Growth of Liturgical Music in the Iakovian Era

2018 ◽  
pp. 53-70
Author(s):  
Frank Desby
Keyword(s):  
Liturgical Music

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.

Sacred Sounds, Secular Spaces

2021 ◽  
Author(s):  
Jennifer Walker
Keyword(s):  
Catholic Church ◽  
Church And State ◽  
Reception Studies ◽  
Liturgical Music ◽  
International Exhibitions ◽  
Republican Government ◽  
Epistemological Position ◽  
The Relationship ◽  
Opera Houses ◽  
The Church

This book is the first comprehensive study that reevaluates music’s role in the relationship between the French state and the Catholic Church at the end of the nineteenth century. As the divide between Church and State widened on the political stage, more and more composers began writing religious—even liturgical—music for performance in decidedly secular venues, including popular cabaret theaters, prestigious opera houses, and international exhibitions: a trend that coincided with Pope Leo XIII’s Ralliement politics that encouraged conservative Catholics to “rally” with the Republican government. But the idea of a musical Ralliement has largely gone unquestioned by historians and musicologists alike who have long accepted a somewhat simplistic epistemological position that emphasizes a sharp division between the Church and the “secular” Republic during this period. Drawing on extensive archival research, critical reception studies, and musical analysis, this book reveals how composers and critics from often opposing ideological factions undermined the secular/sacred binary. From the opera house and niche puppet theaters to Parisian parish churches and Montmartre’s famed cabarets, composers and critics from opposing ideological factions used music in their effort to craft a brand of Frenchness that was built on the dual foundations of secular Republicanism and the heritage of the French Catholic Church.

scholarly journals Byzantine Theoretical Treatises on Music in comparison with the Theoretikon Mega tes Mousikes by Chrysanthos of Madytos

2021 ◽  
Author(s):  
Gerda Wolfram
Keyword(s):  
Music Theory ◽  
Liturgical Music ◽  
Liturgical Chant

Studying the Theoretikon Mega tes Mousikes one can state, that the ambition of Chrysanthos of Madytos was to preserve the old Byzantine tradition to a certain extent, but also to take into account the development of liturgical music during the last three hundred years. With the alterations in liturgical chant, music theory had to be revised and refounded on a new basis. (...)

scholarly journals Secular and Sacred in the Second Half of the Sixteenth Century: The Case of Masses Nasce la pena mia of Bartolomeo Spontone and Costanzo Antegnati

2015 ◽  
Vol 50 (2) ◽  
pp. 181-198
Author(s):  
Klemen Grabnar
Keyword(s):  
Sixteenth Century ◽  
The Other ◽  
Liturgical Music ◽  
Sacred And Profane

Parody masses based on secular compositions are intriguing due to their employment of profane music in strictly liturgical music, which has inspired research in traversing boundaries between sacred and profane. As can be seen from the case of two masses, one by Bartolomeo Spontone and the other by Costanzo Antegnati, based on the madrigal Nasce la pena mia by Alessandro Striggio, secular music in the sixteenth century seems to be transformed in a way to elevate it, turning the attention of the listener toward God. 

Liturgy

2018 ◽  
Author(s):  
Karen B. Westerfield Tucker
Keyword(s):  
Twentieth Century ◽  
Liturgical Music ◽  
World Council Of Churches ◽  
Christian Life ◽  
Liturgical Movement ◽  
Ecumenical Movement ◽  
The World ◽  
Liturgical Texts ◽  
World Council

From their emergence early in the twentieth century, the liturgical movement and the ecumenical movement, the latter particularly represented by the deliberations of the Faith and Order Commission of the World Council of Churches, both called for and shaped ecumenical discourse on the nature of worship, the content and shape (ordo) of liturgy, sacraments and sacramentality, the practices of worship, and liturgical leadership and participation. This chapter highlights the history and contributions of both of these movements and notes the confluence of the two streams in the recognition of the centrality of worship for Christian life and mission. Attention also focuses on the ecumenical sharing of liturgical music, common liturgical texts, and lectionaries, and the ongoing question of ecumenical worship.

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