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Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 83-97 ISSN 2342-1258 https://journal.fi/jisocm Stifling Creativity: Problems Born out of the Promulgation of the 1906 Tserkovnoje Prostopinije Fr Silouan Sloan Rolando [email protected] At the beginning of the twentieth century, the Greek Catholic Bishop of the city of Mukačevo in what is now Ukraine promulgated an anthology of Carpatho- Rusyn chant known as the Церковноє Простопѣніє (hereafter, the Prostopinije) or Ecclesiastical Plainchant. While this book follows in the tradition of printed Heirmologia found throughout the Orthodox and Greek Catholic churches of Belarus, Ukraine, and Russia starting in the sixteenth century, this book presents us with a number of issues that affect the quality and usability of this chant in both its homeland and abroad as well as in the original language, Old Church Slavonic, and in modern languages such as Ukrainian, Hungarian and English. Assuming that creativity is more than just producing new music out of thin air, the problems revealed in the Prostopinije can be a starting point the better to understand how creativity can be unintentionally stifled and what can be done to overcome these particular obstacles. A Brief History Heirmologia in this tradition are anthologies of traditional chant that developed in the emergence of the Kievan five-line notation in place of the older Znamenny neums. With the emergence of patterned chant systems variously called Kievan, Galician, Greek and Bulharski, each touting unique melodies for each tone and each element of liturgy, the Heirmologia would be augmented with these chants often replacing the older Znamenny, especially for the troparia, stichera and prokeimena of the Octoechos. -
Singing the Prostopinije Samohlasen Tones in English: a Tutorial
Singing the Prostopinije Samohlasen Tones in English: A Tutorial Metropolitan Cantor Institute Byzantine Catholic Metropolia of Pittsburgh 2006 The Prostopinije Samohlasen Melodies in English For many years, congregational singing at Vespers, Matins and the Divine Liturgy has been an important element in the Eastern Catholic and Orthodox churches of Southwestern Ukraine and the Carpathian mountain region. These notes describes one of the sets of melodies used in this singing, and how it is adapted for use in English- language parishes of the Byzantine Catholic Church in the United States. I. Responsorial Psalmody In the liturgy of the Byzantine Rite, certain psalms are sung “straight through” – that is, the verses of the psalm(s) are sung in sequence, with each psalm or group of psalms followed by a doxology (“Glory to the Father, and to the Son…”). For these psalms, the prostopinije chant uses simple recitative melodies called psalm tones. These melodies are easily applied to any text, allowing the congregation to sing the psalms from books containing only the psalm texts themselves. At certain points in the services, psalms or parts of psalms are sung with a response after each verse. These responses add variety to the service, provide a Christian “pointing” to the psalms, and allow those parts of the service to be adapted to the particular hour, day or feast being celebrated. The responses can be either fixed (one refrain used for all verses) or variable (changing from one verse to the next). Psalms with Fixed Responses An example of a psalm with a fixed response is the singing of Psalm 134 at Matins (a portion of the hymn called the Polyeleos): V. -
Program a Anotácie Referátov V
CYRILSKÁ A LATINSKÁ PÍSOMNÁ KULTÚRA BYZANTSKO-SLOVANSKEJ TRADÍCIE NA SLOVENSKU DO KONCA 18. STOROČIA Zborník anotácií Svetlana Vašíčková – Ľubomíra Wilšinská (zost.) Bratislava – Košice 2018 © Slavistický ústav Jána Stanislava Slovenskej akadémie vied © Centrum spirituality Východ-Západ Michala Lacka v Košiciach, Teologická fakulta Trnavskej univerzity tlačená brožúra ISBN 978-80-89489-36-7 EAN 9788089489367 e-dokument ISBN 978-80-89489-37-4 EAN 9788089489374 Slavistický ústav Jána Stanislava SAV Teologická fakulta Trnavskej univerzity Centrum spirituality Východ-Západ Michala Lacka v Košiciach Program konferencie Cyrilská a latinská písomná kultúra byzantsko-slovanskej tradície na Slovensku do konca 18. storočia Konferencia sa realizuje v rámci riešenia projektu podporeného Agentúrou pre výskum a vývoj s názvom Cyrilské písomníctvo na Slovensku do konca 18. storočia (číslo projektu: APVV-14-0029) Internetová stránka projektu: www.cyrslav.sav.sk Košice 23. – 27. októbra 2018 Konferencia sa uskutoční v priestoroch hotela Teledom na adrese: Timonova 27, Košice (pozri mapu na zadnej strane). Odporúčaný spôsob dopravy z Bratislavy do Košíc vlakom InterCity štyrikrát denne: IC 521: 05:43 – 10:37; cena cca 16 eur IC 523: 11:43 – 16:37; cena cca 22 eur IC 513: 15:46 – 20:21; cena cca 22 eur IC 525: 17:43 – 22:29; cena cca 22 eur Lístky sa dajú kúpiť na bratislavskej železničnej stanici alebo online na http://www.slovakrail.sk/sk/internetovy-obchod.html. Iný spôsob do- pravy do Košíc nájdete na portáli https://cp.hnonline.sk/, kde je mož- né spresniť aj rozvrh mestskej hromadnej dopravy, vnútroštátnych a medzinárodných vlakov a autobusov. Organizátori konferencie zabezpečujú ubytovanie pre účastníkov konferencie v hoteli Teledom. -
Shifts in Protestant Worship and Doctrine – J
Shifts in Protestant Worship and Doctrine – J. Stockton Shifts in Protestant Worship and Doctrine Pastor Jonathan Stockton 2017 BBTS Fall Lecture Series " Baptists and the Reformation" Protestant philosophy with respect to worship has been in flux for the past seventy years. Because of that, and in order to address shifts, a baseline must be established. A church's and a Christian's philosophy of music and worship should be doctrinal. That is, they should be sifted through the Scriptures just as any other dogma. For instance, the tongues movement, as a pneumatology, is contrasted to Scripture, and cast out. Calvinism, as a soteriology, is thrown against the castle wall of Scripture, and repelled. So there should be a "doctrine" of music! This is not "hymnology," which studies primarily the music used in worship, but a doctrine of music in its general use in the world, with or without lyrics. It might be called "psallology." It should be a Scriptural musicology. Perhaps to say that a philosophy of music and worship should be doctrinal is a misnomer – they seem to be so inherently, so that a church can often be identified by its music, and its music usually identified by its doctrine. Many would contest that statement, but even casual observation overwhelmingly supports it. I. Should Baptist churches be musical? God's churches are musical. A. Prophecy fulfilled shows that they were musical: 1. Romans 15:9-11 explains that Psalm 18:49-50 is a prophecy of the fact that Gentiles would sing the praises of God along with God's chosen people, because of His great mercy. -
Paper Abstracts (.Pdf)
Annual Meeting February 25-27, 2021 Abstracts Session 1 Music and Racial Identity in the U.S. Church (plenary) Mourning, Judgement, and Resurrection: Christian Imagery in Reconstruction Era Music Thomas Kernan, Roosevelt University In her seminal study on death and mourning in the American Civil War, Drew Gilpin Faust draws on period accounts from diaries, correspondence, sermons, and press coverage in which surviving family members, communities, and much of the nation attempted to understand the profound human toll of the period. Clergy and laity across denominations turned to their theology to find meaning, offer comfort, and reconcile the war’s many seeming paradoxes. However, Christian thought was not limited to mourning. On one hand, long-held claims by religious men and women for slave abolition pivoted to the cause of fraternity and equality for newly freed African Americans. On the other hand, Christian imagery was also used to signify racial difference with white Americans depicted beside crosses—markers of their righteousness—and black Americans depicted without such representation—a demonstration of skepticism about their beliefs. The war’s wake and the period of Reconstruction that followed invited many and varied invocations of Christian identity and beliefs. To examine the experience of Reconstruction through an overtly Christian lens is not new to the scholarly literature. Historians, such as Matthew Harper, Paul Harvey, and Edward J. Blum, have taken up this topic with regards to African Americans, postwar Southerners, and empowered white men, respectively. Moreover, Eric Foner and David W. Blight, consistently center religion in speaking about Reconstruction as a period that aimed to reconcile the Civil War’s unfinished work. -
Atlas of American Orthodox Christian Churches A
Atlas cover:Layout 1 4/19/11 11:08 PM Page 1 Atlas of American Orthodox Christian Churches Assembling a mass of recently generated data, the Atlas of American Orthodox Christian Churches provides an authoritative overview of a most important but often neglected segment of the American Christian community. Protestant and Catholic Christians especially will value editor Alexei Krindatchʼs survey of both Eastern Orthodoxy as a whole and its multiple denominational expressions. J. Gordon Melton Distinguished Professor of American Religious History Baylor University, Waco, Texas Why are pictures worth a thousand words? Because they engage multiple senses and ways of knowing that stretch and deepen our understanding. Good pictures also tell compelling stories. Good maps are good pictures, and this makes the Atlas of American Orthodox Christian Churches, with its alternation and synthesis of picture and story, a persuasive way of presenting a rich historical journey of Orthodox Christianity on American soil. The telling is persuasive for both scholars and adherents. It is also provocative and suggestive for the American public as we continue to struggle with two issues, in particular, that have been at the center of the Orthodox experience in the United States: how to create and maintain unity across vast terrains of cultural and ethnic difference; and how to negotiate American culture as a religious other without losing oneʼs soul. David Roozen, Director Hartford Institute for Religion Research Hartford Seminary Orthodox Christianity in America has been both visible and invisible for more than 200 years. Visible to its neighbors, but usually not well understood; invisible, especially among demographers, sociologists, and students of American religious life. -
Music Genre/Form Terms in LCGFT Derivative Works
Music Genre/Form Terms in LCGFT Derivative works … Adaptations Arrangements (Music) Intabulations Piano scores Simplified editions (Music) Vocal scores Excerpts Facsimiles … Illustrated works … Fingering charts … Posters Playbills (Posters) Toy and movable books … Sound books … Informational works … Fingering charts … Posters Playbills (Posters) Press releases Programs (Publications) Concert programs Dance programs Film festival programs Memorial service programs Opera programs Theater programs … Reference works Catalogs … Discographies ... Thematic catalogs (Music) … Reviews Book reviews Dance reviews Motion picture reviews Music reviews Television program reviews Theater reviews Instructional and educational works Teaching pieces (Music) Methods (Music) Studies (Music) Music Accompaniments (Music) Recorded accompaniments Karaoke Arrangements (Music) Intabulations Piano scores Simplified editions (Music) Vocal scores Art music Aʼak Aleatory music Open form music Anthems Ballades (Instrumental music) Barcaroles Cadenzas Canons (Music) Rounds (Music) Cantatas Carnatic music Ālāpa Chamber music Part songs Balletti (Part songs) Cacce (Part songs) Canti carnascialeschi Canzonets (Part songs) Ensaladas Madrigals (Music) Motets Rounds (Music) Villotte Chorale preludes Concert etudes Concertos Concerti grossi Dastgāhs Dialogues (Music) Fanfares Finales (Music) Fugues Gagaku Bugaku (Music) Saibara Hát ả đào Hát bội Heike biwa Hindustani music Dādrās Dhrupad Dhuns Gats (Music) Khayāl Honkyoku Interludes (Music) Entremés (Music) Tonadillas Kacapi-suling -
11 Great and Holy Saturday
John Sutko Con’t as the lead soloist, chanter, and octavist. These include per- formances with the Bach Society of Saint Louis, MO in its was celebrated in Church Slavonic. He also encouraged Mr. presentation of Rachmaninov’s Divine Liturgy and similar Sutko to concentrate on Church music in addition to his performances with the Northwestern University and Univer- other college studies. The second person to influence him sity of Chicago choirs that featured works by noted Russian was Prof. Lela Hamner, an instructor at the Conservatory of composers. Music and Wilson Junior College, who encouraged him to change his major to music and voice. In the new millennium, Mr. Sutko continued to teach differ- ent adaptations and arrangements of contemporary compos- While directing his parish’s choir, Mr. Sutko began studies ers to the Saint Peter and Saint Paul parish choir while at the Chicago Conservatory of Music while pursuing cours- maintaining the heritage and musical legacy that had been es in education at Chicago Teacher College. In addition to handed down to him. In recognition of his years of ministry, courses in harmony, conducting, applied music, music histo- he was honored on his 60th anniversary as parish director in ry and composition, and related subjects, he was involved in 2013 and was awarded a Synodal Grammota. In February oratorio, opera workshop, voice recitals, and solo work at 2016, he conducted his final Divine Liturgy as choir director various churches and other Chicago-area venues. At the age at Saint Peter and Saint Paul Church. In retirement, he contin- of 20, he began directing both Sunday morning Liturgies at ues to devote his time to directing and singing with local Saint Peter and Saint Paul Church. -
The Reclamation of Culture Movement and NAIITS: an Indigenous Learning Community
ABSTRACT A Gifting of Sweetgrass: The Reclamation of Culture Movement and NAIITS: An Indigenous Learning Community Wendy L. Peterson In the mid-twentieth century the reclamation of Indigenous cultures, outlawed and otherwise suppressed through colonization, spread throughout New Zealand, United States, Canada, and elsewhere. Variously labelled as retraditionalization, revitalization, reclamation, and renaissance, it found expression in political demonstrations, public inquiries, litigation, art, music, and resistance literature. This dissertation traces the marginalization of First Peoples in their homelands triggered by the Great European Migration. Discouraged by the state of Indigenous churches and lack of discipleship, Indigenous Followers of Jesus [IFJ] joined in the reclamation of Indigenous self-identity through contextualizing the gospel and Christian culture as a means of healing social and spiritual realities. What began as local conversations grew to regional and global dialogues, resulting in a unique form of revitalization—the Reclamation of Culture Movement [ROCM]. The birth of the global ROCM is traced primarily to the Māori-led World Christian Gathering on Indigenous Peoples (1996). Employing Social Networking Theory, this work reveals the development of this movement through the global, regional, and local diffusion of the educational innovation first called the North American Institute for Theological Studies — now simply NAIITS: An Indigenous Learning Community. Providing a unique educational innovation for Aboriginal, -
Религия И Искусство В Межкультурной Коммуникации : Учебное Пособие По Перево- National Research Tomsk State University Ду И Практике Устной И Письменной Речи
МИНИСТЕРСТВО ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ ФЕДЕРАЦИИ УДК 2+7]:811.111’25(075.8) НАЦИОНАЛЬНЫЙ ИССЛЕДОВАТЕЛЬСКИЙ ББК 86+85]:82.1 Англ. – 923 Рел368 ТОМСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION Классен Е.В., Одегова О.В. Рел368 Религия и искусство в межкультурной коммуникации : учебное пособие по перево- NATIONAL RESEARCH TOMSK STATE UNIVERSITY ду и практике устной и письменной речи. – Томск : Издательский Дом ТГУ, 2017. – 214 с. ISBN 978-5-94621-643-2 Е.В. Классен, О.В. Одегова Цель пособия – познакомить учащихся с различными аспектами религии и ее отражением в E.V. Klassen, O.V. Odegova произведениях искусства, научить обсуждать эти темы по-английски, осуществлять устный и пись- менный перевод в рамках данной тематики и проводить экскурсии по храмам и картинным галереям. Все тексты пособия снабжены большим количеством упражнений на перевод и активизацию ре- лигиозной и общекультурной лексики. В конце пособия приводится обширный справочный материал. Для студентов высших учебных заведений, обучающихся по гуманитарным специальностям, РЕЛИГИЯ И ИСКУССТВО изучающих английский как первый или второй иностранный язык и достигших как минимум уров- ня Intermediate. В МЕЖКУЛЬТУРНОЙ УДК 2+7]:811.111’25(075.8) ББК 86+85]:82.1 Англ. – 923 КОММУНИКАЦИИ Р е ц е н з е н т ы: доктор философских наук, профессор кафедры культурологии и социальной коммуникации Томского политехнического университета О.Т. Лойко RELIGION AND ART доктор педагогики, доцент кафедры английской филологии Томского государственного университета П.Д. Митчелл IN CROSS-СULTURAL © Е.В. Классен, О.В. Одегова, 2017 COMMUNICATION ISBN 978-5-94621-643-2 © Томский государственный университет, 2017 Klassen E.V., Odegova O.V. -
The Development of a Keyboard Theory Curriculum Utilizing a Chronological, Comprehensive Approach to Reinforce Theory Skills of First Semester College Music Majors
THE DEVELOPMENT OF A KEYBOARD THEORY CURRICULUM UTILIZING A CHRONOLOGICAL, COMPREHENSIVE APPROACH TO REINFORCE THEORY SKILLS OF FIRST SEMESTER COLLEGE MUSIC MAJORS By CAROL PIATNEK MCCOY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Carol Piatnek McCoy 2 To the memory of my dear mother, Ida Margaret Walton Piatnek (1927-2005) who sacrificed many of her own dreams that I might realize mine, To my three much-loved children, Sean, Katie (KT), and Kevin, in hopes that all their dreams come true, and, above all earthly loves, To God alone be the Glory 3 ACKNOWLEDGMENTS I must first thank my outstanding committee who has supported me through these tumultuous years and encouraged me every step of the way. It is my honor and privilege to have such a distinguished and highly emulated faculty supporting my doctoral studies and freely dedicating their time and many talents to my efforts. I hold them all in the highest regard, professionally, as educators and leaders of quality and integrity in their own fields, but more importantly, in their own lives, as wonderful, intelligent, good-natured and compassionate individuals. They have been my role models for more than many years and I have never been disappointed. My deepest gratitude and most heartfelt thanks go to Dr. James Paul Sain, chair, who has gone far and beyond the requirements of advising. I deeply appreciate his gifts of patience, understanding, empathy, advice, and unflinching support. -
1 ORGAN WORKS by COMPOSERS from AFRICA and the AFRICAN-DIASPORA BIBLIOGRAPHY: See Also Calvert Johnson, Compi
1 ORGAN WORKS BY COMPOSERS FROM AFRICA AND THE AFRICAN-DIASPORA BIBLIOGRAPHY: see also www.agoatlanta.org Calvert Johnson, compiler (2013) AFRICAN-AMERICAN COMPOSERS Adams, H. Leslie (b. Cleveland, 1932). Infinitas (1999). ______. Offering of Love [Offertory] (1991). Westlake OH: HCM, 1992. In Abbington vol. 1. ______. Prelude & Fugue for Organ (1978). Pullman WA: Vivace Press, 1998. http://www.hleslieadams.com; http://chevalierdesaintgeorges.homestead.com/Adams.html ARCHIVES: Leslie Adams Music Archives, Special Collections, Cleveland Public Library EDUCATION: BME, Oberlin (1955), studying composition with Herbert Elwell and Joseph Wood; further private study with Robert Starer and Vittorio Giannini; MM, California State University-Long Beach (1967) studying composition with Leon Dallin and Robert Tyndall; PhD, Ohio State University (1973), studying with Marshall Barnes. CAREER: Choral director, Stillman College (AL); Pianist for dance companies (1957-62); High School teacher, Soehl Jr High, Linden NJ (1962-63); Associate Musical Director, Karamu House, Cleveland OH (1964-65); Music teacher, New Mexico School for Performing Arts, Raton NM (1966-67);Assistant Professor, Florida A&M University (1968); Associate Professor, Choral director, University of Kansas (1970-78); Composer-in- residence, Karamu House, Cleveland OH (1979-80); Scholar-in –residence, Rockefeller Foundation, Bellagio Italy (1979); Fellowship, Yaddo Artists Colony, Saratoga Springs (1980, 1984); Cleveland Foundation Fellow (1980); Jennings Foundation Fellow (1981); Guest composer, Cuyahoga Community College OH (1980); Composer-in residence, Cleveland Music School Settlement (1981-84, 1991); Founder and President, Accord Associates (1980-1986); Executive Vice-President, Composer-in-Residence, Accord Associates (1986-92); Artist-in-residence, Creative Arts (1997-present); National Association of Negro Musicians Composer Award (2004); Composer Legacy Award, National Opera Association (2006); Distinguished Alumnus Award, California State University, Long Beach (2006); Gems of Cleveland Award (2007).