XX – Early XXI Centuries." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 2459–80. http://dx.doi.org/10.47059/revistageintec.v11i4.2295.

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Among the main signs of Ukrainian culture, its instrumental artifact, the bandura, which is the nation-building component of Ukraine, holds a significant place. The proposed paper attempts to characterize the bandura development from the diatonic instrument at the beginning of XX century, developed by the prominent Ukrainian bandura craftsmen in their creative activity – O. Korniievskyi, I. Skliar, V. Herasymenko, – to the modern “chromatic” instrument with dual-diatonic scale, wide sound range and technical characteristics. Only two from among several play methods that existed in the traditio

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10

Penkova, Pirinka. "The allegorical exegesis (the theology of parables) in the Slavonic translation of the letter to Marcellinus on the interpretation of the psalms." Papers of the Institute for Bulgarian Language “Prof. Lyubomir Andreychin”, no. XXXVI (August 2023): 233–60. http://dx.doi.org/10.47810/pibl.xxxvi.23.08.

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The Church Slavonic translation of The Letter to Marcellinus on the Interpretation of the Psalms (Еἰς τὴν ἑρμενείαν τῶν ѱαλμῶν) is published in the Russian Bible of 1663, placed before the Psalter just as in the famous 5th centuries Greek Codex Alexandrinos. Athanasius of Alexandria’s allegorical exegesis of interpreting the Scripture in the text macrostructures called Приточное богословие (The theology of parables) is investigated in this article based on some selected dogmatic and pastoral writings. The criterion for the correctness of the interpretation is formulated in the polemical Oratio

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11

Classen, Albrecht. "Sherry C. M. Lindquist and Asa Simon Mittman. With a Preface by China Miéville, Medieval Monsters: Terrors, Aliens, Wonders. New York: The Morgan Library & Museum, 2018, 175 pp., more than 90 colored ill." Mediaevistik 31, no. 1 (2018): 284. http://dx.doi.org/10.3726/med012018_284.

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This wonderfully illustrated book accompanied an exhibition that took place at the Morgan Library & Museum, New York, from June 8 to September 23, 2018, authored by two well established and respected art historian*s, who provide us with a sweeping view of the world of monsters and many other related creatures in medieval fantasy. While previous research mostly focused on monsters in the narrow sense of the word, i.e., grotesque and oversized human-like creatures normally threatening ordinary people in their existence, Lindquist and Mittman pursue a much broader perspective and incorporate

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12

Vidas, Marina. "Un Deu Enemi. Jews and Judaism in French and English Medieval Illuminated Manuscripts in the Royal Library." Fund og Forskning i Det Kongelige Biblioteks Samlinger 55 (March 3, 2016): 105. http://dx.doi.org/10.7146/fof.v55i0.118912.

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Marina Vidas: Un Deu Enemi. Jews and Judaism in French and English Medieval Illuminated Manuscripts in the Royal Library The article analyzes images of and texts about Jews and Judaism in five medieval illuminated manuscripts in the collection of the Royal Library, Copenhagen. I begin by examining the references to Jews in a bestiary (MS GKS 3466 8º) composed in the twelfth century by Philippe de Thaon for Queen Adeliza of England and copied a century later in Paris. Then I analyze depictions of Jews in a French early thirteenth-century personal devotional manuscript (MS GKS 1606 4º) as

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13

Сергеев, Григорий Борисович. "Monastic Rules of the Sarov Monastery as the Main Source of the Worship Tradition of Valaam." Праксис, no. 2(2) (September 15, 2019): 210–25. http://dx.doi.org/10.31802/2658-6517-2020-2-2-210-225.

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Саровская пустынь сыграла немалую роль в истории Русской Церкви, её устав оказал значительное влияние на русское монашество в Синодальную эпоху и послужил образцом для многих русских обителей. За два столетия существования пустыни несколько десятков саровских иноков были посланы в различные монастыри по всей России для организации в них монашеской жизни. Одним их первых был Валаамский монастырь, в котором в 1782-1801 гг. присланный из Сарова иеромонах преподобный Назарий (Кондратьев) возобновлял пришедшую в упадок монашескую общину. В этом деле он опирался на устав родной для него обители, спи

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14

Иванкива, Марина Владимировна. "LITERARY CARTOGRAPHY: MAP AS A PARATEXTUAL ELEMENT IN BRITISH CHILDREN’S LITERATURE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(28) (April 20, 2021): 28–42. http://dx.doi.org/10.23951/2312-7899-2021-2-28-42.

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Объект исследования данной статьи – литературная карта как визуальный элемент детской книги на рубеже XIX–XX веков – малоизученная область визуальной культуры детства. Карта становится важной составляющей визуальной культуры детства во второй половине XIX века. Целью исследования было проследить становление картографической традиции в детской литературе Великобритании. Для достижения поставленной цели потребовалось, во-первых, изучить ведущие современные направления в изучении литературной карты. Во-вторых, сформировать терминологический аппарат для описания карты как документального и эстетич

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15

Rigaux, Maxim, and Stijn Praet. "Editorial Note." Journal of Latin Cosmopolitanism and European Literatures, no. 2 (November 26, 2019): iv—v. http://dx.doi.org/10.21825/jolcel.v2i0.15635.

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The image on the cover of this second issue of JOLCEL shows a detail from the so-called Franks Casket, an early eight-century Anglo-Saxon chest made out of whale’s bone, possibly designed to hold a psalter. This artefact constitutes a truly breath-taking nexus of cultural traditions, juxtaposing tableaus as varied as Romulus and Remus being suckled by the shewolf, the mythical Germanic Wayland the Smith at work on his anvil, and the Adoration of the Magi. The scene which has been reproduced here depicts the consequences of the Roman emperor Titus’ sacking of the city of Jerusalem. The inscript

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16

Goja, Bojan. "Maestro di Pico i iluminacije u inkunabuli De Civitate Dei (Nicolas Jenson, Venecija, 1475.) u samostanu Sv. Duje u Kraju na Pašmanu." Ars Adriatica, no. 4 (January 1, 2014): 235. http://dx.doi.org/10.15291/ars.497.

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The Franciscan Monastery of St Domnius at Kraj on the island of Pašman houses an incunable edition of Augustine’s The City of God (De Civitate Dei) which was printed in Venice by Nicolas Jenson in 1475. The incunable features beautiful Renaissance multi-coloured illuminations painted in tempera, sepia, ink and water colours while gold foils and gold dust were used on fol. 17 (the page number is not original but was subsequently added in pencil; this folio contains the beginning of Book 1) and a number of other folios. The illumination on fol. 17 consists of two phytomorphic initials, a decorat

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17

Wilkinson, Robert J. "Archbishop Parker, the Bishops’ Bible (1568) and the Book of Psalms." Bulletin de l’Académie Belge pour l’Étude des Langues Anciennes et Orientales, June 16, 2025, 131–49. https://doi.org/10.14428/babelao.vol14.2025.88313.

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This article begins with an investigation of the Psalter of the 1568 Bishops’ Bible and its several unhappy features. The Psalter is then placed in the history of Reformation English Bibles and the growth of English metrical psalmody. Finally, an attempt is made to reconstruct the rationale of Archbishop Matthew Parker’s dealings with the Psalms over several years in the light of his own 1568 metrical translation.

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18

Groenewald, Alphonso. "Who are the “servants” (Psalm 69:36c-37b)? A contribution to the history of the literature of the Old Testament." HTS Teologiese Studies / Theological Studies 59, no. 3 (2003). http://dx.doi.org/10.4102/hts.v59i3.671.

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Psalm 69:37a refers to the "servants" in the composite "the offspring of his servants". This composite takes up a concept which already ap-peared as a self-indication of the supplicant of this Psalm, namely in its singular form "servant" (69:18a). The article aims to identify these "servants" (69:37a) who articulated themselves in the voice of the other "person" in Psalm 69. It is postulated that the connections which exist between the servants in Isaiah and the servants in the Psalter are far too distinct to simply regard them as a mere matter of coincidence. The article focuses on the book o

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19

D'Arienzo, Maria. "Corale luterano, Salterio calvinista, Anthem anglicano. Identità religiose e musica liturgica in ambito protestante." Stato, Chiese e pluralismo confessionale, August 13, 2022. http://dx.doi.org/10.54103/1971-8543/18610.

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SOMMARIO: 1. Interpretazione musicale e interpretazione giuridica. Il rapporto tra religione, musica e diritto - 2. Innovazioni liturgiche e musicali nella Riforma di Lutero: il corale luterano - 3. La dimensione spirituale del canto nella riforma liturgica di Giovanni Calvino. Il Salterio ginevrino - 4. Liturgia e musica nella Chiesa riformata anglicana - 5. La musica quale elemento identitario delle Chiese riformate. Considerazioni conclusive. Lutheran Chorale, Calvinist Psalter, Anglican Anthem. Religious identities and liturgical music in the Protestant context ABSTRACT: The pa

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20

Ruiz, Jiménez Juan. "Concierto público en la sala del Gremio de Zapateros de Valencia (1790)." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10394853.

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En otoño de 1790, se establecía en Valencia el maestro de capilla Angelo di San Michele. Muy pronto ofrecería sus servicios como profesor de canto, clave, forte-piano y salterio y organizaría un concierto en la Sala del Gremio de Zapateros donde daría a conocer un nuevo instrumento de teclado, el arpicordio.<em></em> In the autumn of 1790, the chapel master Angelo di San Michele settled in Valencia. He would soon offer his services as a teacher of singing, harpsichord, forte-piano and psaltery and would organise a concert in the Shoemakers' Guild Hall where he would introduce a new keyboard in

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21

Martin, Lee Roy. "Exuberant Praise: A Pentecostal Reading of Psalm 150." Pharos Journal of Theology 103 (July 2022). http://dx.doi.org/10.46222/pharosjot.10343.

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Enthusiastic praise of God has been a vital characteristic of the Pentecostal movement, and Pentecostals have appealed to Psalm 150 as justification for their extravagant worship. Therefore, the methodology of this article views Psalm 150 through the lens of Pentecostal spirituality and offers a contemporary appropriation of this biblical text for contemporary worship. The methodology includes historical–grammatical exegesis that focuses on the rhetorical effect of the poetic structure and content. The psalm is examined in light of its theology of worship, its role as the final song in the Psa

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22

Krafl, Pavel. "Liturgy and Ecclesiastical Law." Anales de Historia Antigua, Medieval y Moderna 57, no. 1 (2023). http://dx.doi.org/10.34096/ahamm.v1.57.13010.

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The subject-matter of this study is liturgical law in the Czech lands in the Middle Ages, i.e. in Great Moravia, in the Duchy of Bohemia, and in the Kingdom of Bohemia. Liturgical law was shaped by the decrees of popes, ecumenical councils, Decretum Gratiani, and collections of decrees. The ordinances of the metropolitan and diocesan bishop or the statutes of a monastic order played a role at the particular church level. The customs of the metropolitan church and the cathedral church are summarised in the agenda in force within the territory of the ecclesiastical province or diocese. A new Sla

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23

Ruiz, Jiménez Juan. "Enseñanzas musicales domésticas en la Valencia de 1790." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10395289.

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Vaciado de noticias extraídas del <em>Diario de Valencia</em> relacionadas con la publicidad de las enseñanzas musicales domésticas que encontramos en los ejemplares publicados desde el 1 de julio al 31 de diciembre de 1790. A collection of news extracted from the <em>Diario de Valencia</em> related to the publicity of domestic musical education found in the issues published from 1 July to 31 December 1790.

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24

Andrikos, Nikos. "Chrysanthine theoretical thought and notation system-The relation between Orality and Textuality." Epistēmēs Metron Logos, no. 5 (September 22, 2021). http://dx.doi.org/10.12681/eml.28006.

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Two centuries after the release of Chrysanthos’ Εισαγωγή εις το Θεωρητικόν και Πρακτικόν της Εκκλησιαστικής Μουσικής, this treatise remains one of the most important sources of theoretical thought in the field of Greek Orthodox Ecclesiastical Music. Moreover, it is widely known that the theoretical essays of Chrysanthos played a catalytic role regarding the structure of the modal system of Octaechia, the formulation of the new Parasemantiki notation, as well as contemporary performance practices. Indeed, Chrysanthos’ contribution to the reformation of the notation system as well as the way he

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25

Ruiz, Jiménez Juan. "Ceremonia de las doncellas cantaderas en León (1595)." Paisajes sonoros históricos (c.1200-c.1800), May 17, 2025. https://doi.org/10.5281/zenodo.15447844.

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En este artículo analizamos los elementos sensoriales de un importante ritual que se celebraba anualmente en la ciudad de León, la ceremonia de las doncellas cantaderas, cuyo origen se remontaba a la Batalla de Clavijo (884) y que fray Anastasio de Lobera, monje cisterciense, nos describe con todo lujo de detalle en la formulación que tenía en 1595, fecha en la que fue testigo presencial de ella. In this article we analyse the sensory elements of an important ritual that was celebrated annually in the city of León, the ceremony of the singing maidens, whose origin dates back to the Battle of C

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