Relevant bibliographies by topics / Sacred songs with organ

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sacred songs with organ'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Sacred songs with organ"

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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T
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Sacristán-Ramírez, Carolina. "Silent Voices, Sacred Songs." Journal of Musicology 42, no. 3 (2025): 350–78. https://doi.org/10.1525/jm.2025.42.3.350.

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This article investigates the contributions of women to religious music through study of forty-nine music manuscripts attributed to María Téllez Girón, a music copyist active in late nineteenth- and early twentieth-century Mexico. Preserved in the Mexico City Cathedral Archive, these manuscripts shed light on Téllez Girón’s role in sustaining sacred music traditions amid political and religious upheaval. Her distinctive music calligraphy, authenticated through forensic handwriting analysis and archival research, reveals a repertoire rooted in the devotional practices of Capuchin nuns. A key ma
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Kroeger, Karl, and Eve R. Meyer. "Benjamin Carr. Selected Secular and Sacred Songs." Notes 45, no. 1 (1988): 149. http://dx.doi.org/10.2307/941407.

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Clark, J. Bunker, and Eve R. Meyer. "Benjamin Carr: Selected Secular and Sacred Songs." American Music 6, no. 4 (1988): 460. http://dx.doi.org/10.2307/3051703.

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YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING." Eighteenth Century Music 2, no. 2 (2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.

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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, littl
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Knapp, Jeffrey. "“Sacred Songs Popular Prices”: Secularization in The Jazz Singer." Critical Inquiry 34, no. 2 (2008): 313–35. http://dx.doi.org/10.1086/529059.

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Petrošienė, Lina. "Parodies of Religious Hymns in Žemaitijan Carnival: Social Interaction and Cultural Expression: Everyday Life, Festivities and Ritual Forms." Yearbook of Balkan and Baltic Studies 4 (December 2021): 245–66. http://dx.doi.org/10.7592/ybbs4.10.

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On costumed processions in Žemaitija on Shrove Tuesday, the ‘beggars’ were and are among the main characters, as attested by the mask’s distribution area, the name ‘Shrovetide beggars’ being given to the whole band of masked people, and the relative abundance of the costumed “beggars”’ songs. This study examines some examples from the repertoire of Shrove Tuesday carnival songs in Žemaitija, parodies of religious hymns and folk songs, which the performers called hymns and which were performed in imitation of sacred singing. The present analysis identifies their features, origins and function a
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Завальнюк, Анатолій. "Sacred compositions of Mykola Leontovych." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, no. 26 (December 8, 2018): 34–39. http://dx.doi.org/10.31652/2411-2143-2018-26-34-39.

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The article deals with the main genres of religious choral works by prominent Ukrainian composer M.D. Leontovich. In particular, such as old chants, religious carols, psalms and canti, chiravim songs and "Liturgy of John Chrysostom". In these works, the composer demonstrated the melodious affinity of folk melody with highly professional original, polyphonic, and spiritual works. In all kinds of church singing M. Leontovich has shown himself as an unrivaled master of the genre and his civic commitment to national spiritual music. Created by the composer church works are distinguished by high pe
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Caldwell, Mary Channen. "Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853." Journal of the American Musicological Society 74, no. 1 (2021): 91–156. http://dx.doi.org/10.1525/jams.2021.74.1.91.

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Abstract This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century
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Moreira Vieira, Caroline, and Joana Bahia. "Yaô africano: the orixá in the voice of Patricio Teixeira." Religiones y religiosidades en América Latina, no. 26 (December 31, 2020): 39–62. http://dx.doi.org/10.36551/2081-1160.2020.26.39-62.

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Patricio Teixeira was an important voice in Brazilian music, particularly during the 1920s and 1930s. His career in radio broadcasting extended into the mid-1950s. Teixeira’s work gave visibility to black subjects and their cultural identities. This article analyzes the sacred elements that overflow into the musical and recreational universe of Rio through some of the songs recorded by Teixeira. With varied appropriations, these recordings of chants for orixá, Afro-Brazilian practices, and rituals mark the presence of the Afro-Brazilian sacred in Brazilian popular song.
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Dissertations / Theses on the topic "Sacred songs with organ"

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Ballinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf." Kansas State University, 2012. http://hdl.handle.net/2097/13747.

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Master of Music<br>Department of Music<br>Amy Rosine<br>This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deu
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Holland, Amanda L. "Wandayarra a-yabala = Following the road : searching for indigenous perspectives of sacred song /." St Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17854.pdf.

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Dahlenburg, Jane Elizabeth. "The motet c.1580-1630 : sacred music based on the Song of Songs /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.

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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Jeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /." Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.

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Reagan, Mark C. "John Cosyn's Musike in six and fiue partes newly notated and completed." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/m_reagan_1030410.pdf.

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

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Thesis (M.M.)--University of North Texas, 2004.<br>For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).
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Ramsey, Michael W. Shakespeare William Shakespeare William Shakespeare William Mobberley James. "In praise of fathers three pictures from Shakespeare /." Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>A three movement work for orchestra and bass-baritone soloist using texts from three Shakespeare plays: Hamlet, Titus Andronicus and King Lear. "A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Aug. 07, 2009. Online version of the print edition.
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Eglite, Sarma A. "The sacred songs of the followers of the lamb an examination of Latvian Brudergemeine hymns from 1739 /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Porchak, Aynsley. "“If I Could Only Win Your Love”: Lyrical Analysis of the Sacred and Secular Songs of the Louvin Brothers." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3687.

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In this thesis, I demonstrate how analysis through literary criticism can provide a commentary on Appalachian song. While literary analysis of both sacred and secular song lyrics is an approach that is largely overlooked in this region’s traditional music, it nonetheless provides insightful perspective on the art form itself. As I argue, one particular duo of Appalachian musicians, the Louvin Brothers, are uniquely suited to this inquiry. I propose that themes that are found in many of the Louvin Brothers’ songs, such as love, acceptance, and rejection, create a bridge between the historically
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Books on the topic "Sacred songs with organ"

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Patrick, David M. Sacred songs for the soloist: [20 songs on religious texts for] medium high voice. Boosey & Hawkes, 1996.

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Scelsi, Giacinto. Musique sacrée. RCA, 1985.

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Conte, David. A stable-lamp is lighted: For solo voice with piano or organ. E.C. Schirmer Music Co., 1999.

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Pinkham, Daniel. Four Marian antiphons: For high voice and organ (piano). Ione Press, 1988.

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Verne, Jules. Henryk Górecki, Erik Satie, Darius Milhaud, Gavin Bryars. ECM Records, 1993.

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Duke, John. The John Duke collection: Songs for voice & piano. Boosey & Hawkes, 1994.

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Handel, George Frideric. Messiah: The wordbook for the oratorio. W. Perlman Books, 1992.

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Handel, George Frideric. Messiah: The wordbook for the oratorio. W. Perlman Books, 1992.

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1930-, Subramanian V. K., ed. Sacred songs of India. Abhinav Publications, 1996.

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Ferko, Frank. The Hildegard organ cycle: Ten meditations for organ. E.C. Schirmer, 1996.

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Book chapters on the topic "Sacred songs with organ"

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Preston, Katherine K. "Sacred Music." In George Frederick Bristow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0006.

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Bristow served as a church organist and choir director for most of his professional life, in almost a dozen different churches (1840s-1890s). The type of music performed in churches on holy days is readily available; what was heard on regular Sundays is mostly unknown. A 1906 publication about music at Manhattan’s Trinity Church, however, is instructive about both types of services. Bristow programmed compositions by both European and American composers, especially on holy days; this indicates his continued support for fellow composers. He wrote numerous sacred works for organ (interludes, vol
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Zon, Bennett. "A General Introduction to Post-Tridentine Liturgical Books and Plainchant in Europe." In The English Plainchant Revival. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198165958.003.0003.

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Abstract The Council of Trent was convened officially by Pope Paul III (1534-49) in a bull of 22 May 1542. On I 3 December 1545 the Council assembled for the first time, attended by a rather small group including ‘three legates, one cardinal, four archbishops, twenty-one bishops, and five generals of orders’. Over the next eighteen years the Council convened for twenty-five sessions until its last meeting on 4 December 1563. Decrees concerning music occurred late in the proceedings, namely at sessions 22, 23, and 24, on 17 September 1562, 15 July 1563, and II November 1563 respectively. Amongs
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Thomas, Adrian. "SACRED SONGS." In Gorecki. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198163930.003.0005.

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Abstract THE 1960s were years of maturation for many Polish composers, as their individual styles and outlooks crystallized. Lutostawski and Penderecki were seen abroad as the symbols of the Polish avant-garde, of the so-called ‘Polish school’. This tag held a grain of truth, but like most labels it undervalued diversity in trying to quantify a new phe¬nomenon: the emergence of vital new music from an unexpected source. The Poles were challenging the domination of composers of other nationalities, many of whom were perceived in the West as holding the key to the future of music. As unexpected
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"Sacred Songs." In The Singing Bourgeois. Routledge, 2017. http://dx.doi.org/10.4324/9781315085258-5.

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Praetorius, Michael. "Concerning Compositions With Sacred and Solemn Secular Texts, Such asConcertos, Motets, and Falsobordoni." In Syntagma Musicum III. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195145632.003.0003.

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Abstract The sweetness consists not so much in artifice as in variety itself. In German it is called ein Concert. However, this designation “concerto” is applied: in general, where there is any song of several parts [ pro quavis Cantione Harmonica]. Thus an eminent Italian composer, Lodovico Viadana, has provided his compositions set in the new, very pleasing, and useful manner that he invented with the name “concerto.” In the preface that precedes them he indicates, among other things, that he purposely avoided using too many rests, particularly so that the concertos could have more ornaments
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"Front Matter." In Sacred Songs. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.1.

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"LSS VII." In Sacred Songs. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.10.

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"Back Matter." In Sacred Songs. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.100.

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"LSS VIII." In Sacred Songs. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.11.

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"LSS IX." In Sacred Songs. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.12.

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Conference papers on the topic "Sacred songs with organ"

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Butnaru, Tatiana. "An Archetypal Symbol of Immortality." In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.22.

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In the present article - the archetypal meaning of the bird - cuckoo, a folkloric topos of wide distribution in the novelistic epic, with obvious sacred meanings and springs of maximum inner concentration, found expression. The image of the bird - cuckoo is present in several folklore texts, lyrical songs, ballad subjects, being placed in the context of ritual situations, with openness to new ontological dimensions, it expresses different postures of the human spirit, with an orientation towards a dramatic contemplation of human joints, of vital life problems. The cuckoo bird participates in t
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Galaicu, Violina. "Th e autochthonous element in Byzantine pew singing from the Romanian area in the XVI - XVII centuries." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.16.

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A fi rst and precious Romanian contribution to the Byzantine musical heritage of the designated period is contained in the codices from medieval Putna (most of them date from the XVI century). Th e psalters of Putna, led by Evstatie Protopsaltu, developed, through joint eff ort, a special melodic style, recognizable in the landscape of Eastern European Byzantine sound art. Th e songs written or transcribed in Putna (with texts in Greek and Slavonic) stand out for their melismatic luxuriance, the variety of rhythmic structures, the improvisational momentum in the melodic proliferation. Even if
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Jasim MOHAMMED, Ahmed, and Hussein Ismael KADHIM. "THE IMPACT OF THE JEWISH FAITH IN MODERN HEBREW POETRY "SHABBAT FOR EXAMPLE." In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-14.

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This study is an attempt to shed light on a central and important issue in the lives of any nation or society or group of people, and it is the issue of "faith". One of the most important foundations in the Jewish faith is the "Sabbath" or day of rest for the Jews, which they respect and sanctify from all the other six days of the week. This study discusses the different representations of Saturday in Hebrew poetry. This study examined different representations of the theme of Saturday in Hebrew poetry with special emphasis on the significance of these representations shaped their worldview of
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