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For centuries, the study of personality has been a need for understanding human nature, but it also has become a scientific endeavour, starting with the first half of the twentieth century. Research in this matter has materialised through papers by important psychologists, who considered the unitary study of human beings, the understanding of their motivation, as well as the understanding of the psychological differences that make us unique. Thus, personality is a dynamic concept which reveals the behaviour of a person that allows the possibility of adapting to the environment. While her works are frequently performed in recitals and concerts, Carmen Petra-Basacopol is one of the most appreciated Romanian musicians also due to personality traits, which are undoubtedly reflected in her creation. The universe of sacred music has been a favourite field in her works and includes all musical genres, from chamber music to concerts. In this study I have planned to analyse musicologically three choral works with sacred orientation from the perspective of a psychological profile of the composer: Sacred songs for a capella mixed choir, op. 90; Sacred hymns for male choir, op. 112; Psalm triptych for a capella choir with female voices, op. 116. The proposed working tool for outlining the psychological profile, as well as the correlation of the studied works with the universe of sacred music is represented by the interview.

carol, concluding that carols are part of those traditional texts and melodies that can be called Eucharistic chants. Their preservation and practice in different areas of the country highlight their worth, as they essentially represent liturgical echoes arising from the ethnogenesis of the Romanian nation. Keywords: Carol, Christmas, Religious Folklore, Orthodox Sacred Music. 1. The carol1: musical genre and function in Transylvania An important chapter in Romanian traditional culture is represented by the folklore surrounding the main holidays of the year

References Bucescu, F. (2009). Cântarea psaltică în manuscrisele din Moldova – sec. XIX. Ghidul manuscriselor moldovenești – sec. XIX [ Psaltic singing in manucripts from Moldavia – 19th century. The Guide of Moldavian manuscripts ], I, II. Iași: Artes. Bucescu, F. & Catrina, C. & Barnea, A. et al . (2010). Catalogul manuscriselor de muzică sacră din Moldova – sec. XI-XX [The Catalogue of sacred music manuscripts of Moldavia – 11 th -20 th century], I. Iași: Artes. Buzera, A. (1998). Chiril Monahul de la Mănăstirea Bisericani, copist şi compozitor [Chiril

-day Adventist Church in Romania]. Bucureşti: Editura Viață și sănătate. Geantă, C. (2009). Estetica muzicii sacre [Aesthetics of sacred music]. Bucureşti: Editura Viaţă și sănătate. Gelman, K. S. (2004). Polifonia imitativă în creaţia corală contemporană românească [Imitative polyphony in contemporary Romanian choral creation]. Cluj-Napoca: Editura Napoca Star. Jarda, T. (2003). Armonia modală cu aplicaţii la cântecul popular românesc [The modal harmony with applications in the Romanian folk song]. Cluj Napoca: Editura MediaMusica. Talpoş, V. (1999). Studiu introductiv

Ecumenical news / Aktuelles RES 7 (3/2015), p. 472-475 DOI: 10.1515/ress-2015-0036 * Richard Barrett, PhD Candidate at Indiana University. Address: 41 Cedrus Ave #1, Boston, MA 02131 USA; e-mail: The Psalm 103 Project: Orthodox Creative Musical Collaboration in Progress RichaRd BaRRett* The Psalm 103 Project is a major creative undertaking of The Saint John of Damascus Scoiety, a United States-based Orthodox sacred music nonprofit organization with the mission statement, “Revealing Orthodox Christianity through its sacred

sacred music Manuscripts of Modavia – 11 th -20 th century], I. Iași: Artes. Dănilă, I. Z. (2013). Studiul manuscriselor muzicale psaltice din Arhivele Naționale din Iași [The Study of the psaltic music manuscripts of National Archives of Iasi]. Ιn Studii de sinteză: 2012-2013 [Synthetic Studies: 2012-2013], II (pp. 179-170). București: Editura Universității Naționale de Muzică București. Fokaefs, T. (1851, 1855). Ταμείον Ανθολογίας [The Thesaurus of the Anthology], τόμοι Α΄-Γ΄. Κωνσταντινούπολη. Frimu, N. (1840). Antologhie sau floarealegire [Anthology or

de Jos. Barbu-Bucur, S. Arhid. (2000). Manuscrise muzicale româneşti de la Muntele Athos . [Romanian musical manuscripts from Mount Athos]. Bucureşti: Editura Muzicală. Barbu-Bucur, S., Catrina, C., (2013). [ Protopsalți și Manuscrise de la Mănăstirea Cheia-Teleajen [Protopsalms and Manuscripts from Cheia Teleajen monastery]. București: Editura SemnE. Bucescu, F. & Catrina, C., Barnea, A. et. al. (2010). Catalogul manuscriselor de muzică sacră din Moldova-secolele XI-XX (I) [The catalogue of the manuscripts of sacred music from Moldova – 9 th and 10 th

most appropriate in my view. The composer herself emphasises the importance of the sacred atmosphere and of the metaphysical sacrum which exists in every place and time, not limited by dogma and institution, but experienced as the sacrum of the forest, the synagogue or the Orthodox church. My own interpretation will therefore place the sacrum, as Bohdan Pociej B. Pociej, ‘Czy możliwy jest w muzyce mistycyzm?’ [‘Is Mysticism Possible in Music?’], in J. Pikulik (ed.), Muzyka religijna w Polsce [ Sacred Music in Poland ], vol. X, Warsaw, 1988, quoted after J. Pudlik

tra storia, teologia e celebrazione. Atti del X Congresso Internazionale di Liturgia Roma, Pontificio Istituto Liturgico, 6-8 maggio 2015, Ecclesia Orans Ricerche 1, Roma, Arac- ne 2016, p. 285-302. 6 Musicam Sacram (MS 1967) is one of the instructions published after the close of the Se- cond Vatican Council for the application of conciliar decrees. Specifically, Sacrosanctum Con- 190 Jordi-A. Piqué i Collado “sacred music”, like the preceding documents they do not refer absolutely to a “reserved and cryptic” sacrality. Were it so, one could not speak even of a

solchen eher ungewöhnli- the religious supremacy the secular Enlightenment influences will win. On this occasion sacred music gets an unexpected boost: what cannot be clarified in words, in confessional statements, in definitions and con- fessions of faith remains to be ex- pressed primarily through the tran- scendental capacity of music. Dur- ing the last three centuries music thus becomes in many cases a true surrogate religion (Ersatzreligion). This ability of music to express the ineffable was again reinforced by the experience of the two world wars which