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Littérature scientifique sur le sujet « Music chapel of the cathedral »

Auteur : Grafiati

Publié le 2 juin 2025

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Music chapel of the cathedral"

Temperley, Nicholas. "The Lock Hospital Chapel and its Music." Journal of the Royal Musical Association 118, no. 1 (1993): 44–72. http://dx.doi.org/10.1093/jrma/118.1.44.

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It has been generally recognized that the music of the Lock Hospital chapel was an important new influence in English and American church music during the late eighteenth and early nineteenth centuries. The chapel attracted fashionable congregations and thereby disseminated an elegant, theatrical type of hymnody that was far removed from the norms of church music, whether in cathedral, town church, village parish or dissenting meeting-house. Many hymn tunes first used at the Lock Hospital became enormously popular; some still remain in common use; and their style became the model for a ‘school

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Benita Cardoso. "Music in the Cathedral of Córdoba (1236-16th century)." ENDLESS : International Journal of Future Studies 1, no. 2 (2018): 38–60. http://dx.doi.org/10.54783/endless.v1i2.8.

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The present article tries to explore the origins of music in the cathedral of Cordoba since it is consecrated as a Christian temple, as well as the beginning and consolidation of the groups and ministers who daily play the Gregorian chant in the Catholic Mass and in the different hours of the divine office, and, extraordinarily, polyphony in the great liturgical solemnities, taking as its starting point the very institution of the cathedral lobby which is the one that makes this sound reality possible. On the other hand, we inquired in the beginnings of the instrumental musical practice from t

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Brown, Howard Mayer. "The Mirror of Man's Salvation: Music in Devotional Life About 1500." Renaissance Quarterly 43, no. 4 (1990): 744–73. http://dx.doi.org/10.2307/2862788.

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Composers working during the last quarter of the fifteenth century wrote many more motets than previous composers had done. At any rate, far more have come down to us. This apparent explosion of activity coincided with the founding, reorganization, or revitalization of a number of cathedral or princely chapel choirs. Moreover, the character of the motet as a musical genre also seems to have changed at about the same time. By far the largest number of motets composed before 1475 set texts celebrating the Virgin Mary, or else they were compositions written to celebrate particular political or so

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MAHRT, WILLIAM PETER. "Responsory prosae and the post-Christmas ‘Choir Solemnities’ at Salisbury Cathedral." Plainsong and Medieval Music 25, no. 1 (2016): 27–36. http://dx.doi.org/10.1017/s0961137115000212.

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ABSTRACTThe Christmas octave in the Sarum rite included the singing of prosae on Christmas Day and on the three days following Christmas – the feasts of St Stephen, St John the Evangelist and the Holy Innocents. After the Vespers preceding each of these three days, a procession was made to an appropriate altar in the church, during which a responsory was sung with its prosa and wordless melismas after each prosa verse, with two responsory prosae based upon the melody from Christmas. These processions featured, in turn, the deacons, the priests and the choirboys, vested in silken copes and carr

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Jiménez, Juan Ruiz. "‘THE SOUNDS OF THE HOLLOW MOUNTAIN’: MUSICAL TRADITION AND INNOVATION IN SEVILLE CATHEDRAL IN THE EARLY RENAISSANCE." Early Music History 29 (July 21, 2010): 189–239. http://dx.doi.org/10.1017/s0261127910000094.

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With the restoration of the Seville diocese in 1248, its organisation followed the model established by other Castilian cathedral chapters. Seville Cathedral's symbolic importance and the wealth created by its endowments resulted in a flourishing development of worship, in which music played a key role. The ritual space in the Mozarabic cathedral was radically transformed with the construction of the Gothic building over a period of almost a hundred years, from 1434 to 1517. In tandem with this architectural programme, the cathedral's musical resources also underwent transformation, being adap

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Jakubek-Raczkowska, Monika, and Juliusz Raczkowski. "The So-called Copernicus’ Chapel: a Jubilee Creation in the Gothic St John’s Cathedral in Toruń." Ikonotheka, no. 31 (September 20, 2022): 83–111. http://dx.doi.org/10.31338/2657-6015ik.31.4.

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The article is devoted to the history of transformation and re-arrangement of the first from the West chapel on the South side of the Gothic parish church of the Old Town in Toruń, at present the Toruń Cathedral of St John the Baptist and St John the Evangelist. The former merchants’ chapel dedicated to St Nicholas over its history had changed its furnishing and patrocinium twice (St Michael the Archangel/ The Guardian Angels), which had been dictated by religious needs. In the 19th century it had also assumed the function of baptismal chapel and in 1973 – the Copernicus Jubilee Year – gained

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Royo, Mireya. "Instruments in the liturgy of the Real Colegio Seminario de Corpus Christi, València, in the 17th century." Early Music 49, no. 1 (2021): 35–48. http://dx.doi.org/10.1093/em/caab001.

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Abstract The Real Colegio Seminario de Corpus Christi in València, founded by Archbishop Juan de Ribera, was (along with the cathedral) the most important centre of musical activity in the city during the 17th century. The Constituciones of the chapel organize the liturgical calendar and its music, in the process stipulating the presence of instrumentalists on certain occasions. Later documents reveal gradual changes that were reflected in this daily practice: on the one hand, wind players were required to play on a growing number of feast-days, and including instruments other than those expec

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Torrente, Álvaro, and Pablo-L. Rodríguez. "The ‘Guerra Manuscript’ (c.1680) and the Rise of Solo Song in Spain." Journal of the Royal Musical Association 123, no. 2 (1998): 147–89. http://dx.doi.org/10.1093/jrma/123.2.147.

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The discovery of a new anthology of secular songs from Madrid fills an important lacuna in our understanding of secular music in seventeenth-century Spain. The Biblioteca Xeral of the University of Santiago de Compostela — near the romanesque cathedral for which the famous Codex Calixtinus was written — preserves a manuscript of 111 folios (E-SCu MS 265) which has hitherto escaped the attention of both musicological and literary scholars. It contains 100 anonymous songs, all but two for solo voice and continuo, and was copied by a certain José Miguel Guerra, scribe of the Spanish Royal Chapel.

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Bezpalko, Vladyslav, and Ivan Kuzminskyi. "Musical Heritage of the Pereyaslav Collegium." Kyivan Academy, no. 17 (March 10, 2021): 99–118. http://dx.doi.org/10.18523/1995-025x.2020.17.99-118.

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This article is an interdisciplinary study that aims to form a comprehensive view of music and church singing both in the educational process of collegium students and outside it. Thanks to the historical sources involved, we were able to clarify the mechanism of functioning of church singing both in the collegium and at the stage of primary (preparatory) education of future students, as well as its role in the life of collegium graduates who made careers in the major vocal chapel of the Russian Empire. The preparatory stage for the future students was studying in parish schools, where an obli

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Kisby, Fiona. "A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII." Early Music History 16 (October 1997): 203–34. http://dx.doi.org/10.1017/s0261127900001728.

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Ever since the publication of Frank Harrison's book Music in Medieval Britain in 1958, the study of the cultivation of liturgical music in late-medieval England has been based on the institutional structure of the Church: on the cathedrals, colleges and parish churches, and on the household chapels of the monarchy and higher nobility both spiritual and lay. In that and most subsequent studies, however, male figures have been seen to dominate the establishments under investigation. If art history (perhaps musicology's closest sister discipline) can be shown to have characterised the patronage o

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Thèses sur le sujet "Music chapel of the cathedral"

Martínez, Correa María Guadalupe. "MISSA À 4 COMPUESTA A GRANDE ORQUESTA IN D MAJOR BY MANUEL ARENZANA, THE LAST CHAPEL MASTER OF THE CATHEDRAL OF PUEBLA, MEXICO IN THE COLONIAL PERIOD (1791-1821)." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/2066.

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Manuel Arenzana was the last chapel master of the Cathedral of Puebla from 1791 to 1821. Arenzana composed sacred music for the Cathedral of Mexico, as well as operas for the Coliseo Theater in Mexico City. Missa à 4 Compuesta a Grande Orquesta in D Major was composed for double choir and big orchestra, which included viola, clarinets and bassoon. This work is a scholarly edition of previously unedited manuscripts and it is collocated with two late copies located in Oaxaca. Also, the actas capitulares from the Cathedral of Puebla, during the period when Arenzana worked as chapel master (1791-1

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Porto, Hugo Filipe Teles. "Os agentes do Serviço Musical das Catedrais de Elvas e Portalegre." Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28352.

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Portalegre e Elvas são, certamente, duas das dioceses menos conhecidas e estudadas, dentro do conjunto dos bispados erigidos por D. João III. O recente processo de inventariação do acervo documental de diocese da Portalegre, e de uma parte do antigo arquivo da Sé de Elvas, constituiu uma oportunidade para o estudo e caracterização dos serviços musicais de ambas as catedrais. Com o presente trabalho pretende-se dar a conhecer as estruturas musicais fundamentais, assim como os recursos utilizados em todos os momentos do ritual, sem perder de vista a sua evolução ao longo do tempo. O cerne da inv

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Ritchie, Carolyn Cairns. "The Russian Court Chapel Choir : 1796-1917." Thesis, University of Glasgow, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263564.

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Ormrod, Lucy. "The Wenceslas chapel in St. Vitus' cathedral, Prague : the marriage of imperial iconography and Bohemian kingship." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302224.

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Eyzaguirre, Roberto. "Melchor Tapia and music in the Lima cathedral /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121815d.

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Stone, Kathryn Ann. "THE HISTORY AND ORIGINS OF THE OPUS ALEXANDRINUM PAVEMENT IN THETRINITY CHAPEL IN CANTERBURY CATHEDRAL, KENT, ENGLAND." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1493045650739424.

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Frost, Rebecca Ruth. "English Cathedral Music and the BBC, 1922 to 1939." Thesis, King's College London (University of London), 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658081.

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English Cathedral Music has come to be regarded as an integral part of English identity both within the UK and indeed throughout the world. Its role is defined par excellence by the Nine Lessons and Carols Christmas broadcast from King's College, Cambridge. Many imagine this broadcast to be part of an enduring tradition stretching back unbroken to an idealised English past. This thesis examines the way in which the BBC broadcast cathedral music between 1922 and 1939 and assesses the impact that these broadcasts had on the way in which cathedral music was received. The main part of the thesis u

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Hume, James Cameron. "The Chapel Royal partbooks in eighteenth-century England." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-chapel-royal-partbooks-in-eighteenthcentury-england(18b3a468-67ea-42b8-a9a1-1aa51505d33f).html.

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This thesis provides a comprehensive source study of the eighteenth-century Chapel Royal partbooks (London, British Library R.M.27.a–d). The 56 manuscript volumes in this collection, which are now catalogued into four groups (or ‘sets’), were used in the daily choral services at St James’s Palace during the eighteenth and nineteenth centuries. The sources have a complex history since they have an ‘organic’ quality whereby the books continued to be copied into and altered whilst they were in regular use. The first part of the thesis (chapters two to six) examines the physical characteristics of

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Boyer, Sarh P. M. "The cathedral, the city and the crown:a study of the music and musicians of St Paul's Cathedral." Thesis, University of Manchester, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533895.

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The years between 1660 and 1697 were possibly the most decisive in the history of St Paul's Cathedral. Even the dates themselves are significant - markers for what had been and what would follow. For it was during this time that St Paul's was transformed, outwardly and inwardly -a process that pulled in its wake the music and musicians whilst many of the changes can be understood without reference to the music and musicians, they themselves cannot be understood in isolation. In 1660 the Cathedral stood alone. Its singers and much of its music were heard only there, and it had little contact wi

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Chevill, Elizabeth Jane. "Music societies and musical life in old foundation cathedral cities 1700-60." Thesis, Online version, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.308531.

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Livres sur le sujet "Music chapel of the cathedral"

Clifford, Mould, ed. Music manuscripts from chapel and cathedral libraries. Research Publications, 1990.

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Hodgson, Frederic. Choirs and cloisters: Seventy years of music in church, college, cathedral and Chapels Royal. 2nd ed. Thames, 1995.

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Hodgson, Frederic. Choirs and cloisters: Sixty years of music in church, college, cathedral and Chapels Royal. Thames, 1988.

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

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Miklós, Horler. The Bakócz Chapel of Esztergom Cathedral. Corvina, 1990.

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Spink, Ian. Restoration cathedral music, 1660-1714. Clarendon Press, 1995.

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Mackey, Nathaniel. Bass cathedral. New Directions, 2007.

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Bye, L. Dean. Cathedral Music Press presents organ music for Advent. Cathedral Music Press, 1992.

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Harding, Catherine D. Guide to the Chapel of the Corporal of Orvieto Cathedral. Quattroemme, 2004.

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Venturelli, Massimiliano. History and judgement in the Bellincini chapel of Modena Cathedral. Edizioni Artestampa, 2020.

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Chapitres de livres sur le sujet "Music chapel of the cathedral"

Newsholme, Richard. "2. Early Polyphony and the Worcester Lady Chapel Choir (c.1250–1540)." In Music, Religion and Politics at Worcester Cathedral, 680-1950. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0437.02.

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The discovery of the ‘Worcester Fragments’ of early liturgical polyphony caused much excitement in the early years of the twentieth century. They had been written in the thirteenth and fourteenth centuries and had laid undiscovered in manuscript bindings ever since. In Benedictine monasteries like the Worcester Cathedral Priory, this music would have been sung on certain feast days by a small choir of monks with a single voice to each part. Then, in the fourteenth century at Worcester, a new Lady Chapel was created in the nave with a stipendiary choir that would sing the polyphony as well as p

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Newsholme, Richard. "6. The Restoration of the Monarchy and Reinstating the Anglican Church (1660–1700)." In Music, Religion and Politics at Worcester Cathedral, 680-1950. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0437.06.

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Re-establishing prayer book services, forming and training a new choir, and finding it music to sing were daunting tasks, and the building also required repairs, particularly to the roofs. New quire seating was needed as well, and the communion table and organ had to be replaced. The challenges must have seemed forbidding, but somehow the funds and energy were found. A new Book of Common Prayer was issued in 1662, and revised statutes were written for the cathedral. The music repertoire chosen was quite retrospective and old-fashioned until the 1680s, when new compositions arrived from the Cha

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George, Alisha. "Basilica, Cathedral, Church, and Chapel." In Christianity. Springer Netherlands, 2023. http://dx.doi.org/10.1007/978-94-024-2241-2_8.

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Halsey, Richard. "The Galilee Chapel." In Medieval Art and Architecture at Durham Cathedral. Routledge, 2024. http://dx.doi.org/10.4324/9781003575931-6.

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Reilly, Lisa. "The Trinity chapel at Peterborough Cathedral." In Peterborough and the Soke. Routledge, 2019. http://dx.doi.org/10.4324/9780429056420-16.

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Kelly, Thomas Forrest. "Music of Benevento Cathedral." In The Sources of Beneventan Chant. Routledge, 2023. http://dx.doi.org/10.4324/9781003420699-3.

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Floyd, Richard D. "Religion and Politics in a Northeastern Cathedral Town: The Case of Durham." In Church, Chapel and Party. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230590588_3.

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Fleischer, Jens. "External Pulpits and the Question of St Michael’s Chapel at Nidaros." In The Medieval Cathedral of Trondheim. Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.ritus-eb.3.3677.

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Russell, Georgina. "The North Window of the Nine Altars Chapel, Durham Cathedral." In Medieval Art and Architecture at Durham Cathedral. Routledge, 2024. http://dx.doi.org/10.4324/9781003575931-8.

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Ramos-Kittrell, Jesús A. "Decency in the Music Chapel." In Playing in the Cathedral. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190236816.003.0006.

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Actes de conférences sur le sujet "Music chapel of the cathedral"

Webb, Nicholas, and Alexandrina Buchanan. "Tracing the Past: a digital analysis of the Lady Chapel vaults at Ely cathedral." In 2018 3rd Digital Heritage International Congress (Digital Heritage) held jointly with 2018 24th International Conference on Virtual Systems & Multimedia (VSMM 2018). IEEE, 2018. http://dx.doi.org/10.1109/digitalheritage.2018.8810054.

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Persico, Raffaele, Sebastiano D'Amico, Loredana Matera, et al. "GPR prospecting in the chapel of Aragon within the Co-Cathedral of St. John (Valletta, Malta)." In 2018 17th International Conference on Ground Penetrating Radar (GPR). IEEE, 2018. http://dx.doi.org/10.1109/icgpr.2018.8441694.

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Gobić-Bravar, Đeni, and Daniela Matetić Poljak. "The Marbles in the Chapel of the Blessed John of Trogir in the Cathedral of St. Lawrence at Trogir." In XI International Conference of ASMOSIA. University of Split, Arts Academy in Split; University of Split, Faculty of Civil Engineering, Architecture and Geodesy, 2018. http://dx.doi.org/10.31534/xi.asmosia.2015/08.09.

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Blindu, Natalia. "The decade of Moldovan art and literature in Moscow in 1960: the success of Doina choir chapel." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.16.

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This article deals with the performance of the Doina Choir Chapel within the Decade of Moldovan Art and Literature in Moscow from May 27 to June 7, 1960, as the first wide recognition of the collective. The work on the preparation of the concert programs is considered, reports and reviews are given in the Union press about the high level of the performances of the chapel, which took place on various stage venues in Moscow. It is concluded that the participation of the Choir in such a significant cultural event of all-Union level was a key event in the formation and development of the collectiv

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Ribichini, Luca. "Notre Dame du Haut, Ronchamp, the shape of a listening. A whole other generative hypothesis." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.719.

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Abstract: The article will examin one of Le Corbusier's more emblematic works: the Ronchamp Chapel. The aim is to discover some of the intentionalities hidden within the design of this work by the swiss architect. It will start with the following considerations of Le Corbusier about the Ronchamp chapel:“it began with the acoustics of the landscape taking the four horizons as a reference...to respond to these horizons, to accomodate them, shapes were created…” And: “ Shapes make noise and silence; some speak and others listen...”And again: “ Ear can see proportions. It's possibile to hear the m

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Беляев, Л. А., И. К. Решетова, О. Н. Глазунова, М. С. Батанина, and Н. И. Савельев. "The Ivanovsky Monastery (2017) (Moscow)." In Города, селища, могильники. Раскопки 2017. Материалы спасательных археологических исследований. Crossref, 2018. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-210-0.40-45.

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В публикации представлены результаты первых археологических работ в монастыре Иоанна Предтечи (Ивановском), расположенном в одном из наиболее древних княжеских владений в черте Москвы. Монастырь возник не позднее XV–XVI вв., но современный архитектурный ансамбль полностью возведен во второй половине XIX в. Работы проходили в северной части монастырского двора, где обнаружены остатки кладбища XVI–XVII вв. Изучены белокаменные надгробия с надписями XVII в. Наибольший интерес представили три белокаменных антропоморфных саркофага XVI–XVII вв. Вероятно, они перемещены в связи с перестройкой собора

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Cannizzaro, Diego. "Sicily, a crossroads between East and West." In ALTITUDO MUNDI SPIRITUALIS. Духовність у сучасному світі: просвітницько-культурогічний підхід. Publishing House "Krok", 2024. http://dx.doi.org/10.37835/ams-2024-17-18-04-1.02.

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It is noted that sacred music in Sicily (extreme south of Europe) is a fascinating interweaving of Eastern and Western traditions. It is noted that the traditions of the Western Latin Church include - Cantillation: a form of word intensification used to recite prose passages Scripture. - Psalmody and Responsoria: the reading of the Word with musical accompaniment. The Sicilian musical tradition is of Hellenic origin. This is evidenced by the fact that the population of the town of Piana degli Albanesi Piana degli Albanesi (also known as Piana dei Grechi) in Arberesche, Palermo province, Sicily

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Budnik, Elżbieta. "Роздуми про напрямки розвитку сучасної мистецької педагогіки в контексті музики Клода Дебюссі". У ALTITUDO MUNDI SPIRITUALIS. Духовність у сучасному світі: просвітницько-культурогічний підхід. Publishing House "Krok", 2024. http://dx.doi.org/10.37835/ams-2024-17-18-04-1.03.

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The article raises the issue of spirituality in the education of professional instrumental musicians. The life and creative path of the composer Claude Debussy is characterized. It is noted that the composer's piano works are an innovative source of performance repertoire with unique harmony and original poetry. The capacity of the first volume of Preludes, created in 1910, is described. The wide range of artistic tasks set by Debussy for the performer fosters exploration of personal experiences, leading his audiences into the world of an extraordinary association game. This text is a presenta

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