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Abstract

In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musical compositions of the last decades of the 20th century. Once with the return to the functional system, either through minimalism or through neo-romanticism, the artist has successfully covered a potential sonority path of modern opposites, also evoking references to creative models of the past. We are referring to the musical valorizing of the sacred in a synthetic vision between tradition and innovation, in the works included in the Adiemus cycle, in the opus choir Missa for Peace and, more particularly, in the Requiem (2005), a significant score in the contemporaneity. The manner in which the composer, while resorting to a musical genre originating from the Roman Catholic cult and drawing on the liturgical text of the Mass for the dead, inserted Japanese poetry, written following the structure of haiku, belonging to representative authors - Gozan Koshigaya, Issho Kosughi, Hokusai Katsushika, Kaga-no-Chiyo, is highly surprising. This study aims to highlight the interweaving imagined by Karl Jenkins between the two cultures as well as to conduct a semantic analysis of an opus in which the relationships between music and words entail a highly emotional response.

Von der kompositorischen Funktion und Stellung der Kratemata im byzantinischen Kirchengesang IoannIs PaPachrIstoPoulos* About the Role and Compositional Functions of the Kratemata in the Byzantine Chant The Byzantine church chant is a purely liturgical song. The music that is practiced here is primarily linked to the understanding of the text and its comprehension. That’s why the sound-word ratio is very pronounced in the syllabic and semi-melismatic chants. This harmonious relationship between music and poetry is partly destroyed in the very extensive

Abstract

Over a century and a half after the establishment of the first state educational institution dedicated to music in Iaşi – the School of Music and Declamation (1860) – the distinctive features of music education and the social and cultural phenomena involved can be perceived and analyzed. This study provides arguments to support the following features: 1. the openness to assimilate a variety of pedagogic and cultural influences, both from Europe and from Romania; 2. the role played by leading personalities, musicians – professors, in rising performance levels and in perpetuating the project; 3. valorizing Romanian music traditions - liturgical songs of Byzantine origin and regional folklore - through education (specializations, courses, creative activities and music performance); 4. the constant involvement of music education in concerts and musical performances in Iaşi.

theological categories. In the first place ecclesiality which is interpreted in a ministry of sound. Secondly, a dynamic of representation: we may speak of a clear ministry of song and of music which share the ministry of baptism. In third place, we find a dynamic of listening and participating in liturgical song. Understanding the Word, its celebration, is by listening and by responding. This dynamic is very significant because it is found in every culture, either in its peculiar language or in a shared ecclesial language, also in concrete gestures, art and

calls the Virgin Mary, Mother of God and „Mother of light”, Ibidem, p. 97 etc. 330 George Diaconu entirely transposed into music in the Byzantine musical manuscripts at a rel- atively late stage, around the 2nd – 3rd quarters of the 17th century. Thus, the score of the first Great Doxology in Byzantine musical notation belongs to the bishop Melchizedek of Rhaedestos - from Eastern Thrace (1615-1625), on the first plagal voice. I found this liturgical song in the Γ.γ.ΙΙ manuscript of the National Monument’s State Library from the Exarchic Greek Roman Abbey of the

, 2014; R.L. Kendrick, Celestial Sirens: Nuns and Their Music in Early Modern Milan , Oxford, 1996; C.A. Monson, Disembodied Voices: Music and Culture in an Early Modern Italian Convent , Berkeley and Los Angeles, 1995; C.A. Monson (ed.), The Crannied Wall: Women, Religion, and the Arts in Early Modern Europe , Ann Arbor, 1992; M. Walter-Mazur, Figurą i fraktem. Kultura muzyczna polskich benedyktynek w XVII i XVIII wieku [ With the Figure and the Accompanied Liturgical Songs. The Music Culture of the Polish Benedictine Nuns in the 17 th and 18 th Centuries