Protestant Church Music: A History. By Friedrich Blume. In collaboration with Ludwig Finscher, Georg Feder, Adam Adrio, Walter Blankenburg, Torben Schousboe, Robert Stevenson, and Watkins Shaw. Foreword by Paul Henry Lang. New York: W. W. Norton & Company, 1974. xv + 831 pp. $29.95.

1976 ◽  
Vol 45 (3) ◽  
pp. 400-401
Author(s):  
Kyle C. Sessions
2018 ◽  
pp. 103-142
Author(s):  
Richard Viladesau

New texts and styles predominated in the period following Bach’s settings of the passion. In Protestant church music, more poetic and operatic settings became common, with more emotional stress. Roman Catholic passion music centered on the genre of the sepolcro, with meditations on the reactions of Jesus’ disciples to his suffering and death. The Romantic period produced only a few great works centered on the passion.


1967 ◽  
Vol 53 (6) ◽  
pp. 73-73
Author(s):  
Leonard Ellinwood

2021 ◽  
Vol 66 (2) ◽  
pp. 265-276
Author(s):  
Éva Péter

"In the present study I intend to present the church music compositions of Jenő Ádám. I will analyze the choral works of the composer that were based on the melodies of Protestant church hymns. The composer was also active as a conductor, but his name is primarily known in the field of music pedagogy. He played an important role in the elaboration and implementation of the Kodály method. In his works pertaining to church music, he adapted the melodies of the most representative church hymns of different ages. He uses both homophonic and polyphonic approaches with his works that have strophic structure or are through-composed. Keywords: Genevan Psalter, Protestant hymn, Kodály method, strophic form, through-composed works, homophonic and polyphonic approaches in composition."


Author(s):  
Jean E. Snyder

This chapter examines the family and community that shaped Harry T. Burleigh's youth. In the early 1860s, as the country moved toward civil war, a young Henry Thacker Burley (the family used the “Burley” spelling during his lifetime but eventually changed to the English spelling, “Burleigh”) settled in Erie and threw himself into the struggle against slavery and for equal rights. On September 17, 1862, Henry and Elizabeth Lovey Waters were married. On December 12, 1866, Henry (Harry) Thacker Burleigh was born. This chapter discusses how the strong music tradition at St. Paul's Episcopal Cathedral in Erie nourished Harry's lifelong commitment to church music in general and to the Episcopal Church in particular. It also considers Elizabeth's marriage to John Edgar Elmendorf after Henry. It shows that Burleigh's most profound influence in his formative years was his strong family, for whom education was a primary value. Through his public and business education in Erie, Harry T. Burleigh developed the skills and the confidence that facilitated his entry into New York City's broader public arena.


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