SACRED MUSIC Volume 95, Number 3, Fa111968
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Marian Sawa (1937–2005)Music for Organ 1 Sequence I, “Dies irae” (1996) 11:44 2 Resurrection (1975) 6:53 3 Aria (1971) 7:17 4 Passacaglia II (2005) 9:51 5 Three Dances in Old Style (1998) 5:39 Suite (1980) 15:39 6 I. Adagio 4:38 7 II. Scherzando 2:20 8 III. Tranquillo 4:46 9 IV. Con brio 2:04 10 V. Presto 1:52 11 Fantazja Jasnogórska (1996) 6:26 12 Łomza Prayer (2004) 5:39 13 Sequence II, “Victimae paschali laudes” (1996) 7:04 TOTAL PLAYING TIME: 76:18 Carson Cooman Organ of Propsteikirche St. Ludgerus, Billerbeck, Germany (Orgelbau Fleiter, 2014) Model by Jiří Žůrek, 2020. Recorded via the Hauptwerk system. The Composer Marian Sawa was born January 12, 1937 in Krasnystaw, Poland and died April 27, 2005 in Warsaw. From 1951 to 1955, Sawa studied at the Salesian Organ School in Przemyšl. Feliks Rączkowski (1906–1989), who taught organ in Warsaw, was a graduate of the Salesian School and, on one of his return visits to Przemyšl, he was very impressed by the immense talent of one of the young students, Marian Sawa. Rączkowski invited Sawa to come to Warsaw for further study, and simply in order to teach him, Rączkowski joined the faculty at the Józef Elsner Secondary Music School. Upon Sawa’s graduation in 1958, he joined Rączkowski’s organ class at the F. Chopin Music Academy. From 1956 to 1966, Sawa was the organist of the garrison church (Field Cathedral of the Polish Army) in Warsaw. Sawa’s career as an educator focused primarily on his specialty of organ improvisation and began in 1966 at the Elsner School. -
Selected Organ Works of Joseph Ahrens: a Stylistic Analysis of Freely Composed Works and Serial Compositions
Selected Organ Works of Joseph Ahrens: A Stylistic Analysis of Freely Composed Works and Serial Compositions A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2013 by Eun Hye Kim MM, University of Cincinnati, 2007 MM, Hansei University, 2004 BA, Seoul Jangsin University and Theological Seminary, 2002 Committee Chair: Roberta Gary, DMA Committee Member: John Deaver, DMA Committee Member: David Berry, PhD Abstract Joseph Ahrens (1904–97) was a twentieth-century German composer, virtuoso organist, and teacher. He was a professor of church music at the Berlin Academy of Music (Berlin Hochschule für Musik), organist at the Cathedral of St. Hedwig, and choir director and organist at the Salvator Church in Berlin. He contributed to twentieth-century church music, especially of the Roman Catholic Church, and composed many works for organ and various choral forces. His organ pieces comprise chorale-based pieces, free (non-chorale) works, liturgical pieces, and serial compositions. He was strongly influenced by twentieth-century German music trends such as the organ reform movement, neo-baroque style, and, in his late period, serial techniques. This document examines one freely composed work and two serial compositions by Joseph Ahrens: Canzone in cis (1944), Fantasie und Ricercare (1967), and Trilogia Dodekaphonica (1978). The purpose is to demonstrate that Ahrens’s style developed throughout his career, from a post-Wagnerian harmonic language to one that adopted twentieth-century techniques, including serialism, while retaining the use of developed thematic material and a connection to neo-baroque characteristics in terms of forms and textures. -
Birmingham's Evangelical Free Churches and The
BIRMINGHAM’S EVANGELICAL FREE CHURCHES AND THE FIRST WORLD WAR by ANDY VAIL A Thesis Submitted to The University of Birmingham For the degree of MASTER OF PHILOSOPHY School of History & Cultures College of Arts and Law The University of Birmingham 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis demonstrates that the First World War did not have a major long-term impact on the evangelical free churches of Birmingham. Whilst many members were killed in the conflict, and local church auxiliaries were disrupted, once the participants – civil and military – returned, the work and mission of the churches mostly continued as they had before the conflict, the exception being the Adult School movement, which had been in decline prior to the conflict. It reveals impacts on local church life, including new opportunities for women amongst the Baptist and Congregational churches where they began to serve as deacons. The advent of conscription forced church members to personally face the issue as to whether as Christians they could in conscience bear arms. The conflict also speeded ecumenical co-operation nationally, in areas such as recognition of chaplains, and locally, in organising local prayer meetings and commemorations. -
Suffering and Social Conscience in the Passion Genre from JS Bach's
Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike. -
BATES, JAMES M., DMA Music in Honor of the Virgin Mary
BATES, JAMES M., D.M.A. Music in Honor of the Virgin Mary during the Middle Ages and Renaissance. (2010) Directed by Dr. Welborn Young. 50 pp. Veneration of the Virgin Mary was one of the most important aspects of Christianity during the Middle Ages and Renaissance, and sacred music of the time incorporated many Marian concepts. The Virgin Mary was considered the greatest intercessor with God and Christ at a time when fear of Purgatory was strong. Prayers and devotions seeking her aid were among the most significant aspects of spiritual life, and texts of this kind were set to music for devotional use. Beyond her identity as intercessor, there were many additional conceptions of her, and these also found musical expression. The purpose of this study was, first, to explore the basic elements of Marian devotion, and, second, to examine how veneration of Mary was expressed musically. Seven musical compositions from c. 1200-1600 are examined as representative examples. The ―Marian aspects‖ of some compositions may be as straightforward as the use of texts that address Mary, or they may be found in musical and textual symbolism. Of special interest is a particular genre of motet used in private devotions. Precise and detailed information about how sacred music was used in the Middle Ages and Renaissance is scarce, but evidence related to this particular kind of devotional motet helps bring together a number of elements related to Marian meditative practices and the kind of physical settings in which these took place, allowing a greater understanding of the overall performance context of such music. -
Der Komponist Als Prediger: Die Deutsche Evangelisch-Lutherische Motette Als Zeugnis Von Verkündigung Und Auslegung Vom Reformationszeitalter Bis in Die Gegenwart
DER KOMPONIST ALS PREDIGER: DIE DEUTSCHE EVANGELISCH-LUTHERISCHE MOTETTE ALS ZEUGNIS VON VERKÜNDIGUNG UND AUSLEGUNG VOM REFORMATIONSZEITALTER BIS IN DIE GEGENWART Dissertation zur Erlangung des Doktorgrades vorgelegt beim Fachbereich 2 Kommunikation/Ästhetik Fach Musik/Auditive Kommunikation Carl von Ossietzky Universität Oldenburg von Jan Henning Müller Salbeistraße 22 26129 Oldenburg Oldenburg (Oldb) Juli 2002 Tag der Einreichung: 31.Juli 2002 Tag der Disputation: 29.Januar 2003 Gutachter: Prof. Dr. Peter Schleuning, Prof. Dr. Wolfgang E. Müller Inhaltsverzeichnis 1 EINLEITUNG 4 1.1 Thematische Einführung und Abgrenzung 4 1.2 Zur Darstellung 5 1.3 Gattungsspezifische Annäherung in vier Schritten 7 1.3.1 „Gattung“ als Vorstellung, Begriff und Kategorie 7 1.3.2 Musikalische Gattungen 10 1.3.3 Die Motette als musikalische Gattung 13 1.3.4 Zur Spezifität der evangelisch -lutherischen Motette 17 1.4 Konsequenzen für die Analyse und Motettenkorpus 20 1.4.1 Zur Analyse 20 1.4.2 Motettenkorpus 24 2 VORAUSSETZUNGEN IM MITTELALTER UND IM HUMANISMUS 26 2.1 Rhetorik, Homiletik und Predigt 26 2.2 Zum vorreformatorischen Musikbegriff 31 2.3 Gattungsgeschichtlicher Abriss: die Motette bis etwa 1500 34 3 „SINGEN UND SAGEN“: DIE GENESE DER GATTUNG 41 3.1 Aussermusikalische Faktoren 41 3.1.1 Theologische Voraussetzungen 41 3.1.2 Zum Musikbegriff der Reformatoren (Luther, Walter, Melanchthon) 55 3.1.3 Erste deutschsprachige Predigtmotetten 67 3.2 Innermusikalische Faktoren 82 3.2.1 Beispielfundus 82 3.2.2 Textdisposition 84 3.2.3 Modale Affektenlehre 91 3.2.4 Klausellehre und Klauselhierarchie 94 3.2.5 Musikalische Deklamation 110 3.2.6 Musikalisch-rhetorische Figuren 117 3.2.7 Analyseschema 127 4 DIE EV.-LUTH. -
Burkholder/Grout/Palisca, Ninth Edition, Chapter 10 18 Chapter 10
18 11. (219) What is the Lied technique? Chapter 10 Sacred Music in the Era of the Reformation 12. What is a choral motet? 1. [213] Protestant reformers tried to involve the congregation resulting in new forms such as the 13. (220) What is cantional style? Why that term? ___________ in the Lutheran Church, the __________ in the Calvinist Church, and the ____________ in the Anglican Church. 14. How many chorale melodies were there by 1600? 2. (212) What were the three branches and where did they exist? 15. What is the doctrine of Calvin? 16. The Calvin Church was centered at _________. What were the offshoots? 3. (213) Summarize Luther's religious beliefs in light of his humantistic education. 17. What about music in the church? 4. He changed the language from _________ to ___________, but kept some of the Catholic liturgy and 18. What are metrical psalms? What is a psalter? music. 5. (216) Luther's musical background included what? 19. (221) TQ: "Or sus, serviteurs du Seigneur" as "Old Hundreth" would be an example of what? 6. Why congregational singing? 20. T/F The different denominations held inviolate their music and would not allow it to be contaminated by 7. Was a Lutheran liturgy strictly adhered to? influx from other congregations. 8. Describe the chorale in Luther's time. 21. (222) TQ: (SR) What is your impression of the SR compared to Luther's SR a couple pages back? 9. (217) What are the four sources of chorales? Veni Redemptor gentium to Nun komm, der Heiden Heiland is an example of what? (218) Victimae paschali laudes to 22. -
Boston March 4-7, 2018 Program and Conference Information
Program and Conference Information Conference on Retroviruses and Opportunistic Infections Boston March 4-7, 2018 General Information CONTENTS Information General CROI FOUNDATION ...........................................................2 IAS–USA.......................................................................2 CROI 2018 PROGRAM COMMITTEE.........................................3 Scientific Program Committee .........................................3 Community Liaison Subcommittee .....................................5 EXTERNAL REVIEWERS . 6 SCHOLARSHIP AWARDEES ..................................................8 New Investigator Awardees.................................................8 International Investigator Awardees .......................................12 Community Educator Awardees............................................12 CONTINUING MEDICAL EDUCATION ......................................13 GENERAL INFORMATION . .15 Overview .................................................................15 Conference Support .......................................................15 Americans With Disabilities Act ............................................15 Emergency Services . .15 Embargo Policies and Social Media ....................................16 Welcome Reception .......................................................16 Meals.....................................................................16 Overflow Accommodations for Oral Sessions................................17 Mobile App ...............................................................17 -
Victimae Paschali Laudes (Also Known As the “Easter Sequence”) Is an Ancient Expression of the Church’S Worship During the Easter Octave (I.E., Eight-Day Feast)
Victimae paschali laudes (also known as the “Easter Sequence”) is an ancient expression of the Church’s worship during the Easter Octave (i.e., eight-day feast). It has remained an official element of the Easter liturgies since its composition in the eleventh century. Today, it is one of five similar “sequences,” the others being employed at the celebrations of Pentecost, Corpus Christi, Our Lady of Sorrows, and the Requiem Mass. Victimae paschali laudes is an obligatory element of the Easter Sunday Mass, but it can also be chanted every day during the Easter Octave to highlight the supreme importance of this solemnity. The text of Victimae paschali laudes is included below. The left-most column contains the authoritative (and perennially-valid) Latin text, the middle column contains a literal translation into English, and the right-most column contains the English version approved for current liturgical use. The traditional chant (with its Gregorian notation) is included on the following page. Original Latin Literal English Translation Approved for Liturgical Use Victimae paschali laudes Let Christians offer sacrificial Christians, to the Paschal Victim immolent Christiani. praises to the passover victim. offer sacrifice and praise. Agnus redemit oves: The lamb has redeemed the sheep: The sheep are ransomed by the Lamb; Christus innocens Patri The Innocent Christ has reconciled and Christ, the undefiled, reconciliavit peccatores. the sinners to the Father. hath sinners to his Father reconciled. Mors et vita duello Death and life contended Death with life contended: combat conflixere mirando: in a spectacular battle: strangely ended! dux vitae mortuus, the Prince of life, who died, Life's own Champion, slain, regnat vivus. -
Experiment with Light' in Britain: the Heterotopian Nature of a Contemporary Quaker Spiritual Practice
'EXPERIMENT WITH LIGHT' IN BRITAIN: THE HETEROTOPIAN NATURE OF A CONTEMPORARY QUAKER SPIRITUAL PRACTICE by HELEN CLAIRE MEADS A thesis submitted to The University of Birmingham for the degree of Doctor of Philosophy Department of Theology and Religion School of Philosophy, Theology and Religion College of Arts and Law The University of Birmingham 18 July 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis is an ethnographic study into 'Experiment with Light', a reflexive spiritual practice within contemporary British Quakerism, based on seventeenth century Quaker writings. This is the first academic study of British Quakers to focus on religious experience. It demonstrates how Experimenters' religious experience and transformation supports them in changing the wider group's behaviour. I interweave heterotopia, reflexivity, religious experience, religious transformation and examination of internal Quaker conflict handling to argue that the Experiment is a heterotopian process leading Experimenters to find heterotopic places within themselves and that they sit in a heterotopic position vis-à-vis British Quakers generally. I extend Foucault's concept of heterotopia to show how (heterotopian) process interacts with (heterotopic) site to reveal heterotopia's multi-dimensionality and its potential to change its context, thus demonstrating that applying an analytic concept in an empirical study can reveal new aspects of that concept. -
Singing Our Faith Solemnity of Pentecost – May 20, 2018
Singing Our Faith Solemnity of Pentecost – May 20, 2018 It happens a few times a year – we sing an “extra hymn” after the second reading. Chances are it’s unfamiliar to the assembly because, well, they haven’t heard it for a year! This is known as the Sequence. This weekend, we sing the Pentecost Sequence “Veni, Sancte Spiritus,” translated “Come, Holy Spirit,” which is found below. So first, why the term “Sequence?” Centuries ago, the end of the Alleluia before the gospel would have a musical sequence that rose higher and higher at each repetition as the deacon or priest went up the steps of the ambo. The raising of the pitch mirrored the minister’s ascent to proclaim the gospel. Since Sequences have always been written in the form of hymns, they are also called “Prose,” which more accurately reflects their literary style. It’s also worth mentioning that, while we sing the Sequence before the gospel acclamation, the traditional place for the Sequence is after the alleluia (gospel acclamation), sort of like an extended gospel acclamation verse. The number of Sequences was significant by the time of the Council of Trent (1543–1563). The Pope St. Pius V Missal from 1570 reduced the many number of Sequences in the Roman Rite to four: Victimae Paschali Laudes for Easter (still required today) Veni Sancte Spiritus for Pentecost (still required today) Lauda Sion Salvatorem for Corpus Christi (optional today) Dies Irae for All Souls and in Masses for the Dead (optional today) "1 Singing Our Faith Solemnity of Pentecost – May 20, 2018 Nearly 150 years after St. -
Stylistic Trends in Contemporary Organ Music. (Volumes I and II). Robert Michael Rudd Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1967 Stylistic Trends in Contemporary Organ Music. (Volumes I and II). Robert Michael Rudd Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Rudd, Robert Michael, "Stylistic Trends in Contemporary Organ Music. (Volumes I and II)." (1967). LSU Historical Dissertations and Theses. 1360. https://digitalcommons.lsu.edu/gradschool_disstheses/1360 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfihned exactly as received 67-17,343 RUDD, Robert Michael, 1939- STYLISTIC TRENDS IN CONTEMPORARY ORGAN MUSIC. (VOLUMES I AN D n). Louisiana State University and Agricultural and Mechanical College, Ph.D., 1967 Music University Microfilms, Inc., Ann Arbor. Michigan Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. (Ç^ Copyright by ROBERT MICHAEL RUDD 1968 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. STYLISTIC TRENDS IN CONTEMPORARY ORGAN MUSIC Volume I A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Robert Michael Rudd B.M., Louisiana State University, 1962 M.M., Louisiana State University, 1963 August, 1967 Reproduced with permission of the copyright owner.