Le prêtre Youssef Al-Musawwer est un peintre melkite alépin du XVIIe siècle qui aurait été initié à la peinture postbyzantine à l’étranger dans une région grecque qui demeure difficile à identifier. Il est le chef d’une descendance de peintres qui s’est poursuivie sans discontinuité jusqu’à la fin du XVIIIe siècle. Son œuvre s’inscrit dans le cadre de la renaissance littéraire du patriarcat melkite d’Antioche. Il était à la fois traducteur, copiste, miniaturiste et peintre d’icônes. Nous comptons dix-sept icônes et cinq manuscrits enluminés de Youssef Al-Musawwer. Notre étude a démontré l’attachement de Youssef Al-Musawwer aux œuvres crétoises conservatrices qui remontent aux XVe-XVIe siècles et qui s’éloignent des influences de la Renaissance italienne. Il s'est également inspiré des modèles iconographiques du Nord de la Grèce, de la peinture arménienne et ottomane ainsi que des ouvrages imprimés occidentaux. Youssef Al-Musawwer eut recours à l’hagiographie et à la liturgie pour créer de nouvelles compositions iconographiques. Il n’était pas par conséquent un peintre imitateur et passif. Ses compositions iconographiques, ses connaissances linguistiques ainsi que ses vastes compétences théologiques et liturgiques font de lui un éminent humaniste du XVIIe siècle qui a marqué l’Église melkite. / Yusuf Al-Musawwer is a Melkite painter and priest from the 17th century. He might have been initiated to Postbyzantine painting abroad in a Greek region that remains difficult to identify. He is the first of a family of painters who continued his path without discontinuity until the end of the 18th century. His work is part of the literary revival of the Melkite patriarchate of Antioch. He was a translator, a copyist, a miniaturist and a painter of icons. Seventeen icons and five illuminated manuscripts realized by Yusuf Al-Musawwer have survived. Our study has demonstrated Yusuf Al-Musawwer's attachment to Cretan conservative works dating back to the 15th-16th centuries and which moved away from the influences of the Italian Renaissance. He was also inspired by the iconographic models of Northern Greece, Armenian and Ottoman painting, as well as Western printed books. Yusuf Al-Musawwer was inspired by hagiography and liturgy to create new iconographic compositions. Therefore, he was not an imitative, passive painter. His iconographic compositions, his linguistic knowledge, and his vast theological and liturgical skills made him an eminent 17th century humanist who marked the Melkite Church.

The history of European psalm paraphrases begins in late ancient Greek literature. Greek interest in combining poetic content and metre is documented in the paraphrase of Psalm 102 from the 4th century preserved in the Codex visionum and the paraphrase of the whole psalter from the mid-5th century called Metaphrasis psalmorum or "Homeric psalter", both composed in dactylic hexameters. They share some features with early modern paraphrases: use of artistic language, application of christological interpretation, relation to singing, various approaches in terms of the degree of dependence on the biblical text. The Hebrew text of the Psalms shows no signs of the metric arrangement that is characteristic of traditional European poetry. Some Hebrew verses tend to be regularly organized on a tonic basis, but this arrangement is not binding or regular, unlike the standard of traditional European poetry. In the European environment, however, there has been since ancient times a strong conviction that the Hebrew verse is regularly arranged on a quantitative principle, and this belief lasted until the early modern period. Renaissance translations of ancient poetry into vernacular languages use syllabic or accentual-syllabic verse, and the same type of verse is also used in early modern psalm paraphrases when...

Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu. / The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal / Theology / D.Th. (Theology)

Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu. / The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal / Theology / D.Th. (Theology)

The Abstract The Hymn and its Tradition in Late Medieval Bohemia Veronika Mráčková, Charles University, Prague The present thesis concerns the monophonic and polyphonic office hymns preserved in late medieval Bohemian sources. The author is mainly focused on the repertoire of the hymns written in Strahov Codex from around 1467. This manuscript of uncertain provenance contains an enormous collection of three- and four- voice polyphonic hymns which show plenty of the local characteristics. These domestic traits may be identified not only through texts devoted to indigenous Saints, but also through the melodies which form the cantus firmus in the upper voice of the hymns. The identification of these monophonic tunes in other plainchant sources could help us to determine the origin of Strahov Codex. Additionally, it is clear that this mensural manuscript contains not only music of a high artistic standard, but also a number of less polished compositions, and that it is thus an important witness to the existence of a wide range of daily musical activities in late medieval Bohemia. A crucial part of this dissertation is a critical edition of the monophonic hymn tunes preserved in Roudnice Psalter, as well as an edition of the selected polyphonic hymns written in Strahov Codex.

Countess Urraca Lope de Haro was the daughter of the noble Lord Diego Lope de Haro, friend and advisor to King Alfonso VIII of Castilla-León and granddaughter of Lord Lope Díaz de Haro and Lady Aldonza Ruiz de Castro, aristocratic courtiers as well as popular monastic patrons. As a young and wealthy widow, Countess Urraca took monastic vows at the Cistercian nunnery of Santa María de Cañas founded by her grandparents. Within a short time of uniting herself to this monastery, she was chosen as its fourth abbess in 1225, a position she held for thirty-seven years until her death in 1262. Following the tradition of monastic patronage established by her noble family members, Countess Urraca expanded the monastery's small real estate holdings, oversaw extensive building projects to create permanent structures for the nunnery, and patronized artistic projects including statuettes of the Virgin Mary and St. Peter in addition to her own decorative stone sarcophagus during her term as abbess. This thesis examines the artistic decoration and architectural patronage of this powerful woman and the influences she incorporated into the monastic structures at Cañas as she oversaw their construction. In dating the original buildings of the monastery at Cañas to the period of Countess Urraca's leadership, the predominant architectural features and decorative details of female Cistercian foundations in northern Spain are discussed. Comparisons with additional thirteenth-century Cistercian monasteries from the same region in northern Spain are offered to demonstrate the artistic connections with the structures Countess Urraca patronized. In addition, this thesis examines Countess Urraca's obvious devotion to the Virgin Mary and St. Peter by considering the medieval monastic world in which she lived and the strong emphasis the Cistercian Order placed on such worship practices. The potent spiritual connections Countess Urraca made by commissioning images of essential, holy intercessors testifies to her devotion to them and the powerful salvatory role she herself played in the lives of the nuns for whom she was responsible. As a nun and abbess, Countess Urraca was urged to emulate Mary's mothering, nurturing qualities, and, as she did so was simultaneously empowered by the Virgin's heavenly authority as administrator of mercy. Indeed, through studying her art it is clear that she saw herself as an intercessor on behalf of the nuns for whom she was responsible. Furthermore, discussion of the imagery displayed on Countess Urraca's decorative stone sarcophagus demonstrates not only a similar message of salvation through intercessors such as Peter and Mary, but also testifies of Abbess Urraca's aristocratic lineage. Through this artistic commission, the Abbess creates another direct, personal link between herself and the Virgin by including the symbol of the rosary throughout the iconography of her tomb. Such a symbol represents her devotion to Mary as Queen of Heaven and simultaneously empowers Countess Urraca as an intercessor herself. All of these architectural and artistic commissions confirm that she was a powerful woman who wielded a great deal of influence.

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