Christian liturgical music

Taft R. F. The Great Entrance. A History of the Transfer of Gifts and other Preanaphoral Rites of the Liturgy of St. John Chrysostom. [A History of the Liturgy of St. John Chrysostom, vol. II]. Roma, 1975. (Orientalia Christiana Analecta; 200).

Atti delle giornate di studi Ars Sacra 2013, Anagni 21-24 marzo 2013 dedicate ai temi "Musica Sacra e Liturgia nelle Cappelle Musicali" e "Il Maestro di Cappella: compositore e uomo di fede".
Evento unico è stato l’incontro tra il mondo della Musicologia e due dei Maestri delle più importanti Cappelle Musicali Romane: Mons. Marco Frisina (M° della Pontificia Cappella Musicale Lateranense) e Mons. Valentino Miserachs Grau (M° della Cappella Musicale Liberiana).

The choice of musical repertoire for the celebration of the sacrament of marriage has become the subject of more frequent and widespread discussions. Media publications on the subject which provide suggestions for the choice published in the media and promoted cultural solutions for music attest to the existence of a problem and the urgent need to arrive at some form of resolution. In this article, the issue of music and songs at church weddings is presented in three parts: the first clarifies the existing problem; the second shows the cultural factors which have led to the existence of the problem; the third part demonstrates the urgent need to formulate a rightful solution regarding the choice of music within the context of Christian liturgy. Suggestions for this choice put forward in the mass media, together with current cultural trends, do not always advocate appropriate choices. The guidelines given to the bridal couple in order to assist them in their choice of music should always be in keeping with liturgical law. The rules and regulations which govern liturgical law lead to a deeper understanding among the faithful of the true meaning of sacramental rituals and their Christian significance. Consequently, they can never be subject to personal taste alone. Observance of these regulations ensures the Christian authenticity of the liturgy as ordained by Christ and the Christian community, and it enhances the aesthetic aspect; indeed, every bridal couple wishes their nuptial Mass to be beautiful. Consequently, they should be made acquainted with the Church’s teaching on liturgical musical settings. Adherence to prescribed norms not only guarantees the essential holiness of the liturgical celebration, but also ensures that their sanctity is not undermined, and allows for inclusive participation in the liturgy.

_Singing the Congregation: How Contemporary Worship Music Forms Evangelical Community_ examines how the widespread adoption of a pop-rock-style congregational music shapes the way evangelical Christians understand worship. The book demonstrates that participatory worship music performances have brought into being new religious social constellations (“modes of congregating”). Through detailed ethnographic accounts of five of these modes—concert, conference, church, public, and networked congregations—this book seeks to reinvigorate the analytic categories of “congregation” and “congregational music.” Drawing from theoretical models in ethnomusicology, congregational studies, and contemporary ecclesiology, the congregation is re-conceived as a fluid, contingent social constellation that is actively performed into being through communal practice—in this case, the musically-structured participatory activity known as “worship.” By extension, “congregational music-making”  is recast as a participatory religious musical practice capable of weaving together a religious community inside and outside local institutional churches. Congregational music-making is not only a means of expressing local concerns and constituting the local religious community; it is also a potent way to identify with far-flung individuals, institutions, and networks that comprise this global religious community. The unique congregations explored in each chapter include but extend far beyond local churches, revealing widespread conflicts over religious authority and far-ranging implications for how evangelicals position themselves relative to other groups in North America and beyond.


The introduction sets out the book’s scope, argument, and goals, places the musical repertoire and religious community in historical and cultural context, and frames the study in relationship to recent scholarship in ethnomusicology, evangelical studies, and congregational music studies. It defines contemporary worship music in North American and global perspectives and discusses its relationship to closely related Christian popular music genres. The chapter then situates the rise of contemporary worship music in relationship to widespread conflicts over shifts in evangelical worship practices known as the “worship wars,” the development of the Christian music recording industry, the adoption of new technologies within congregational worship, and the influence of pentecostal-charismatic Christian practices. Finally, in describing the book’s research methods, I explore the challenges faced navigating distance and proximity in the field as a result of my own religious upbringing as an evangelical and my complex relationship to communities in my study.

When Christians meet together, we sing. Music is essential to our experience of faith, and many of us will be able to tell of times where singing or being present to music has shaped our sense of vocation and calling. 1 Music not an ephemeral add-on to our worship: it is one of our most direct ways of accessing the divine. Liturgical music is vital to how we connect our worship to daily life because it invites us to inscribe the meaning of Christ's saving work on ourselves. Liturgical music gives us important resources for entering into participation in the mystery of God, and helps us to nurture and deepen our baptismal living. In this article we will explore liturgical music from two perspectives. The first is the ways in which music establishes ritual time, which will be discussed through three pieces of music. The second perspective is the role of cultural inheritance and social context in our experience of liturgical music. Music and Time: Marrkapmirr Music shapes our experience of time because it moves in a distinctive way. We often respond by shaping our physical movements to the rhythms of the music we hear. Liturgical music creates ritual time. This is a sense of time that has a more layered aspect, where actions in the present have continuity with events in the past, and the promise of fulfilment in the future. This is a richer and more complex experience than everyday linear time, and we are invited to shape our lives in response to the access to the divine established in liturgy. Here I am going to explore two examples of music that embody this idea of time.

L’idea che sottende a questo scritto è contribuire alla presa di consapevolezza di un ritardo nella comprensione pastorale del linguaggio musicale come pragmatica epistemologica fondamentale per l’efficacia sacramentale del momento celebrativo, nel tessuto delle dinamiche dialogiche tra l’uomo e Dio che il rito dischiude. Tra i linguaggi estetici, sin dall’antichità quello musicale è quello ritenuto come il più connaturale al comunicarsi del divino, per l’intrinseca qualità liminale delle sue dinamiche e dei rapporti che lo costituiscono come linguaggio dell’eccedenza e, per questo, come forma espressiva privilegiata per aprire l’accesso a ciò che trascende l’essere umano. Tuttavia, nelle nostre comunità come nelle commissioni di musica sacra, si discute ancora troppo su quali canti fare, più che su quali dinamiche una certa musica mette in campo nella celebrazione liturgica. Il disorientamento nasce dalla difficoltà di individuare uno statuto definitivo per l’arte musicale del rito, che rispetti gli equilibri fra tradizione e adattamento, contenuto teologico e cultura, oggettività della rivelazione e soggettività della percezione (dell’oggetto della rivelazione), mediazione e immediatezza nel sentimento del sacro. Il Concilio Vaticano II apre una strada che incide fortemente sulla necessità di rivedere le forme dell’annuncio, soprattutto rituali, della fede, e dunque i linguaggi e le coordinate di una espressione del rapporto col divino quanto mai ricca e variegata, quanto ricca è la tavolozza dei colori dell’esperienza umana. Così dagli anni ‘70 nel contesto ordinario delle nostre celebrazioni si può trovare di tutto nello stesso tempo, dal brano classico alla canzoncina pop, dal canto gregoriano a cappella alla musica con accompagnamento elettronico, all’assenza del musicale, avvertito come accessorio. Se la varietà delle scelte è opportuna e giustificata dalla necessità di venire incontro alle esigenze di un’assemblea liturgica sempre  differente (talvolta disgregata in specifici gruppi e fasce di età di fanciulli, di giovani, di anziani, di famiglie, di scout...), e dunque dal compito della regia celebrativa di tenere presente la concretezza del popolo di Dio, occorre tuttavia ricercare (e una volta trovate salvaguardare) quelle che sono le conditiones sine qua non di una autentica efficacia (espressiva e quindi sacramentale) rituale. La presente ricerca si propone di mostrare come la musica sia parte integrante del rito al punto tale da essere identificata attraverso l’esperienza del ritmo (esperienza connaturale sia alla musica che al rito). Essa non è un elemento secondario della celebrazione che si possa tralasciare, ma la sua presenza imprescindibile nel rito è legata alla sua efficacia teologale, per la sua capacità di incidere, con le sue dinamiche, nel profondo del sentimento originario del sacro, rendendo il rito gioioso e desiderabile, vitale ed efficace. L’ambito di questo studio è la musica del rito e per il rito, per indagare quale musica sia quella realmente liturgica. Una volta precisata la musica nel contesto performativo del rito delineando alcuni tratti per una essenziale fenomenologia del rito in riferimento alla musica, verranno delineati gli scenari aperti dalla musica rituale per il suo decisivo valore simbolico. Fondamentale è riconoscere le condizioni imprescindibili della musica come rito. Essa mette infatti in campo un tipo di comunicazione che è quella di cui vive l’azione rituale, dal momento che chiama in causa il sacro, per rispettarne lo statuto non può essere tradotta in parole e concetti. La dinamica di rivelazione si gioca sempre all’interno dello spazio personale di chi partecipa al rito, in maniera mai anticipabile. La dia-logica del rito non è la logica dell’utile e del calcolo, ma lo spazio in cui può farsi strada la luce dell’inatteso. Proprio questa capacità, che il musicale custodisce, di condurre l’uomo a una sorta di ‘svuotamento’ contenutistico che lascia spazio all’emozione, permette l’apertura a una dimensione liminale e fa sì che la musica possa essere una modalità dell’accadere dell’esperienza originaria del sacro. È  qui che diventa possibile parlare dell’efficacia sacramentale della musica per il rito.

Die Tagzeitenliturgie ist der tägliche Gottesdienst der Kirche, auch wenn sie in Praxis und Bewusstsein der meisten Gemeinden gegenüber einem zunehmend inflationären Messwesen und Resten sekundärer Andachtspraxis in den Hintergrund getreten ist und faktisch häufig nur mehr als Sonderübung religiöser Spezialisten wahrgenommen wird. Das liegt auch daran, dass ihre überkommene Gestalt stark von monastischer Spiritualität geprägt ist; speziell im Westen ist eine gemeindegerechte Form des täglichen Gottesdienstes zur Ausnahme geworden, wenngleich in jüngerer Zeit bemerkenswerte Neuaufbrüche festzustellen sind.

Plainchant accompaniment was a widely discussed topic in French
musical discourse from the middle of the nineteenth century to the
first decades of the twentieth century. The article discusses important
steps of this debate and possible impacts outside the field of liturgical
music. At a time of robust attempts to restore Gregorian chant within
the French Roman Catholic liturgy, different approaches to the harmonization
and rhythmisation of chant were suggested, and of these,
the treatise of Louis Niedermeyer and Joseph d’Ortigue is one of the
best-known, a strictly diatonic procedure that uses only the notes of
the respective mode. After this attentiveness to the harmonic design
of plainchant settings, somewhat comparable attention was given to
rhythm near the end of the nineteenth century. While Niedermeyer
and d’Ortigue had assigned one chord to each note, authors such as
Antonin Lhoumeau now proposed rhythmically more flexible styles of
accompaniment. This happened against the backdrop of a fierce debate
about the place of Gregorian rhythm in chant performance and
philology. Modality and free rhythm were also used outside of accompaniment,
such as in liturgical organ pieces following the French verset
tradition by Alexandre Guilmant and Eugène Gigout in particular.
Furthermore, the notions of Gregorian harmony and rhythm that were
established in this way may have also influenced non-sacred music:
the beginning of Déodat de Séverac’s piano cycle Le Chant de la terre
(1900), which makes extensive use of modal harmonies and starts with
a passage without barlines, may serve to highlight the relevance of the
debate about accompaniment for French music in general.

I have approached the eighteenth-century villancico from various different angles. Each chapter can be seen as a self-contained essay, although the reader will find that each aims to reveal different aspects of the same phenomenon, in order to provide as comprehensive an overview as possible. The first chapter provides the historical framework of the period under investigation, with special attention given to the social and political events which influenced the production of music, the role played by the Church in musical developments in Spain and the place of Salamanca in the peninsular context. The second chapter studies the institutional framework of the music chapel of Salamanca Cathedral, this being approached from the global perspective of the production of sacred music in Spain, and it provides a detailed description of the structure and transformation of the music chapel from its origins, with special emphasis to the early decades of the eighteenth century. The third chapter comprises a reflection on the concept of villancico, and its relationship with parallel genres in other countries, as well as with contemporary secular genres. In the fourth chapter the function and ceremonial context of the sacred villancico in Salamanca Cathedral is studied, with a detailed analysis of the way these factors influenced the music written for each occasion. The fifth chapter focuses mostly on the formal transformation of the villancico in the early decades of the century, particularly as regards the introduction of Italian operaticforms into the genre. This chapter is not exclusively focused on Salamanca, but also provides a systematic scrutiny of the villancico repertory from the Real Capilla in Madrid and some other important institutions. The sixth chapter is concerned with the stylistic changes in the villancico genre in the same period. Here the study is based on a systematic examination of the repertory preserved in Salamanca cathedral to provide a clear and concise view of the process.

This talk is being presented on the heels of the release of a two new publications in the Metropolis of Portland of the Divine Liturgy in English in Byzantine notation and the Service of the Great Vigil of Pascha (and subsequent simplified editions in Western notation for our emerging mission communities). This edition is not simply another re-transcription of the Seattle Liturgy Book will prayerfully represent an adaptation of the classical Patriarchal and Athonite repertoire into the English language or at least a small part of it. It is my hope in giving this talk that I can give some insights as to Byzantine musical history (and hysteria) as well as the Metropolis Cathedral's methodology and practice, as it presents in many ways a departure from what has been accepted as norms and conventional wisdom of the recent past. Byzantine chant in English-a cultural history While understood as originating from hymns in the Greek language, the Byzantine musical tradition has been successfully transplanted into not only Arabic and Syriac languages, but also into the southern Slavic Orthodox nations of Serbia, Macedonia, Bulgaria and Romania, not only using the received Chrysanthine notational reforms, but also as the received classical style of singing. It seems only natural that Byzantine chant with its traditional style, theory and notation should be not only taught, but chanted in worship in our native English language here in the New World.

(EN)
Tongeren, a nice little town in the south of Limburg, is the oldest town in Belgium. The original settlement (15 AD) developed from a military camp to a gallo-roman settlement. In later years it became an important pillar in the prince-diocese of Liège. The original basilica of our lady is known as one of the oldest churches in the Christian world. The present gothic basilica was built between 1240 and 1444. It’s tower is recognised by UNESCO as World Heritage. There was at least one organ in this church since the 14th century. For centuries the best organ builders worked hard to maintain this impressive organ heritage. The monumental le Picard organ was built in 1750-1752 and fully restored in its original state by 'la manufacture d'orgues Thomas' between 1997 and 2002. It's renowned as one of the best examples of the typical Liège organ style. When the complete restoration of the churchbuilding ended in 2010, it was time for a new choir organ. The centuries-old musical tradition had need of a new multifunctional organ that could be used during mass and concerts, as a supplement for the historical Le Picard organ. The Thomas Organbuilding Company was selected to build the new organ in tradition of the basilica’s rich organ heritage. This new organ poses as a swallow’s  nest in the south wing of the basilica. Now there is a beautiful balance between the altar-of-our-lady in the north wing and the new organ in the south. That's why it will be named "the organ of our lady", after the Patron Saint of this basilica: Causa Nostrae Laetitiae (cause of our happiness).

(F)
Tongres, une charmante cité de province du sud du Limbourg belge est la plus ancienne ville de Belgique. A partir de l'an 15 avant JC, un camp militaire romain s'est transformé en une véritable colonie gallo-romaine. Plus tard, celle-ci constitua une base importante de la principauté de Liège. L'église Notre Dame initiale est considérée comme une des plus anciennes églises du monde chrétien. L'église actuelle de style gothique (les tours sont reconnues comme patrimoine mondial de l'UNESCO) a été construite entre 1240 et 1444. Déjà à partir du 14ème siècle, on note l'existence d'au moins un orgue dans cet édifice. Siècle après siècle, les meilleurs facteurs d'orgues ont travaillé à la perpétuation d'un impressionnant patrimoine organistique. L'imposant orgue Le Picard (1750-1752) a été récemment intégralement restauré et reconstruit par la Manufacture d'orgues Thomas (1997-2002). Il est considéré comme un modèle de l'école liégeoise de facture d'orgues. Après une restauration complète de l'église (2010), il était opportun, vu l'importante tradition musicale encore bien présente aujourd'hui, de concevoir un nouvel orgue de chœur complet et multi-fonctionnel tant pour la liturgie que pour les concerts. Ce dernier se devait être complémentaire à l'orgue historique Le Picard. La manufacture d'orgues Thomas a été sélectionnée pour la construction de ce nouvel orgue qui, tout en étant dans la lignée historique, ouvre des perspectives vers l'avenir. Cet instrument (2013-2014) est suspendu en nid d'hirondelle dans le transept sud de la basilique. Il forme avec l'autel marial un bel équilibre architectural. C'est pour cette raison qu'il sera aussi appelé ‘l'orgue Notre Dame’ en référence à la Sainte Patronne de la basilique: Causa Nostrae Laetitiae (cause de notre joie).

(D)
Tongeren, ein gemütliches Provinzstädtchen im Süden der belgischen Provinz Limburg, ist die älteste Stadt Belgiens. Ab dem Jahr 15 v. Chr. entwickelte sich die ursprüngliche Siedlung von einem römischen Militärlager zu einer gallo-römischen Siedlung. Später wurde sie zu einem wichtigen Stützpunkt des Fürstbistums Lüttich. Die ursprüngliche Liebfrauenbasilika wird zu den ältesten Kirchen in der christlichen Welt gerechnet. Die heutige gotische Kirche, deren Turm UNESCO Weltkulturerbe ist, wurde zwischen 1240 und 1444 erbaut. Bereits seit dem 14. Jahrhundert gibt es mindestens eine Orgel in dieser Kirche. Jahrhundert für Jahrhundert arbeiteten die besten Orgelbauer an der Erhaltung eines beeindruckenden Orgelerbes. Die monumentale Le-Picard-Orgel (1750-1752) wurde vor kurzem von Grund auf restauriert und rekonstruiert durch ‘La Manufacture d’Orgues Thomas’ (1997-2002). Sie gilt als beispielhaft für die Lütticher Orgelschule. Nach der grundlegenden Restaurierung des Kirchengebäudes (2010) war es an der Zeit für eine neue Chor-Orgel. Die jahrhundertelange und bis zum heutigen Tag andauernde musikalische Tradition bedarf einer vollwertigen Chor-Orgel, die vielseitig einsetzbar ist für die Liturgie und für Konzerte, als Ergänzung zur historischen Le-Picard-Orgel. ‘La Manufacture d’Orgues Thomas’ wurde ausgewählt, um eine neue Transept-Orgel zu bauen, die an die Tradition anknüpft und doch Perspektiven für die Zukunft eröffnet. Diese neue Orgel (2013-2014) hängt wie ein Schwalbennest im südlichen Kirchenschiff der Basilika. Sie bildet ein schönes architektonisches Gleichgewicht mit dem Marien-Altar im nördlichen Kirchenschiff. Darum wird sie auch ‘Liebfrauen-Orgel’ genannt, nach der Schutzheiligen der Basilika: Causa Nostrae Laetitiae (Ursache Unserer Freude).

Gesänge tragen besonders zur charakteristischen Spiritualität einer liturgischen Tradition bei; sie prägen sich tiefer ein als Lesungen oder Gebete. Was die römische Liturgie gegenüber anderen Riten des Ostens und Westens besonders auszeichnet, ist ihr Biblizismus: Selbst um das Innerste christlicher Feste auszudrücken, bedienen sich die gregorianischen Gesänge praktisch ausschließlich der Bibel, vornehmlich der Psalmen. Dabei greift die liturgische Psalmenverwendung einerseits auf Inhalte und Methoden der Deutung zurück, die schon zum Grundbestand neutestamentlicher Theologien gehören; andererseits setzt sie eine Vertrautheit mit dem kanonischen Text voraus, die nur durch ständige Rezitation hergestellt werden kann.

Paul F. M. Zahl writes about “Formal-Liturgical Worship”, which he also calls Bible-based verticality. He defines the concept formal as “dignified service that is not governed by the spontaneity of the moment or the spontaneity of the officiant. It means service in a form, within a mold. It is not off the cuff or as mood would govern. Rather, it accepts the constraint of a consistent and predictable pattern.” And, liturgical means it is a “prescribed worship, service that is required for a given occasion.” He insists on the prominence of the Bible as the source for all kind of worship. It must be based on the Word. Theology has to precede the act of worship, he says.

Von einem nationalen Standpunkt betrachtet wurde die Kultur der Italoalbaner und Italogriechen als ,,linguistische Minderheit“ marginalisiert und aufgegeben – mit dem Ergebnis, dass ihre Sprachen nicht mehr an den Schulen unterrichtet werden. Musik hatte immer eine Schlüsselrolle in den Gemeinden gespielt und die besondere Verbindung aus Musik und dem Klang dieser Sprache verfehlt niemals seine Wirkung, unabhängig davon, ob sie verstanden wird. Sie begleitet die Italogriechen und Italoalbaner durch den Zyklus des Lebens, zu bedeutenden Festen, während des Karneval, zu Hochzeiten und Beerdigungen. In dieser Einführung möchte ich die reiche Kultur der ländlichen Musiktraditionen Süditaliens von einer anderen Seite betrachten, indem ich sie mit denen der Nachbargemeinden vergleiche, wo es auch Tarantelle und Kalimere gibt, obwohl der Dialekt nicht mit Balkansprachen vermischt ist und ihre Gemeinden keinen orthodoxen Hintergrund haben, die den mysteriösen ,,Süden“ (in der anthropologischen Schule Italiens kurz “Il Sud” genannt) einst dominiert haben. Auf diese Weise lassen sich die Formen entdecken, die die Gemeinden der Arbëresh gegenüber anderen auszeichnen, die vallje und ajrët und eine besondere Form des mehrstimmingen Musizierens, die von Musikethnologen als Weltkulturerbe des Balkan und Italiens anerkannt wird.

Ogni domenica mattina in piazza di Pasquino a Roma, nei pressi di piazza Navona, si può udire un sound coinvolgente caratterizzato da andamenti ritmici provenienti dal cuore dell’Africa. Si tratta del coro Bondeko che anima il rito cattolico zairese nella chiesa della Natività di Gesù; esengo è la parola che in lingua lingala significa “gioia”.

Il volume è il risultato di una ricerca etnomusicologica condotta nella comunità congolese dal 2013, primo di una serie di monografie dedicate ad altri luoghi di culto frequentati da immigrati nella città di Roma. Esengo, realizzato in forma dialogica, si apre con un’introduzione storica del cristianesimo in Congo per poi focalizzarsi sulla storia della preziosa realtà congolese della chiesa della Natività. Seguono analisi e trascrizioni musicali di alcuni brani significativi del repertorio liturgico e un focus sulle pratiche musicali della Settimana Santa. Chiude il volume una sezione dedicata alle storie dei protagonisti del coro Bondeko. Esengo è corredato da un apparato multimediale che comprende fotografie e filmati documentati sul campo, disponibili sul canale Vimeo di NeoClassica.

Il volume è stato realizzato in collaborazione con l’Università degli studi di Roma “Tor Vergata” e con l’Ufficio Migrantes di Roma.

Il volume è acquistabile al seguente link:
https://www.neo-classica.com/catalogo/musichemigranti/esengo-pratiche-musicali-liturgiche-chiesa-congolese-roma/

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

Vespro della Beata Vergine Claudia Monteverdiego (1567‒1643) wydane w 1610 roku to utwór, który jest kamieniem milowym w historii muzyki, a którego omówienie musi być z konieczności wielowątkowe, ogniskują się w nim, niczym w soczewce, rozmaite zjawiska i problemy. Począwszy od użytej tu techniki kompozytorskiej, przez problematykę poprawności uzusu liturgicznego, zagadkowe przeznaczenie całego tego cyklu, zaprzęgnięcie świeckiego języka muzycznego w służbę sztuki kościelnej i zapoczątkowanie całego procesu zeświecczenia muzyki kościelnej, aż wreszcie do przemian pobożnościowych i kulturowych nowożytności, których cykl ten jest świadectwem.

For a complete performance recording and video see: https://www.youtube.com/watch?v=jZQWsroyKj0

This is a work for organ based on the open motiv of the medieval chant "Tantum Ergo." The work is in four sections, which may be played as independent pieces or subsets for liturgical use or as the complete set. The first performance was given by organist Matt Gender.

Extracto de la tesis doctoral titulada "Te Deum laudamus. La formulación y la celebración de la gloria de Dios a través de una forma hímnica. Aproximación teológica, litúrgica y musical", donde se incluye la introducción general, el capitulo tercero, así como la bibliografía y el índice general del estudio.

Arguably the foremost pioneer of indigenized hymnody in Senegal, Julien Jouga composed hymns that achieved remarkable popularity beyond the Catholic Church, beloved by Muslims and Christians alike. In his compositions, Jouga did not limit himself to conventional Catholic materials but drew extensively upon the practices of mystical Islam and African traditional religions. Amalgamating divergent musical, cultural, and spiritual sources, Jouga entered into dialogue with the voices of religious others, voices whom he confronted as equals within the polyphonic lines of his hymns. Through this radically dialogic approach, Jouga's compositions became performances of deep polyphony: of inclusive hymnody that recognizes the truths of others and celebrates the simultaneity of moral and spiritual paths in the midst of religious difference.

This thesis looks at developments in evangelical/Pentecostal contemporary Christian worship music (CWM) in response to its theological critiques and analyzes the effects they are having on what training worship leaders will need. CWM has grown into a global phenomenon that largely either disregards or is ignorant of its theological critics. The rapid rate of churches adopting CWM practices in their services has led to numerous universities creating post-secondary degrees in Worship Leadership focused specifically on modern expressions of worship. This thesis uses a convergent parallel mixed methods research model to analyze how worship practices are changing in key evangelical-turned-sacramental churches to determine the worship education needs of worship leaders in similar churches. The research results can be used by universities to adapt or create Worship Leadership degrees that properly equip students for careers in the current and future church job marketplace. Churches can use these findings to help them navigate similar transitions in their worship practices. This research showed that evangelical-sacramental churches still use contemporary and modern musical genres but also use traditional songs. The research shows that these churches require worship leaders to be proficient in modern and traditional music styles, historical worship practices, songwriting, and pastoral care.

This dissertation develops a theory for the relationship between ritual song and indi- vidual moral practice. The author contends that the connection between ritual song activity and moral action is based upon three primary aspects of ritual song activity: 1) ritual song is an event of symbolism, in which significant symbols and ideas are communi- cated to individuals and are reshaped for the community through their use, 2) ritual song provides an opportunity for divine meeting, in which individual community members participate in a powerful means of transcendent experience, and 3) ritual singing itself is a set of particular and regular religiously responsive performances that shape the ways in which individuals respond to God and neighbor outside of the ritual event. These three aspects of the ritual song experience—symbolism, divine meeting, and performance—work together to create what the author terms the Responsorial Self: the person who responds to the call of God in the world in ways that are informed by ideas and values experienced in ritual song and which have been rehearsed in the performance of ritual song.

Previous attempts to understand the relationship between ritual song and moral practice utilizing theological and ethical approaches have been hampered by the interdisciplinary nature of the question. In order to develop a theory that is both appropriately informed about ritual musical behavior and theologically grounded, the dissertation draws upon work done in social anthropology, musicology, ethnomusicology, and liturgical studies as well as systematic theology and theological ethics.

A critical transcription of the three-voice Caça (“chace” or canon) known as “O Virgo Splendens” (“O splendorous virgin”), the first in the small collection of music from the Llibre Vermell. It is perhaps the oddest of the set, being the most stylistically remote. It is the only piece not notated or composed in the contemporary style of the Ars Nova. Rather, its notation and style harken to previous centuries, possibly as recent as the discant style of the Parisian school of Notre Dame or of Santiago de Compostela from the 12th and 13th century, or as old as the free organum style of the 10th and 11th centuries such as that found in the Ad organum faciendum. Given its apparent lack of rhythmic mode of any kind, its relation to the 10th and 11th centuries seem more likely.

For a video of the score with a recorded performance visit
https://www.youtube.com/watch?v=5BkzBK5-oDw

Tujuan penulisan karya ilmiah ini adalah untuk mengetahui jenis dan bentuk puji-pujian yang  dapat digunakan sebagai sarana dalam pelayanan okultisme serta mengetahui sejauh mana peran, fungsi dan pengaruh puji-pujian dalam sebuah pelayanan okultisme. Adapun hasil penelitian ini dapat disimpulkan sebagai berikut. Pertama, puji-pujian yang merupakan bagian dari musik adalah anugerah Allah kepada manusia secara khusus kita sebagai umat tebusan-Nya, di mana kita dapat menggunakan anugerah tersebut untuk memuliakan dan menyembah Allah dalam roh dan  kebenaran. Kedua, puji-pujian dapat digunakan dan dapat dijadikan sarana dalam pelayanan, secara khusus pelayanan okultisme karena Allah kita adalah Allah yang sangat menyenangi puji-pujian. Ketiga, puji-pujian yang kita sampaikan kepada Allah pada saat melakukan pelayanan okultisme harus benar-benar disampaikan dengan iman yang sungguh kepada-Nya bahwa Ia bertahta dan bersemayam di atas puji-pujian serta Ia berkuasa atas puji-pujian yang kita sampaikan. Keempat, tidak ada puji-pujian tertentu yang digunakan dalam pelayanan okultisme. Semua jenis dan bentuk puji-pujian dapat digunakan dalam pelayanan okultisme. Yang harus diperhatikan adalah sikap hati kita saat memuji dan melayani Tuhan. Kelima, sebagai pelayan Allah, kita harus hidup sesuai dengan segala sesuatu yang Allah kehendaki dalam hidup kita.

Two Latin expressions, Ordo missae and Ordinarium missae, are employed in precise, technical ways in liturgical books and documents of the Roman rite but they are sometimes confused with each other. One has been commonly used when referring to musical compositions of the longer sung texts of the Roman Mass and was used thus in the new chapter of the Institutio Generalis Missali Romani which treats of matters within the competence of Episcopal Conferences. Recent translations of the two Latin expressions in liturgical books for local churches have taken different and even inconsistent routes. Less than ideal translation has affected the rendering of an important new text in the General Instruction regarding the composition of liturgical music and Episcopal Conferences. The author seeks to clarify the usage of the two Latin expressions and how they have been translated differently and inconsistently in major Western languages. He concludes by suggesting there be a consistent approach in the translation of technical terms from Latin into spoken languages.

This thesis looks at developments in evangelical/Pentecostal contemporary Christian worship music (CWM) in response to its theological critiques and analyzes the effects they are having on what training worship leaders will need. CWM has grown into a global phenomenon that largely either disregards or is ignorant of its theological critics. The rapid rate of churches adopting CWM practices in their services has led to numerous universities creating post-secondary degrees in Worship Leadership focused specifically on modern expressions of worship. This thesis uses a convergent parallel mixed methods research model to analyze how worship practices are changing in key evangelical-turned-sacramental churches to determine the worship education needs of worship leaders in similar churches. The research results can be used by universities to adapt or create Worship Leadership degrees that properly equip students for careers in the current and future church job marketplace. Churches can use these findings to help them navigate similar transitions in their worship practices. This research showed that evangelical-sacramental churches still use contemporary and modern musical genres but also use traditional songs. The research shows that these churches require worship leaders to be proficient in modern and traditional music styles, historical worship practices, songwriting, and pastoral care.

Schon einige der ältesten erhaltenen Gesangsbücher aus dem Einflußgebiet der römischen Liturgie des Frühmittelalters enthalten allerdings Gesänge zu Osterprozessionen; vereinzelt ab der zweiten Hälfte des 9. Jahrhunderts, verbreitet dann ab dem 10. Jahrhundert gehören österliche Prozessionsgesänge zum Repertoire der römisch-fränkischen Mischliturgie. Zur liturgiewissenschaftlichen Sondierung dieses Befundes sollen nach kurzen Hinweisen zur altrömischen Ostervesper (1) zunächst Beobachtungen zu Bestand und Integration von Gesängen zur Osterprozession in ausgewählte Gesangsbücher der römisch-fränkischen Mischliturgie gesammelt werden (2), bevor anhand einiger liturgischer Ordnungen nach der Feiergestalt gefragt wird (3); abschließend werden Repertoire und Verwendung der Gesänge rekapituliert (4).

This dissertation investigates developments in the performance of J. S. Bach’s music in the second half of the 20th century, as reflected in recordings of the Mass in B Minor, BWV 232. It places particular emphasis on issues relating to concepts of expression through performance.

Between the 1950s and the 1980s, most Bach performers shared a partial consensus as to what constitutes expression in performance (e.g., intense sound; wide dynamic range; rubato). Arguments against the application of such techniques to Bach’s works were often linked with the view that his music is more “objective” than later repertoires; or, alternatively, that expressive elements in Bach’s music are self-sufficient, and should be not be intensified in performance.

Historically-informed performance (HIP), from the late 1960s onwards, has been characterised by greater attention to the inflection of local details (i.e., individual figures and motifs). In terms of expressive intensity, this led to contradictory results. On the one hand, several HIP performances were characterised by a narrow overall dynamic range, light textures, fast tempi and few contrasts; these performances were often considered lightweight. On the other hand, HIP also promoted renewed interest in the practical application of Baroque theories of musical rhetoric, inspiring performances which projected varied intensity within movements.

More recently, traditional means of expression have enjoyed renewed prominence. Ostensibly “romantic” features such as broad legati, long-range crescendi and diminuendi, and organic shaping of movements as wholes have been increasingly adopted by HIP musicians.

In order to substantiate the narrative outlined above, the significance of the evidence preserved in sound recordings had to be checked against other sources of information. This dissertation is divided into two main parts. The first part focuses on specific “schools” of prominent Bach performers. Complete recordings of the Mass are examined in relation to the biographical and intellectual backgrounds of the main representatives of these schools, their verbally-expressed views on Bach’s music and on their own role as performers, and their style as documented in recordings of other works. The second part examines the performance history of specific movements within the Mass, comparing the interpretations preserved in sound recordings with relevant verbal analyses and commentaries.

The dissertation as a whole therefore combines the resources of reception and performance studies. Beyond its specific historical conclusions concerning Bach performance in the post-war era, it also provides specific insights into Bach’s music, its meaning and its role in contemporary culture.

The purpose of this study is to examine and define what is considered to be sacred music in Christadelphian worship by comparing Christadelphian ideas about music with the actual practice of music as demonstrated in written historical sources and in contemporary performance practices. Christadelphian music is made up of mainly hymns, anthems, psalms and contemporary songs.  An expression that Christadelphians favour in describing how music is to be used is taken from the Bible, in 1 Corinthians 14 verse 15: “to sing with the spirit and to sing with the understanding”.  This is a Christadelphian ideal that has been used to justify many editorial decisions and performance practices. Up to ninety percent of the music used has been sourced from other religions, but the Christadelphians have adapted the pieces to suit their purposes.  At various times, fourteen different hymn books have been developed for use in English speaking countries, with some being accepted and some rejected for social and religious reasons.  In the first seven chapters, the history of the various hymnals are outlined, including issues that arose in the publication of these and how they were used in the community.  The eighth chapter examines views on music that have been published separately to the views contained in the hymn book prefaces and how music is used today in Christadelphianism.  The thesis follows the history of Christadelphian hymns, including where hymns have been borrowed from, as well as the music and text of Christadelphian origins.  This history is presented in light of the development of Christadelphian society and how certain religious values affect the choice and presentation of their music, including performance practices.  Indexes with hymn text and tune headings are provided in the appendix of all Christadelphian compositions published and can be cross referenced with each other.  Finally all issues presented in this thesis are linked to the Christadelphian ideal of singing with the spirit and understanding to show how this is practiced in current congregations.