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Relevant bibliographies by topics / Sacred vocal music

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Books
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Academic literature on the topic 'Sacred vocal music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Sacred vocal music"

1

Ward, M. "Renaissance sacred vocal music." Early Music 40, no. 1 (February 1, 2012): 137–39. http://dx.doi.org/10.1093/em/cas010.

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Gosine, C. Jane. "François Couperin: sacred vocal music." Early Music XXVI, no. 1 (February 1998): 153–56. http://dx.doi.org/10.1093/earlyj/xxvi.1.153.

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Tunley, David. "Sacred Vocal Works, and: Three Sacred Cantatas: Esther, Susanne, Judith, and: Secular Vocal Works (review)." Notes 64, no. 1 (2007): 141–44. http://dx.doi.org/10.1353/not.2007.0131.

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Vella, Francesca. "Bridging Divides: Verdi's Requiem in Post-Unification Italy." Journal of the Royal Musical Association 140, no. 2 (2015): 313–42. http://dx.doi.org/10.1080/02690403.2015.1075809.

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ABSTRACTThis article addresses the early Italian reception of Verdi's Messa da Requiem (1874), premièred in Milan on the first anniversary of the death of the novelist Alessandro Manzoni. Previous literature has focused on issues of musical genre and the work's political implications (particularly its connections with Manzoni and with late nineteenth-century Italian revivals of ‘old’ sacred music). The article examines, instead, the curiously pluralistic concerns of contemporary critics, as well as certain aspects of Verdi's vocal writing, with the aim of destabilizing traditional dichotomies

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Phillips, Peter, and Byrd's. "Byrd's Nest. Peter Phillips on Performing Byrd's Sacred Vocal Music." Musical Times 134, no. 1809 (November 1993): 628. http://dx.doi.org/10.2307/1002799.

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Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.

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Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary

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Irlandini, Luigi Antonio. "An introduction to the poetics of sacred sound in twentieth-century music." Revista Vórtex 1, no. 2 (December 30, 2013): 65–86. http://dx.doi.org/10.33871/23179937.2013.1.2.430.

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Along the twentieth century has occurred the beginning of a fusion between two very different horizons: Western musical composition and Hindu sonic theology. The essential content of this theology and the changes in Western musical language and aesthetics, society and culture which have allowed this fusion to take place are briefly outlined. Instrumental and vocal works by Karlheinz Stockhausen, Giacinto Scelsi, Michael Vetter and David Hykes provide specific examples and, in particular, raise the predicament between mysticism and rationalism, manifested in the dichotomy ècriture/inspiration.

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Roche, Jerome. "Alessandro Grandi: A Case Study in the Choice of Texts for Motets." Journal of the Royal Musical Association 113, no. 2 (1988): 274–305. http://dx.doi.org/10.1093/jrma/113.2.274.

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It is perhaps still true that research into sacred types of music in early seventeenth-century Italy lags behind that into madrigal, monody and opera; it is certainly the case that the textual aspects of sacred music, themselves closely bound up with liturgical questions, have not so far received the kind of study that has been taken for granted with regard to the literary texts of opera and of secular vocal music. This is hardly to be wondered at: unlike great madrigal poetry or the work of the best librettists, sacred texts do not include much that can be valued as art in its own right. Neve

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Mcmahon, Paul. "Tudor and Jacobean England: Observations on Secular and Sacred Vocal Music." Musicology Australia 37, no. 1 (January 2, 2015): 85–89. http://dx.doi.org/10.1080/08145857.2015.1035203.

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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.

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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which be

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Dissertations / Theses on the topic "Sacred vocal music"

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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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Steed, Janna T. "Duke Ellington's jazz testament the sacred concerts /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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

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Ziegler, Reinald. "Die Musikaliensammlung der Stadtkirche St. Nikolai in Schmölln/Thüringen repertoiregeschichtliche Studien und Katalog : ein Beitrag zur Musiküberlieferung im 16. und 17. Jahrhundert in Mitteldeutschland /." Tutzing : Schneider, 2003. http://catalog.hathitrust.org/api/volumes/oclc/51654880.html.

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Board, Ryan Everett William A. "Dietrich Buxtehude's Membra Jesu nostri a study in baroque affections and rhetoric /." Diss., UMK access, 2006.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006.<br>"A dissertation in conducting." Advisor: William Everett. Typescript. Vita. Description based on contents viewed Oct. 30, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 100-102). Online version of the print edition.

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Bunnell, John H. "An open-ended database guide to assist ministers of music and vocal soloists to select solos that will match and enhance the lectionary readings during the Easter cycle (year "A")." Theological Research Exchange Network (TREN), access this title online, 2006. http://dx.doi.org/10.2986/tren.089-0073.

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Greene, Charles F. "There came Jesus a choral depiction of Messiah's last days of earthly ministry /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Gardner, David B. "Filled with the fullness of God a choral concert expressing God's design for mankind /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Soga, Hector Ian. "The sacred vocal works of Gottfried August Homilius (1714-1785) with particular reference to his St. Mark Passion." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/3961/.

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The chance discovery of a composer of whom the present writer had previously been unaware; who was allegedly a pupil of J.S. Bach; whose list of compositions occupied no small space in modern lexicographical entries, let alone in Eitner's now largely obsolete catalogue; who, according to Feder in his article entitled Decline and Restoration in Protestant Church Music - a History, though highly regarded in his day, had not received detailed consideration: such were the factors which gave impetus to the present day. No sooner was that study underway than it transpired that others, too, had been

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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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Books on the topic "Sacred vocal music"

1

Daugherty, F. Mark. Sacred choral music in print. Philadelphia: Musicdata, 1996.

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Simon, Susan H. Sacred choral music in print. Philadelphia: Musicdata, Inc., 1988.

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1951-, Daugherty F. Mark, ed. Sacred choral music in print. 2nd ed. Philadelphia: Musicdata, 1985.

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4

Pérès, Marcel. Signature. Arles: Harmonia Mundi France, 1993.

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Bach, Johann Sebastian. Cathedrals and chapels. Arles: Harmonia Mundi, 1997.

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6

Henry, Willett, ed. In the spirit: Alabama's sacred music traditions. Montgomery, Al: Black Belt Press for the Alabama Folklife Association, 1995.

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Nguyẽ̂n, Xuân-Thaʼo Joseph. Music ministry: The inculturation of liturgical vocal music in Vietnam. Chicago, Ill: NSII-USA, 2008.

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8

Noble, Willis. A selective guidelist of Canadian sacred choral music. Sacville, N.B: Mount Allison University, 1991.

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9

Bach, Johann Sebastian. Johannes-Passion ; Matthäus-Passion ; Weihnachts-Oratorium ; Messe in h-Moll : Textausgabe. Stuttgart: Reclam, 2000.

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Dürrer, Martin. Altitalienische Laudenmelodien: Das einstimmige Repertoire der Handschriften Cortona und Florenz. Kassel: Bärenreiter, 1996.

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Book chapters on the topic "Sacred vocal music"

1

Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Renaissance Sacred Vocal Music." In Anthology to Accompany Gateways to Understanding Music, 37–39. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-14.

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Charteris, Richard. "A Neglected Anthology of Sacred Vocal Music Dating from the Sixteenth Century *." In Giovanni Gabrieli and His Contemporaries, XI—1—XI—34. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420682-11.

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Charteris, Richard. "An Early-Seventeenth-Century Collection of Sacred Vocal Music and its Augsburg Connections." In Giovanni Gabrieli and His Contemporaries, IX—511—IX—535. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420682-9.

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"SACRED VOCAL MUSIC." In Music in the Seventeenth Century, 105–60. Cambridge University Press, 1987. http://dx.doi.org/10.1017/cbo9780511586132.005.

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Barsanti, Francesco. "Sacred Vocal Music." In Recent Researches in the Music of the Baroque Era, 200. A-R Editions, 2018. http://dx.doi.org/10.31022/b200.

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6

Talbot, Michael. "The vocal music." In Vivaldi, 130–60. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164975.003.0007.

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Abstract ‘Vivaldi, who wanted to be active in both fields [vocal and instrumental], always got himself hissed in the first, though he enjoyed great success in the second.’ Thus Tartini, arguing his case that vocal and instrumental composition, being so different in character, could not be mastered equally by one man. This opinion, which smacks of sour grapes, is belied not only by the facts of Vivaldi’s career but by remarks of other contemporaries, notably Mattheson, who, having observed that vocal writing does not tolerate the leaps found in instrumental writing, states: ‘Vivaldi, albeit no singer, has had the sense to keep violinleaps out of his vocal compositions so completely that his arias have become a thorn in the flesh to many an experienced vocal composer.’ The sheer mass of Vivaldi’s vocal music, sacred as well as secular, would not disgrace a composer who never wrote a note of instrumental music: over 45 operas, of which 16 survive in their entirety and four (including Vivaldi’s contribution to II Tigrane) in sufficiently complete form to merit analysis; eight shorter stage works (three extant); 40 cantatas; over 60 sacred works, including four oratorios (one extant).

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Caldwell, Alice M. "4 Moravian Sacred Vocal Music." In The Music of the Moravian Church in America, 88–132. Boydell and Brewer, 2008. http://dx.doi.org/10.1515/9781580467469-008.

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8

Caldwell, John. "Secular Vocal Music, 1575—1625." In The Oxford History of English Music, 389–459. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198161295.003.0007.

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Abstract THE secular music of Elizabethan and Jacobean England does not fall into such neatly defined categories as was once supposed. Even the word ‘secular’ is not very helpful for the purpose of definition, since much that was written for domestic use was unambiguously sacred in content.’ Consort-song, lute-song, and part-song (embracing the madrigal), are all interrelated. In addition, there are the various genres of domestic psalmody and sacred songs, including those for voice or voices with the accompaniment of’whole’ or mixed consort.

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RIMBACH, EVANGELINE. "The Sacred Vocal Music of Johann Kuhnau." In Thine the Amen, 83–110. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvzcz3q4.9.

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Williams, Peter. "Madrigals, Songs, and Sacred Music." In The Chromatic Fourth During Four Centuries of Music, 7–30. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198165637.003.0002.

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Abstract Singers improvising music and composers notating it must always have known that they could respond effectively to (attract attention to) a text by introducing notes outside the prevailing mode or key. The later sixteenth century’s printed vocal music—a massive and dominating repertory—developed such chromaticism explicitly and systematically, producing both chromatic lines that wandered through the keys and wandering harmonies that produced chromatic lines. A German theorist of 1600 commenting on chromatics in music of Lassus (seep. 60) was merely identifying expressive out-of mode notes long known about and explored much farther than he knew.

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Conference papers on the topic "Sacred vocal music"

1

Schubert, Benedikt. "Struktur und Exegese. Über Eigentümlichkeiten in der Arie »Des Vaters Stimme ließ sich hören« (BWV 7/4)." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.71.

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This study deals with a characteristic of the tenor aria “Des Vaters Stimme ließ sich hören” (BWV 7/4). Why does Bach use two imitating violins? So far unconsidered exegetical and hymnological sources can give a plausible answer to that question. Based on a detailed observation of these sources, the study aims to encourage us to think again about the various hermeneutical approaches to Bach’s sacred vocal music and how Bach can be located in the field of tension between individuality and ‘Zeitgeist’.

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