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Showing 61 to 70 of 74 (0.059 seconds)Spelling suggestions: "subject:"sacred music"" "subject:"tacred music""
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Robert Schumann and “the Artist’s Highest Goal”: Religion, Romanticism, and Nation in the Late Choral WorksWermager, Sonja Gleason January 2023 (has links)
My dissertation seeks to answer the following question: why did German Romantic composer Robert Schumann turn to the composition of sacred music in the early 1850s? From Schumann's earliest biographers to more recent commentators, critics have struggled to make sense of the composer's seemingly uncharacteristic production of a Mass and Requiem Mass, often explaining his work in these musical genres in terms of his struggles with mental illness and eventual institutionalization. I seek to revisit this question by taking a broader look at Schumann’s compositional output from his years in Düsseldorf, arguing that his interest in sacred genres reflected an active engagement with evolving questions of religious and national identity during these pivotal decades in the German states.
To this end, I analyze three case studies. The first examines the tension between communal and individual understandings of Romantic religion through comparison of Schumann’s choral-orchestral Adventlied, Op. 71 and his song cycle Sieben Lieder, Op. 104. The second analyzes Schumann’s plans for a Martin Luther oratorio, which, although he never completed the project, reveal much about Schumann’s nationalist aspirations and understandings of German history and culture. The final case study looks at the Missa Sacra, Op. 147, highlighting Schumann’s investment in the history and future potential of church music. Examination of Schumann’s church music reviews from the 1830s and 40s, as well as his conducting and scholarly priorities during the late 1840s and early 1850s, suggests that Schumann esteemed and sought to contribute to the history of German church music.
These case studies demonstrate how, using different means, Schumann was interested in and actively participated in larger currents of religious transformation in the mid-nineteenth century, transformations that were shaped by intersecting forces of nationalism, historicism, Romanticism, and the shifting roles and venues of religious identity and practice in German society and culture.
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[pt] A MÚSICA SACRA NO ATUAL CENÁRIO DE EVANGELIZAÇÃO NO BRASIL: ELEMENTOS PARA COMPREENSÃO DO ESTADO DA QUESTÃO / [en] SACRED MUSIC IN TODAY S EVANGELISM SCENARIO IN BRAZIL: ELEMENTS TO UNDERSTAND THE STATE OF THE ARTLUCIENE DOS SANTOS 18 September 2023 (has links)
[pt] Esta dissertação pretende desenvolver uma análise teológica sobre o papel
da música sacra no cenário atual de evangelização no Brasil: elementos para o
entendimento do estado da questão. Inicialmente, fizemos um percurso em busca
do conceito de música sacra e sua importância para a vida humana em Israel, nas
primeiras comunidades cristãs, para mostrar seu papel essencial para a manifestação
da fé. A seguir, focamos no esforço de projetar uma perspectiva antropológica em
relação à música sacra que contribuísse para sua participação harmônica na
integração social de pessoas, grupos, comunidades. É inegável, então, que a Igreja
desde a sua fundação canta e celebra o amor de Deus. Assim sendo, o Concílio
Vaticano II contribuiu para a efetiva participação das pessoas nas celebrações e para
o surgimento na realidade brasileira de uma gama, até difícil de ser documentada,
de cantos, de músicos, de músicas. Entretanto, diante das exigências da atualidade,
podemos inferir que a música ao ser inserida em uma determinada cultura se
apropria de elementos que são parte integrante dela. Por conseguinte, evidenciamos
a importância da música como um instrumento de evangelização no Brasil. / [en] This dissertation intends to carry out a theological analysis about the role of
sacred music in today’s evangelism scenario in Brazil: elements to understand the
state of the art. First, we set out on a journey in search of the concept of sacred
music and its importance in human life, in Israel, in the first Cristian communities,
in order to show that this type of music is an essential element for people to proclaim
their faith in worship. Then we focused on the effort to project an anthropological
perspective towards sacred music that would contribute to the realization of its
harmonic participation in the social integration of people, groups and communities.
We also pointed out that the Second Vatican Council contributed to the effective
participation of people in the celebrations and to the appearance of a great number
of songs and musicians. However, faced by today s demands, we must
acknowledge that music when introduced into a certain culture takes over elements
that are an integral part of that culture. Therefore, we have been able to present the
importance of music as an instrument of evangelism in Brazil.
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Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)Yoshioka, Masataka 12 1900 (has links)
During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
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Les Bourbons sacrés : musica sacra y liturgia de Estado en las cortes de Roma, Madrid y Versalles (1745-1789) / Les Bourbons sacrés : musique et liturgie d'État aux cours de Rome, Madrid et Versailles (1745-1789) / The sacred Bourbons : music and liturgy of State at the Courts of Rome, Madrid and Versailles (1745-1789)López Morillo, Luis 07 December 2018 (has links)
La présente thèse tente d'aborder, pour la première fois, une analyse comparative du rôle que la musique liturgique a joué dans le processus de construction de l'image sacrée des souverains de la maison Bourbon de France et d'Espagne dans le cadre des cérémonies religieuses célébrées aux cours de Madrid et de Versailles pendant les dernières décennies de l'Ancien Régime, ainsi que du rôle que l'exemple de la Chapelle pontificale a joué dans ce processus. Le but principal de cette étude a été d’apporter un cadre conceptuel et un modèle d'analyse qui permettraient d'aborder une étude globale de la musique sacrée destinée à ces cérémonies, sous un angle plus proche de l'histoire culturelle que de la musicologie traditionnelle, mais toujours partant de l’analyse des aspects performatifs qui permettaient dévoiler l’interaction réciproque entre la musique avec le contexte cérémonial, politique et historique duquel a fait partie. Tout au loin de six chapitres on examine les éléments qui conformaient les cérémonies de la liturgie d’État, conçues à cette époque comme des représentations sacrées : les différentes scènes où avaient lieu, les acteurs, le cérémonial, ainsi que le fonctionnement des différents styles de chant utilisés pour solenniser aussi bien les cérémonies ordinaires que les extraordinaires célébrées à Rome, à Madrid et à Versailles entre 1745 et 1789. Cela comprenait non seulement les œuvres de musique sacrée produites ad hoc par les maîtres de chapelle, mais aussi d’autres musiques, comme le plain-chant, le contrepoint où le faux-bourdon, qui faisant partie de ce même système de représentation étaient parfois exécutés par l’improvisation ou la mémorisation. / This thesis attempts, for the first time, to address a comparative analysis of the role that liturgical music played in the process of building the sacred image of the sovereigns of the Bourbon House of France and Spain as part of the religious ceremonies celebrated in Madrid and Versailles during the last decades of the Ancien Régime, as well as the role that the example of the Pontifical Chapel played in this process. The main purpose of this study was to provide a conceptual framework and analytical model that would allow a global study of sacred music for these ceremonies to be approached from a perspective closer to cultural history than traditional musicology, but always starting from the analysis of the performative aspects that revealed the reciprocal interaction between music and the ceremonial, political and historical context of which it was a part. Along six chapters, we examine the elements that shaped the ceremonies of the State liturgy, conceived at that time as sacred representations: the different scenes in which they took place, the actors, the ceremonial, as well as the functioning of the different styles of singing used to solemnize both the ordinary and extraordinary ceremonies celebrated in Rome, Madrid and Versailles between 1745 and 1789. This included not only sacred music works produced ad hoc by the choirmasters, but also other music, such as plainchant, counterpoint or faux-bourdon, which were sometimes performed by improvisation or memorization as part of this same system of representation.
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CANTAI E MULTIPLICAI-VOS... : ESTUDO DA HARPA CRISTÃ COMO INSTRUMENTO DE EXPANSÃO DA MISSÃO NO PENTECOSTALISMO NO BRASIL (1910-1970) / CANTAI E MULTIPLICAI-VOS... : ESTUDO DA HARPA CRISTÃ COMO INSTRUMENTO DE EXPANSÃO DA MISSÃO NO PENTECOSTALISMO NO BRASIL (1910-1970) / Sing and multiply...: study of the Christian Harp as instrument of expansion in the Pentecostalism mission in Brazil (1910-1970) / Sing and multiply...: study of the Christian Harp as instrument of expansion in the Pentecostalism mission in Brazil (1910-1970)Souza Junior, Milton Rodrigues de 23 August 2011 (has links)
Made available in DSpace on 2016-08-03T12:18:48Z (GMT). No. of bitstreams: 1
Milton Rodigues de Souza1-145.pdf: 733021 bytes, checksum: 27d635c39633626d7dbd7acbcdbe7456 (MD5)
Previous issue date: 2011-08-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation intends to study the Christian Harp, one of the main national protestant
hymnals, looking to identify it as instrument of expansion in Brazil s Pentecostalism
mission in the period between 1910 and 1970, while appreciating the history and the
creation of this liturgical book, intending to comprehend its usage as motivational element
in the missionary practice of the Brazilian Pentecostal churches. It also consists of knowing
the characteristics of construction of this compendium, passing through the presentation of
its hymnists profiles and through the assiduous study of its musical structure and literary
composition, while being aware of some important constitutive characteristics that are used,
such as the theological concepts. Looking for a missiology concept that shows to be more
correlated with the theological content of this hymnal and the referral of various examples
of incitement to the evangelist practice found within its songs, which leads to the
comprehension of the relevancy of the Christian Harp in the liturgical life of confessional
pentecostal churches in Brazil, and its bold presence as an efficient developer of missionary
practice of these faith communities. / Esta dissertação pretende estudar a Harpa Cristã, um dos principais hinários protestantes
nacionais, buscando identificá-la como instrumento de expansão da missão no
pentecostalismo do Brasil, no período comprendido entre os anos 1910 e 1970, apreciando a
história e a formação deste livro litúrgico na pretensão de compreender sua utilização como
elemento motivador para a prática missionária das igrejas pentecostais brasileiras. Consiste
também em conhecer as características da construção deste compêndio, passando pela
apresentação do perfil de seus hinistas e pelo estudo aplicado da sua estrutura musical e sua
composição literária, conhecendo, ainda, algumas de suas importantes características
constitutivas, como os conceitos teológicos de que faz uso em seu discurso. A procura por
uma conceituação missiológica que se mostre mais identificada ao conteúdo teológico deste
hinário e a indicação de vários exemplos de incentivo à prática evangelística encontrados
em suas canções conduzem à compreensão da relevante importância da Harpa Cristã na vida
litúrgica das igrejas de confissão pentecostal no Brasil e da sua marcante presença como
eficiente agente fomentador do exercício missionário dessas comunidades de fé.
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The Full Anthems and Services of John Blow and the Question of an English Stile AnticoKing, Deborah Simpkin 08 1900 (has links)
John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style.
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Jan František Novák (?-1771) a jeho mešní tvorba / Jan František Novák (?-1771) and his Mass CompositionsPolášek, Vojtěch January 2015 (has links)
This master's thesis concerns the extant masses of Jan František Novák (died 1771), kapellmeister of the cathedral of St. Vitus in Prague from 1737-1758. These masses and their copies are critically examined and subsequently analyzed by focusing on particular types of arrangement as well as in summary. Aspects of musical practice and of the collection of notated music of the metropolitan chapter during Novak's era are also discussed in this thesis.
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Alfredo Ildefonso Schuster a Roma (1880 - 1929) / Alfredo Ildefonso Schuster in Rome (1880-1929)NOBILI, ELENA 20 April 2011 (has links)
Alfredo Ildefonso Schuster (1880-1954), abate di San Paolo fuori le Mura e, successivamente, arcivescovo di Milano dal 1929 al 1954, ricoprì, durante il periodo romano, importanti incarichi sia all’interno dell’Ordine benedettino che della curia romana per volontà di Pio X, Benedetto XV e Pio XI. Egli diede un contributo decisivo in svariati ambiti: insegnò presso la Scuola di Musica sacra, fu consultore della Congregazione dei Riti, preside del Pontificio Istituto Orientale e presidente della Pontificia Commissione di arte sacra. Personalità particolarmente sensibile, fu in contatto con il mondo benedettino europeo, sostenne il movimento liturgico e si mostrò aperto verso la Chiesa ortodossa e gli ebrei. Dal punto di vista politico, infine, Schuster affermò con chiarezza la necessità che lo Stato riconoscesse l’importante azione sociale della Chiesa, denunciando le ingerenze e i soprusi commessi sia dal governo liberale che da quello fascista. / Alfredo Ildefonso Schuster (1880-1954) was a Benedictine monk at the Basilica of Saint-Paul-Outside-the-Walls in Rome and Archbishop of Milan from 1929 to 1954. During his stay in Rome he held high offices for both the Benedictine order and the Roman Curia thanks to Popes Pius X, Benedict XV and Pius XI. He provided decisive contributions to various fields: teacher at the Institute of Sacred Music, Consultor to the Sacred Congregation of Rites, President of the Pontifical Oriental Institute and President of the Commission for Sacred Art. Man with a highly sensitive personality, Cardinal Schuster got in touch with the European Benedictine community, promoted the Liturgical Movement and showed his openness to the Orthodox Church and the Jewish people.
In the political field Schuster clearly stated the necessity of the State to admit the important social action carried on by the Church, while blaming interferences and abuses of both the Liberal and Fascist Government.
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Psalms, Hymns, and Commercial Songs: Tradition and Innovation in James Lyon's "Urania"La Spata, Adam 08 1900 (has links)
This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.
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Les cantates de Nicolaus Bruhns (1665-1697) / The cantatas of Nicolaus Bruhns (1665-1697)Fructus, Michel 03 December 2009 (has links)
Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing.
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