1 Abstract In its six chapters, this thesis discusses the relations between secular and sacral Renaissance music. It shows that the secular and sacral music of the Renaissance period were influencing each other and had many similarities, in form and attributes, and as such can appear next to each other on musical recordings, concerts, etc. The art of the Renaissance constitutes a large and important chapter in the history of mankind. The first chapter of this thesis anchors the era of the Renaissance into its historical context, states definitions and characteristics. The second chapter focuses on Renaissance music, its historical background and the fundamentals of its style. The third chapter explains the concepts of sacral, liturgical and church music. The fourth chapter, the most comprehensive, discusses any actual reciprocal influence of secular and sacred Renaissance music in terms of their development in time the turn of the eras, Early Renaissance, High Renaissance, and the new currents and styles of 16th century. The matter under discussion is illustrated by the enclosed CD Renaissance Tunes . The fifth chapter concentrates on an analysis of the sacral work Missa l'homme armé by G. Dufay (parts Kyrie and Agnus Dei). Dufay was one of the first composers to use a secular tune in their masses,...

Muzika skambanti bažnyčioje, jos atlikėjai bei atlikimas yra saistomi Bažnyčios dokumentuose nustatytomis normomis, įstatymais, rekomendacijomis, kurie privalomi ir turi būti vykdomi kiekvienoje parapijoje. Magistrinio darbo temą inspiravo daugelyje Bažnyčios dokumentų išsakomas nuogąstavimas dėl nukrypimų nuo sakralinės muzikos tikslo ir padėties: per didelis koncertiškumas, pramoginis muzikos atspalvis, kompozicijų ištęstinumas, nesaikingumas, kuris gali vesti žmogų į bergždžią išsiblaškymą, paviršutiniškumo išraišką. Bažnyčioje neturėtų būti nieko, kas trikdytų ar mažintų tikinčiųjų pamaldumą, kas keltų papiktinimą nepasitenkinimą, kas nusižengtų liturgijos sakralumui. Muzika yra pavaldi pamaldoms. Todėl žmogaus santykis su sakraline muzika ir raiškos savastis yra labai tampriai susiję ir vienas kitam daro įtaką. Muzika turi pajėgti žmogaus sielą pakelti į maldingą bendravimą su Viešpačiu. O už žmogaus ir sakralios muzikos sklaidą atsako bažnyčia, kompozitoriai, vargonininkai, choro vadovai, giedotojai, bendruomenė, instrumentalistai. Todėl savo darbe analizavau šias tarnystes, aiškindamasi kaip jos galėtų pasitarnauti žmogaus pamaldumo augimui ir sakralios muzikos skleidimui. Magistriniame darbe buvo siekiama: apibūdinti žmogaus santykį su sakraline muzika pagal Katalikų Bažnyčios dokumentus; apibūdinti giesmininkų reikšmę liturgijoje ir jų dažniausiai daromas klaidas; suformuoti muzikanto tarnystės reikalavimus; apibrėžti instrumentų naudojimą liturgijoje; patikrinti... [toliau žr. visą tekstą] / Church music, its character and its performers have to conform to the norms provided by the documents of the Church. The laws and recommendations found in these documents are obligatory for every parish. This master paper has been inspired by the regret of the Church documents about some deviations from the aim and the true role of sacral music, such as concert–like style, the shade of pop music, prolonged composition, lack of taste, etc. This can lead people to absent-mindedness and superficiality in prayer. Nothing in the church should decrease people’s concentration or the holiness of the liturgy. Music must be second to liturgy, it must lift people’s souls to pious communication with God. Therefore, man’s relationship with sacral music and its expression influence one another. The quality of this relationship and of the music in church is the responsibility of the parish, of composers, organists, choir directors, singers, instrument players and of the community as a whole. Thus, this paper deals with all of these ministries and their role in helping church music to increase people’s piety. The paper aims at showing people’s relationship with sacral music according to the documents of the Catholic Church, as well as the role of the singers in the liturgy and the most frequent mistakes they make. The paper also tries to formulate the requirements for musical service and the use of instruments in the liturgy. We have investigated into the opinions of church organists in... [to full text]