Relevant bibliographies by topics / Syriac Hymns

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

Academic literature on the topic 'Syriac Hymns'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Syriac Hymns"

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Saint-Laurent, Jeanne-Nicole Mellon. "Gateway to the Syriac Saints: A Database Project." Journal of Religion, Media and Digital Culture 5, no. 1 (December 6, 2016): 183–204. http://dx.doi.org/10.1163/21659214-90000074.

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This article describes The Gateway to the Syriac Saints, a database project developed by the Syriac Reference Portal (www.syriaca.org). It is a research tool for the study of Syriac saints and hagiographic texts. The Gateway to the Syriac Saints is a two-volume database: 1) Qadishe and 2) Bibliotheca Hagiographica Syriaca Electronica (BHSE). Hagiography, the lives of the saints, is a multiform genre. It contains elements of myth, history, biblical exegesis, romance, and theology. The production of saints’ lives blossomed in late antiquity alongside the growth of the cult of the saints. Scholars have attended to hagiographic traditions in Greek and Latin, but many scholars have yet to discover the richness of Syriac hagiographic literature: the stories, homilies, and hymns on the saints that Christians of the Middle East told and preserved. It is our hope that our database will give scholars and students increased access to these traditions to generate new scholarship. The first volume, Qadishe or “saints” in Syriac, is a digital catalogue of saints or holy persons venerated in the Syriac tradition. Some saints are native to the Syriac-speaking milieu, whereas others come from other linguistic or cultural traditions. Through the translation of their hagiographies and the diffusion of saints’ cults in the late antique world, saints were adopted, “imported,” and appropriated into Syriac religious memory. The second volume, the BHSE, focuses on Syriac hagiographic texts. The BHSE contains the titles of over 1000 Syriac stories, hymns, and homilies on saints. It also includes authors’ or hagiographers’ names, the first and last lines of the texts (in Syriac, English, and French), bibliographic information, and the names of the manuscripts containing these hagiographic works. We have also listed modern and ancient translations of these works. All of the data in the Gateway to the Syriac Saints has been encoded in TEI, and it is fully searchable, linkable, and open.
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Fomicheva, Sofia. "The Jewish literature of the second temple as a possible source of Ephrem the Syrian’s doctrine about the teacher as a scribe, inspired by God (in the 6th hymn "De Crucifixione")." St. Tikhons' University Review. Series III. Philology 73 (December 30, 2022): 103–18. http://dx.doi.org/10.15382/sturiii202273.103-118.

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In his 6th Hymn De crucifixione that is consecrated to the interpretation of three days problem of Jesus’ resurrection, the Syriac poet-theologian Ephrem the Syrian (4th c.) functions as a teacher of astronomical and calendric lore. The article focuses on the probable sources of the construction of Ephrem’s authority as a teacher in this hymn. The author demonstrates that the astronomical discourse in the Syriac hymn is constructed with the specific structural devices, e.g., the first-person discourse, the term “calculation” and metaphorically expressed with the image of the scribe. These elements have obvious parallels within the Jewish Aramaic texts of the Second Temple, e.g., “the Aramaic Astronomical Book” and “the Document of Levi”. Like in Ephrem’s Hymn De crucifixione, in these texts are used the astronomical and other arithmetical calculations. The Jewish scribes who composed these works, transformed the old Babylonian mathematical lore into new narrative forms. In the course of this, these real scribes used fictive authority of the biblical figures associated with writing, e.g., Moses, David, Enoch, Noah and others. The author gives heed to the similar use of these biblical figures in Ephrem’s hymns and draws a conclusion about the self-definition by Ephrem as the scribe who is inspired by God and obtain a capability to interpretate God’s “secrets”. As a result, Ephrem “blends” the Christological typological interpretation of the “secret” or “symbol” with ancient Jewish and Mesopotamian connotations. Hence, in his sixth Hymn De crucifixione, the Syrian poet functions not as a theologian but as a teacher with quasi-prophetic status who is aligned with Moses and David and imitates their writing and interpretative activities. In the opinion of the author, these conclusions could shed light not only on the origins of Ephrem’s works, but on the origins of the Syriac Christianity as a whole.
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Uciecha, Andrzej. "Pozycja starców w literaturze Ojców Syryjskich." Vox Patrum 56 (December 15, 2011): 401–9. http://dx.doi.org/10.31743/vp.4233.

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In this contribution author analyse certain christological and eschatological aspects of old age in writings of the Syriac Church Fathers: Testament of Adam a Christian (pseud­epigraphical work from 3rd century A.D.), Acts of the Holy Apostle Thomas (the New Testament apocrypha from 3rd century A.D.), Demonstration on death and the last days of Aphrahat the Persian Sage (4th century A.D.), Hymns of Ephrem the Syrian On Paradise, On Virginity, On the Nativity, and at last one homily from Liber Graduum (a collection of 30 spiritual homelies from 5th century A.D.).
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Hartung, Blake. "The Authorship and Dating of the Syriac Corpus attributed to Ephrem of Nisibis: A Reassessment." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 22, no. 2 (September 3, 2018): 296–321. http://dx.doi.org/10.1515/zac-2018-0033.

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Abstract A large portion of the Syriac works attributed to Ephrem of Nisibis survives in the form of collected poetic anthologies. This paper argues that previous attempts to assign authorship and date of composition to Ephrem’s hymn cycles mistakenly treat these works as if they were treatises written by Ephrem. Scholars have tended to treat the hymn cycles as units and to judge the authenticity of each cycle as a whole. By contrast, this paper contends that the cycles postdate Ephrem and were assembled and supplemented by later editors. It further proposes that the heterogeneous origin of most of the hymn cycles makes it impossible to date them to a particular time in Ephrem’s career. To hypothesize a date of composition is to assume that Ephrem composed the hymns in that cycle at a particular time and collected them as a unit. Likewise, this paper contends that scholars must be frank about the general lack of historical evidence, which severely challenges our ability to contextualize fourth-century Syriac poetry. The paper concludes by proposing a new approach to questions related to authorship and date of composition, one focused on smaller metrical sub-units (meter-melodies) that comprise the large hymn cycles.
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Fomicheva, Sofia. "The astronomical and calendrical calculations in the 6th Hymn de Crucifixione by Ephrem the Syrian in the old Babylonian, Jewish and Christian context." St. Tikhons' University Review. Series III. Philology 77 (December 25, 2023): 107–24. http://dx.doi.org/10.15382/sturiii202377.107-124.

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The paper is focused on the astronomical and calendrical lore which the Syriac poet-theologian Ephrem the Syrian abundantly uses in his 6th hymn De crucifixione. In this hymn devoted to the interpretation of three days problem of Jesus’ resurrection, the Syriac poet and theologian employs some astronomical data, i.e., the duration of solar and lunar years, the duration of the lunar months, the necessity of the intercalations in the calendars etc. The author analyses this lore in the context of the astronomical knowledge existing to Ephrem’s epoch. On the one hand, the article pays attention to the similar use of the astronomical data in a lot of Jewish and Christian works of the 3rd and 4rd centuries. In this period the astronomical calculations have been used actively both in Christian and Jewish milieux. On the other hand, the calculations by Ephrem mirror the peculiarities of the region of the north Mesopotamia where he lived and created his works. For example, the author demonstrates that Ephrem could be influenced by the old Babylonian astronomical theory and use in his computations the Babylonian “double hour”. In the article is also demonstrated that the calculations by Ephrem are striking similar to the ones in the “Panarion” by Epiphanius of Salamis. Epiphanius seems to be acquainted with Ephrem’s works or to use the similar tradition stretching back to the Babylonian one. The author draws a conclusion that the calculations in the hymns are used to express Ephrem’s self-presentation as the scribe and the sage who obtains the cosmic “secrets”. This picture is deep rooted as in the old Mesopotamian literature as in Jewish Aramaic writings. The author points out that Ephrem uses the astronomical lore in the liturgical context and not in the theological “scientific’’ tractate. Hence, Ephrem constructs a new religious and poetic “myth” about the Crucifixion and feast of Pascha upon the astronomical dimensions it has both in the Christian and in the Jewish traditions.
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OLSSON, BIRGER. "The Canticle of the Heavenly Host (Luke 2.14) in History and Culture." New Testament Studies 50, no. 2 (April 2004): 147–66. http://dx.doi.org/10.1017/s0028688504000104.

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The angels still do not know how to sing during Christmas night. Some have three lines in Luke 2.14, others only two. Some have good liturgical hymns in their textbooks, others must use bad prose versions. This article reconstructs a Hebrew version with its focus on the righteous remnant of Israel, the Anawim in Jerusalem who saw Jesus as the beginning of the restoration of Israel, and goes on to analyse the original and the liturgical versions in Greek, different Latin translations and renderings into Syriac and Coptic. Finally it gives some later interpretations of the canticle in literature, art and music. There are good reasons to include much more of reception history into the NT discipline.
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Frøyshov, Stig Simeon R., Aleksandra Nikiforova, and Natalia Smelova. "Byzantine Influence before Byzantinisation: The Tropologion Sinai Greek NE ΜΓ 56+5 Compared with the Georgian and Syriac Melkite Versions." Religions 14, no. 11 (October 27, 2023): 1363. http://dx.doi.org/10.3390/rel14111363.

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The article examines a selection of hymns of potentially Byzantine origin in the eighth-to-tenth-century manuscripts of the New Tropologion, which was the hymnal of the Anastasis cathedral of Jerusalem and in churches that followed its rite. Such adoption in the rite of Jerusalem represented a Byzantine influence before the wave of liturgical Byzantinisation that started in the late ninth and tenth centuries. For the first time, three versions of the New Tropologion are studied together: the Greek original and the Syriac and Georgian translations. The Greek Tropologion Sinai MS NE MΓ 56+5 is the primary material, compared with Sinai MS Syriac 48 and several Georgian New Iadgari manuscripts from Sinai. The study identifies one certain Byzantine element in the New Tropologion: parts of the feast of St. John Chrysostom, archbishop of Constantinople, and several probable Byzantine elements: the interpolation of the second ode in three canons by Kosmas of Jerusalem and one by John, and parts of the stichera series Aἱ ἀγγελικαὶ προπορεύεσθε δυνάμεις attributed to Romanos the Melodist. By contrast, the interpolated ode 1 in Kosmas’ canon for Great Saturday seems to be of Palestinian origin, and therefore not a Byzantine loan, contrary to traditional views. The article shows that there is considerable variation between the different versions of the New Tropologion.
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Younes, Munther. "Charging Steeds or Maidens Doing Good Deeds? A Re-Interpretation of Qur'āan 100 (al-‘;ādiyāt)." Arabica 55, no. 3 (2008): 362–86. http://dx.doi.org/10.1163/157005808x347453.

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AbstractIn A Challenge to Islam for Reformation, Gunter Lüling (2003) argues that about one-third of the Qur'ānic text is based on ancient Christian Arabic hymns that were reworked and given a new meaning by the Qur'ān editors after the Prophet's death. This was possible because the Uthmanic mushaf lacked dots, which allowed for different readings. In this essay, I reconstruct the first five verses of Koran 100 (wa-l-‘ādiyāt) by changing the dotting scheme of four words. Informed by a close examination of the syntactic structure and vocabulary of these verses and a comparison with cognates in Syriac and Hebrew, two languages with a clear influence on the Qur'ān, this reconstruction results in a narrative that is more coherent semantically and syntactically than the traditional interpretation. Whereas in the traditional interpretation these verses describe steeds charging into battle, in my reconstruction they refer to maidens bringing light to the world.
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Münz-Manor, Ophir, and Thomas Arentzen. "Soundscapes of Salvation." Studies in Late Antiquity 3, no. 1 (2019): 36–55. http://dx.doi.org/10.1525/sla.2019.3.1.36.

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We do not know how hymns in Late Antiquity sounded. We do know that refrains became an important aspect of hymnody in the period, not only among Christians in the capital accustomed to acclamations, but also among Hebrew-speaking Jews and Syriac-speaking Christians further east. This article investigates ways that the refrains contributed to shaping soundscapes or sonic space. The article constitutes a study of three of the era's most outstanding liturgical poets: Yose ben Yose and Yannai who wrote piyyutim in Hebrew and Romanos the Melodist who wrote kontakia in Greek. Refrains should ring loudly, and all three poets show a distinct awareness of the refrain's ability to shape the performative space. Throughout the song, the refrain would return repeatedly as an echo and saturate the room with loud voices. The hymnographers used this feature semantically, to dye the soundscapes with highly charged or pregnant notions, so that eventually the singing of the songs themselves gave way to the experience of community and deliverance. Conducted by poets, voices gathered to create soundscapes of salvation.
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Lukashevich, Aleksandr. "Syro-Melkite manuscript of the 15th century (vat. Sir. 351): an unfinished project of the monthly Menaion for the whole year in one volume." St. Tikhons' University Review. Series III. Philology 77 (December 25, 2023): 53–68. http://dx.doi.org/10.15382/sturiii202377.53-68.

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This article describes contents, paleographic, linguistic, and liturgical features of one of the Syriac manuscripts of the Vatican Library, Vat. sir. 351, dating back to the 15th century. A large part of the manuscript is written by one scribe with a very fine and professional handwriting, but there are also insertions of other scribes, two of them we know by their names indicated in the margins (Yusuf, Salam). The manuscript is written mostly in classical Syriac, but some rubrics and texts are written in Arabic. The Menaion contains texts of the Holy Scripture: readings from the Apostol and the Gospel in the beginning of the manuscript, then in the Menaion part — prokimena, alleluiaria, communion hymns, New Testament readings for matins and liturgy, psalms of the great hours and selected psalms (eklogai) for singing after the polyeleos on great feasts. We may suggest that the scribe planned to include the entire Menaion for the whole year, from September to August, in one volume. However, this experiment remained incomplete: services for every day can be found only in the beginning and in the end of the manuscript (months of September, October, part of November, August), while other months contain a selection of the most festive days. Thus, the manuscript cannot be fully characterized by terms like a “Monthly Menaion” or a “Festal Menaion”. Days without services contain only indications of the date, names of the saints, often with addition of stichera, troparion and kontakion, always with indications of readings for the liturgy; the scribe usually left an empty space after the date, due to lack of time or inability to find the necessary texts. The changes from daily services to festive selection and vice versa are situated not far from large portions written by other scribes.
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Dissertations / Theses on the topic "Syriac Hymns"

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Chacko, Abi. "Beth gazo a study of the eight tone music system as used in the Malankara Orthodox Syrian Church /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0463.

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Shepardson, Christine. "Anti-Judaism and Christian orthodoxy : Ephrem's hymns in fourth-century Syria /." Washington, D.C : The Catholic Univ. of America Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780813215365.

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Richardson, Jane Elizabeth. "Feminine imagery of the Holy Spirit in the Hymms of St. Ephrem the Syrian." Thesis, University of Edinburgh, 1991. http://hdl.handle.net/1842/21488.

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Three issues have had the greatest impact on the feminine imagery of the Holy Spirit in the hymns of the theologian Ephrem the Syrian. These are 1) the relations between Ephrem's Church and other contemporary religious groups in fourth-century Edessa, 2) the preference for celibacy in Syriac Christianity, and 3) the linguistic and metaphorical gender of the Holy Spirit. It is concluded that, despite Ephrem's use of feminine, even motherly, images of the Holy Spirit, he never addressed the Spirit as Mother except for polemical purposes. He did this to prevent any syncretism between the cult of Atargatis and Christianity as he knew it. Ephrem's desire to align his church with the Greek-speaking church was also a factor in his choice of address for the Holy Spirit.
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Chedid, Youssef. "Typologie musicale de l’hymnodie syriaque de l’Église Maronite : la tradition du Père Maroun Mrad (Ordre Antonin Maronite)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040134.

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Cette thèse se propose de transcrire et analyser dans le but de créer une typologie de l’hymnodie syriaque de l’Église Maronite selon la tradition de l’illustre chantre de l’Ordre Antonin Maronite Père Maroun Mrad. L’Église Maronite, étant une église catholique orientale, elle a conservé et l’union avec l’Église Universelle et son identité et tradition musicale et liturgique. L’objet de mes analyses est l’ensemble des hymnes enregistrées par la voix du Père Maroun Mrad, un des porteurs de la tradition orale au sein de l’Ordre Antonin Maronite. Cet enregistrement est produit par le Père Ivar Schmutz-Schwaller, de l’Université de Cologne, lors de son séjour au Liban en 1972. La méthodologie consiste à produire un diagramme musical de chaque pièce, qui contient toutes les informations utiles à l’analyse. En fait dans ce diagramme on voit l’ensemble de l’échelle utilisée et par conséquent le genre (Zalzalien, Hijaz ou Diatonique). Avec des signes adéquats, on met en relief les degrés d’appui de la pièce (note initiale, teneur, finale temporaire et finale) ainsi que le nombre demouvement (conjoint ou non, ascendant ou descendant) qui les lie. D’après l’ensemble des diagrammes, j’ai choisi la relation finale-teneur comme critère pour la typologie que l’on s’est promis d’établir. En effet, les pièces sont classés en type 1 si leur teneur correspond à leur finale, en type 2 si l’intervalle finale-teneur est une seconde, en type 3 si l’intervallefinale-teneur est une tierce, en type 4 si l’intervalle finale-teneur est une quarte ou en type 5 si cet intervalle est une quinte. Cette typologie sert à classifier ces hymnes pour mieux les repérer et analyser d’autres aspects
This research wants to transcribe and analyze the Syriac Hymnody of the Maronite Church in order to create a typology. The Maronite Church has conserved its musical and liturgical identity along with its communion with the Universal Church. I based my work on some recording done by Father Ivar Schmutz-Schwaller, from the University of Cologne. In his field trip to Lebanon in 1972, he recorded Father Maroun Mrad, a cantor from the Antonine Maronite Order, while he was singing capella the whole repertoire of the Syriac hymns. The methodology applied here consists in creating a diagram of musical analysis that can summarize the whole piece and simplify the analysis. In fact, each diagram contains all the degrees of the scale and determines its genre (Zalzalian, Hijaz or Diatonic). With the help of some signs, we indicate the basic notes (initial, tenor, temporary ending note and the ending note of the piece) and the number of their movements. With the help of these diagrams, we chose to consider the relation between the “tenor” of the piece and its ending note as criteria for this classification. In fact the pieces that has their tenor equal to their ending note belong to type 1. In the type 2, the interval between the tenor and the ending note is a second, in type 3 a third, in type 4 a fourth and in type 5 a fifth. This typology would help us to better classify these hymns and, furthermore, to analyze other aspects of them
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Van, der Bank Annelie. "Ephrem of Syria, power, truth, and construction of orthodoxy: modelling theory and method in critical historiography of the making of religious tradition." Diss., 2020. http://hdl.handle.net/10500/26529.

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Hymns can and have functioned as powerful strategic tools to change social and religious landscapes, and to inform and transform people’s notions about ‘doing church’. A few words about Ephrem the Syrian, which emphasised liturgical singing and accentuated the force of truth, the power of persuasion and socio-religious transformation was the starting point and connecting thread, which formed the backbone of this dissertation throughout—a research project that was also guided by some principles of new historicism to view Ephrem as a textual construct, living in a particular context and dealing with specific religious issues in a particular way. His trump card was the female choirs he founded, which became a distinct feature of orthodox Syrian Christianity. Through their singing performances, he ‘silenced’ the unorthodox voices of—especially Bardaisan—and created a community of believers where each person had a part to fulfil, where women and men would become ‘two harps’, ‘singing one praise’.
M. Th. (New Testament)
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Books on the topic "Syriac Hymns"

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Brock, Sebastian P. Sogiatha: Syriac dialogue hymns. Kottayam: J. Vellian, 1987.

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Dogan, Hatune. Hymns of thhe Syriac Church. Kerala, India: St. Ephrem Ecumenical Research Institute (SEERI), 2004.

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Ephraem. Hymns on paradise. Crestwood, N.Y: St. Vladimir's Seminary Press, 1989.

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Malacrida, Gianmaria. Forme del canto siriaco. Lucca: Libreria musicale italiana, 1997.

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1944-, McVey Kathleen E., ed. Ephrem the Syrian: Hymns. New York: Paulist Press, 1989.

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St. Mary's Assyrian Orthodox Church. Hymnal choir book. [s.l.]: St. Mary's Assyrian Orthodox Church, 1993.

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George, M. P. West Syriac musical tradition of the Beth Gazo' in India: With music notation. Kottayam: St. Ephrem Ecumenical Research Institute, 2012.

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Dogan, Barsaumo Samoil. Zmīrātā d-ʻidtā Súryāytā w-qínātā d-qúrābā alāhāyā =: Zmirotho d-ʻito Suryoyto u qinotho dqurobo alohoyo. Hulandā: Olaf Tau, 1999.

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P, Brock Sebastian, and Ephraem Syrus Saint 303-373, eds. Hymns on paradise. Crestwood, N.Y: St. Vladimir's Seminary Press, 1990.

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Semaan, Nizar. La preghiera vespertina feriale nella tradizione siro-antiochena: Testo critico, storia e studi con traduzione italiana dei testi. Roma: Edizioni liturgiche, 2003.

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Book chapters on the topic "Syriac Hymns"

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Shepardson, Christine C. "“EXCHANGING REED FOR REED” MAPPING CONTEMPORARY HERETICS ONTO BIBLICAL JEWS IN EPHREM’S HYMNS ON FAITH." In Hugoye: Journal of Syriac Studies (Volume 5), edited by George Kiraz, 15–34. Piscataway, NJ, USA: Gorgias Press, 2002. http://dx.doi.org/10.31826/9781463214104-003.

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Joseph Mar-Emmanuel, Emmanuel. "MARY AS PORTRAYED IN THE HYMNS OF GEORGE WARDA IN THE 13™ CENTURY." In Journal of the Canadian Society for Syriac Studies 9, edited by Amir Harrak, 43–54. Piscataway, NJ, USA: Gorgias Press, 2009. http://dx.doi.org/10.31826/9781463222727-004.

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Mcvey, Kathleen E. "IMAGES OF JOY IN EPHREM’S HYMNS ON PARADISE: RETURNING TO THE WOMB AND THE BREAST." In Journal of the Canadian Society for Syriac Studies 3, edited by Amir Harrak, 59–77. Piscataway, NJ, USA: Gorgias Press, 2009. http://dx.doi.org/10.31826/9781463216191-005.

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Royel, Mar Awa David. "SINGING HYMNS TO THE MARTYRS: THE ‘ANTIPHONS OF THE SĀHDĒ’ IN THE ASSYRIAN CHURCH OF THE EAST." In Journal of the Canadian Society for Syriac Studies 12, edited by Amir Harrak, Françoise Briquel-Chatonnet, Kyle Smith, Adam Lehto, David Royel, Bernard Heyberger, Amir Harrak, and Khalid S. Dinno, 43–49. Piscataway, NJ, USA: Gorgias Press, 2012. http://dx.doi.org/10.31826/9781463235468-005.

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Alibertis, Demetrois. "EAST MEETS EAST IN THE CHALDEAN FURNACE: A COMPARATIVE ABAKYSIS OF ROMANOS' HYMNS AND JACOB OF SERUGH'S HOMILY ON THE THREE CHILDREN." In Journal of the Canadian Society for Syriac Studies 18, edited by Amir Harrak, 24–41. Piscataway, NJ, USA: Gorgias Press, 2018. http://dx.doi.org/10.31826/9781463240172-004.

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Russel, Paul S. ""A Note on Ephraem the Syrian and "The Poison of the Greeks" in Hymns On Faith 2"." In The Harp (Volume 10), edited by Geevarghese Panicker, Rev Jacob Thekeparampil, and Abraham Kalakudi, 203–12. Piscataway, NJ, USA: Gorgias Press, 2012. http://dx.doi.org/10.31826/9781463232993-028.

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"Syriac Hymnography before Ephrem." In Hymns, Homilies and Hermeneutics in Byzantium, 193–215. BRILL, 2020. http://dx.doi.org/10.1163/9789004439573_012.

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Jarjour, Tala. "Syriac Song in the Early Centuries." In Hymns and Hymnody, Volume 1, 36–48. Lutterworth Press, 2020. http://dx.doi.org/10.2307/j.ctv14gpjgt.10.

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Griffith, Sidney H. "“Denominationalism” in Fourth-Century Syria." In The Garb of Being, 79–100. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823287024.003.0005.

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This essay closely examines four of Ephraem’s metrical hymns (madrashê) “against erroneous opinion” in which the Syriac composer distinguishes between “external” and “internal” confessional adversaries. In these teaching songs, Ephraem focuses on the question of names to create a taxonomy of rival Christian groups, in a form of “denominationalism,” to articulate which groups belong theologically to the true flock of Christ.
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"Hymns of the Wardā collection and the Syriac literary tradition." In The Wardā: An East Syriac Hymnological Collection, 117–49. Harrassowitz, O, 2015. http://dx.doi.org/10.2307/j.ctvc5pgcs.9.

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Conference papers on the topic "Syriac Hymns"

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Ondříčková, Marie. "Churritský hymnus H6 – nejstarší píseň na světě." In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-78-96.

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Abstract:
The article was focused on the oldest description of the song on the world. In the paper was analysed content of the note score and introduced its some of translations. It also mention about its place of discovery and its discov erers. The notation was found in the North Syria at area Latákíja in Ras-as-Shamrá in the west-south royal pal ace and its courtyards. Around 1500–1158 BC there was well-known economical and cultural advanced center Ugarit with rich existing musical tradition. Some written sources put accent the temple´s singers and musicians the framework religious ceremonies. The problem of the cuneiform tablet rests on damaged some of parts, that they are not possible to translate exactly. In the tablet there are numbers whose meaning is not understandly. Today we have not to disposition only one transcription because experts are not in concordance of their metod ology and this reason why individual translations are significant different so much.
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