Sacred Music

Using qualitative research methods and social movement theory, I explored the significance of gospel music to the Forward Together Moral Movement in North Carolina and the meanings the singers who perform the music apply to their roles and contributions. Five themes emerged from interviews with three gospel singers, field observations, and document/media analyses concerning the role of gospel music in the moral movement: intentionality, collective identity, music as hope, music as strength, and music as education. The study makes several contributions to the field of cultural studies. First, the singers provide a firsthand perspective to the literature on social movements. First-person narratives of gospel singers are far less common in the literature than the first-person narratives of their secular musical counterparts. Second, this study gives music scholars additional insights into the importance of gospel music and social movements through the eyes of the people who perform it....

Public Lecture: 'Scary Monsters: The Hopeful Undecidability of David Bowie (1947-2016)' Keele University 15/3/17

The lecture will be about three things: Monsters, Hope and one of the most significant artists of the 20th century, David Bowie. Monsters, because the monster is the outsider template par excellence. Hope, because monsters are quintessentially hopeful. Bowie, because he is the monster writ large. Of all the figures within popular culture, few embody the monster quite like David Bowie.

The lecture will first set some parameters for thinking about monsters, for not all scary creatures are monsters. In doing so, the lecture will draw, in particular, on the work of Michel Foucault and George Canguilhem. Once the theoretical ground has been laid for an analytically precise understanding of the monster, the lecture will consider their intrinsic hopefulness, something which Foucault and Canguilhem neglect.

The lecture will then turn to counter-cultural icon, sublime anti-hero and provocateur, David Bowie, in order to think through some key categorical distinctions which the monster brings to crisis. In particular, and through Bowie, we will journey through the territory of sex, gender and sexuality; human/animal hybridity, and the sacred and profane.

So roll up for the mother of monsters. The lecture promises to be many things, and certainly theoretically rich and an audio-visual feast. What it will not be is dull. Turn and face the strange … ch-ch- changes …

I Motecta festorum totius anni cum communi sanctorum quaternis vocibus di Giovanni Pierluigi da Palestrina, pubblicati durante gli anni del suo servizio come Maestro di Cappella presso la basilica romana di Santa Maria Maggiore, conobbero nei decenni successivi uno straordinario successo, imponendosi come un classico della letteratura mottettistica cinquecentesca.
Questa nuova edizione critica offre agli studiosi ed agli esecutori il testo palestriniano, corredato da uno studio introduttivo che prende in esame, tra l’altro, l’ordinamento liturgico dell’opera e la sua fortuna.

The essay aims at reconstructing the cultural reception of the sacred vocal repertoire by J.S. Bach in Italy during the second half of the twentieth century. The investigation moves from a close exam of performances of Passions, Cantatas and the Mass in B minor in two cardinal institutions in the Italian musical world: the Accademia Nazionale di Santa Cecilia in Rome, and the Società del Quartetto in Milan (including its special experience efficaciously called Settimane Bach). The results emerge from diverse dimensions of the phenomenon: on the one side, the different identity of the two institutions in terms of artistical interest and public of election are intertwined with the broader economic and cultural contexts of Rome and Milan. On the other side, discourses coming from the musicological debate and arguments aroused within music criticism permits to clarify how speeches around Bach and his sacred music were developed and popularized. Finally, the reception of Bach’s sacred works has been deeply influenced by the progressive involvement of music in the liturgy and the ecumenical openings of Catholic legislation towards the Lutheran world. Two appendices provide a list all the performances of Bach’s sacred vocal repertoire in the two institutions under exam, with reference to the performers and the concert venues.

Ein reiches Programm mit Konzerten und Gottesdiensten, Referaten und Diskussionen prägte den 5. Internationalen Kirchenmusikkongress, der Ende Oktober 2015 in Bern stattfand. Dabei wurde das Verhältnis von Religion, Kirche und Liturgie zur Musik aus musikwissenschaftlicher, historischer und theologischer Sicht betrachtet. Der Kongressband enthält die Hauptreferate, aber auch Beiträge zu einigen der Workshops, die zwischen Reflexion und Praxis vermittelten – von Perspektiven des zukünftigen Orgelbaus bis zu Möglichkeiten des Zusammenwirkens von Musik und Liturgie.
Aufgenommen wurde auch eine Auswahl von Einblicken in die Arbeitsgebiete von Doktorandinnen und Doktoranden, die diese im Rahmen eines Forschungskolloquiums präsentiert hatten; zudem wird der Schlussgottesdienst des Kongresses im Berner Münster dokumentiert – mit der Predigt, Beiträgen zur Zusammenarbeit und zum Entstehungsprozess der Neukomposition von Lukas Langlotz und Gedanken von Teilnehmenden. Ergänzt wird der Band durch eine Übersicht über alle Veranstaltungen und einen Bericht zu den vorhergehenden Kongressen

no nuestra, de nuestros gustos o de nuestras ideologías. Por esta razón, y conscientes de lo que significa la música litúrgica, podemos preguntarnos: «¿Cómo debe ser esta música?; y para ello tenemos que hablar del texto y de la música. El texto debe tomarse principalmente de la Palabra de Dios, aunque también podemos hacerlo de las fuentes litúrgicas; es decir, en los libros litúrgicos (Misal, Leccionario, rituales…) encontramos los textos necesarios para cada tiempo litúrgico, fiesta o solemnidad. Esto implica un esfuerzo por nuestra parte por conocer y profundizar cada vez más en la riqueza de la liturgia de la Iglesia. En cuanto a la música, esta debe ser original (no adaptada) y de calidad. Y cuando hablamos de calidad no nos referimos a «complejidad», sino a música bien compuesta, buscando siempre lo mejor. Dentro de esta calidad habrá obras más sencillas y otras mucho más complejas. Con respecto a la música también podemos preguntarnos si todo el repertorio que utilizamos es original, es decir, se ha compuesto para la propia liturgia o, por el contrario, encontramos música adaptada (Disney, Leonard Cohen, etc.) o aún siendo original, es de calidad. Sobre esta cuestión es muy significativo el «Estudio sobre el uso y práctica del canto y la música en las celebraciones litúrgicas en España» y que se acaba de publicar en el número 363 de la Revista Pastoral Litúrgica. Cantar la fe en el contexto litúrgico va más allá de un sentimiento o un gusto personal. Supone una gran humildad, un deseo sincero y dócil de hacer lo que nos pide la Iglesia y no lo que nosotros-como sucede en algunas ocasiones-queremos imponer. Por ello, hablar de música litúrgica no es discutir de si es mejor cantar en latín o en nuestra propia lengua, si es mejor el canto gregoriano o en algo más popular, si la polifonía es preferible al canto unísono de la asamblea, o si el órgano es mejor que la guitarra… Todas estas cuestiones dejan de ser un problema cuando desde la fe nos centramos en el verdadero sentido de nuestro ministerio: dar gloria a Dios y santificar a los hombres. La música a lo largo del año litúrgico

Festiwal Pieśni i Piosenki Religijnej Sacrosong (1969–1999) powstał w czasie, gdy stopniowo wchodziły w życie postanowienia Soboru Watykańskiego II, a wśród nich to dotyczące otwierania Kościoła katolickiego na nowe formy ewangelizacji. Równocześnie olbrzymią popularność w świecie zyskiwała muzyka rockandrollowa. Znalazła ona entuzjastów także wśród muzyków chrześcijańskich, którym rockowe brzmienia posłużyły do przekazywania treści religijnych. Lata 60. XX wieku to również czas, w którym znacząco wzrosło zainteresowanie gatunkiem piosenki, której w twórczości religijnej dały wyraz m.in. utwory francuskiego jezuity Aimé Duvala.
Pomimo trudnej sytuacji społeczno-politycznej PRL, zarówno moda na muzykę młodzieżową jak i na piosenkarstwo religijne bardzo szybko dotarły do grona zainteresowanych. Pierwszą sceną dla repertuaru religijnego w Polsce był festiwal Sacrosong, który w założeniach miał nie tylko sprzyjać powstawaniu i promocji nowych utworów w języku polskim, lecz również angażować w działalność religijną środowisko artystów i młodzież i w ten sposób przeciwdziałać ateizacji społeczeństwa.
W ciągu trzydziestu lat podczas ogólnopolskich Sacrosongów można było usłyszeć zarówno piosenki konkursowe, jak i pieśni, kantaty czy oratoria powstałe na zamówienie organizatorów. Wydarzeniom muzycznym towarzyszyły spektakle teatralne, wystawy, wieczory poezji, konferencje i dyskusje. W jury konkursu zasiadały takie osobistości, jak Wojciech Kilar czy Stefan Kisielewski, muzykę na zamówienie pisali m.in. Jerzy Bauer, Marian Sawa, a teksty – Roman Brandstaetter, Ernest Bryll czy ks. Jan Twardowski.
Artykuł porusza zagadnienia dotyczące historii Sacrosongów, repertuaru oraz społecznej i kulturotwórczej roli tego wydarzenia. Całości dopełniają refleksje związane z samym gatunkiem „głównej bohaterki” festiwalu – piosenki religijnej.

The ‘Sacrosong’ Festival of Religious Songs and Hymns (1969–1999) was established at a time when the resolutions of the Second Ecumenical Council of the Vatican were gradually being implemented, including the decision to open the Catholic Church up to new forms of evangelisation. With rock music gaining huge popularity worldwide, it also found enthusiasts among Christian usicians, who employed rock to convey a religious message. The 1960s also saw increased interest in the song genre, represented in the field of sacred music by the French Jesuit Aimé Duval, among others. Despite the difficult social and political situation in communist Poland, the fashion for teenage music and religious songs soon reached that country’s youth. The Sacrosong festival
was Poland’s first platform for the presentation of religious repertoire. It was created not only to support the composition and promotion of new works sung in Polish, but also to involve artists and youngsters in religious life and thereby counteract the atheisation of Polish society. Over the thirty years of Sacrosong’s history as a nationwide festival, its repertoire included songs submitted for the festival’s competition, as well as songs, cantatas and oratorios commissioned by the organisers. Musical events were accompanied by theatre shows, exhibitions, poetry evenings, conferences and debates. The competition jury featured celebrities like Wojciech Kilar and Stefan Kisielewski, while the commissioned works were written by such artists as Jerzy Bauer and Marian Sawa (music), Roman Brandstaetter, Ernest Bryll and Revd Jan Twardowski (lyrics). This article discusses Sacrosong’s history and repertoire, as well as its social and cultural role. It also includes reflection on the genre of religious song as the ‘chief protagonist’ of the festival.

The Pauline Chapel in the Basilica of Santa Maria Maggiore is one of the most complex and significant ecclesiastical buildings in Counter-Reformation Rome. It was conceived as relic venue and built to underline and reassert Catholic doctrine in response to the reforming zeal of Protestantism. This Chapel preserves, among other relics, the Virgin of Saint Luke, a painting that according to legend was drafted by the apostle Luke and completed by the angels. The statutes of this Chapel were approved in 1615, committing the “Salve” services (always including the antiphon Salve Regina, which expresses the Marian concepts embodied by the Pauline Chapel) to twelve musicians: ten singers, one organist, and the chapel master. They sang litanies, antiphons, and the Compline service every Saturday night, at all feasts, and on the eves of Marian feasts. The earliest “Salve” music that has been preserved is that composed by Alessandro Melani (1639–1703), who directed the Pauline Chapel musicians from 1667 until his death. Written for two choirs and sung with one voice assigned to each part, this is a systematic repertoire by a single composer for the most important Marian chapel of the Roman Counter-Reformation.

Background in ethnomusicology.  The Mevlevi Order of Sufism, founded in Konya (Turkey) by the followers of Mevlana Celaleddin Rumi, cherishes music in their rituals as do many other Sufi Sects. Whirling Dervish Rituals may be described as a form of worship, and music is one of the main elements of the ritual. The commodification of cultural and spiritual traditions into products and the representation of rituals in the form of public performances has also influence the appreciation of Mevlevi music. World music market can be mentioned as one of the industries highly influenced by this process, especially in the cases of ritual concept strongly affiliated with the accompanying music.  The rising interest in Mevlevi culture, together with the popularity of demonstrations of Whirling Dervish ceremonies as tourist or cultural attractions, have also influenced the recent representations of Mevlevi music, usually with the title ‘Sufi music’ in the music industry.
Background in music theory. The music of the Mevlevi Order is strongly affiliated with the Turkish makam music tradition. The music accompanying the Whirling rituals is a form in Ottoman Turkish makam music, called Ayin-i Şerif , composed according to a specific set of theoretical rules in tonality, rhythmic structure and melodic contour. This article summarizes those rules to make comparisons with recent music works including ‘Mevlevi music’ in their title. 
Aims. This paper concentrates on how the performance and reception of ‘Mevlevi music’ has changed with the influence of the commodification process. 
Main contribution. With the promotion of traditional Turkish makam music as “Mevlevi” music, spiritual attributions of Sufi music become a marketing tool, that is to say, non-musical aspects of Mevlevi music become a tool for the promotion of both secular and religious Turkish Makam Music in the of New Age music market.
Implications. Mimesis of the Whirling Dervish Ceremonies, that imitates the main rules of the ritual, with the process of commodification turns into a show. In the case of Turkish Art Music or the fusion of ney and electronic sampling promoted as Mevlevi Music, the spiritual values of Mevlevi culture becomes a base for meanings attributed to the music positioned in the world music market with spiritual content. In touristic performances, it is observed that instead of performing the whole Ayin-i Şerif which is approximately 1 hour long, the sections of it have combined to accompany the whirling show. In such performances, usually Mevlevi Ayini in Nihavend, Buselik, Rast and Segah makams have been performing, because those create proximity with European art music tonal system.

Keywords: Mevlevi music, Sufism, whirling dervish, Turkish, makam

Lisztian experimentation with cyclic form and techniques of thematic metamorphosis is generally associated with the masterpieces of the Weimar period (the B minor Sonata, the Grosses Konzertsolo, the final version of the two Concertos). Few know that those solutions had already been employed twenty years earlier in Paris, in an unpublished work: the De profundis for piano and orchestra, ‘instrumental psalm’ of no less than 900 bars, which is articulated in several seamless movements. The paper focuses on this work by the young Liszt, which has long been neglected by musicological enquiry, identifying possible models and the semantics of compositional strategies. The context in which the genesis of the work took place is reconstructed, with particular regard to the influences of the dedicatee, Abbot Lamennais. A reading in programmatic key is then proposed, which interprets the De profundis as a ‘symphonic poem’ ante litteram, on the basis of two contemporary sources: the Lamennaisian pamphlet Paroles d’un croyant, in which Psalm 129 was declined in terms of a social and political eschatology, and Liszt’s 1834 essay on the sacred music of the future. The analysis of the score, together with an in-depth study of the historical and cultural background, brings out the multiple values of Liszt’s project, deciphering aspects that commentators had so far considered incomprehensible, such as the meaning of the Polish intermezzo, which bursts like a foreign body into the work, or the apparent contrast between the dimension of the sacred and the ‘worldly’ theatricality of certain passages. In the De profundis the results of the mature Liszt are already contained, with surprising foresight, and, in this sense, the study proposed here can’t but help to better define the composer’s universe and the continuity of his creative path.

L’autografo della Fuga del Kyrie di Francesco Morlacchi - donato nel 1878 dal conte Giovanni Battista Rossi Scotti al canonico Luigi Rotelli (Corciano 1833-Roma 1891) – è una breve composizione per quattro voci (SATB) e orchestra. Essa, probabilmente, fu pensata come un Kyrie II da aggiungere alla Messa IV dedicata dal sovrano di Sassonia a Ferdinando III di Toscana nel 1817, in occasione delle nozze del gran principe di Toscana Leopoldo II (figlio di Ferdinando III) con Maria Anna Carolina di Sassonia, celebrate nella chiesa della Santissima Annunziata di Firenze il 16 novembre di quell’anno.

Il est admis généralement -en tout cas dans les ouvrages d'histoire de la musique -que la cantate « moderne », inventée officiellement par Erdmann Neumeister à Weißenfels en 1700, est fortement liée à la prédication, avec laquelle elle se confondrait même en partie. Si cette idée est confortée par Neumeister lui-même dans sa préface à la publication de son premier cycle de cantates, que la place que ces cantates occupent dans le culte principal -entre la lecture de l'Évangile et la prédication, voire encadrant la prédication -semble lui assigner une fonction au moins de préparation au sermon, il n'est pas sûr pour autant que l'on mesure exactement ce que l'on entend par là. Surtout, même si cette idée peut constituer un outil pertinent de l'approche de la cantate luthérienne du XVIII e siècle, il est possible que l'on y soit parvenu par des chemins sinon erronés, en tout cas détournés. C'est en effet surtout au travers de Bach et de sa figure intimidante que semble s'être forgée cette conception de la cantate de prédication -opposée à la cantate de lecture des Buxtehude, Pachelbel et autre Kuhnau 1 -qui fait dire à Richard Taruskin, par exemple, dans son Histoire de la musique parue il y a quelques années :

"DURING the latter half of the twentieth century Christians from denominations around the world have stated a desire to find their way back to the roots of Christianity and experience a more full expression of Christianity and the life of the Church. One way in which this has manifested is the ‘convergence movement’. The convergence movement has developed as a bridge for promoting unity among Christians from the various ‘streams’, or historic traditions, and has encouraged their flowing into the one ‘river’ of the Church. This paper will give a basic history of convergence, including a few notable events and people, offer an overview of a communion of convergent congregations, and discuss the possible future of convergence."

(https://www.eighthdayinstitute.org/florovsky_paper_abstract_three_streams_one_river_the_history_and_future_of_the_convergence_movement)

The article outlines the role of the Psalter poetry in the
Catholic hymnography, singles out the principal genres and
forms, where the texts of the Psalms are used. Considered is
the development of the Psalter song poetry in the European
Catholic and Protestant religious traditions in its historic
dynamics. The peculiarities of functioning of Psalter songs in
Catholic and Protestant religious service and practice outside
the service are characterized.
Keywords: Psalter poetry, Psalter songs, Catholic church
practice, Protestant church practice.

For Rudolf Otto, sacred or religious music serves and ought to function as a medium of connection to God, the wholly numinous Other. This article examines the qualities of the experience of God as the quintessential numinous "mysterium tremendum et fascinans" and inquires on how such qualities could be brought to bear on worship music, in order to render them apt for this experience.

The aim of this paper is to discuss the concept of the worksong with regards to sacred singing performed in gutting and ship-building yards among North-East Scottish workers in the fishing industry, particularly the herring industry, in the nineteenth and twentieth centuries. By addressing key characteristics of the worksong, I will be considering how psalmody and hymnody entered this environment, and the extent to which, when used in this context, it might be categorised as a worksong. Two separate issues come to light here, the combination of music and labour and the role of spirituality and belief within the work place.

There are several reasons why China today is at the center of the world’s attention.  The most apparent reason is because it is a new superpower due to its recent rapid economic development. It is also because of the exceptional situation in this country.  It is so huge and densely populated.  It is in this context that I would like to discuss the work of a Chinese composer named Doming Lam.  In my opinion, Lam’s early exposure to western church music allowed him to achieve an interesting blend between it and Chinese folk tradition. Composer Doming Lam Ngok Pui was born in Macau in 1926, but has lived his artistic life mostly in Canada and Hong Kong.  He has attempted, consciously or not, to favor this cultural blend in many of his works. In his early life in Macau, he was a student in the Seminary of Saint Joseph.  During that time this Seminary was also a center of excellence for musical performance. Several western missionaries, some of them musicians, devoted their time and efforts to train local Chinese, students from other parts of Asia and western seminarians (mostly Portuguese) on the beauty of church music tradition.  They began by teaching them Gregorian chant and renaissance polyphony, following the long tradition of the Catholic Church and the more recent teachings of Saint Pius X Motu Proprio “Tra le Sollecitudini” (1903). The young Chinese composer, Doming Lam, was exposed to this western church music in the seminary while at the same time experiencing and learning about local Cantonese musical tradition which came largely from his family and other environmental factors.

Kate Bowler and Wen Reagan. 2014. "Bigger, Better, Louder: The Prosperity Gospel’s Impact on Contemporary Christian Worship." Religion and American Culture: A Journal of Interpretation, Vol. 24, Issue 2, pp. 186-230.

This article makes several claims about the relationship between praise and worship music and prosperity megachurches. First, it argues that the prosperity gospel has had a significant impact on contemporary worship music in America owing to its leadership in the twin rise of the megachurch and televangelism. Second, beginning in the 1990s, prosperity megachurches pioneered forms of worship music mimicking “arena rock” that capitalized on both the scale of their sanctuaries and the sophistication of their audio/visual production. The result was a progression toward music that would be a liturgy of timing, lighting, volume and performance designed for large venues. Finally, prosperity megachurches were ideally situated to benefit from this new music, both in the music industry and in their theology. Prosperity megachurches partnered with the expanding worship industry in the creation of new worship music, while the prosperity gospel theologically undergirded the affective power and performative pageantry of Christian arena rock, narrating worship music as a tool for releasing spiritual forces of prosperity. The result was a Sunday experience for the blessed that reinforced the celebration of God’s abundant blessings through music that was bigger, better, and louder.

Pier Costantino Remondini (Genova, 1829-1893), avvocato, musicologo ed erudito, fu un esponente di primo piano del cosiddetto ‘movimento ceciliano’, un movimento di opinione per la restaurazione della musica sacra che, nato in Germania col Romanticismo, si affermò in Italia nell’ultimo quarto del XIX secolo.
I suoi scritti musicali riflettono i suoi principali interessi: musica sacra (canto gregoriano e polifonia), arte organaria, critica e bibliografia musicale. Tra gli scritti di organaria vi sono quelli che costituiscono il ‘manifesto’ della riforma dell’organo italiano («l’organo quale dovrebbe essere»), cioè i tre articoli apparsi nel 1879 – che innescarono una vivace polemica con l’organaro Luigi Lingiardi – e poi riuniti nell’opuscolo "Intorno agli organi italiani" (1879); il discorso su "L’organo considerato come strumento liturgico" e la relazione su "La riforma dell’organo italiano", letti al primo Convegno Ceciliano di Milano (1880). Da quel momento egli divenne un riferimento sicuro per organari e organisti interessati ai nuovi orientamenti costruttivi, come attestano i numerosi carteggi esistenti nel suo archivio.
Il presente volume riunisce per la prima volta tutti gli scritti musicali del Remondini pubblicati tra il 1874 e il 1892 unitamente a due scritti pubblicati postumi e a due trascrizioni musicali giovanili edite nel 1853 e nel 1857. Esso è inoltre corredato da un profilo biografico, dalla bibliografia di tutti gli scritti (compresi quelli di argomenti vari e di erudizione scientifica) e da alcune testimonianze sul suo ruolo nell’ambito del movimento ceciliano.
Questa iniziativa editoriale si inserisce nel quadro di un progetto promosso dalla Biblioteca Franzoniana di Genova e finalizzato alla valorizzazione del fondo musicale (archivio e biblioteca) “Pier Costantino Remondini”, conservato presso la stessa biblioteca, e all’approfondimento di questo erudito personaggio dai poliedrici interessi culturali.

Gli studi musicologici spesso sottolineano che la musica delle origini in senso lato fu sempre sacra, composta ed eseguita per celebrare un evento e dunque funzionale e rituale in modalità similari tra culture diversissime, dal lontano oriente alla straordinaria civiltà greca alla cultura cristiana.

Cantor Yossele Rosenblatt was offered an opportunity that would make any performer swoon: a star role in the ground-breaking film The Jazz Singer (1927). Yet Rosenblatt refused this artistic opportunity of a lifetime. This paper contextualizes Rosenblatt’s baffling decision, by exploring one possible relationship between the arts and law; in this case—the art of storytelling and the Jewish legal system. The study demonstrates where the two pursuits tread separate, unlinked paths to a common end. This vector is refracted through the lens of liturgical performances outside the religious synagogue service; specifically the propriety of cantorial concerts featuring prayers from the High Holy Days. This issue is addressed in legal writing and in storytelling, each modality using its own tools to tackle the trend. It is noted that legal systems without effective enforcement mechanisms—such as Jewish law in the late modern period—could use arts as compensatory media for achieving societal order. More significantly, however, arts and law are not umbilically connected; each cultural creation independently strives to fashion society.

Von einem nationalen Standpunkt betrachtet wurde die Kultur der Italoalbaner und Italogriechen als ,,linguistische Minderheit“ marginalisiert und aufgegeben – mit dem Ergebnis, dass ihre Sprachen nicht mehr an den Schulen unterrichtet werden. Musik hatte immer eine Schlüsselrolle in den Gemeinden gespielt und die besondere Verbindung aus Musik und dem Klang dieser Sprache verfehlt niemals seine Wirkung, unabhängig davon, ob sie verstanden wird. Sie begleitet die Italogriechen und Italoalbaner durch den Zyklus des Lebens, zu bedeutenden Festen, während des Karneval, zu Hochzeiten und Beerdigungen. In dieser Einführung möchte ich die reiche Kultur der ländlichen Musiktraditionen Süditaliens von einer anderen Seite betrachten, indem ich sie mit denen der Nachbargemeinden vergleiche, wo es auch Tarantelle und Kalimere gibt, obwohl der Dialekt nicht mit Balkansprachen vermischt ist und ihre Gemeinden keinen orthodoxen Hintergrund haben, die den mysteriösen ,,Süden“ (in der anthropologischen Schule Italiens kurz “Il Sud” genannt) einst dominiert haben. Auf diese Weise lassen sich die Formen entdecken, die die Gemeinden der Arbëresh gegenüber anderen auszeichnen, die vallje und ajrët und eine besondere Form des mehrstimmingen Musizierens, die von Musikethnologen als Weltkulturerbe des Balkan und Italiens anerkannt wird.

Resumo: Este artigo apresenta uma perspectiva histórica e considerações do processo de transcrição/edição do Te Deum CPM 92 de José Maurício Nunes Garcia (1767-1830) desenvolvido pelo grupo de pesquisa em Linguagem Musical autógrafas e não autógrafas utilizadas neste trabalho, assim como explanações do caminho percorrido nas decisões editoriais. Palavras-chave: Música colonial brasileira, Te Deum, José Maurício Nunes Garcia, Edição musical. Abstract: This article presents a historical perspective and considerations about the transcription/edition process of the Te Deum CPM 92 of José Maurício Nunes Garcia (1767-1830) developed by the research group on Brazilian Musical Language of the Music Education degree at UNASP, Campus Eng. Coelho/SP. There are descriptions of autograph and non autograph manuscript sources and explanations of the path taken in the editorial decisions.

Cinquante ans après sa fondation, certaines pièces musicales du répertoire liturgique de l'Abbaye de Keur Moussa (Sénégal), peuvent encore arracher quelques exclamations, surprendre, interpeler, bousculer la sensibilité ou la curiosité d'un grand nombre de nos contemporains. Elles suscitent aussi un certain nombre d'interrogations telles que: qui sont les auteurs de cette musique? Pourquoi et comment une telle musique a-t-elle vu le jour? Quelles sont ses sources, son évolution et sa situation actuelle?
Les festivités du Centenaire de la Fondation de l'Institut Pontifical de Musique Sacrée (Colloque de Juin 2011) constituent une réelle opportunité en vue de tracer brièvement un tour d'horizon sur la genèse et l'évolution de la Musique liturgie de Keur Moussa. Pour ce faire, cette contribution se penchera spécialement sur son processus de développement qui a connu quatre grandes étapes: les premières tentatives, les
premiers contacts avec les musiques africaines traditionnelles, la période de maturation et la situation actuelle.

A Reforma Protestante modificou toda uma geração com consequências futuras inimagináveis até mesmo para os reformadores. O fato é que a Reforma invadiu toda a vida dentro e fora da igreja. Essa mudança radical, na verdade um retorno às Escrituras, afetou também a música e o seu propósito na vida cristã. Este é justamente o intuito deste breve artigo, mostrar especificamente o pensamento dos reformadores Lutero e Calvino diante das demandas do mundo de sua época e de como repensaram ou reconduziram a música e o louvor a Deus ao devido lugar. PALAVRAS-CHAVE Reforma Protestante; Música; Lutero; Calvino. I

"During the late seventeenth and early eighteenth centuries, pioneering books on art theory— by Richardson, Piles, Lairesse, and many others—formulated benchmark criteria to assess the quality of paintings and shaped a canon of favorite masters, schools, and subjects. Less is known about the actual appropriation of this high-brow canon by laymen art lovers, amateurs, and connoisseurs. Flemish and Dutch travel diaries are used in this article to unveil more details about these middlebrow art observations. Was a long and expensive Grand Tour the sole vehicle for close encounters with the arts? How did laymen's interest and discourse about the arts evolve over the long run? Finally, the study attempts to reconstruct the Netherlandish "common" taste for individual masters, schools, genres, and periods.
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บทคัดย่อ
การวิจัยครั้งน้ีเป็นการวิจัยทํานองเทศน์มหาชาติ กัณฑ์มัททีในประเพณีตั้งธัมม์หลวงของจังหวัดเชียงใหม่ โดยกระบวนการวิจัยครั้งนี้อาศัยหลักการทางมานุษยดนตรีวิทยา (Ethnomusicology) ซึ่งมีวัตถุประสงค์เพื่อศึกษาสํานวนบทเทศน์ ข้อ มลูบริบทลักษณะวิธีการเทศนม์หาชาติกัณฑ์มัททีและลักษณะเฉพาะทางดนตรีในทํานองเทศน์มหาชาติ กัณฑ์มัทที ในประเพณีตั้งธัมม์หลวง จังหวัดเชียงใหม่
ผลการวิจัยพบว่า การเทศน์มหาชาติ หรือเวสสันดรชาดกมีที่มาจากพระคาถาพันเป็นภาษาบาลีอยู่ในนิบาตชาดก อันเป็นส่วนหนึ่งของพระไตรปฏิก มหาชาติหรือเวสสันดรชาดกประกอบด้วยเรื่องราวทั้งหมด 13 กัณฑ์
ผลการวิเคราะห์พบว่าทํานองเทศน์มหาชาติกัณฑ์มัททีในประเพณี ตั้งธัมม์หลวง ใช้สำนวนเทศน์ฉบับไผ่แจ้เรียวแดง ระบําเทศน์แบบพร้าวไกวใบ องค์ประกอบการเทศนม์หาชาติกัณฑ์มัททีแบ่งได้ 6 ส่วน ประกอบด้วย อาราธนาธรรม อื่อกั่นโลง กาบเก๊า ตั้งนโมฯ เนื้อธัมม์กัณฑ์มัทที และกาบปลาย การเทศน์ ของชาวล้านนาแบ่งออกเป็น 2 ประเภทได้แก่การเทศน์ทํานองแบบธรรมวัตร และการเทศน์ ทํานองแบบมหาชาติ พบเทคนิคการเทศน์ ดังนี้ ตั้ง เทียว เหลียว วาง ยั้ง ขึ้น หว้าย ก่า ย และยั้ง เทคนิค ต่างๆ นั้นจะอยู่ภายใต้กรอบของทํานองเทศน์ 4 รูปแบบ ซึ่งได้มี การกําหนด สัญลักษณ์ เพื่อช่วยในการเทศน์ ดังน้ี เหินสูง ( / ) เหินต่ำ (,) ละม้าย (๙) และลงเสียง (o) สัญลักษณเ์หล่าน้ีจะเขียนสําหรับเนื้อธัมม์ เพื่อเป็นแนวทางในการเทศน์ เพื่อช่วยในการออกเสียง ควบคู่ไปกับบทเทศน์
**บทความนี้เป็นส่วนหนึ่งของวิทยานิพนธปริญญาศิลปศาสตรมหาบัณฑิต สาขาดนตรี บัณฑิตวิทยาลัย มหาวิทยาลัยมหิดล พ.ศ. 2545
**อาจารย์ประจําภาควิชาศิลปะไทย คณะวิจิตรศิลป์ มหาวิทยาลัยเชียงใหม่

THE MELODIC PREACHING OF MATTHEE EPISODE FROM THE GREAT JATAKA AT THE ANNUAL GREAT PREACHING CEREMONY (TANG DHARMA LUANG) IN CHIANGMAI

*** Thitipol Kanteewong
Department of Thai Art, Faculty of Fine Arts, Chiang Mai University, Chiang Mai 50200, Thailand.
Abstract
The objective of this paper is to examine the melodic preaching of the Great Jataka, from the Matthee episode, which is performed during the preaching ceremony (Tang Dharma Luang) in Chiang-Mai province. The principle of Ethnomusicology is being used as a fundamental in this research in order to study the melodic preaching, social contexts, and preaching demonstrations especially in music attribute to the Great Jataka (Matthee episode).
Results of the research show that the Great Jataka originated from Phra- Kha-Tha-Phan, a Pali Nibrtara Jataka, which is a part of Tripitaka. The Great Jataka preaching is comprised of 13 episodes.
The preaching shows that the script of the chant has been composed in a version of Phi Jae Riaew Daeng, while its melody is a version of Prao Kwai Bai. The Matthee episode of the Great Jataka preaching has six main components: A- rathana Dharma (Dharma Invitation), Ue Kan Long (Sound Testing), Karb Kao (Self Introduction), Tang Namo (beginning of Pali text), Matthee Dharma(Preaching Matthee Episode), and Karb Plai (Preaching Termination; finish, wish, farewell). The melody has been categorized into two types of chanting: Dharma Wat and Ma Ha Chart styles. In addition, both styles contain certain techniques of preaching; namely, Tang, Teao, Leao, Wang, Yang, Wai, Kai, and Yang. These techniques appear to have four main symbols to help control tone and rhythm of the chant: Huen Soong (/), Huen Taam (,), La Mai (๙) and Long Siang (o). These symbols, as mentioned, are considered guiding chanters to pronounce in their chants accurately.

Libreto del CD-DVD: Música Catedralicia de Cuba. Repertorio litúrgico de Cayetano Pagueras (Barcelona-La Habana, siglo XVIII). Sellos discográficos Colibrí y La Ceiba, grabado en La Habana en 2013. Dirección general, investigación, transcripciones y conducción, Miriam Escudero. Intérpretes: Camerata Vocale Sine Nomine que dirige Leonor Suárez y Orquesta del Instituto Superior de Arte adjunta al Lyceum Mozartiano de La Habana. Dirección General José Antonio Méndez Padrón.

La colección «Documentos Sonoros del Patrimonio Musical Cubano» forma parte de las iniciativas de preservación y gestión que acomete el Gabinete de Patrimonio Musical Esteban Salas, de la Dirección de Patrimonio Cultural de la Oficina del Historiador de la Ciudad de La Habana, con el propósito de completar el proceso de restauración de la obra musical: desde la localización de la partitura hasta su interpretación y difusión a través del concierto y la grabación. Cada soporte de esta colección contiene el registro sonoro de obras inéditas del patrimonio musical de Cuba acompañado de materiales audiovisuales didácticos para la enseñanza.

In un articolo del 2008 Arnaldo Morelli ha chiarito come il concetto di "scuola romana" vada in qualche misura sostituito dal più appropriato "stile di cappella". 2 Il primo riferimento all'espressione di scuola romana si trova già nel Cinquecento, ma è usato in un'accezione molto vaga, dai confini indefiniti, come scuola custode di uno stylus antiquus. Nel linguaggio corrente il concetto di "scuola romana" è complessivamente assimilabile a "stile alla Palestrina". Il cantore pontificio Antimo Liberati nel 1684 parla di Palestrina sostenendo che «non ebbe genio di far schola o non potendo per l'assiduo impegno nella compositione armonica, ma s'unì e si conformò con la schola di Giovanni Maria Nanino suo condiscepolo e amico confidentissimo». 3 Morelli conclude che il concetto di "scuola romana" va inteso non tanto come scuola artistica (maestro/allievo) in senso normativo, quanto in relazione alla prassi esecutiva della Cappella Pontificia. In realtà, a partire già dalla metà del Seicento, tale istituzione si trovò a essere in una situazione "cristallizzata" e isolata rispetto alle altre cappelle musicali romane dell'epoca, nelle quali i compositori trovavano ampio terreno per sperimentare soluzioni stilistiche in alcuni casi molto avanzate, come si può leggere in questa testimonianza di Pietro Della Valle:

ABSTRACT
In the thirteenth century the mass cycle became established as a sacred musical form. By the end of the twentieth century the politicised concert mass had overshadowed it. Surprisingly, despite becoming a significant contributor to the Western art music repertoire, the concert mass has never attracted serious scholarship. While individual concert masses have been the subject of some studies, the form itself has received only limited attention, and never been comprehensively defined. This anomaly is addressed here by investigating three main topic areas: the variety of attitudes to sacred music within the Roman Catholic Church, the changing social, political and religious nature of Western societies, and the text of the mass itself. Focusing particularly on the twentieth century, this study brings together selected sources that span eight centuries to show that at each stage of the transition of the liturgical mass to its politicised form it has reflected changing attitudes towards religion in Western societies. While analysis of elements of key transitional concert masses provides the most substantive evidence, as a work of historical musicology that deals with religious as well as musical changes, the research of historians, sociologists and religious studies scholars, among others, has also been drawn upon. In combination, these primary and secondary sources reveal that it was the convergence of a range of human-centred impulses that brought about the establishment of first the concert mass in the later eighteenth century and then the politicised concert mass in the twentieth century. Whereas Renaissance masses presented God to humankind, and concertised masses presented humankind to God, politicised concert masses present humankind to humankind.