Relevant bibliographies by topics / Te deum laudamus (hymn)

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Academic literature on the topic 'Te deum laudamus (hymn)'

Author: Grafiati
Published: 2 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Te deum laudamus (hymn)"

1

Tyrała, Robert. "Te Deum laudamus!" Pro Musica Sacra 13 (September 1, 2015): 5. http://dx.doi.org/10.15633/pms.1110.

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Drewniak, Janusz. "Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań." Ruch Biblijny i Liturgiczny 63, no. 4 (2010): 327. http://dx.doi.org/10.21906/rbl.181.

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The millennium hymn Te Deum has been known and sung in Poland for over forty years. The author of this dissertation presents the complicated circumstances revolving around the creation of this hymn. The inspiration were incorrect notes about the composer of the hymn, which had been published in song-books. In past years it lead people to believe that Te Deum was composed by the priest Antoni Chlondowski. The author, who based his research on that of Maria Wacholc, opposed the idea that the priest Chlondowski had composed the hymn. This article presents analysis of the composing style and the b
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Scheinhammer-Schmid, Ulrich, and Isfrid Kayser. "Rezension von: Kayser, Isfrid, Magnificat ..." Ulm und Oberschwaben 60 (July 12, 2023): 444–45. http://dx.doi.org/10.53458/uo.v60i.6866.

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Isfrid Kayser: Magnificat – Missa VI. Orpheus Vokalensemble/Ars Antiqua Austria unter Leitung von Jürgen Essl; CD 83.479. Leinfelden-Echterdingen: Carus-Verlag 2017; 19,90 EUR
 Æmilian Rosengart: Te Deum laudamus. Orpheus Vokalensemble/Ars Antiqua Austria unter Leitung von Jürgen Essl; CD 83.427 Leinfelden-Echterdingen: Carus-Verlag 2017; 19,90 EUR
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Škrjanc, Radovan. "Vprašanje slogovne opredelitve skladb – poskus njegove obravnave na primeru cerkvenih del Jakoba F. Zupana (I)." Musicological Annual 36, no. 1 (2000): 65–72. http://dx.doi.org/10.4312/mz.36.1.65-72.

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Članek obsega prvi del avtorjevega razmisleka o vprašanjih, ki zadevajo slogovno klasificiranje skladb in – kot izhodišče obravnave teh vprašanj – povzema nekatere važnejše pomisleke glede primernosti opredelitve dveh cerkvenih del Jakoba Frančiška Zupana (1734–1810), Lavretanskih litanij in G in skladbe Te Deum laudamus, s slogovnima konceptoma barok in klasicizem. Dileme, ki se ob tem pojavljajo namreč ne tematizirajo le sprejemljivosti dosedanjih označitev skladateljevega Te Deuma za baročno in Litanij za klasicistično skladbo, glede na nekatere uveljavljene razvrstitve slogovnih značilnost
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Beadle, Richard, and Anthony Smith. "A Carol by James Ryman in the Holkham Archives." Review of English Studies 71, no. 302 (2020): 850–66. http://dx.doi.org/10.1093/res/hgaa030.

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Abstract A late fifteenth-century manorial notebook in the archives of the Earl of Leicester at Holkham Hall, Norfolk, has been found to contain a hitherto unnoticed and apparently unique late medieval English carol, based on the Latin hymn Te deum. Comparison with other examples of the genre suggests that its author is more likely than not to have been James Ryman, a Franciscan friar of Canterbury, and a prolific writer of carols. His oeuvre includes a number of compositions deriving from the Te deum, to some of which the Holkham text bears significant similarities. The owner of the notebook
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Molina, Marina Ruiz, and Christine Olson. "Drawing, Photography, and the Design of Tiffany Studios’ Te Deum Laudamus Mosaic Triptych." Metropolitan Museum Journal 51 (January 2016): 162–81. http://dx.doi.org/10.1086/691113.

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Teixeira, Thiago Plaça. "O Kyrie de Nepomuceno: estilo e intertextualidade." ORFEU 2, no. 1 (2017): 06–47. http://dx.doi.org/10.5965/2525530402012017001.

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O presente artigo apresenta uma análise do Kyrie da Missa em Ré menor (1915) de Alberto Nepomuceno (1864-1920), visando identificar características estilísticas e relações de intertextualidade musical. Quanto à forma, textura e timbre, o Kyrie de Nepomuceno apresenta grande semelhança com o Kyrie da Missa Te Deum laudamus (1899), de Lorenzo Perosi (1872-1956). Quanto à harmonia, a obra denota certo caráter modal, possivelmente por influência de técnicas de harmonização do canto gregoriano. Quanto à melodia e à prosódia, nota-se certa proximidade com as linhas melódicas gregorianas, considerada
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Petkūnas, Darius. "The 1775 Agenda of Gottfried Ostermeyer: The Last Specifically Lutheran Lithuanian Liturgical Book in the Prussian Kingdom." Senoji Lietuvos literatūra 41 (June 27, 2016): 115–34. https://doi.org/10.51554/sll.2016.28949.

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Up to 1730 Prussian Lithuanian Lutheran pastors used manuscript agendas or liturgical texts published in hymnals and catechisms. These texts were translated from the German-language Prussian agendas printed in 1544, 1558, and 1568. In 1549 Martynas Mažvydas (Martin Moswidius) published his first rhythmic setting of the Ambrosian hymn ‘Te Deum laudamus’, and in 1559 he published the form for Holy Baptism, Forma Chrikstima. The most important of his liturgical works was the two-volume hymnal Gesmes Chriksczoniskas (Christian Hymns) which appeared in 1566 and 1570. Both volumes were published by
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Lazos, John G. "Finalmente, los sonidos del siglo XIX mexicano ya no son tan lejanos: ¿qué implica escuchar de nuevo el Te Deum laudamus (1835) de José Antonio Gómez?" Antec: Revista Peruana De Investigación Musical 7, no. 1 (2023): 98–125. http://dx.doi.org/10.62230/antec.v7i1.179.

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La práctica musical del siglo XIX mexicano sigue siendo un tema pendiente tanto en nuestros campos de estudios como en los escenarios. A pesar de ello, el nombre de José Antonio Gómez y Olguín empieza a resonar. El resurgimiento de este filarmónico del siglo xix se debe en gran parte al acercamiento y estudio de las fuentes de primera mano. Sin embargo, aun con una idea más clara de su vida y obra, su legado principal, sus obras, siguen ausentes en nuestros escenarios. Me interesa narrar aquí los factores que han mantenido a distancia un periodo crucial de nuestra historia musical. Por ejemplo
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Trubenok, Elena. "Christian hymn TE DEUM: the study of the text and melodic archetypes." St.Tikhons' University Review. Series V. Christian Art 13, no. 1 (2014): 9–18. http://dx.doi.org/10.15382/sturv201413.9-18.

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Dissertations / Theses on the topic "Te deum laudamus (hymn)"

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Piekarski, James. "Te Deum." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935762/.

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Te Deum is a single movement work for chorus and orchestra. It employs an ensemble comprising the complement of string, woodwind, and brass instruments typically available in a small symphony orchestra with an expanded percussion section. The choral forces are in proportional relation to the instrumental forces are in proportional relation to the instrumental forces and it is sung in the original Latin. The intended performance time is approximately 18 minutes. Temporal aspects of the work are characterized by three contrasting sections. The slow and solemn opening section is given to long str
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ISAACS, KEVIN JAY. "TE DEUM OPUS 62. (ORIGINAL COMPOSITION)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188189.

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This work is a setting of the hymn of Thanksgiving written by St. Nicetius in the sixth century, the TE DEUM. In the Roman Catholic liturgy it replaces the last responsory of Matins on Feast Days and Sundays and in the Anglican liturgy it is one of the canticles of Morning Prayer. The text is one of the few surviving examples of Latin "Psalmus Idioticus" which were, along with the GLORIA of the Ordinary of the Mass and the EXULTET, early Latin texts written in imitation of the Psalms. This TE DEUM was written to continue a tradition of choral settings of this text, in Latin, English, and Germa
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Hood, Heather A. "A study and application of the ancient Te Deum in postmodern worship at Christ Presbyterian Church, Edina, Minnesota." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Wilson, Kathleen McCormick, and Giovanni Giacomo fl 1582-1609 Balletti voices (5) Selections Gastoldi. "A recital." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9980.

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Title from accompanying document.<br>Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble.<br>Digitized by Kansas Correctional Industries
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Teel, Christopher Brown. ""Te Deum laudamus": chant fragments in four organ works by Tournemire, Langlais, Dupré, and Demessieux." Thesis, 2003. http://hdl.handle.net/2152/988.

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Teel, Christopher Brown 1971. ""Te Deum laudamus" : chant fragments in four organ works by Tournemire, Langlais, Dupré, and Demessieux." 2003. http://hdl.handle.net/2152/12925.

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Teel, Christopher Brown Wheeldon Marianne Speller Frank. ""Te Deum laudamus" chant fragments in four organ works by Tournemire, Langlais, Dupré, and Demessieux /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3122802.

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Books on the topic "Te deum laudamus (hymn)"

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Universidade Nova de Lisboa. Centro de Estudos de Sociologia e Estética Musical, ed. O grande Te Deum setecentista português: The eighteenth-century Portuguese Grand Te Deum. Biblioteca Nacional de Portugal, 2019.

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Handel, George Frideric. Utrechter Te Deum =: Utrecht Te Deum : HWV 278. Bärenreiter, 1999.

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Tatomirescu, Ion Pachia. Argumente "interne": "Te Deum laudamus ..." = Internal arguments. Editura Aethicus, 2009.

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Vasks, Pēteris. Te Deum: Per organo (1991). Schott, 1993.

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Rutter, John. Te Deum. Hinshaw Music, 1989.

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6

Holst, Gustav. Short festival Te Deum. E.F. Kalmus, 1997.

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7

Buharaja, Edmond. Niceta i Remesiana-s: Teo-muzikozofia e tij në kulturën Niceane : (studium monografik) = Niceta of Remesiana : his teo-musicosophy in the Nicean culture. Akademia e Shkencave e Shqipërisë, 2019.

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8

Bytowie, Muzeum Zachodnio-Kaszubskie w., ed. Te Deum laudamus: Materialne świadectwa duchowości dawnych mieszkańców ziemi bytowskiej. Muzeum Zachodniokaszubskie w Bytowie, 2020.

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9

Santos, Fabricio Lyrio. Te Deum laudamus: A expulsão dos jesuítas da Bahia (1758-1763). Sagga Editora, 2019.

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Argento, Dominick. Te Deum: (Verba Domini cum verbis populi) : for chorus and orchestra. Boosey & Hawkes, 1991.

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Book chapters on the topic "Te deum laudamus (hymn)"

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"Te Deum laudamus." In Milestone Documents of Christianity. Schlager Group Inc., 2024. https://doi.org/10.3735/9781961844117.book-part-014.

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Te Deum laudamus is a Latin hymn of praise and thanksgiving addressed to the Trinity. Its title comes from the first three words of its opening line, which mean “We praise you, O God.” Often referred to as “the Te Deum,” the hymn follows biblical models that present all creatures in heaven and on earth worshipping God. (See, for example, Psalms 148– 150.) Its origins and authorship are uncertain and the subject of speculation and legend. It appears in liturgical and monastic texts as early as the sixth century and since then has been one of the most popular hymns of the Western church, sung on
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Toropainen, Tanja. "Early Finnish Translations of the Hymn Te Deum laudamus." In Languages in the Lutheran Reformation. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvfrxqjc.12.

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"8. Early Finnish Translations of the Hymn Te Deum laudamus." In Languages in the Lutheran Reformation. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048531219-011.

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"Te Deum laudamus." In Ludwig Senfl: Motets For Five Voices. New Senfl Edition 3. Hollitzer Verlag, 2022. http://dx.doi.org/10.2307/j.ctv2pfq2h1.34.

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Jamski, Piotr. "Spiżowe Te Deum laudamus." In Triumf 1920. Obraz i pamięć. University of Warsaw Press, 2020. http://dx.doi.org/10.31338/uw.9788323548348.pp.267-280.

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Gallus, Iacobus. "XXIV. Te Deum laudamus." In Monumenta artis musicæ Sloveniæ. ZRC SAZU, Založba ZRC, 2024. http://dx.doi.org/10.3986/9790709004478_xxiv.

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Gallus, Iacobus. "IV. Te Deum laudamus." In Monumenta artis musicæ Sloveniæ. ZRC SAZU, Založba ZRC, 2024. http://dx.doi.org/10.3986/9790709004478_iv.

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Rathey, Markus. "Trumpets, Drums, and Thundering Cannons." In Bach in the World. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197578841.003.0004.

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Abstract The Te Deum, a liturgical chant that dates to the fourth century, was often performed to celebrate peace treaties and victories in battles and during celebrations in honor of secular rulers. While this practice was widely criticized during the seventeenth and eighteenth centuries, it still remained common, as can be seen in the Te Deum compositions by G.F. Handel and others. While Bach did not write a larger setting of the complete hymn, he quotes the chant in several of his cantatas. On the background of the common use of the Te Deum in his time, it is noteworthy that all these canta
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Bradley, Ian. "1871‒1877." In Arthur Sullivan. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0005.

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By now widely recognized as England’s leading composer, Arthur Sullivan devoted the first half of the 1870s to sacred works, including a massive Te Deum to celebrate the recovery of the Prince of Wales from typhoid fever (1872), his most significant oratorio, The Light of the World (1873), forty-two original hymn tunes and seventy-five hymn tune arrangements and numerous sacred songs and ballads. The Light of the World broke significant new ground by dispensing with a narrator and for the first time in English oratorio making Jesus a real character who appeared and sang and interacted with oth
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Bradley, Ian. "The 1890s." In Arthur Sullivan. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0007.

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Arthur Sullivan’s final decade was overshadowed by increasing and debilitating ill health and growing criticism of the light-weight nature of his work by critics associated with the English Musical Renaissance centred around two younger composers, C.H. Parry and C.V. Stanford. Sullivan did at last produce the grand opera, Ivanhoe (1891), which he had wanted to write for so long. He also continued to write comic operas for the Savoy Theatre, most of them with librettists other than Gilbert. He wrote a ballet and a hymn tune for Queen Victoria’s Diamond Jubilee, set a patriotic song by Rudyard K
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