The Church Music Industry

2020 ◽  
pp. 31-36
Author(s):  
Nicholas Baragwanath
Keyword(s):  
Church Music ◽  
Music Industry ◽  
Daily Routine ◽  
Liturgical Music ◽  
Tourist Industry ◽  
Divine Office ◽  
Music Making ◽  
The Hours ◽  
The Church

The chapter details the daily routine of an apprentice, which involved singing and playing for an interminable round of church services as part of the enormous liturgical music industry in Italy. Such services included the hours of the Divine Office, daily Masses, saints’ days and feast days, religious processions, and other events in the liturgical calendar. Some performances by choristers took place outside churches, as well. Attempts by religious and secular leaders to rein in overly ornate or ambitious Italian church music making are described. Drawing on the accounts of travelers to the region, the chapter also highlights the role of church music as a lucrative tourist industry.

Daily Routine, Food and Faith. To Yu.F. Samarin’s Thesis on “Formalism” of the Church Life in the Pre-Petrine Period

2019 ◽  
Vol 54 ◽  
pp. 268-279
Author(s):  
Abbot Vitaly Utkin
Keyword(s):  
Daily Routine ◽  
Eating Patterns ◽  
Political Aspect ◽  
Old Believers ◽  
The Social ◽  
Church Life ◽  
The Church

With reference to Yu. F. Samarin’s thesis on “Formalism” of the Church Life in the Pre-Petrine Period, the article examines the issue of the role of fasts, eating patterns and daily routine in general among most radical groups of Old Believers. The author of the article draws the conclusion that such conceptions were rooted in the Pre-Nikon Russian religious (monkish) traditions. The author pays special attention to the social and political aspect of the connection between food and payer for the Tsar in the context of the “spiritual Antichrist” teaching.

scholarly journals The value of good liturgical music

2020 ◽  
Vol 20 (3) ◽  
pp. 133-150
Author(s):  
Cordis-Mariae Achikeh ◽  
Raphael Umeugochukwu
Keyword(s):  
Catholic Church ◽  
Instrumental Music ◽  
Gregorian Chant ◽  
Liturgical Music ◽  
The Core ◽  
Music Making ◽  
Vatican Council ◽  
The Church ◽  
And Training ◽  
Core Features

It is disturbing that in recent times, the worshiping community in the capacity of some church ministers, composers and musicians have deviated from the specifications of liturgical music even as recommended by Vatican Council II (The Constitution of The Sacred Liturgy). Also misunderstood and misappropriated is the idea of inculturation that permits composers in different countries to write music using the language of the locality as well as the indigenous instruments. This is partly due to inadequate enlightenment and training on the part of the liturgical music practitioners on the real meaning of liturgical music. A lot ofproblems have come up from these misconceptions and misinterpretations which include but a few making noise in place of music, negligence of the core features of liturgical music ranging from little or no attention to the solemn nature of the liturgy to relevance for some unimaginable selfish interests. In remedying these challenges, the researcher has made lots of recommendations. One of them is that the practitioners of liturgical music be exposed through seminars and workshops to relevant church documents on liturgical music from time to time. It is necessary and most pertinent that the church retains its solemnity in worship as against the recent mediocrity which has come to envelop the liturgical music making practices. The great value of good liturgical music needs to be sustained. Keywords: Liturgical Music, Gregorian Chant, Sacred Polyphony, Instrumental Music, Catholic Church, Liturgical Musician, Choir, Congregation

scholarly journals Muzyka chóralna w diecezji lubelskiej w okresie posługi biskupa Stefana Wyszyńskiego

2021 ◽  
Vol 69 (4 Zeszyt specjalny) ◽  
pp. 123-136
Author(s):  
Tomasz Lisiecki
Keyword(s):  
World War Ii ◽  
Choral Music ◽  
Catholic Church ◽  
Church Music ◽  
Original Compositions ◽  
World War ◽  
Musical Culture ◽  
Pastoral Work ◽  
The Church

The article presents the pastoral project of recreating the musical culture of the Catholic Church in Poland after World War II. The author outlines a broader context of pastoral activities undertaken at that time by the Primate of Poland, August Hlond. The pastoral work of Bishop Stefan Wyszyński in the Lublin Diocese was part of this nationwide plan to rebuild the role of music in churches, especially in the field of choral music. The article discusses the main assumptions of this work. It was based on Wyszyński’s understanding of choirs as a very important pastoral group in the Church, which should be constantly educated musically and religiously formed. The main liturgical task of the choir, as understood by Bishop Wyszyński, was to introduce new liturgical songs to the churches of the diocese. Choirs, as always, also performed polyphonic pieces. Together with the Diocesan Organist Commission, he precisely defined the repertoire of the choirs, both in terms of liturgical monody and polyphonic pieces. This procedure helped achieve two goals: raising the level of performance by drawing attention to valuable and original compositions and creating a diocesan choral community. The latter case was especially favored by the conventions of choirs of a competition and festival nature, which gathered several hundred people. Bishop Wyszyński’s extensive pastoral activities, also in the field of choral music, contributed to a significant revival of the diocesan choral movement and to raising the level of church music performed in the Diocese of Lublin.

scholarly journals Liturgical music: Worship or war?

1997 ◽  
Vol 53 (1/2) ◽  
Author(s):  
Elsabe Kloppers
Keyword(s):  
Church Music ◽  
Liturgical Music ◽  
Liturgical Singing ◽  
The Way

The way we are affected by music in general and the role of association, as well as the way association influences the forming of criteria for the evaluation of music and how these criteria would apply to church music, are discussed. The essence of liturgy and the function of music, as part of the liturgy are established. The conclusion is made that 'variety' is the key for the renewal of liturgical singing.

scholarly journals ”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija

Trio ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 91-100
Author(s):  
Hanna Remes
Keyword(s):  
Church Music ◽  
Doctoral Degree ◽  
Lutheran Church ◽  
Worship Service ◽  
History Of ◽  
Guiding Principles ◽  
Evangelical Lutheran Church ◽  
Evangelical Lutheran ◽  
The Church

Hanna Remes’s artistic doctoral degree, which focuses on choral church music in worship, is the first of its kind in Finland. The demonstration of proficiency carried out 2016–2020 comprises two masses, a worship service, a passion drama and an Easter concert. She elucidates changes in guidelines for the liturgical use of the choir according to the Evangelical Lutheran Church of Finland’s 2000 church manual from those of the 1968 church manual. The dissertation stands at the junction of liturgy and the history of church music. Remes compares and analyses the liturgical role of the choir in the Church of Finland as stated in the latest church manuals and supplementary materials and explains the guiding principles of the manuals’ preparation.

Songs of the spirit from Dufftown

2019 ◽  
Vol 70 (1) ◽  
pp. 36-54
Author(s):  
Shelagh Noden
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Church Music ◽  
Early Years ◽  
Liturgical Music

Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

The Prophetic Voice of the Church in a Democratic South Africa – A Theological Reflection

2018 ◽  
Vol 15 (2) ◽  
Author(s):  
Lufuluvhi Maria Mudimeli
Keyword(s):  
South Africa ◽  
Economic Transformation ◽  
The State ◽  
Black Liberation ◽  
South Africans ◽  
Black Liberation Theology ◽  
Prophetic Voice ◽  
The Face ◽  
The Church

This article is a reflection on the role and contribution of the church in a democratic South Africa. The involvement of the church in the struggle against apartheid is revisited briefly. The church has played a pivotal and prominent role in bringing about democracy by being a prophetic voice that could not be silenced even in the face of death. It is in this time of democracy when real transformation is needed to take its course in a realistic way, where the presence of the church has probably been latent and where it has assumed an observer status. A look is taken at the dilemmas facing the church. The church should not be bound and taken captive by any form of loyalty to any political organisation at the expense of the poor and the voiceless. A need for cooperation and partnership between the church and the state is crucial at this time. This paper strives to address the role of the church as a prophetic voice in a democratic South Africa. Radical economic transformation, inequality, corruption, and moral decadence—all these challenges hold the potential to thwart our young democracy and its ideals. Black liberation theology concepts are employed to explore how the church can become prophetically relevant in democracy. Suggestions are made about how the church and the state can best form partnerships. In avoiding taking only a critical stance, the church could fulfil its mandate “in season and out of season” and continue to be a prophetic voice on behalf of ordinary South Africans.

Sa’Unine String Orchestra, Orkes Geseknya Indonesia

Panggung ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Ranti - Rachmawanti
Keyword(s):  
Popular Culture ◽  
Qualitative Method ◽  
Music Industry ◽  
Main Idea ◽  
String Orchestra ◽  
Characteristic Func ◽  
Orchestra Music ◽  
Research Show ◽  
Func Tion

ABSTRACT This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra. Keywords: String Orchestra, Music, Popular Culture. 

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