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The journal Biserica Ortodoxă Română [The Romanian Orthodox Church] was founded on November 17, 1873, at the initiative of Romania’s Primate Metropolitan Nifon Rusailă (1789-1875). The aim of the publication – whose first issue was launched on October 1, 1874 – was to inform the clergy and believers about the activity of the Holy Synod of the Romanian Orthodox Church. In the 146 years since the publication of its first issue, the journal’s contributors have included outstanding personalities of the Romanian Orthodoxy, such as Priest-Professors Dumitru Stăniloae, Ioan G. Coman, Ene Branişte, Liviu Stan, Mircea Păcurariu, Ion Bria a.o. Church music was present in the journal’s pages both through articles, studies and reviews, and through scores of choral or psaltic works written by Church servants among whom Bishop Melchisedec Ștefănescu of Roman at the end of the 19th century, or Deacon Grigore Panțiru, Professor Nicolae Lungu, Priest-Professor Gheorghe Șoima, Archd. Sebastian Barbu-Bucur, Ph.D., Priest-Professors Constantin Drăgușin, Nicu Moldoveanu, Alexie Buzera a.o. in the 20th century. This paper summarizes these contributions and shows how the change of political regime in mid-20th-century Romania influenced the topics of the articles and the religious musical works published in the journal of the Romanian Patriarchate.

the Byzantine music]. Thessaloniki: University Studio Press. Alexopoulos, St. (2009). «Ἀκολουθία νεκρώσιμος εἰς μοναχοὺς καὶ ἱερεῖς» [The funeral service of monks and priests] in The mystery of the death in the orthodox church worship. Proceedings of the 9 th Panhellenic liturgical symposium (pp. 401-472). Athens: Church of Greece. Anastassiou, G. (2005). Τὰ κρατήματα στην ψαλτικὴ τέχνη [The kratemata in the psaltic art]. Athens: Institute of Byzantine Musicology. Andrikos, N. (2015). Η εκκλησιαστική μουσική της Σμύρνης (1800-1922) [The ecclesiastical music

-1821) [The Sunday Koinonikon during the Post-Byzantine Age (1453-1821)]. București: Sophia. Karagkounis, K. (2003). Η παράδοση και εξήγηση του μέλους των χερουβικών της βυζαντινής και μεταβυζαντινής μελοποιἶας . Athens: Centre of Byzantine Musicology. Macarie the Hieromonk (1823). Irmologhion sau Catavasieriu musicesc . Wien. Moisil, C. (2016). Geniu românesc vs. tradiție bizantină [Romanian genius vs. Byzantine tradition]. București: Editura Muzicală. Nectarie Frimu. (1846). Carte de cântări bisericești, traduse din originalurile grecești în limba Moldovinească și

composing Byzantine music for the Finnish language. I got to sing with Achilleas Chaldaiakis, renowned virtuoso cantor, Profes- sor of Byzantine Musicology at the University of Athens, and director of the Maestros of the Psaltic Art, an internationally acclaimed Byzantine choir. I held ison for a Byzantine chant concert sung by a choir of Romanian cantors. The Estonian Philharmonic Chamber Choir gave an amazing concert of Or- thodox composers such as Arvo Pärt, Alfred Schnittke, Rachmaninoff, and Fr. Ivan Moody. And so on. (I will also note that the sense of sacred

(1837-1910) and the church chant from Transylvania]. Sibiu: Editura Universităţii „Lucian Blaga”. Moisil, C. (2012). Românirea cântărilor: un meşteşug şi multe controverse – Studii de muzicologie bizantină [The “Romanization” of songs: a craft and many controversies - Byzantine musicology studies]. Bucureşti: Editura Muzicală. Moldoveanu, N. (1997). Muzicieni ialomițeni, Mihail și Traian Vulpescu [Musicians from Ialomița County, Mihail and Traian Vulpescu]. Almanah bisericesc [Church Almanach], 73-78. Slobozia: Episcopia Sloboziei și Călărașilor. Moldoveanu, N