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Journal articles on the topic 'Sacred songs with organ'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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3

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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4

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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6

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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7

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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9

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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Robert, Jörg, and Moritz Strohschneider. "Spracharbeit und interkonfessionelle Liedtradition." Artes 2, no. 2 (2023): 299–342. http://dx.doi.org/10.30965/27727629-20230013.

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Abstract This article deals with the numerous psalm songs that Martin Opitz composed between 1626 and 1638 to melodies from the Geneva Psalter. It discusses them in the context of the great tradition of Protestant psalm songs which had flourished since the Reformation and considers their role for Opitz’s poetics and linguistic reflection (‘Spracharbeit’). In the first part, the essay presents Opitz’s translation work on the Psalter showing that the poet wanted to create a normative example of German-language sacred poetry. We then reconstruct Opitz’s poetics on the basis of his songs on Psalm

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12

Marty, Maša K. "Sacred Folk Songs and the Slovenian Immigrant Community in Switzerland." Musicological Annual 58, no. 1 (2022): 161–84. http://dx.doi.org/10.4312/mz.58.1.161-184.

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The article presents the role of sacred folk songs in the liturgy of the Slovenian Catholic Mission in Switzerland. It presents active singing as local ethnic cultural forms that have been transmitted from the “original homeland” and serve to create temporal and local continuity in the diasporic Slovenian Catholic community in Switzerland.

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13

Johnson, Bret. "Recent Ned Rorem CDs." Tempo 60, no. 238 (2006): 43–45. http://dx.doi.org/10.1017/s0040298206270311.

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ROREM: Flute Concerto; Violin Concerto; Pilgrims for strings. Philippe Quint (vln), Jeffrey Khaner (fl), Royal Liverpool Philharmonic Orchestra c. José Serebrier. Naxos American Classics 8.559278.ROREM: The Auden Songs; The Santa Fe Songs. Christopher Lemmings (ten), Sara Fulgoni (mezzosop), Chamber Domaine. Black Box BBM 1104.ROREM: Works for Choir and Organ. Harvard University Choir dir. Murray Forbes Somerville with Carson Cooman (organ). Black Box BBM 1102.

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14

Shreffler, Anne C. ""Mein Weg geht jetzt vorüber": The Vocal Origins of Webern's Twelve-Tone Composition." Journal of the American Musicological Society 47, no. 2 (1994): 275–339. http://dx.doi.org/10.2307/3128880.

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The essay explores Anton Webern's earliest encounters with the twelve-tone method in the context of his previous decade-long preoccupation with vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16, Three Traditional Rhymes, op. 17, Three Songs, op. 18, and sketches and drafts from 1922 to 1925 suggests that Webern did not accept Arnold Schoenberg's method uncritically, but alternately rejected and embraced it. The religious and folk texts that Webern set during these years, hardly anonymous ciphers, were essential in helping him to articulate his own twelve-tone technique

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Bjelica, Maja. "Aleviness, Music, and Hospitality." Musicological Annual 58, no. 1 (2022): 101–21. http://dx.doi.org/10.4312/mz.58.1.101-121.

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The paper examines urban Alevi traditional culture in Turkey as a possible example of an ethics of hospitality, drawing mainly from Alevi teachings and musical heritage. Through an examination of the lyrics of selected Alevi sacred songs the author presents various accounts of hospitality that are integral to Aleviness.

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Kalvāne, Skaidrīte. "SEARCHING FOR THE SOURCES OF 18TH AND 19TH CENTURY LATGALIAN RELIGIOUS SONGS." Via Latgalica, no. 7 (March 22, 2016): 172. http://dx.doi.org/10.17770/latg2015.7.1218.

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<p><em>Latgalian </em><em>„</em><em>svātuos dzīsmis”</em><em> (‘sacred songs’) were not only sung in the church in the 18<sup>th</sup> and 19<sup>th</sup> centuries. These songs became integral and necessary components of both home and spiritual life.</em></p><p><em>Some publications of spiritual song and prayer books written by the Latvians of Latgale have been preserved until today: </em><em>„</em><em>Nabożeństwo” (1771, 1786, etc.) and </em><em>„</em><

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Boukal, Jan. "Jan Cinglbauer (ed.), Carmina clericorum: latinské duchovní písně 14. až 15. století ve středoevropském univerzitním a školském prostředí = Sacred Latin Songs from the 14th and 15th Centuries in the Central European University and School Milieu, Chomutov 2020." AUC HISTORIA UNIVERSITATIS CAROLINAE PRAGENSIS 63, no. 2 (2024): 217. http://dx.doi.org/10.14712/23365730.2024.9.

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Book review on Jan Cinglbauer (ed.), Carmina clericorum: latinské duchovní písně 14. až 15. století ve středoevropském univerzitním a školském prostředí = Sacred Latin Songs from the 14th and 15th Centuries in the Central European University and School Milieu. L. Marek Publishing, Chomutov 2020, 288 s., ISBN 978-80-87127-99-5

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Sánchez Gutiérrez, Adriana. "Cantos sagrados y voces colectivas descoloniales desde la voz de Elvira Espejo Ayca. Kirki Qhañi. Petaca de las poéticas andinas (2022)." Bolivian Studies Journal 28 (December 2, 2022): 19–33. http://dx.doi.org/10.5195/bsj.2022.279.

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This article-interview with the poet Elvira Espejo Ayca discusses the process of recovering the sacred songs of the Aymara and Quechua indigenous communities through the oral tradition from her grandmother Gregoria Mamani and her great-great-grandmother Martina Pumala. The song-poems preserve Inca meanings and aesthetics that the indigenous people used during Colonization to maintain good relations with the Spanish domain and, in turn, mask those referring to the Inca deities. Some songs have been taken up to unravel the lyrical resources of colonial times and recreate the original songs of th

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19

Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.

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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental forma

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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (2022): 14–23. https://doi.org/10.31866/2616-7581.5.1.2022.258134.

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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition

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21

Rinda Eka Mulyani, Nida Husniah Ramadhani, Muhammad Yahya Abdullah, and Iqlima Aristania Rada. "Misreading the Sacred? A Netnographic Analysis of Youth Reception of Arabic Songs in Shalawat Majlis." DINIKA : Academic Journal of Islamic Studies 10, no. 1 (2025): 58–82. https://doi.org/10.22515/dinika.v10i1.11255.

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Social media has become a platform for forming virtual communities based on shared interests, including religious expression. It also serves as a forum for exchanging ideas, often leading to the development of distinct online cultures without direct interaction. Netnography, a digital adaptation of ethnography, provides a framework for studying these cultural phenomena. This study examines how shalawat (praise for the Prophet) is shared via social media and how some Arabic love songs are mistakenly perceived as shalawat by online audiences. The research aims to analyze netizens’ responses to t

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22

Kaur, Inderjit N. "Transnational affects, transnational worldings: Sikhs sounding sacred songs, making multiple worlds." Civilisations, no. 67 (August 12, 2018): 23–40. http://dx.doi.org/10.4000/civilisations.4772.

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23

Kan, Sergei. "The Sacred and the Secular: Tlingit Potlatch Songs outside the Potlatch." American Indian Quarterly 14, no. 4 (1990): 355. http://dx.doi.org/10.2307/1184962.

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24

Boyce-Tillman, June. "Religion in the Home—The Sacred Songs of the Drawing Room." Religions 14, no. 11 (2023): 1400. http://dx.doi.org/10.3390/rel14111400.

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The Victorian bourgeois ballad is a distinctive genre that demonstrates the spirituality of religion transferred to the drawing room. This paper will examine in detail four examples of the genre—The Lost Chord, The Holy City, Arise O Sun and The Volunteer Organist to examine the spirituality of the genre in terms of the materials used, the musical construction, the value system underpinning it and the expressive character. It will interrogate their relationship to the spirituality of Victorian Anglicanism and the place of this spirituality in the lives of the people with whom they were popular

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25

MONGE, LUIGI. "Their eyes were watching God: African-American topical songs on the 1928 Florida hurricanes and floods." Popular Music 26, no. 1 (2006): 129–40. http://dx.doi.org/10.1017/s0261143007001171.

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This study focuses on the five known African-American topical songs dealing with the two hurricanes and ensuing floods that took place in Florida in the summer of 1928. The first is a commercially recorded blues song and the others are unreleased Library of Congress sacred recordings, which are transcribed and analysed here for the first time.

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Chen, Hongyu, and Peerapong Sensai. "Education and Literacy in the Development and Transmission of Chinese Yao Nationality Folk Songs." International Journal of Education and Literacy Studies 12, no. 1 (2024): 213–20. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.213.

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Chinese Yao Nationality Folk Songs are a distinctive cultural treasure thriving within the Guangxi Zhuang Autonomous Region, intimately intertwined with the lives and traditions of the Yao people. The objective of this study is to investigate the role of education and literacy in the development and transmission of Chinese Yao Nationality folk songs in the Guangxi Zhuang Autonomous Region. The research site, Jinxiu Yao Autonomous County, serves as a culturally significant backdrop, chosen for its accessibility and cultural relevance to the research objectives. To gain comprehensive insights in

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27

Lavrentyeva, Sofya V. "Ethics of Organ Donation and the Problem of the Sacred." Čelovek 35, no. 1 (2024): 94–108. http://dx.doi.org/10.31857/s0236200724010077.

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The purpose of this article is to analyze the interaction between relatives of potential donors and transplant professionals within the framework of a cultural sociological approach in order to develop valid bioethical recommendations. The key thesis of this article is the assertion that principalist ethical conflicts regarding the problems of organ donation, as well as the tools of narrative ethics, are not sufficient to reveal the motivation of agents. As part of the search for the origins of this, it is proposed to reconstruct the situation of moral choice of family members within the frame

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28

Ciglbauer, Jan. "A young teacher’s music in mid-fifteenth-century Bohemia: the peculiar case of Crux de Telcz (1434–1504)." Plainsong and Medieval Music 34, no. 1 (2025): 73–96. https://doi.org/10.1017/s0961137125000075.

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ABSTRACTCrux de Telcz (Crux of Telč, or Kříž z Telče) was one of the most prolific scribes of late medieval Bohemia, active in the second half of the fifteenth century. In various roles, Crux contributed to several dozen manuscripts, which present an extraordinarily broad range of contents in various genres. This study analyses items with musical notation and the texts of sacred and secular songs in manuscripts copied or used by Crux. These are chiefly notated records of monophonic and polyphonic cantiones with texts in Latin and Czech, and to a lesser extent plainchant melodies belonging to t

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Dolukhanyan, Aelita. "The american lyre of Ghevond Alishan." JOURNAL FOR ARMENIAN STUDIES 1, no. 60 (2023): 37–45. http://dx.doi.org/10.24234/journalforarmenianstudies.v1i60.31.

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The translations made by Ghevond Alishan have a special place in his multi-disciplinary scientific, literary, philological and pedagogical activities. Alishan translated these spiritual songs into grabar (Old Armenian) and the sacred songs included in the selection are very consistent with the classical manifestations of the Armenian medieval, especially official literature written in grabar. Among the American poets whose songs Alishan translated, the most notable is Henry Longfellow (1807-1882). He was one of Hovhannes Tumanian's favorite poets, of whom the latter made a number of translatio

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Janick, Jules. "Fruits of the Bibles." HortScience 42, no. 5 (2007): 1072–76. http://dx.doi.org/10.21273/hortsci.42.5.1072.

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The sacred writings of three religions (Judaism, Christianity, and Islam) are contained in the Hebrew Bible (referred to by Christians as the Old Testament), the Christian Bible (New Testament), and the Qur'an (Koran). These writings encompass events occurring over a period of more than two millennia and taken together represent a broad picture of mideastern peoples, describing their interactions with the sweep of events of that era. The writings include the sacred and profane, prose and poetry, history and myth, legend and fable, love songs and proverbs, parables and revelations. The basic ag

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Bjerk, Paul. "'Building A New Eden': Lutheran Church Youth Choir Performances in Tanzania." Journal of Religion in Africa 35, no. 3 (2005): 324–61. http://dx.doi.org/10.1163/1570066054782351.

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AbstractA study of three songs by a Tanzanian youth choir reveals a synthesis of historical and intellectual sources ranging from pre-colonial social philosophy to Lutheran theology to Nyerere's Ujamaa socialism. The songs show how the choir performances break down the barrier between Bourdieu's realms of the disputed and undisputed. In appropriating an active role in shaping Christian ideology, the choir members reinterpret its theology into something wholly new and uniquely Tanzanian. Thus they appropriate an authoritative voice that shapes the basic societal concepts about the nature of lif

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Syvets, Tetiana. "THE CONCEPTOSPHERE OF THE SACRED IN THE COLLECTION "GARDEN OF DIVINE SONGS" BY HRIHORY SKOVORODA." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 33 (2023): 113–19. http://dx.doi.org/10.17721/1728-2659.2023.33.19.

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The collection of metaphysical poems by Hrihory Skovoroda "The Garden of Divine Songs" is considered from the standpoint of biblical hermeneutics and cognitive literary studies. The question of the relevance of the study of baroque lyrics through the use of modern literary methods is clarified. The expediency of using the concepts "concept" and "Christian concept" in relation to the study of the sphere of the sacred is determined. Particular attention is paid to the variety of approaches found in scientific studies of the "sacred" as a category. Analysis of poems from the collection - 30 (thir

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Beck, Guy L. "Theology of Music and Hindu Religion: From Divine Origins to Classical Songs." Religions 12, no. 8 (2021): 663. http://dx.doi.org/10.3390/rel12080663.

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As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e.,

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Goldmark, Daniel. "Adapting The Jazz Singer from Short Story to Screen: A Musical Profile." Journal of the American Musicological Society 70, no. 3 (2017): 767–817. http://dx.doi.org/10.1525/jams.2017.70.3.767.

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The Jazz Singer grew from a moment of inspiration when author Samson Raphaelson saw Al Jolson perform in 1917. Raphaelson's idea of a rising singer, Jack Robin, torn between sacred and secular, became in turn a short story, a play, a feature film, a novelization, and a radio play. With each new adaptation, the music evolved; the thread that binds together all of these stories is the jazz singer's stock in trade—his songs. For Jolson and The Jazz Singer, these songs serve several functions: besides providing a unique snapshot of popular vaudeville melodies in the 1920s and beyond, the songs use

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Gordon, T. A. "Wartime songs: An attempt at genre analysis." Voprosy literatury, no. 5 (October 30, 2022): 13–36. http://dx.doi.org/10.31425/0042-8795-2022-5-13-36.

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The article analyses Bakhtin’s theory of artistic text, using the example of mid-20th-c. Russian military songs (‘Granada’ [‘Grenada’], ‘Little Eagle’ [‘Orlyonok’], ‘Far Away, Across the River’ [‘Tam vdali, za rekoy’], ‘The Sacred War’ [‘Svyashchennaya voyna’], ‘Dark Is the Night’ [‘Tyomnaya noch’], etc). Focusing on Bakhtin’s idea that an artistic word recalls and reestablishes archaic genres, the researcher examines if a similar tendency can be traced in military song lyrics. A genre analysis shows that the lyrics tend to resurrect the seemingly forgotten archaic techniques of epic distance,

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Kaminski, Joseph S. "Fujianese Provincial Brass Band Traditions of Chinese Immigrant Musicians in New York City: The Chinese Voices." IKONI / ICONI, no. 4 (2021): 77–96. http://dx.doi.org/10.33779/2658-4824.2021.4.077-096.

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This article focuses on the Chinese Voices Wind Orchestra. Fujianese brass band musicians immigrated to New York and changed Chinatown’s musical soundscape. The bands perform mainly inside or on the street outside of funeral parlors on Canal and Mulberry Streets. Their profession is mainly that of a funeral musician. They also travel to Philadelphia or Washington, D.C. for rites. They accompany families and decedents to cemeteries to play special repertoire. After the burial they perform songs of prosperity at receptions in restaurants. They maintain a wide repertoire of funeral songs and nati

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Al Ansori, Alfandi, Hary Murcahyanto, Yuspianal Imtihan, and Alwan Hafiz. "Through Traditional Music Sarone and Cultural Learning in an Educational Context." IJE : Interdisciplinary Journal of Education 1, no. 2 (2023): 175–82. http://dx.doi.org/10.61277/ije.v1i2.49.

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This research aims to describe the sacredness of Sarone music in wedding ceremonies within the Tanjung Luar village community, Keruak Subdistrict, East Lombok Regency. The research employs a qualitative ethnographic method. Data collection is carried out through literature review, observation, interviews, and documentation. Data are analyzed through data reduction, data presentation, and conclusion. To ensure data validity, triangulation techniques are utilized. The research findings reveal that the sacredness of Sarone music in wedding ceremonies in Tanjung Luar village encompasses elements s

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V, Sutha, and Karpagam R. "Female Body Language that is known through the Songs of Natrinai Avvaiyar." International Research Journal of Tamil 4, no. 4 (2022): 137–43. http://dx.doi.org/10.34256/irjt22416.

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During the Sangam age, both male and female poets sang about the situations of women. The thoughts and understandings of women by the male poets are different. The female body songs of the male poets are shown as attractive and for the sake of lust. It is the same that can be seen in the songs of the female poets with a great deal of regret. This article attempts to explain these points. Titled ‘Pen Udal Mozhi (Female Body Language)’, which is known through the songs of Natrinai Avvaiyar, this article explains the information about the body language of a woman in Natrinai, one of the Ettutthok

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Mahdihassan, S. "A Sacred Symbol of An Organ Associated with Birth Resembling Omega." American Journal of Chinese Medicine 20, no. 02 (1992): 195–204. http://dx.doi.org/10.1142/s0192415x92000217.

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As a result of analogous thinking Birth=Creation, then the organs associated with birth have been projected as partaking in creation. Birth of a new life-form begins with reproduction of union of a pair as male-female. They depend upon their reproductive organs. Their external sex-organs are the first to initiate reproduction and both are considered auspicious. Reproduction leads to pregnancy of the female whose internal organ becomes the organ where the fetus grows until an independent life-form issues into the world. As this organ resembles the letter Omega of the Greek alphabet those who be

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Mirea, Ruxandra. "Mirroring the Authorʼs Personality in Composer Carmen Petra-Basacopolʼs Sacred Music". Artes. Journal of Musicology 21, № 1 (2020): 169–92. http://dx.doi.org/10.2478/ajm-2020-0010.

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AbstractFor centuries, the study of personality has been a need for understanding human nature, but it also has become a scientific endeavour, starting with the first half of the twentieth century. Research in this matter has materialised through papers by important psychologists, who considered the unitary study of human beings, the understanding of their motivation, as well as the understanding of the psychological differences that make us unique. Thus, personality is a dynamic concept which reveals the behaviour of a person that allows the possibility of adapting to the environment. While h

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Айтиева, М., and Г. Айтиева. "THE IMPACT OF LULLABIES ON BRINGING UP A CHILD." Vestnik Bishkek state university af. K. Karasaev 2, no. 60 (2022): 9–12. http://dx.doi.org/10.35254/bhu/2022.60.9.

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Ancient lullabies which are the most valuable and sacred for each Kyrgyz person have a great role on bringing up a child morally. The cradle is very comfortable in growing a child. It is below the ground on its shape and warm in any weather, mainly it helps a child’s back spine to be formed straight. Lullabies are sung by all people in the world, among them by Kyrgyz, too, being considered as lyrical songs. They are helpful to put a child to sleep, to calm, to distract and to educate. Besides it, while singing a lullaby people wishes a child to be happy and to have a bright future. Thus, lulla

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Owiredu, C. Owiredu. "Charismatic theology of the blood in Ghanaian Christianity." Pentecost Journal of Theology and Mission 4 (January 31, 2023): 82–98. http://dx.doi.org/10.62868/pjtm.v4i1.132.

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There are several independent Charismatic churches in contemporary West Africa, where worshippers carry communion wine and olive oil to be prayed upon, and sanctified as sacramental substances and tokens either for spiritual protection or for dealing with various existential problems. However, the belief in tokens is an African phenomenon and not something attributed only to a group of Christians labeled African Charismatics. It is an irony, that while the leaders of the historic mission denominations and classical Pentecostal traditions often dismissed these resources of supernatural succor a

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Siga, Willfridus Demetrius, Kurniasih ., Alfonsus Sutarno, Bartolomeus Samho, and Valerianus Beatae Jehanu. "DIMENSI KEILAHIAN SUNDA WIWITAN DALAM UPACARA SEREN TAUN DI CIGUGUR." Jaqfi: Jurnal Aqidah dan Filsafat Islam 7, no. 2 (2022): 259–73. http://dx.doi.org/10.15575/jaqfi.v7i2.20994.

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Local religions in Indonesia are generally perceived as culture, not religion. The local religious tradition that existed before the world religion was seen as something with a profane dimension, not sacred. As a result, the divine dimension of local religion is denied. This ethnographic research aims to reveal the divinity dimension of local religion by taking a case study of the local religion of Sunda Wiwitan in Cigugur, Kuningan, West Java. The divine dimension of Sunda Wiwitan can be found in a special way in the entire series of Seren Taun ceremonies, namely the thanksgiving ceremony for

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E Silva, Márcio Douglas De Carvalho. "O Sagrado e o Profano na Dança de São Gonçalo: Etnografia de um Ritual de Pagamento de Promessa." Mosaico 11, no. 1 (2018): 30. http://dx.doi.org/10.18224/mos.v11i1.6029.

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A Dança de São Gonçalo, muito presente na zona rural do município de Campo Maior-PI, apresenta-se como um ritual de pagamento de promessa realizado na forma de dança e cantos. O objetivo desse trabalho é analisar os pontos em que sagrado e profano se apresentam nesse ritual religioso verificando como dialogam entre si. Utilizei como principais teóricos Durkheim (1996), Eliade (2010) e Gennep (2013). A metodologia adotada engloba a etnografia com a observação dos rituais de São Gonçalo, a coleta e uso de fotografias e a análise dos versos das cantigas do ritual.  The Sacred and the

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Yuliari, Sang Ayu Made, Desak Nyoman Seniwati, and Ida Ayu Putu Sari. "Gitasanti Sebagai Terapi Yoga Di Pasantian Dharma Usada Desa Adat Ubud." Jurnal Penelitian Agama Hindu 7, no. 2 (2023): 146–60. http://dx.doi.org/10.37329/jpah.v7i2.2092.

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Dharmagita activities, which is better known in the community as meshanti, are one form of offerings through singing sacred songs. Sacred song is one type of the five types of songs in Hinduism which are known as pancagita. Meshanti is also a form of yoga and closely related to catur marga yoga which is performed through yajna ceremonies. The aim of the research is to identify the implementation, the procedure, and benefit of using gitashanti as a yoga therapy. The present study was conducted with qualitative method and the data were collected using observation, interview, literature study, an

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Tiron, E. L. "Poetics of Koryak-Nymylan personal songs: a case study of the works by Lydia Innokentievna Chechulina." Languages and Folklore of Indigenous Peoples of Siberia, no. 52 (2024): 134–48. https://doi.org/10.25205/2312-6337-2024-4-134-148.

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this study are the recordings of the musical works performed by Lidia Innokentievna Chechulina (Koryak name Ӄyvnyutaӈav) taken at different times. These are fourteen songs, with one being sininkin ӄuliӄul (own personal song) and the others paninatyn ӄuliӄul (ancestral songs). The repertoire of Lidia Innokentievna includes songs from three generations of her family (grandfathers, parents, and siblings). The analysis explores the vocabulary of personal songs, indicating a sacred view of this musical phenomenon within Koryak-Nymylan culture and validating the accuracy of the song performance. The

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Clatterbuck, Mark. "Healing Hills and Sacred Songs: Crow Pentecostalism, Anti-Traditionalism, and Native Religious Identity." Spiritus: A Journal of Christian Spirituality 12, no. 2 (2012): 248–77. http://dx.doi.org/10.1353/scs.2012.0033.

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Shahar, Galili. "Goethe’s Song of Songs : Reorientation, World Literature." Prooftexts 40, no. 1 (2023): 110–39. http://dx.doi.org/10.2979/ptx.2023.a899251.

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Abstract: The engagement of the German poet Johann Wolfgang von Goethe (1749–1832) with biblical Hebrew poetry already during the early stages of his career in the 1770s and later during the Divan period (1814–27) was associated with his study of Oriental literatures. Under the influence of his mentor and friend, Johann Gottfried Herder, Goethe devoted himself to studying and translating Hebrew and Arabic sources (mostly from the Latin), among them the Song of Songs, alongside chapters from the Qurʿan. In his late work his reflections on the Hebrew biblical poem were associated with his interp

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Budiman, Kurniawan Agus Fiqih. "Popular Culture And Local Wisdom: A Semiotic Analysis of “Lathi” and “Wonderland Indonesia” Songs." Interference: Journal of Language, Literature, and Linguistics 5, no. 2 (2024): 146. https://doi.org/10.26858/interference.v5i2.63879.

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Abstract. Music, as the name suggests, is a cultural product that intersects with human creativity in the realm of entertainment industry. As popular culture and local wisdom collide, music can better portray a particular indigenous society’s characteristics due to the amalgamation of current trends and sacred local values. This study aims to examine the songs of “Lathi” and “Wonderland Indonesia,” interpreting the implicit meanings of any semiotic symbols they contain. The data were obtained from the songs’ music videos published on their official YouTube channels and credible journal article

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Yongxu, Liu. "PHILOSOPHICAL FEATURES OF THE CHINESE MUSICAL TRADITION. GENERAL ANALYSIS." Russian Studies in Culture and Society 8, no. 2 (2024): 35–51. http://dx.doi.org/10.12731/2576-9782-2024-8-2-233.

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The article is devoted to the consideration of an interesting topic, the influence of philosophy on the formation of ritual Chinese music, which is taken as the basis for the formation of a unified state culture that creates "correct ethical" views in society. Modern ritualism actively studies all the factors and conditions of the formation, conduct and influence of ritual on society, based on a large volume of heterogeneous material. The researchers identified the principles of ritual formation as a social sacred act, taken as the basis of social practice, where language, poetry, music, power

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