scholarly journals The Amomos in the Byzantine chant: a diachronical approach with emphasis on musical settings of the 19th and 20th centuries

2018 ◽  
Vol 17 (1) ◽  
pp. 24-73
Author(s):  
Dimos Papatzalakis
Keyword(s):  
Orthodox Church ◽  
Musical Settings ◽  
Music Structure ◽  
Musical Works ◽  
Byzantine Era ◽  
Psalm 118

Abstract The book of the Psalms constitutes the main source from where the Offices of the Orthodox church draw their stable parts. It has been diachronically one of the most used liturgical books of the cathedral and the monastic rite. In this paper we focus on the Psalm 118, which is well known under the designation “Amomos”. In the first part of our study we look for the origin of the book of the Psalms generally. Afterwards we present the Offices in which the Amomos is included, starting from the Byzantine era and the use of the Amomos in the cathedral and the monastic services. Then, we negotiate the question of its use in the post-Byzantine era. In the next section we quote the most important settings of the Byzantine, post-Byzantine and new-Byzantine composers in Constantinople, Smyrna and Thessaloniki, as well as some evidence of their lives and their musical works. In the next section we introduce some polyprismatic analyses for the verses of the first stanza of the Amomos, which are set to music in 19th and 20th centuries. After some comparative musicological analyses of the microform of the compositions or interpretations, we comment on the music structure of the settings of Amomos in their liturgical context. Our study concludes with some main observations, as well as a list of the basic sources used to write this paper.

Britten the Anthologist

2014 ◽  
Vol 38 (1) ◽  
pp. 79-112
Author(s):  
Kevin Salfen
Keyword(s):  
The United States ◽  
Cultural Practice ◽  
Second World War ◽  
Literary Form ◽  
Benjamin Britten ◽  
World War ◽  
Musical Settings ◽  
English Verse ◽  
Musical Works ◽  
Second World

Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading. Britten and other British composers renewed their connection to that practice when they became anthologists for their musical works, identifying themselves as arbiters of poetic and musical taste. Britten's anthology cycle Serenade for tenor, horn, and strings (1943) uses Quiller-Couch's Oxford Book for as many as four of its six texts, many of which share pastoral themes. And yet the composer's musical settings often seem to challenge a conventional reading of the chosen texts and the generic titles Britten assigned to each movement. By creating a canonical, pastoral anthology and then challenging it through music, Britten, who had just returned to England from the United States, invested Serenade with the potential to present the world of prewar England as embattled.

Secularization of Family Law in Greece

1988 ◽  
Vol 22 (3) ◽  
pp. 365-376
Author(s):  
Michael P. Stathopoulos
Keyword(s):  
Family Law ◽  
Church And State ◽  
Jewish People ◽  
Orthodox Church ◽  
Greek Orthodox ◽  
Christian Church ◽  
Orthodox Christian ◽  
Byzantine Era ◽  
Historical Tradition ◽  
The Church

As our subject is the secularization of Greek Family Law, we may presume that this part of our legal system is not as yet secular or at least not exclusively so. Indeed, the strong influence of religious conceptions, particularly those of the Greek Orthodox Christian Church is an historical feature of Greek Family Law. This tradition is explained by the close relations in general between Church and State in Greece, relations which are rooted in the Byzantine era. The determinant importance of the Church in Greek society reached its peak during the period of the Ottoman occupation (1453-1821), when there was no Greek State and the Orthodox Church was its substitute. I think that we may find a parallel here between the Greek people and their religion and the Jewish people and their religion. After the national revolution of 1821, and with the regaining of their independence, the Greek people were organized in a secular state, retaining, however, important features of a religious character, in accordance with the nation's historical tradition.

scholarly journals Church Music as Reflected in the Journal Biserica Ortodoxă Română [Romanian Orthodox Church] in the Second Half of the Twentieth Century

2020 ◽  
Vol 22 (1) ◽  
pp. 336-355
Author(s):  
Elena Chircev
Keyword(s):  
Twentieth Century ◽  
Church Music ◽  
Political Regime ◽  
Orthodox Church ◽  
Musical Works ◽  
Romanian Orthodox Church ◽  
Romanian Orthodox

AbstractThe journal Biserica Ortodoxă Română [The Romanian Orthodox Church] was founded on November 17, 1873, at the initiative of Romania’s Primate Metropolitan Nifon Rusailă (1789-1875). The aim of the publication – whose first issue was launched on October 1, 1874 – was to inform the clergy and believers about the activity of the Holy Synod of the Romanian Orthodox Church. In the 146 years since the publication of its first issue, the journal’s contributors have included outstanding personalities of the Romanian Orthodoxy, such as Priest-Professors Dumitru Stăniloae, Ioan G. Coman, Ene Branişte, Liviu Stan, Mircea Păcurariu, Ion Bria a.o. Church music was present in the journal’s pages both through articles, studies and reviews, and through scores of choral or psaltic works written by Church servants among whom Bishop Melchisedec Ștefănescu of Roman at the end of the 19th century, or Deacon Grigore Panțiru, Professor Nicolae Lungu, Priest-Professor Gheorghe Șoima, Archd. Sebastian Barbu-Bucur, Ph.D., Priest-Professors Constantin Drăgușin, Nicu Moldoveanu, Alexie Buzera a.o. in the 20th century. This paper summarizes these contributions and shows how the change of political regime in mid-20th-century Romania influenced the topics of the articles and the religious musical works published in the journal of the Romanian Patriarchate.

scholarly journals Romanian musical creation of Bizantine source in the period 1918–2018

Arta ◽  
2021 ◽  
Vol 30 (2) ◽  
pp. 22-31
Author(s):  
Elena Chircev ◽  
Keyword(s):  
Twentieth Century ◽  
The Political ◽  
Orthodox Church ◽  
Totalitarian Regime ◽  
National State ◽  
Musical Works ◽  
Centennial Anniversary ◽  
Last Stage ◽  
Political Turmoil ◽  
The Church

Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918–1947; b. 1948–1989; c. 1990–2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.

scholarly journals Romanian Music of Byzantine Tradition Between 1918 and 2018

2019 ◽  
Vol 19 (1) ◽  
pp. 124-149
Author(s):  
Elena Chircev
Keyword(s):  
Twentieth Century ◽  
The Political ◽  
Orthodox Church ◽  
Totalitarian Regime ◽  
National State ◽  
Musical Works ◽  
Centennial Anniversary ◽  
Last Stage ◽  
Political Turmoil ◽  
The Church

Abstract Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918-1947; b.1948-1989; c.1990-2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.

scholarly journals The Evaluation of Music Department Students of Institut Seni Indonesia Yogyakarta in Modes Identification

2021 ◽  
Vol 22 (2) ◽  
pp. 100-104
Author(s):  
Peter Angga Branco De'Vries Mau ◽  
Prima Dona Hapsari
Keyword(s):  
Music Theory ◽  
Music Analysis ◽  
Musical Work ◽  
Music Department ◽  
Technological Advances ◽  
Music Structure ◽  
Musical Works ◽  
Musical Thinking ◽  
Musical Knowledge ◽  
Baroque Era

Modes in Modality concept is a musical thinking that was used before 1600s. After 1600s (Baroque Era), the concept of modes changed into a contrast concept called Tonality (major-minor) and still exist today, in our era. Musical knowledge will evolve along with technological advances, but in fact there are so many composers today using the concept of modes to give another nuance and interpretation in their musical works. As academic musicians, surely the students of Music Department of ISI Yogyakarta got the concept of modes in several subject such as music theory, music structure and style, music analysis, and etc. However, the tonality concept that always used by common academic musicians today makes the concept of Modality become so hard to identify if they are heard a musical work that contains modes. This research will show us how many students of Music Department of ISI Yogyakarta who can’t identify a musical work that contains modes.

scholarly journals Sacred-Musical Work of Authorship: the Genre’s Specifics

2015 ◽  
pp. 89-93
Author(s):  
Andrey B. Kovalev
Keyword(s):  
Creative Thinking ◽  
The Other ◽  
Orthodox Church ◽  
Musical Work ◽  
Other Hand ◽  
Musical Works ◽  
The One ◽  
The Church

The article examines the genre specifics of the sacred-musical works of authorship; on the one hand, they belong, directly or indirectly, to the Orthodox Church, on the other hand, they are connected with the composer’s individual creative thinking, which makes them exceed the bounds of the church choir up to the concert sphere. Thus, a phenomenal feature of the sacred-musical works of authorship is their predominant tendency toward either liturgical or concert performance environment. The specifics of the sacred-musical works, in the context of one or another performance environment, are considered in terms of the four aspects: ontological, of the rites of divine service and the concert program realization, communicative, and compositional.

Exploring Biblical Women in Music

2020 ◽  
pp. 369-387
Author(s):  
Helen Leneman
Keyword(s):  
Three Dimensional ◽  
Musical Settings ◽  
Song Settings ◽  
Biblical Narratives ◽  
Women In Music ◽  
Musical Works ◽  
Biblical Women ◽  
Book Of Genesis ◽  
Books Of Samuel ◽  
Previous Scholarship

This essay explores various musical works that retell the stories of biblical women who are largely silent in the biblical text. It analyzes operas and oratorios featuring biblical women with prominent roles in more than one musical work. These are: Sarah, Hagar, and Rebecca in the book of Genesis; Jochebed, Pharaoh’s daughter, and Miriam in the book of Exodus; and Michal and Bathsheba in the books of Samuel. This research draws on my previous scholarship on nineteenth- and twentieth-century opera, oratorio, and song settings of biblical women. Many musical settings of biblical narratives focus intensely on the women. The women’s singing voices add new elements to their depictions, and librettos almost always enlarge the women’s roles. Composers and librettists together turn the women into three-dimensional characters. The essay presents various threads in numerous musical works that tie together the re-visioning of several biblical women. The goal is to illustrate how the selected women move from the biblical background to the musical foreground, and to offer new and surprising perspectives on biblical women.

Ethnic and Confessional Politics of the Reich in Occupied Ukraine (1941-1944)

2001 ◽  
pp. 70-77
Author(s):  
Nadiya G. Stokolos
Keyword(s):  
Orthodox Church ◽  
Church Management ◽  
Traditional System ◽  
Church Life

Orthodox church life in Ukraine from the summer of 1941 to the spring of 1944 was characterized by a sharp confrontation between two Orthodox churches, administrative centers of which were located in Volyn, in Lutsk and Kremenets. The Autonomous Orthodox Church (APC) was headed by an archbishop (from December 1941 - Metropolitan) Alex (Gromadsky). After his tragic death on May 7, 1943, the APC remained virtually without a chapter, since at this time the occupation authorities abolished the traditional system of church management. The Ukrainian Autocephalous Orthodox Church (UAOC) throughout its time was headed by an archbishop, and from May 1942 Metropolitan Polycarp (Sikorsky).

Christian unity: the search for ways to achieve

2001 ◽  
pp. 91-100
Author(s):  
Yu. Ye. Reshetnikov
Keyword(s):  
Catholic Church ◽  
Russian Orthodox ◽  
Orthodox Church ◽  
Turn Of The Millennium ◽  
Russian Orthodox Church ◽  
Basic Principles ◽  
Christian Churches ◽  
The Press ◽  
Christian Unity ◽  
Future Policy

Last year, the anniversary of all Christianity, witnessed a number of significant events caused by a new interest in understanding the problem of the unity of the Christian Church on the turn of the millennium. Due to the confidentiality of Ukraine, some of these events have or will have an immediate impact on Christianity in Ukraine and on the whole Ukrainian society as a whole. Undoubtedly, the main event, or more enlightened in the press, is a new impetus to the unification of the UOC-KP and the UAOC. But we would like to focus on two documents relating to the problem of Christian unity, the emergence of which was almost unnoticed by the wider public. But at the same time, these documents are too important as they outline the future policy of other Christian denominations by two influential Ukrainian christian churches - the Russian Orthodox Church and the Ukrainian Greek Catholic Church. These are the "Basic Principles of the attitude of the Russian Orthodox Church to the" I ", adopted by the Anniversary Bishops' Council of the Russian Orthodox Church, and the Concept of the Ecumenical Position of the Ukrainian Greek Catholic Church, adopted by the Synod of the Bishops of the UGCC. It is clear that the theme of the second document is wider, but at the same time, ecumenism, unification is impossible without solving the problem of relations with others, which makes it possible to compare the approaches laid down in the mentioned documents to the building of relations with other Christian confessions.

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