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Journal articles on the topic 'Te Deum laudamus (Music)'
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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 (December 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 značilnosti glasbenega baroka in klasicizma (npr. Blumejeve, v Epochen der Musikgeschichte iz leta 1974), temveč tudi nagovarjajo načelni premislek o konceptualnih izhodiščih epohnoslogovnega pristopa k zgodovini glasbe in zlasti posledicah nekritične aplikacije te vrste zgodovinopisne perspektive pri pisanju zgodovine glasbe »robnih območij« (M. Bergamo) Evrope, kot je vsaj do nedavnega bilo tudi slovensko.
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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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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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GOSINE, C. JANE. "MICHEL-RICHARD DE LALANDE (1657–1726) MUSIC FOR THE SUN KING Te Deum laudamus (S32); ‘Panis angelicus’, from Sacris solemniis (S74); La grande pièce royale (S161); Venite, exultemus (S58) Carolyn Sampson (dessus 1), Natalie Clifton-Griffith (dessus 2), James Gilchrist (haute-contre), Paul Agnew (taille), Jonathan Gunthorpe (basse-taille 1), James Mustard (basse-taille 2) / Ex Cathedra Chamber Choir / Ex Cathedra Baroque Orchestra / Jeffrey Skidmore Hyperion CDA67325, 2002; one disc, 1′11′′." Eighteenth Century Music 1, no. 2 (September 2004): 328–31. http://dx.doi.org/10.1017/s1478570604310183.
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Marcus, Kenneth H., and Paul Westermeyer. "Te Deum: The Church and Music." Sixteenth Century Journal 30, no. 3 (1999): 843. http://dx.doi.org/10.2307/2544847.
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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 (December 19, 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, consideradas então paradigma da música sacra católica.
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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 (June 28, 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, cómo una Ley Federal del año 1835 determinó una serie de acontecimientos que culminaron en la Catedral Metropolitana. El cabildo decidió recibir al general Antonio López de Santa-Anna con un Te Deum. Entonces, el segundo organista, José Antonio Gómez, propuso escribir una obra con solistas, coro y gran orquesta acorde al momento. Gómez se jugaba, durante los inicios del México independiente, su futuro dentro de la iglesia más importante del país y por extensión, en el ámbito secular. Casi doscientos años después, la Orquesta Sinfónica de Xalapa interpretó en septiembre de 2022, con gran éxito, su Te Deum laudamus.
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Mellers, Wilfrid, Arvo Part, Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, and Tonu Kaljuste. "Te Deum; Silouans Song; Magnificat; Berliner Messe." Musical Times 134, no. 1810 (December 1993): 714. http://dx.doi.org/10.2307/1002947.
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Schoenfeld, Deborah Loftis. "Book Review: Te Deum: The Church and Music." Interpretation: A Journal of Bible and Theology 53, no. 4 (October 1999): 440. http://dx.doi.org/10.1177/002096439905300435.
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Keym, Stefan. "Vom "revolutionären Te Deum" zur "Marseiller Hymne der Reformation"." Die Musikforschung 65, no. 4 (September 22, 2021): 338–67. http://dx.doi.org/10.52412/mf.2012.h4.169.
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Die kommunikative Funktion und die daraus resultierende kulturhistorische Relevanz musikalischer Zitate werden anhand politischer und religiöser Liedzitate in Intrumentalwerken des 19. Jahrhunderts näher beleuchtet. Nach einer systematischen Annäherung an Begriff und Phänomen des Zitats in der Musik wird im historischen Hauptteil zunächst den Ursachen für die starke Zunahme von Zitaten im frühen 19. Jahrhundert nachgegangen. Sodann werden am Beispiel von Mendelssohns "Reformationssymphonie" und anderen Werken, die den Luther-Choral "Ein feste Burg ist unser Gott" zitieren, die Bedeutungsvielfalt und auch das strukturelle Innovationspotenzial von Zitaten in der Instrumentalmusik aufgezeigt. Ausgehend von den bei diesen Werken aufgetretenen Rezeptionsproblemen wird abschließend erörtert, weshalb Instrumentalwerke mit religiösen und politischen Liedzitaten schon im 19. Jahrhundert an die Peripherie des Musikdiskurses gerieten und auch in der Forschung bislang eher geringe Beachtung fanden.
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Montagnier, Jean-Paul C. "Le Te Deum en France à l'époque baroque: Un emblème royal." Revue de musicologie 84, no. 2 (1998): 199. http://dx.doi.org/10.2307/947371.
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Escrivà-Llorca, Ferran. "Soundscapes and Brotherhood in the Processions of the Redemption of Captives. The Case of Early-Modern Valencia." Confraternitas 31, no. 2 (January 25, 2022): 86–107. http://dx.doi.org/10.33137/confrat.v31i2.38071.
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Processions for the redemption of Christian captives held for ransom in the eastern Mediterranean and North Africa were of great importance for the outward expression of Christian faith during the early modern period. The city of Valencia, as a major maritime centre in the Mediterranean, mounted many of these highly symbolic processions during the sixteenth and seventeenth centuries. Two main religious orders were dedicated to freeing captives: the Mercedarians and the Trinitarians. This article considers the soundscape of this type of procession in Valencia at that time, and, in particular, analyzes the major role of confraternities based in the churches of the two orders in the realization of processions. Extant documentation of these two religious houses affords insight into the urban ceremonies occasioned by the redemption processions and offers detailed descriptions of the soundscape they created with the singing of psalms, motets, and the Te Deum laudamus. It also provides an interesting account of the dispute between Trinitarians and Mercedarians over control of ceremonial space in the urban complex—both physical and sonic—occasioned by the processions they organized.
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Matejová, Miriam. "Pavol Krška (1949) – A Slovak Composer of Sacred Music." Roczniki Humanistyczne 68, no. 12 (December 23, 2020): 113–20. http://dx.doi.org/10.18290/rh206812-8.
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Pavol Krška (1949) – słowacki kompozytor muzyki sakralnej
Artykuł dotyczy wybranych kompozycji sakralnych słowackiego kompozytora Pavla Krški (1949), który w ostatnich dziesięcioleciach stał się jednym z najważniejszych przedstawicieli muzyki religijnej na Słowacji. Dzieła wokalno-instrumentalne jego autorstwa: Requiem, Stabat Mater i Te Deum są szęsto wykonywane, dzięki czemu wpisują się w ogólną świadomość tak zawodowych muzyków, jak i szerokiej publiczności. Jednym z celów prezentowanego artykułu jest wzbudzenie zainteresowania twórczością Pavla Krški tak, by stopniowo znalazła swoje miejsce w repertuarze nie tylko słowackich, ale także zagranicznych wykonawców.
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Paduch, Arno. "Festmusiken zu Frankfurter Kaiserwahlen und Krönungen des 17. und 18. Jahrhunderts." Die Musikforschung 59, no. 3 (September 22, 2021): 211–32. http://dx.doi.org/10.52412/mf.2006.h3.580.
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Durch die Auswertung bisher unbeachteter Quellen, wie z. B. Krönungsdiarien, Furier- und Futterzetteln und Wahl- und Krönungsakten in kurfürstlichen Archiven werden die musikalischen Abläufe der Frankfurter Kaiserkrönungen des 17. und 18. Jahrhunderts dargestellt. Neue Erkenntnisse ergeben sich dabei für die Liturgie der Kaiserkrönung, dem Personalbestand der Hofkapellen der Kurfürsten von Dresden, Trier, Köln und Mainz in den Jahren 1612 und 1619 sowie für die Biographien von Johann Caspar von Kerll, Antonio Bertali, Jan Zach, Ditters von Dittersdorf und Johann Walther. Verzeichnet werden auch alle zur Zeit bekannten Krönungsmessen, Motetten und Te Deum- Kompositionen zu Frankfurter Kaiserkrönungen.
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Shabalina, T. V. "«Heilig» для двойного хора К.Ф.Э. Баха BR-CPEB F 77: неизвестное Пастиччо 1785 года." Научный вестник Московской консерватории 14, no. 3(54) (October 20, 2023): 444–63. http://dx.doi.org/10.26176/mosconsv.2023.54.3.03.
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The article focuses on the first study of the source found in the Foreign Books Department of the National Library of Russia. The printed booklet contains the original text of the work performed in the Dreyfaltigkeitskirche in Berlin in 1785 under Johann Christoph Kühnau (1735–1805), a cantor and music director. It is revealed, that the libretto gives evidence of a hitherto unknown Pasticcio compiled from the famous “Heilig” for double choir by Carl Philipp Emanuel Bach (1714–1788) and his Aria “Wie prächtig wird dein Lob erschallen”, as well as some movements from the Oratorio “Das Weltgericht” and “Te Deum” by J. C. Kühnau. Based on the research of the existing letters, manuscripts, and other sources along with the printed text of 1785 the conclusion about Kühnau’s role in distribution and popularization of vocal works by “Hamburg Bach” in the late 18th century is drawn. One more important fact concerning the early reception history of “Heilig” BR-CPEB F 77 is added to our knowledge of its performances during the author’s life-time. В статье впервые исследуется источник, найденный в Иностранном книжном фонде Российской национальной библиотеки и содержащий текст сочинения, исполненного в Троицкой церкви Берлина в 1785 году под руководством кантора и «музикдиректора» Иоганна Кристофа Кюнау (1735–1805). Выявляется, что либретто относится к неизвестному ранее Пастиччо, созданному из знаменитого «Heilig» для двойного хора Карла Филиппа Эмануэля Баха (1714–1788), его Арии «Wie prächtig wird dein Lob erschallen», а также частей из оратории «Das Weltgericht» и «Te Deum» И. К. Кюнау. На основе изучения печатного текста 1785 года, сохранившихся писем, рукописей и других источников делается вывод о роли Кюнау в распространении и популяризации вокальных произведений «гамбургского Баха» в конце XVIII века. К истории исполнения «Heilig» BR-CPEB F 77 добавляется еще один важный факт ранней истории его рецепции при жизни автора.
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Page, Janet K. "Te Deum-Vertonungen K 271 und L 35 by Johann Joseph Fux." Notes 76, no. 3 (2020): 495–99. http://dx.doi.org/10.1353/not.2020.0029.
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Montagnier, Jean-Paul C. "Le Te Deum de Jacques Morel et le Concert spirituel d'Alexandre de Villeneuve comme exemples de divertissements sacres." Revue de musicologie 88, no. 2 (2002): 265. http://dx.doi.org/10.2307/947220.
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Ткачук, Руслан. "ПРАВОСЛАВНИЙ СВІТ У РЕФОРМАЦІЙНІЙ ОРБІТІ: ЗАПЕРЕЧЕННЯ КУЛЬТУ БОГОРОДИЦІ В РУКОПИСІ МЕЛЕТІЯ СМОТРИЦЬКОГО 1609 р." Науковий вісник Ужгородського університету. Серія Філологія 1, no. 49 (November 16, 2023): 130–36. http://dx.doi.org/10.24144/2663-6840.2023.1.(49).130-136.
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Відлуння в українській літературі реформаційного руху XVI–XVII ст., що істотно позначився на церковному світогляді православних письменників-полемістів, залишається дотепер нерозкритим. Цим пояснюється актуальність вивчення впливу церковного та суспільно-політичного руху Реформації на українську книжність. Метою статті є дослідження латинсько-польського рукописного твору українського православного письменника-полеміста Мелетія Смотрицького, який оприявнює захоплення ним під час навчання в Європі догматикою реформаторських церков. У публікації розглянуто питання атрибуції манускрипту Мелетію Смотрицькому, наведено нові докази, які підтверджують його авторство. У своєму творі православний книжник критично відгукнувся про надання Римською церквою святій Марії атрибутів Бога, що зауважували такі церковні реформатори, як Мартін Лютер та Філіп Меланхтон. Крім того, у творі звинувачено римських пап у викривленні змісту текстів Нового Завіту та вдаванні до чаклунства. Розглядаючи вчення Західної церкви про святу Марію як Богородицю та Царицю Небесну у світлі праць англійського єпископа Томаса Мортона, Мелетій Смотрицький обґрунтував висунуте латинникам звинувачення в богохульному вживанні священного імені «YHWH» щодо Марії. На прикладах португальського екзегета Браса Вієгаша, італійського історика Горація Турселіна та іспанського єзуїта Іоанна Осорія православний полеміст зауважив однакове прославлення в католицизмі Бога та Марії. Стоячи у ранній період своєї полемічної творчості на позиціях протестантизму, Меле- тій Смотрицький засуджував те, що латинники переробили на честь Марії псалми Давида, літургійний гімн IV століття «Te Deum laudamus», а також її молитовним згадуванні перед починанням та завершенням справ. Рукописний твір Мелетія Смотрицького засвідчує засвоєння Україною реформаційних ідей Західної і Центральної Європи XVI–XVII ст. Розлоге цитування українським православним книжником реформаторських полемістів-богословів спростовує низку хибних думок, висловлених про зародження євангельського руху в Україні у XIX ст.
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Kim, Minji. "Handel’s choruses of ‘praise and thanksgiving after victory’ and Non nobis Domine." Early Music 47, no. 4 (November 2019): 551–68. http://dx.doi.org/10.1093/em/caz070.
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Abstract Handel highlights several climactic moments in his works with choruses composed of closely related cantus firmus themes and contrapuntal settings. Parallels can be traced through individual sections of some of the key compositions that define his career in England: ‘Oh Lord, in thee have I trusted’, from the Utrecht Te Deum (1713), ‘Blessed be God’, from Let God arise (1717–18/1726), ‘I will sing’, from Israel in Egypt (1738), and ‘Hallelujah’ from Messiah (1741). The common purpose of giving thanks and praise to God for military victory further links these choruses. While several different melodic sources have been suggested for the cantus firmus subjects thus far, the affinity of all four of Handel’s themes to the incipit of a very well-known canon, Non nobis Domine, invites an exploration of its possible citation. The customary practice of singing the canon or reciting its psalm text at celebratory moments, modelling the psalmist’s deflection of all the honour of his accomplishments to God, makes its reference in Handel’s works highly appropriate. Understanding Handel’s multiple reuse of his choral setting in the context of this tradition deepens the relevance of his music as well as our perspective on his self-borrowing.
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Виноградова, А. С., and А. В. Лебедева-Емелина. "New Information About M. P. Mussorgsky’s Choral Arrangements of Folk Songs." Научный вестник Московской консерватории, no. 1(52) (March 27, 2023): 60–91. http://dx.doi.org/10.26176/mosconsv.2023.52.1.02.
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В статье характеризуется неизвестный ранее автограф М. П. Мусоргского — обработка народной песни «Уж ты воля, моя воля» для мужского хора без сопровождения; дается его первая публикация. Манускрипт считался утерянным; в статье он представлен с согласия владельца рукописи (оригинал хранится в частном собрании в Германии). Данная обработка была выполнена Мусоргским в 1878 году по просьбе Михаила Андреевича Бермана, руководителя Думского кружка; автограф находился в личной коллекции дирижера. В исследовании воссоздан обширный исторический контекст, связанный с творческим окружением Мусоргского конца 1870-х годов. В первую очередь это касается фигуры Тертия Ивановича Филиппова, друга кучкистов, заботившегося о сохранении русских народных песен (с его голоса темы записывались Вильбоа, Мусоргским и Римским-Корсаковым). Дается характеристика дружеским и творческим контактам Мусоргского с членами Думского кружка. По-новому представлена фигура петербургского хормейстера М. А. Бермана, заказавшего Мусоргскому несколько песенных обработок для мужского хора. Освещено участие Думского кружка в исполнении «Te Deum» Берлиоза под управлением Балакирева с хором и оркестром Бесплатной музыкальной школы. Впервые цитируются неизвестные ранее дневники Ильи Федоровича Тюменева — певца, аккомпаниатора, второго дирижера Думского кружка. По дневникам Тюменева и письмам Бермана характеризуется исторический показ «Хованщины» Мусоргского на квартире Филиппова в ноябре 1880 года и приводится список присутствовавших на нем лиц. Нотный текст песни «Уж ты воля, моя воля» в автографе сравнивается с первым изданием в сборнике из репертуара Думского кружка; делается вывод о значительных изменениях, которым подвергся вариант Мусоргского при публикации его Берманом. Все иллюстрации публикуются также впервые. This paper presents a previously unknown M. P. Mussorgsky’s autograph — the arrangement of the folk song “Uzh ty volya, moya volya” for an unaccompanied male choir; this is its first publication. The manuscript was considered lost; published by us with the consent of the owner of the manuscript (the original is kept in a private collection in Germany). This arrangement was made by Mussorgsky in 1878 at the request of Mikhail Andreevich Berman, head of the Duma circle; the autograph was in the personal archive of the conductor. Our study recreates a vast historical context associated with the creative Mussorgsky’s environment in the late 1870s. First of all, this concerns the figure of Tertii Ivanovich Filippov, a friend of the members of the New Russian School, who cared about the preservation of Russian folk songs (which were recorded from his voice by Vilboa, Mussorgsky and Rimsky-Korsakov). A characteristic is given of Mussorgsky’s friendly and creative contacts with members of the Duma Circle. The figure of the St. Petersburg choirmaster M. A. Berman, who ordered several song arrangements for the male choir from Mussorgsky, is presented in a new way. The participation of the Duma circle in the performance of “Te Deum” by Berlioz under the direction of Balakirev with the choir and orchestra of the Free Music School is highlighted. For the first time, previously unknown materials from the diaries of Ilya Fedorovich Tyumenev, singer, accompanist, second conductor of the Duma circle, are cited. According to Tyumenev’s diaries and Berman’s letters, the historical display of Mussorgsky’s “Khovanshchina” at Filippov’s apartment on November 1880 is characterized and a list of those who were present at it is given. The musical text of the song “Uzh ty volya, moya volya” is compared in the autograph with the first edition, a conclusion is made about the significant changes that Mussorgsky’s version has undergone. All illustrations are also published for the first time.
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WEBER, JEROME F. "Recent Recordings of Plainchant." Plainsong and Medieval Music 14, no. 1 (April 2005): 89–104. http://dx.doi.org/10.1017/s0961137105000185.
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An effort to catch up on missing discs to be included in the Second Edition of my discography has resulted in an unusually long list this year. ‘Christus Rex’ (1997, no. 2) proved to be the first disc in a series featuring Hervé Lamy, a soloist with the Chœur Grégorien de Paris. It has been followed by ‘Spiritus Domini’ (no. 1 in the list below) and ‘Pater Noster’ (no. 3) to form a Trinitarian programme of chants related to each of the Three Divine Persons. In a similar vein, ‘Le Livre d’Heures de Charlemagne' (no. 2) offers groups of chants that focus on the Carolingian chant reform and other aspects of the king's life. Most of the chants belong to a soloist, Lamy's superb professional tenor a perfect vehicle for interpretations that are faithful to current standards yet inspired by a sensitive interpreter. Credo IV, leading off no. 1, is not a good choice for a solo, but it is sung with great panache. The Ambrosian Gloria and the Te Deum on the same disc are better alternating with the men's schola. For the rest, the Exsultet (on no. 3), lamentations, lessons from Office and Mass, and offertories with verses are ideal selections. An original touch also in no. 3 is a passage of St Matthew's gospel that leads into the communion chant Pater si non potest. The Laudes Regiae, heard on the earlier disc already, are sung again for Charlemagne, Pope Leo and Archbishop Hincmar. These are magnificent examples of recorded chant.
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Локотьянова, Д. Е. "Choral Activities of Anton Bruckner. Secular Vocal Works." OPERA MUSICOLOGICA 15 / 3, no. 15/3 (2023) (September 12, 2023): 206–31. http://dx.doi.org/10.26156/om.2023.15.3.012.
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Австрийский композитор Антон Брукнер (1824–1896) занял прочное место на «симфоническом олимпе» в мировой музыкальной культуре, а также еще при жизни снискал славу виртуозного органиста-импровизатора. Сегодня у слушателей вызывают восхищение и его церковные сочинения (масштабные вокально-инструментальные опусы Te Deum, Месса ми минор, мотеты Ave Maria, Locus iste, Os justi), вошедшие в историю хоровой музыки. Именно эти три сферы (Брукнер-симфонист, Брукнер-органист, Брукнер-церковный музыкант) чаще всего попадают в поле внимания исследователей. Светская же хоровая музыка композитора (как и его хоровая деятельность в целом) незаслуженно оказалась в тени. Между тем, данное направление всегда занимало важное место в жизни Брукнера: великий симфонист начинал свой путь как певчий монастырского хора, затем он был участником и руководителем хоровых коллективов, в том числе широко известного Liedertafel Frohsinn. Хоры (как церковные, так и светские) композитор писал на протяжении всей жизни; сохранилось более 40 светских вокальных (хоровых, ансамблевых) произведений, созданных мастером. Эти пьесы варьируются от кратких фанфар без сопровождения до развернутых по форме кантат. По ним сегодня можно судить об эволюции творческих поисков музыканта, о связях его хоровых сочинений с другими областями композиторского наследия. В статье впервые в отечественном музыкознании осуществляется попытка осветить хоровую практику Брукнера (включая создание его светских хоров) в историческом контексте. The Austrian composer Anton Bruckner (1824–1896) has taken a strong place on the symphonic Olympus in the world musical culture, and even gained life fame both as a virtuoso and an organist-improviser. Today, listeners also admire his church choirs (for example, the famous vocal opuses Te Deum, Mass in E minor, motets Ave Maria, Locus iste, Os justi), which have become manuals in the field of choral music. It is these three areas (Bruckner as an organist, Bruckner as a symphonist, Bruckner as a church musician) that often draw attention of many researchers of his art. Secular choral music, however, like all his choral activities, was undeservedly in the shadow of the artist’s creative biography. Meanwhile, this area in the life of Bruckner always occupied an important place: the great symphonist began his career as a chorister of the monastery choir, then he was a member and leader of choral groups, including the well-known Liedertafel Frohsinn. The composer created (both church and secular) choirs throughout his life. Many secular vocal opuses (more than 40) created by the master have been preserved. These pieces range from short, unaccompanied mottos to extended cantatas. According to them, today one can judge the evolution of the musician’s creative endeavors, the musical ties with other areas of the composer’s heritage. This article is the first attempt in Russian musicology to highlight Bruckner’s choral activities (including creation of his secular choirs) in the historical context.
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RICE, JOHN A. "ANTONIO SALIERI (1750–1825), ED. JANE SCHATKIN HETTRICK PLENARY MASS IN C WITH TE DEUM Recent Researches in the Music of the Classical Era 103 Middleton, WI: A-R Editions, 2016 pp. xxii + 265, isbn 978 0 895 79836 7." Eighteenth Century Music 14, no. 2 (August 30, 2017): 310–12. http://dx.doi.org/10.1017/s1478570617000161.
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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.
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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.
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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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LEECH, PETER. "GEORGE FRIDERIC HANDEL (1685–1759) CHANDOS ANTHEMS Emma Kirkby (soprano), Iestyn Davies (alto), James Gilchrist (tenor), Neal Davies (bass) / The Choir of Trinity College, Cambridge / Academy of Ancient Music / Stephen Layton Hyperion, CDA67737, 2009; one disc, 66 minutes - GEORGE FRIDERIC HANDEL (1685–1759) HANDEL IN THE PLAYHOUSE Mary Bevan (soprano), Greg Tassell (tenor) / L'Avventura London / Žak Ozmo Opella Nova, ONCD014, 2009; one disc, 52 minutes - GEORGE FRIDERIC HANDEL (1685–1759) PARNASSO IN FESTA, hwv73 Carolyn Sampson (soprano), Lucy Crowe (soprano), Rebecca Outram (soprano), Diana Moore (mezzo-soprano), Ruth Clegg (alto), Peter Harvey (bass) / Choir of the King's Consort / The King's Consort / Matthew Halls Hyperion, CDA67701/2, 2008; two discs, 132 minutes - GEORGE FRIDERIC HANDEL (1685–1759) TE DEUM IN D MAJOR, ‘DETTINGEN’, hwv283, ORGAN CONCERTO NO. 14 IN A MAJOR, hwv296A, ZADOK THE PRIEST, hwv258 Neal Davies (bass), Richard Marlow (organ) / The Choir of Trinity College, Cambridge / Academy of Ancient Music / Stephen Layton Hyperion, CDA67678, 2008; one disc, 61 minutes." Eighteenth Century Music 7, no. 2 (July 30, 2010): 305–9. http://dx.doi.org/10.1017/s1478570610000199.
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Mateer, D. "John Taverner, 'Western Wynde' Mass; O Splendor Gloriae; Te Deum, Alleluia Veni, Electa Mea, The Sixteen, directed by Harry Christophers Hyperion CDA66507 (rec 1991); John Sheppard, Church Music, Vol. 3, The Sixteen, directed by Harry Christophers, Hyperion CDA66570 (rec 1991); Thomas Weelkes, Cathedral Music. Winchester Cathedral Choir, conducted by David Hill, Hyperion CDA66477 (rec 1991); John Sheppard, Thomas Tallis, William Byrd, Robert White, Compline with Anthems and Motets, Clare College Chapel Choir, Cambridge, directed by Timothy Brown, Gamut Classics GAM CD 531 (rec 1992); Orlando Gibbons, Anthems and Instrumental Music, The Elizabethan Consort, Adrian Lucas (organ), The Choir of St John's College, Cambridge, directed by George Guest Meridian CDE 84226 (issued 1992)." Early Music XXI, no. 1 (February 1, 1993): 138–41. http://dx.doi.org/10.1093/em/xxi.1.138.
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Yankyerah, Andrew Kwame. "STYLISTIC ANALYSIS OF TE DEUM LAUDAMUS." European Journal of English Language Teaching 6, no. 4 (August 18, 2021). http://dx.doi.org/10.46827/ejel.v6i4.3894.
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The aim of this essay is to do a stylistic analysis on Te Deum Laudamus. Stylistic techniques and methods are employed for this task under the aspects of syntactic semantic, phonological and graphological patterns. Effects of linguistic foregrounding are also highlighted in the paper. The analysis revealed that the poet made use of stylistic and linguistic tools not only to deepen his message but also to make it effective and aesthetic.
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Marumo, Phemelo Olifile. "The Relevance of Singing the Te Deum Laudamus in the Postmodern Era." Studia Historiae Ecclesiasticae 45, no. 1 (February 12, 2019). http://dx.doi.org/10.25159/2412-4265/4423.
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This paper investigates the relevance of singing and performing the Te Deum Laudamus in the postmodern Christian era, especially in view of changing enactments and perceptions of the purpose of the hymn. The Te Deum has been used in various ways in church history, sung as a confession of praise and regularly used since the time of St Benedict during Matins (morning service). While the Reformers were critical of the late medieval worship, they did not query incorporating the Te Deum into their liturgies, because it brought meaning to the glorification of a benevolent God. This explains its use also by most Christian churches in their liturgies in the postmodern era. However, the pertinent question remains: Is the Te Deum still applicable to the postmodern church, which is characterised by secularism, charismatic sermons, and commercialised worship. The question is instigated by events and conceptions of the universe from the era of Gregorianism to Darwinism. In answering this question, the paper highlights the history of the Te Deum and its application within the church, and seeks to find out whether the hymn addresses the present needs of Christians, which have been affected by postmodernism. The paper contends that the Te Deum is still relevant and contributes to the glorification of God’s mission (missio Dei).
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Dini, Pietro Umberto. "Apie Mažvydo 1549 m. „Te deum laudamus“ vertimą." Baltistica 22, no. 1 (December 29, 2011). http://dx.doi.org/10.15388/baltistica.22.1.1998.
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Santiago Figueiredo, Denise Lima, Mónica Vermes, and Leni Ribeiro Leite. "Figuras retórico-musicais no Te Deum de Luís Álvares Pinto." Orfeu 5, no. 3 (December 16, 2020). http://dx.doi.org/10.5965/2525530405032020124.
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A retórica tem seu nascimento e desenvolvimento na Grécia e posteriormente em Roma, alcançando toda a Europa no final da Antiguidade e se estendendo ao medievo, contribuindo para o enriquecimento de várias esferas do conhecimento humano, bem como da música. O contato entre as duas artes se dá, a partir do século XVI por meio dos tratados que vão desde compositores alemães, franceses, italianos, até os portugueses, chegando então, aos músicos brasileiros estudantes na metrópole, o conhecimento consciente da utilização de elementos e técnicas que estabelecem, entre outras possibilidades, uma maior aderência junto à plateia. Situado neste quadro está Luís Álvares Pinto, compositor e professor brasileiro que, por meio de seu contato com os estudos humanísticos, trouxe à sua obra Te deum Laudamus possíveis figuras de elocução que caracterizam a aplicabilidade da retórica em sua música.
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Teixeira, Thiago Plaça. "O Gloria de Nepomuceno e o modelo formal cecilianista." Revista Vórtex 6, no. 1 (April 1, 2018). http://dx.doi.org/10.33871/23179937.2018.6.1.2408.
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O presente artigo visa analisar o contexto estético, o estilo e as relações de intertextualidade musical do Gloria da Missa a duas vozes de Alberto Nepomuceno (1864-1920). Verifica-se que a estruturação utilizada pelo compositor no que tange ao plano harmônico, à textura musical, às relações temáticas e aos andamentos, reproduz um específico modelo formal convencional do repertório sacro elaborado no contexto do movimento cecilianista em geral, e particularmente a forma musical encontrada no Gloria da Missa Te Deum laudamus de Lorenzo Perosi (1872-1956).
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Teixeira, Tiago Plaça, and Norton Dudeque. "O Sanctus de Alberto Nepomuceno: um Caso de Intertextualidade Musical." Musica Theorica 1, no. 2 (April 26, 2017). http://dx.doi.org/10.52930/mt.v1i2.19.
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O presente artigo se propõe a analisar a obra Sanctus, da Missa em Ré menor (1915) de Alberto Nepomuceno (1864-1920) e demonstrar as relações de intertextualidade musical entre ela e o Sanctus da Missa Te Deum Laudamus (1899) de Lorenzo Perosi (1872-1956). Uma análise comparativa entre os dois Sanctus demonstra que a obra de Nepomuceno se apresenta como uma paráfrase da obra de Perosi. Há semelhanças entre as duas obras quanto à estrutura formal, alternância das texturas, contorno melódico e quanto aos procedimentos harmônicos empregados pelos compositores.
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Kloppers, Elsabé. "Te Deum Laudamus – Grosser Gott, wir loben dich. ’n Ondersoek na vertalings in Afrikaans." HTS Teologiese Studies / Theological Studies 76, no. 4 (December 21, 2020). http://dx.doi.org/10.4102/hts.v76i4.6146.
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Tyshchenko, Mykhailo. "Te Deum for mixed choir a cappella by Dmytro Stetsiuk in the context of Ukrainian religious music." National Academy of Managerial Staff of Culture and Arts Herald, no. 3 (November 16, 2021). http://dx.doi.org/10.32461/2226-3209.3.2021.244486.
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The purpose of the article is the insert to the scientific research the complete analysis of masterpiece by known Ukrainian composer Dmytro Stetsiuk Te Deum for mixed choir a capella and draw the attention of the choir conductors, who would like to insert to their music collectives a masterpiece, written in the tendencies of modern music and that can be performed either in the liturgy or in concerts. The methodology of the exploration is based on the combination of the general scientific (historical and comparative) and special musicological( of the genre, general and the dramaturgical-intonational analysis), that gives the opportunity to regard the historical basics of the Catholic liturgic tradition, and from another side-see the ways of its development and renovation. Scientific Novelty. The research is the first analysis of Te Deum for the mixed choir in the context of the modern tendencies of Ukrainian composers. Conclusions. The analysis of Te Deum for the mixed choir a capeella by Dmytro Stetsiuk in the context of religious music and in the sphere of the creative search of the modern Ukrainian composers proves the fact, that this masterpiece is written in the liturgic tradition and develops it in the intonational side. Componist completely uses the canonic text, but gives his own regard for it, also understanding of the main idea. The traditional melody of Te Deum from one side gives the unity of the composition, from another gives the basics for the modern stylization, because of intonation, voice tembre (the unity of the different groups of the choir), harmonical, factual (harmony and polyphony). This way are revealed individual traits of the composer and also the modern regard on the medieval liturgic text. The exploration of the masterpiece`s score gives the reason to be sure, that it is not only in the liturgical tradition, but also can be performed in the concert hall.
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Helin, Irmeli. "Interferenssi ja transferenssi vanhoissa virsikäännöksissä." Mikael: Kääntämisen ja tulkkauksen tutkimuksen aikakauslehti 6 (December 1, 2012). http://dx.doi.org/10.61200/mikael.129583.
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Throughout history, translation has been among the most important methods for creating a new, standardized written language. Translating from various source languages has provided tools for shaping the grammatical structures and lexical norms of the target language. On the other hand, the transfer process has unavoidably resulted in SL interferences on the morphological, syntactic or lexical levels. Interference was probably particularly common when the target language lacked standardization, which was the case with the early translations of Christian texts such as Biblical and liturgical texts and hymns. In this paper, the author analyzes a 4th- century Latin hymn, Te Deum laudamus by Ambrosius, and its eight Finnish and five German translations from the 16th through the 20th centuries, as well as one Swedish translation from the 16th century. The aim is to discover whether there were cases of the different types of interference in the oldest translations that were subsequently reformulated in the retranslations. If SL interference was still present in the retranslations, it was further investigated whether the linguistic phenomena concerned have become part of standardized target language as transference, or whether they have only been preserved in the hymns to give them an archaic touch.