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Articoli di riviste sul tema "Sacred songs"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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1

Caldwell, Mary Channen. "Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853." Journal of the American Musicological Society 74, no. 1 (2021): 91–156. http://dx.doi.org/10.1525/jams.2021.74.1.91.

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Abstract This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century

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2

Moreira Vieira, Caroline, and Joana Bahia. "Yaô africano: the orixá in the voice of Patricio Teixeira." Religiones y religiosidades en América Latina, no. 26 (December 31, 2020): 39–62. http://dx.doi.org/10.36551/2081-1160.2020.26.39-62.

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Patricio Teixeira was an important voice in Brazilian music, particularly during the 1920s and 1930s. His career in radio broadcasting extended into the mid-1950s. Teixeira’s work gave visibility to black subjects and their cultural identities. This article analyzes the sacred elements that overflow into the musical and recreational universe of Rio through some of the songs recorded by Teixeira. With varied appropriations, these recordings of chants for orixá, Afro-Brazilian practices, and rituals mark the presence of the Afro-Brazilian sacred in Brazilian popular song.

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3

Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.

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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental forma

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4

Robert, Jörg, and Moritz Strohschneider. "Spracharbeit und interkonfessionelle Liedtradition." Artes 2, no. 2 (September 18, 2023): 299–342. http://dx.doi.org/10.30965/27727629-20230013.

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Abstract This article deals with the numerous psalm songs that Martin Opitz composed between 1626 and 1638 to melodies from the Geneva Psalter. It discusses them in the context of the great tradition of Protestant psalm songs which had flourished since the Reformation and considers their role for Opitz’s poetics and linguistic reflection (‘Spracharbeit’). In the first part, the essay presents Opitz’s translation work on the Psalter showing that the poet wanted to create a normative example of German-language sacred poetry. We then reconstruct Opitz’s poetics on the basis of his songs on Psalm

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MONGE, LUIGI. "Their eyes were watching God: African-American topical songs on the 1928 Florida hurricanes and floods." Popular Music 26, no. 1 (January 2006): 129–40. http://dx.doi.org/10.1017/s0261143007001171.

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This study focuses on the five known African-American topical songs dealing with the two hurricanes and ensuing floods that took place in Florida in the summer of 1928. The first is a commercially recorded blues song and the others are unreleased Library of Congress sacred recordings, which are transcribed and analysed here for the first time.

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6

Kroeger, Karl, and Eve R. Meyer. "Benjamin Carr. Selected Secular and Sacred Songs." Notes 45, no. 1 (September 1988): 149. http://dx.doi.org/10.2307/941407.

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7

Clark, J. Bunker, and Eve R. Meyer. "Benjamin Carr: Selected Secular and Sacred Songs." American Music 6, no. 4 (1988): 460. http://dx.doi.org/10.2307/3051703.

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8

Sánchez Gutiérrez, Adriana. "Cantos sagrados y voces colectivas descoloniales desde la voz de Elvira Espejo Ayca. Kirki Qhañi. Petaca de las poéticas andinas (2022)." Bolivian Studies Journal 28 (December 2, 2022): 19–33. http://dx.doi.org/10.5195/bsj.2022.279.

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This article-interview with the poet Elvira Espejo Ayca discusses the process of recovering the sacred songs of the Aymara and Quechua indigenous communities through the oral tradition from her grandmother Gregoria Mamani and her great-great-grandmother Martina Pumala. The song-poems preserve Inca meanings and aesthetics that the indigenous people used during Colonization to maintain good relations with the Spanish domain and, in turn, mask those referring to the Inca deities. Some songs have been taken up to unravel the lyrical resources of colonial times and recreate the original songs of th

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9

Ramsten, Märta. "En muntlig sångkultur kopplad till skrift." Puls - musik- och dansetnologisk tidskrift 9 (May 22, 2024): 10–26. http://dx.doi.org/10.62779/puls.9.2024.23731.

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An oral song culture connected to printed worksThe aim of this article is to investigate the process of diachronic transmission with reference to oral material. Departing from field recordings from the very north of Sweden this article intends to account for the transmitting of oral song traditions connected with two pious song books, Sions sånger/Sion’s Songs and Sions nya sånger/Sion’s New Songs from the 18th century. The song books were published in numerous editions up until 1975 and foremost used by religious dissenters. Only song texts were provided in the books – as for melodies the con

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10

Sopacoly, Mick Mordekhai. "Merayakan Cinta Berdasarkan Kidung Agung 1:9-17." DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 4, no. 2 (April 13, 2020): 234–53. http://dx.doi.org/10.30648/dun.v4i2.290.

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Abstract. At a glance reading the Song of Songs gives the impression as a book that displays mere sensuality. Therefore raising the question why the Song of Songs was included in the canonization of the Bible which is the Word of God. This paper aimed to explore the meaning of the great love found in the Song of Songs text that seems vulgar and sensual. The method used in this study was a historical criticism of the Song of Songs 1: 9-17. Through this study, it could be concluded that the love texts in Song of Songs display the power of love that is unique, creative, and contains a sacred dime

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11

Shahar, Galili. "Goethe’s Song of Songs : Reorientation, World Literature." Prooftexts 40, no. 1 (2023): 110–39. http://dx.doi.org/10.2979/ptx.2023.a899251.

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Abstract: The engagement of the German poet Johann Wolfgang von Goethe (1749–1832) with biblical Hebrew poetry already during the early stages of his career in the 1770s and later during the Divan period (1814–27) was associated with his study of Oriental literatures. Under the influence of his mentor and friend, Johann Gottfried Herder, Goethe devoted himself to studying and translating Hebrew and Arabic sources (mostly from the Latin), among them the Song of Songs, alongside chapters from the Qurʿan. In his late work his reflections on the Hebrew biblical poem were associated with his interp

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12

MEDVEDYK, Jurij. "SACRED VERSE OF THE END OF THE XV – MID XVII cc. IN UKRAINIAN PARALITURGICALMUSICAL CULTURE (Mykhailo Hrushevskyi’s reminiscences concerning the study of the genre)." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 36–43. http://dx.doi.org/10.30970/vas.20.2019.10637.

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The purpose of the article comprises: a) by means of conducting of musicological-source studies to enter the genre of sacred verse in musical-poetic heritage of Ukrainian late-medieval culture in spite of the fact that it is habitually associated with the Muscovite (Russian) culture of the considered time: b) to analyse the genre as an important religious-artistic source of the Ukrainian baroque time song creativity of the end of the XVI–XVIII centuries. The methodology of research have been used: methods of source study, historical, of music theory, etc. The scientific novelty. In the article

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13

Gordon, T. A. "Wartime songs: An attempt at genre analysis." Voprosy literatury, no. 5 (October 30, 2022): 13–36. http://dx.doi.org/10.31425/0042-8795-2022-5-13-36.

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The article analyses Bakhtin’s theory of artistic text, using the example of mid-20th-c. Russian military songs (‘Granada’ [‘Grenada’], ‘Little Eagle’ [‘Orlyonok’], ‘Far Away, Across the River’ [‘Tam vdali, za rekoy’], ‘The Sacred War’ [‘Svyashchennaya voyna’], ‘Dark Is the Night’ [‘Tyomnaya noch’], etc). Focusing on Bakhtin’s idea that an artistic word recalls and reestablishes archaic genres, the researcher examines if a similar tendency can be traced in military song lyrics. A genre analysis shows that the lyrics tend to resurrect the seemingly forgotten archaic techniques of epic distance,

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Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)." Linguistics, no. 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.

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Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the

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15

Kalvāne, Skaidrīte. "SEARCHING FOR THE SOURCES OF 18TH AND 19TH CENTURY LATGALIAN RELIGIOUS SONGS." Via Latgalica, no. 7 (March 22, 2016): 172. http://dx.doi.org/10.17770/latg2015.7.1218.

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<p><em>Latgalian </em><em>„</em><em>svātuos dzīsmis”</em><em> (‘sacred songs’) were not only sung in the church in the 18<sup>th</sup> and 19<sup>th</sup> centuries. These songs became integral and necessary components of both home and spiritual life.</em></p><p><em>Some publications of spiritual song and prayer books written by the Latvians of Latgale have been preserved until today: </em><em>„</em><em>Nabożeństwo” (1771, 1786, etc.) and </em><em>„</em><

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16

YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING." Eighteenth Century Music 2, no. 2 (September 2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.

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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, littl

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17

Reuvekamp, Silvia. "Lilie unter Dornen." Beiträge zur Geschichte der deutschen Sprache und Literatur 142, no. 4 (November 27, 2020): 493–514. http://dx.doi.org/10.1515/bgsl-2020-0041.

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AbstractThe echoes of the Song of Songs in Hartmann’s ›Erec‹ culminate in the famous comparison of Enite with a lily among thorns. Against the background of the exegetical tradition, in which the lily stands for an exceptional love competence, it is shown that this comparison is much more important to an appropriate understanding of ›Erec‹ than has been commonly assumed. This example illustrates, moreover, how precisely vernacular-language authors make usage of sacred contents and how autonomously they create processes of literary meaning-making.

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18

Bardski, Krzysztof. "Biblia sakramentem miłości Boga i Kościoła." Verbum Vitae 7 (January 14, 2005): 201–14. http://dx.doi.org/10.31743/vv.1383.

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In the christian antiquity the word sacrament designated any sacred sign. The Bible can be considered as a sign of the love between God and the Church. In our article we analyze the symbols created in connection with the more-than-literal interpretation ofthe Song of Songs. The different aspects o f the loving relation between the Bridegroom and the Bride have been interpreted by the ancient and medieval commentators in the light of the role that the Bible plays in the relation between Jesus and the Church or Jesus and the human soul.

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19

Knapp, Jeffrey. "“Sacred Songs Popular Prices”: Secularization in The Jazz Singer." Critical Inquiry 34, no. 2 (January 2008): 313–35. http://dx.doi.org/10.1086/529059.

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Завальнюк, Анатолій. "Sacred compositions of Mykola Leontovych." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, no. 26 (December 8, 2018): 34–39. http://dx.doi.org/10.31652/2411-2143-2018-26-34-39.

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The article deals with the main genres of religious choral works by prominent Ukrainian composer M.D. Leontovich. In particular, such as old chants, religious carols, psalms and canti, chiravim songs and "Liturgy of John Chrysostom". In these works, the composer demonstrated the melodious affinity of folk melody with highly professional original, polyphonic, and spiritual works. In all kinds of church singing M. Leontovich has shown himself as an unrivaled master of the genre and his civic commitment to national spiritual music. Created by the composer church works are distinguished by high pe

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21

Petrošienė, Lina. "Parodies of Religious Hymns in Žemaitijan Carnival: Social Interaction and Cultural Expression: Everyday Life, Festivities and Ritual Forms." Yearbook of Balkan and Baltic Studies 4 (December 2021): 245–66. http://dx.doi.org/10.7592/ybbs4.10.

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On costumed processions in Žemaitija on Shrove Tuesday, the ‘beggars’ were and are among the main characters, as attested by the mask’s distribution area, the name ‘Shrovetide beggars’ being given to the whole band of masked people, and the relative abundance of the costumed “beggars”’ songs. This study examines some examples from the repertoire of Shrove Tuesday carnival songs in Žemaitija, parodies of religious hymns and folk songs, which the performers called hymns and which were performed in imitation of sacred singing. The present analysis identifies their features, origins and function a

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22

Yuliari, Sang Ayu Made, Desak Nyoman Seniwati, and Ida Ayu Putu Sari. "Gitasanti Sebagai Terapi Yoga Di Pasantian Dharma Usada Desa Adat Ubud." Jurnal Penelitian Agama Hindu 7, no. 2 (April 17, 2023): 146–60. http://dx.doi.org/10.37329/jpah.v7i2.2092.

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Dharmagita activities, which is better known in the community as meshanti, are one form of offerings through singing sacred songs. Sacred song is one type of the five types of songs in Hinduism which are known as pancagita. Meshanti is also a form of yoga and closely related to catur marga yoga which is performed through yajna ceremonies. The aim of the research is to identify the implementation, the procedure, and benefit of using gitashanti as a yoga therapy. The present study was conducted with qualitative method and the data were collected using observation, interview, literature study, an

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Kampāne-Štelmahere, Sintija. "Latvju dainu atbalsis Veltas Sniķeres lirikā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 124–34. http://dx.doi.org/10.37384/aplkp.2020.25.124.

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The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as

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Burke, Linda. "Le Livre d’amoretes: écrit spirituel à insertions lyriques du XIII^e siècle. Édition du ms. Paris, BnF lat. 13091, complété par le ms. Paris BnF fr. 23111, ed. Marie-Geneviève Grossel and Anne Ibos-Augé. Classiques français du moyen âge. Paris: Honoré Champion, 2022, 543 pp." Mediaevistik 35, no. 1 (January 1, 2022): 478–81. http://dx.doi.org/10.3726/med.2022.01.110.

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Abstract: The persistence of medieval “crossover” – between the literary expressions of sacred and profane love – is a topic of perennial fascination to scholars and to all who engage with poetry old or new. Of course, the popular terms “fusion” or “synergy” would better apply to the rich tradition of allegory based in the Song of Songs, an erotic dream vision that never refers to God, but has always given rise to spiritualized readings of the courtship interplay between the Bride, commonly interpreted as the human soul, the Bridegroom (for Christians, Jesus), and attendants of the Bride (fell

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Stuligrosz, Magdalena. "Przedstawienia i symbolika roślin w poezji Pindara." Symbolae Philologorum Posnaniensium Graecae et Latinae 33, no. 1 (September 20, 2023): 383–97. http://dx.doi.org/10.14746/sppgl.2023.xxxiii.1.27.

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The extensive use of plant motifs is at the heart of Pindar’s poetic images and metaphors. In his epinicions, the poet uses the symbolism of plants associated with Olympian and Pythian games to praise the victor and to show the importance of his achievement. The olive and laurel wreaths with which the victorious athletes are crowned become symbols of excellence and of the immortal fame accompanying human achievements, which is guaranteed by the poet’s song. Spring flowers such as roses and violets have a specific ritual meaning in Pindar’s cult songs, especially in his dithyrambs, where they s

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Marty, Maša K. "Sacred Folk Songs and the Slovenian Immigrant Community in Switzerland." Musicological Annual 58, no. 1 (July 29, 2022): 161–84. http://dx.doi.org/10.4312/mz.58.1.161-184.

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The article presents the role of sacred folk songs in the liturgy of the Slovenian Catholic Mission in Switzerland. It presents active singing as local ethnic cultural forms that have been transmitted from the “original homeland” and serve to create temporal and local continuity in the diasporic Slovenian Catholic community in Switzerland.

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Bannikov, Konstantin V. "Paul Claudel, an interpreter of the Song of Songs." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 415–20. http://dx.doi.org/10.18500/1817-7115-2022-22-4-415-420.

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«Paul Claudel interroge le Cantique des Cantiques» («Paul Claudel questions the Song of Songs») is a landmark work in the oeuvre of Paul Claudel (1868-1955), it is one of the largest artistic and exegetic commentaries in the collection of prose «Le Poëte et la Bible» («The Poet and the Bible») (1998, 2004). The writer creates a new «Claudelian novel» in Bakhtin’s understanding of the novelistic word, based on the centuries-old tradition of multiple interpretations, on the one hand, but built into a work of art, on the other. Claudel draws on his experience of reading the Vulgate, working with

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Fedorowicz, Irena, and Kinga Geben. "Lithuanian Poles Values in the Poetic Texts of Dr. Gabriel Jan Mincewicz." Vilnius University Open Series, no. 5 (December 4, 2020): 189–208. http://dx.doi.org/10.15388/vllp.2020.9.

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The current paper presents an overview of the poetic texts of Gabriel Jan Mincewicz (1938–2016) (PhD in the field of humanities, branch of theology). Merits of Gabriel Jan Mincewicz as the director of the song and dance ensemble “Wileńszczyzna” are emphasized. The poetic works of G. J. Mincewicz were divided into several thematic groups, among them the cultural determinants of the Polish identity and the linguistic image of the homeland were analyzed. The works were discussed in the sacred, historical, social, and linguistic contexts. The article emphasizes as well the social impact that G. J.

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Shreffler, Anne C. ""Mein Weg geht jetzt vorüber": The Vocal Origins of Webern's Twelve-Tone Composition." Journal of the American Musicological Society 47, no. 2 (1994): 275–339. http://dx.doi.org/10.2307/3128880.

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The essay explores Anton Webern's earliest encounters with the twelve-tone method in the context of his previous decade-long preoccupation with vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16, Three Traditional Rhymes, op. 17, Three Songs, op. 18, and sketches and drafts from 1922 to 1925 suggests that Webern did not accept Arnold Schoenberg's method uncritically, but alternately rejected and embraced it. The religious and folk texts that Webern set during these years, hardly anonymous ciphers, were essential in helping him to articulate his own twelve-tone technique

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Bjelica, Maja. "Aleviness, Music, and Hospitality." Musicological Annual 58, no. 1 (July 29, 2022): 101–21. http://dx.doi.org/10.4312/mz.58.1.101-121.

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The paper examines urban Alevi traditional culture in Turkey as a possible example of an ethics of hospitality, drawing mainly from Alevi teachings and musical heritage. Through an examination of the lyrics of selected Alevi sacred songs the author presents various accounts of hospitality that are integral to Aleviness.

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Boukal, Jan. "Jan Cinglbauer (ed.), Carmina clericorum: latinské duchovní písně 14. až 15. století ve středoevropském univerzitním a školském prostředí = Sacred Latin Songs from the 14th and 15th Centuries in the Central European University and School Milieu, Chomutov 2020." AUC HISTORIA UNIVERSITATIS CAROLINAE PRAGENSIS 63, no. 2 (April 29, 2024): 217. http://dx.doi.org/10.14712/23365730.2024.9.

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Book review on Jan Cinglbauer (ed.), Carmina clericorum: latinské duchovní písně 14. až 15. století ve středoevropském univerzitním a školském prostředí = Sacred Latin Songs from the 14th and 15th Centuries in the Central European University and School Milieu. L. Marek Publishing, Chomutov 2020, 288 s., ISBN 978-80-87127-99-5

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Kirkegaard-Larsen, Thomas Jul. "Fornægtelse og forsoning i Tekla Griebels ”Det bødes der for”." Tidsskriftet SANG 2, no. 1-2 (June 7, 2021): 16–39. http://dx.doi.org/10.7146/sang.v2i1-2.137220.

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Denial and reconciliation in Tekla Griebel’s ”Det bødes der for” This article is a close analysis of Tekla Griebel’s song ”Det bødes der for”. The analysis serves three purposes: First, I intend to highlight motivic, tonal, harmonic and other structural remedies with which Griebel underlines a subtle development in J.P. Jacobsen’s poem; she does this by setting the voice as a subject that constantly denies the sorrowful realities – represented by the piano – before the subject finally resigns in painful reconciliation. Second, as the first-ever analytical study of a work by Tekla Griebel

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Yarber, Angela. "Undulating the Holy? Returning the Sacred to Our Dancing Bodies: Song of Songs 7:1–4." Review & Expositor 105, no. 3 (August 2008): 471–80. http://dx.doi.org/10.1177/003463730810500309.

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Kaur, Inderjit N. "Transnational affects, transnational worldings: Sikhs sounding sacred songs, making multiple worlds." Civilisations, no. 67 (August 12, 2018): 23–40. http://dx.doi.org/10.4000/civilisations.4772.

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Kan, Sergei. "The Sacred and the Secular: Tlingit Potlatch Songs outside the Potlatch." American Indian Quarterly 14, no. 4 (1990): 355. http://dx.doi.org/10.2307/1184962.

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Boyce-Tillman, June. "Religion in the Home—The Sacred Songs of the Drawing Room." Religions 14, no. 11 (November 9, 2023): 1400. http://dx.doi.org/10.3390/rel14111400.

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The Victorian bourgeois ballad is a distinctive genre that demonstrates the spirituality of religion transferred to the drawing room. This paper will examine in detail four examples of the genre—The Lost Chord, The Holy City, Arise O Sun and The Volunteer Organist to examine the spirituality of the genre in terms of the materials used, the musical construction, the value system underpinning it and the expressive character. It will interrogate their relationship to the spirituality of Victorian Anglicanism and the place of this spirituality in the lives of the people with whom they were popular

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Koropnichenko, Hanna. "Ancient Beliefs and Traditional Singing of Ukrainians: Gender Differentiation." Problems of music ethnology 16 (December 29, 2021): 52–64. http://dx.doi.org/10.31318/2522-4212.2021.16.249648.

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Gender differentiation in the Ukrainian song tradition is most consistently manifested in the ritual system, and partly – in the epic tradition and lyrical song tradition. The primary attention in the article is paid to the ritual sphere, first of all to the calendar cycle. The paper highlights in detail the traditional distribution of functions between men and women in pre-Christian rituals, during which, according to ancient ideas and beliefs, there was some contact between «that» (sacred) and «this» («profane») worlds. Males, or more precisely, boys who were members of the so-called «

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Зулумян, Б. С. "Spiritual Songs of Grigor Narekatsi. Evolution of the Genre." Theological Herald, no. 1(7) (September 15, 2022): 74–95. http://dx.doi.org/10.31802/metafrast.2022.7.1.004.

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Статья посвящена духовным песнопениям Григора Нарекаци, широко известного как автора шедевра армянской и мировой литературы «Книги скорбных песнопений». Показано значение песен и в плане содержания, и в аспекте художественности в эволюции жанра и в истории армянской литературы. Нарекаци ввёл в активное церковное употребление таги - народные песни. Продолжая евангельскую тематику шараканов, в своих произведениях применил широкий спектр средств художественной выразительности: эпитеты, сравнения метафоры, расширил семантическое поле стиха картинами и аналогиями с природой, включал земной мир в ко

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Chen, Hongyu, and Peerapong Sensai. "Education and Literacy in the Development and Transmission of Chinese Yao Nationality Folk Songs." International Journal of Education and Literacy Studies 12, no. 1 (January 27, 2024): 213–20. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.213.

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Chinese Yao Nationality Folk Songs are a distinctive cultural treasure thriving within the Guangxi Zhuang Autonomous Region, intimately intertwined with the lives and traditions of the Yao people. The objective of this study is to investigate the role of education and literacy in the development and transmission of Chinese Yao Nationality folk songs in the Guangxi Zhuang Autonomous Region. The research site, Jinxiu Yao Autonomous County, serves as a culturally significant backdrop, chosen for its accessibility and cultural relevance to the research objectives. To gain comprehensive insights in

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Brînzea, Nicolae. "Literary aspects in the Holy Scriptures." Technium Social Sciences Journal 37 (November 9, 2022): 511–18. http://dx.doi.org/10.47577/tssj.v37i1.7715.

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The Bible, this impressive collection of scrolls or books, establishes a well-determined hierarchical relationship, from the literary perspective of the sacred text, which raises many interesting but also difficult questions, at least from the perspective of pertaining to a certain literary genre. Hermeneutically, it highlights valuable notions related to the aesthetics of the biblical text. The Bible is a written text, hence it is literature and belongs to literature, at the same time. From a literary point of view, the Scriptures are the inevitable book that enjoys an astonishing immanence.

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Janick, Jules. "Fruits of the Bibles." HortScience 42, no. 5 (August 2007): 1072–76. http://dx.doi.org/10.21273/hortsci.42.5.1072.

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The sacred writings of three religions (Judaism, Christianity, and Islam) are contained in the Hebrew Bible (referred to by Christians as the Old Testament), the Christian Bible (New Testament), and the Qur'an (Koran). These writings encompass events occurring over a period of more than two millennia and taken together represent a broad picture of mideastern peoples, describing their interactions with the sweep of events of that era. The writings include the sacred and profane, prose and poetry, history and myth, legend and fable, love songs and proverbs, parables and revelations. The basic ag

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Dolukhanyan, Aelita. "The american lyre of Ghevond Alishan." JOURNAL FOR ARMENIAN STUDIES 1, no. 60 (March 27, 2023): 37–45. http://dx.doi.org/10.24234/journalforarmenianstudies.v1i60.31.

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The translations made by Ghevond Alishan have a special place in his multi-disciplinary scientific, literary, philological and pedagogical activities. Alishan translated these spiritual songs into grabar (Old Armenian) and the sacred songs included in the selection are very consistent with the classical manifestations of the Armenian medieval, especially official literature written in grabar. Among the American poets whose songs Alishan translated, the most notable is Henry Longfellow (1807-1882). He was one of Hovhannes Tumanian's favorite poets, of whom the latter made a number of translatio

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Bjerk, Paul. "'Building A New Eden': Lutheran Church Youth Choir Performances in Tanzania." Journal of Religion in Africa 35, no. 3 (2005): 324–61. http://dx.doi.org/10.1163/1570066054782351.

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AbstractA study of three songs by a Tanzanian youth choir reveals a synthesis of historical and intellectual sources ranging from pre-colonial social philosophy to Lutheran theology to Nyerere's Ujamaa socialism. The songs show how the choir performances break down the barrier between Bourdieu's realms of the disputed and undisputed. In appropriating an active role in shaping Christian ideology, the choir members reinterpret its theology into something wholly new and uniquely Tanzanian. Thus they appropriate an authoritative voice that shapes the basic societal concepts about the nature of lif

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Syvets, Tetiana. "THE CONCEPTOSPHERE OF THE SACRED IN THE COLLECTION "GARDEN OF DIVINE SONGS" BY HRIHORY SKOVORODA." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 33 (2023): 113–19. http://dx.doi.org/10.17721/1728-2659.2023.33.19.

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Abstract (sommario):

The collection of metaphysical poems by Hrihory Skovoroda "The Garden of Divine Songs" is considered from the standpoint of biblical hermeneutics and cognitive literary studies. The question of the relevance of the study of baroque lyrics through the use of modern literary methods is clarified. The expediency of using the concepts "concept" and "Christian concept" in relation to the study of the sphere of the sacred is determined. Particular attention is paid to the variety of approaches found in scientific studies of the "sacred" as a category. Analysis of poems from the collection - 30 (thir

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Beck, Guy L. "Theology of Music and Hindu Religion: From Divine Origins to Classical Songs." Religions 12, no. 8 (August 19, 2021): 663. http://dx.doi.org/10.3390/rel12080663.

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As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e.,

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Goldmark, Daniel. "Adapting The Jazz Singer from Short Story to Screen: A Musical Profile." Journal of the American Musicological Society 70, no. 3 (2017): 767–817. http://dx.doi.org/10.1525/jams.2017.70.3.767.

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Abstract (sommario):

The Jazz Singer grew from a moment of inspiration when author Samson Raphaelson saw Al Jolson perform in 1917. Raphaelson's idea of a rising singer, Jack Robin, torn between sacred and secular, became in turn a short story, a play, a feature film, a novelization, and a radio play. With each new adaptation, the music evolved; the thread that binds together all of these stories is the jazz singer's stock in trade—his songs. For Jolson and The Jazz Singer, these songs serve several functions: besides providing a unique snapshot of popular vaudeville melodies in the 1920s and beyond, the songs use

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PATER, Anastasiia. "SOPHICALITY IN THE SACRED PRACTICE OF THE EARLY MODERN ERA." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 10–19. http://dx.doi.org/10.30970/vas.20.2019.10634.

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Abstract (sommario):

Main objective of the study is to reveal the issues of the existence of sacred musical art of the early modern era through the prism of the signature of sophicality as the ideological core that creates the national image of the world. In the course of the research the source-historical, historical, musical-theoretical methods of research were used. This aspect of the study allows for a wider disclosure of the world view features of musical art as an integral branch of national culture. The task of the research is to examine the influence of sophicality on the sacred practice of monodic singing

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Kaminski, Joseph S. "Fujianese Provincial Brass Band Traditions of Chinese Immigrant Musicians in New York City: The Chinese Voices." IKONI / ICONI, no. 4 (2021): 77–96. http://dx.doi.org/10.33779/2658-4824.2021.4.077-096.

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This article focuses on the Chinese Voices Wind Orchestra. Fujianese brass band musicians immigrated to New York and changed Chinatown’s musical soundscape. The bands perform mainly inside or on the street outside of funeral parlors on Canal and Mulberry Streets. Their profession is mainly that of a funeral musician. They also travel to Philadelphia or Washington, D.C. for rites. They accompany families and decedents to cemeteries to play special repertoire. After the burial they perform songs of prosperity at receptions in restaurants. They maintain a wide repertoire of funeral songs and nati

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Al Ansori, Alfandi, Hary Murcahyanto, Yuspianal Imtihan, and Alwan Hafiz. "Through Traditional Music Sarone and Cultural Learning in an Educational Context." IJE : Interdisciplinary Journal of Education 1, no. 2 (November 20, 2023): 175–82. http://dx.doi.org/10.61277/ije.v1i2.49.

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Abstract (sommario):

This research aims to describe the sacredness of Sarone music in wedding ceremonies within the Tanjung Luar village community, Keruak Subdistrict, East Lombok Regency. The research employs a qualitative ethnographic method. Data collection is carried out through literature review, observation, interviews, and documentation. Data are analyzed through data reduction, data presentation, and conclusion. To ensure data validity, triangulation techniques are utilized. The research findings reveal that the sacredness of Sarone music in wedding ceremonies in Tanjung Luar village encompasses elements s

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Toporova, Tatyana. "On the mythological songs of the “Elder Edda” as a system." Scandinavian Philology 19, no. 1 (2021): 71–84. http://dx.doi.org/10.21638/11701/spbu21.2021.105.

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Abstract (sommario):

This article is a systemic linguistic and stylistic analysis of the corpus of mythological songs of the “Elder Edda” in a wide cultural and historical context: folklore, ritual, literary. This approach made it possible to propose an interpretation of the mythological songs of the “Elder Edda” as a system and take a fresh look at their semantics, composition, structure, style and lexical organization. The most relevant results of the study of the linguistic and stylistic features of the Eddic songs of the mythological cycle can be considered the definition of linguo-stylistic features of variou

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