scholarly journals 13. Sacred Art Music in the Catholic Liturgy

Annunciations ◽  
2019 ◽  
pp. 279-296
Author(s):  
Michael Ferguson
Keyword(s):  
Art Music ◽  
Sacred Art ◽  
Catholic Liturgy

Aggiornamento on Campus

2020 ◽  
pp. 157-188
Author(s):  
Christopher J. Renz
Keyword(s):  
College Students ◽  
Cultural Heritage ◽  
Art Music ◽  
Santa Fe ◽  
Catholic Faith ◽  
Fundamental Relationship ◽  
Catholic Liturgy

Beginning in 1960, William Blase Schauer, a Dominican friar of the Province of the Most Holy Name of Jesus, developed innovative ideas for telling a story to disengaged college students of the fundamental relationship between Catholic worship (Mass and domestic rituals) and its cultural heritage—its rich tradition of art, music, and theater. Using the themes of symbol, season, and heritage, he capitalized on the catechetical nature of the liturgy in order to draw them back more deeply into their Catholic faith. With initial success in Las Cruces, he transferred the “experiment” to Santa Fe where it achieved national success in educating clergy and parish leaders about Catholic liturgy and culture.

Lyric Cousins

2016 ◽  
Author(s):  
Fiona Sampson
Keyword(s):  
Art Music ◽  
Sensory Experience ◽  
Early History ◽  
Sight Reading ◽  
Public Performance ◽  
Art Form ◽  
The Way

Today, poetry and art music occupy similar cultural positions: each has a tendency to be regarded as problematic, ‘difficult’, and therefore ‘elitist’. Despite this, the audiences and numbers of participants for each are substantial: yet they tend not to overlap. This is odd, because the forms share early history in song and saga, and have some striking similarities, often summed up in the word ‘lyric’? These similarities include much that is most significant to the experience of each, and so of most interest to practitioners and audiences. They encompass, at the very least: the way each art-form is aural, and takes place in time; a shared reliance on temporal, rather than spatial, forms; an engagement with sensory experience and pleasure; availability for both shared public performance and private reading, sight-reading, and hearing in memory; and scope for non-denotative meaning. In other words, looking at these elements in music is a way to look at them in poetry, and vice versa. This is a study of these two formal craft traditions that is concerned with the similarities in their roles, structures, projects, and capacities.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

The “individual” in Johann Friedrich Overbeck’s and Franz Liszt’s Seven Sacraments

2013 ◽  
Vol 54 (4) ◽  
pp. 339-356
Author(s):  
Dolores Pesce
Keyword(s):  
Nineteenth Century ◽  
Franz Liszt ◽  
Individualized Treatment ◽  
Sacred Art ◽  
The Individual ◽  
Individual Voice ◽  
Emotional Effects ◽  
The Church

In the preface to his Septem sacramenta (1878–1884), Franz Liszt acknowledged its stimulus — drawings completed in 1862 by the German painter J. F. Overbeck (1789–1869). This essay explores what Liszt likely meant by his and Overbeck’s “diametrically opposed” approaches and speculates on why the composer nonetheless acknowledged the artist’s work. Each man adopted an individualized treatment of the sacraments, neither in line with the Church’s neo-Thomistic philosophy. Whereas the Church insisted on the sanctifying effects of the sacraments’ graces, Overbeck emphasized the sacraments as a means for moral edification, and Liszt expressed their emotional effects on the receiver. Furthermore, Overbeck embedded within his work an overt polemical message in response to the contested position of the pope in the latter half of the nineteenth century. For many in Catholic circles, he went too far. Both works experienced a problematic reception. Yet, despite their works’ reception, both Overbeck and Liszt believed they had contributed to the sacred art of their time. The very individuality of Overbeck’s treatment seems to have stimulated Liszt. True to his generous nature, Liszt, whose individual voice often went unappreciated, publicly recognized an equally individual voice in the service of the Church.

Pesquisas sobre Currículos e Culturas: tensões, movimentos e criações

2020 ◽  
Author(s):  
Maria Patrícia Silva
Keyword(s):  
Health Care ◽  
Research Group ◽  
Training Programs ◽  
Academic Research ◽  
Art Music ◽  
The Other ◽  
Educational Policies ◽  
Cultural Spaces ◽  
Teacher Training Programs ◽  
Do It Yourself

The book Research on Curricula and Cultures: tensions, movements and creations, organized by Marlucy Alves Paraíso and Maria Patrícia Silva, it consists of 17 chapters, one of which is an interesting work by a Canadian scholar who investigates state anti-feminism. The other chapters bring results from 16 researches developed by researchers from the Study and Research Group on Curricula and Cultures (GECC), created and coordinated by Marlucy Alves Paraíso, which has researchers from several Brazilian universities and states. The articles in the book combine the post-critical perspectives used to investigate curricula and cultures in their different nuances, addressing silences, power relations, modes of subjectivation and the movements that prevent their fixity. The book brings research results that discuss the possibilities of creating possibilities at school and in other cultural spaces that also have curricula and develop pedagogies, such as: cyberspace, city, health care programs, teacher training programs, educational policies, etc. In addition, curricula are investigated with emphasis on different practices and aspects: childhood, art, music, dance, gender, sexuality, ethnicity, corporality, politics, with research that also innovates methodologically when operating with openings, experiments, do-it-yourself and compositions in different ways. to research curricula without rigidity, although with the necessary rigor in academic research. O livro reconhece de diferentes modos as possibilidades de conexões entre currículos e culturas, e mostra movimentos capazes de operar transgressões apostando em uma cultura porvir.

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