Search

In 1926, a New York Times article described the cultural and ethnic flows in south Brazil as a "Melting Pot". The report predicted that German Brazilians, tied to their ethnoracial origin, would soon be Brazilianized. The study of congregational song practices offers insight into the relationship between migration, race, culture, and ethnicity. Moreover, investigating Brazilian Lutheran singing practices helps us understand how the New York Times' prediction unfolded on the ground. This paper examines the Brazilian Lutheran hymnal Livro de Canto, published in 2017, and displays how Brazil's ethnoracial diversity is manifested and negotiated in the Lutheran context, both musically and theologically. By interviewing members of the hymnal committee and investigating how they dealt with Brazil's ethnoraciality in the context of the hymnal compilation, this paper demonstrates ways denominations and churchgoers negotiate theological, cultural, musical, and ethnoracial identities through congregational singing. More importantly, it showcases how Brazilian Lutheran church music practices inform broader social conversations around racism, nationalism, Blackness, and Brazilianness. [ABSTRACT FROM AUTHOR]

This paper continues from the two previously published in Folk Life, that concern daily and seasonal life, women's work and food production and preservation in the northern Icelandic valley of Vatnsdalur, in the later 1970s and after. It addresses the tunes and words of 'folk-style singing' in spontaneous contexts, in the home, farm work environment and at social events, noting that the practice later diminished, though it ceased only in about 2015, with the deaths of the leading singers. The relationship to the production of music in church is then considered. The paper then goes on to consider aspects of the general narrative folk tradition recounted at the period in question. [ABSTRACT FROM AUTHOR]

Music for worship has been a divisive topic throughout church history. Augustine of Hippo influenced Jean Calvin and Martin Luther's theology of music, although in different ways. Their opinions differed, but all three men cared deeply about applying a correct interpretation of the Bible to church music. Augustine's opinion of music was that, when correctly understood, it had the capacity to glorify God. However, music could become a dangerous earthly pleasure if the senses were allowed to have control. Calvin argued that music must be used with care, not due to the problem of music, but rather the weakness and corruption of man. Martin Luther understood music to be a gift from God--a reference from Augustine--placing it of highest importance second only to theology and the scriptures. This paper was researched by an examination of primary and secondary sources. It argues that Calvin's views were greatly influenced by Augustine, and he aligned more closely in practical aspects. Although Luther was impacted to a lesser extent, his writings about music do contain direct references to Augustinian thought that can be demonstrated in Luther's theology of music. Christians can learn much about the role of music in worship from the example of these God-honoring theologians. [ABSTRACT FROM AUTHOR]

Prayer in human life enables directing attention to God and a transcendent goal beyond Earthly life. Singing has been present in the life of Israel since the oldest times, which is proved on the pages of the Holy Scriptures, in the Books of Exodus and Psalms. In the New Testament, there is a lot of encouragement to sing the glory of God in psalms and songs, as well as praising God Most High in Revelation. The Catholic Church is concerned with the quality of liturgical music through a number of recommendations and requirements defining the pieces that may become a part of the liturgy. Liturgical choir singing is a special form of common prayer. The aim of the present paper is to examine the effect of prayer by choral singing on human flourishing. The aim was achieved by analyzing recommendations of the Church on liturgical music, presenting the assumptions of the theoretical model investigating the effect of art on human flourishing, and then conducting empirical studies. Sixteen in-depth interviews were carried out with members of fourteen choirs. There were four groups of respondents according to their gender and family status. All obtained codes were organized into five main themes with four subcategories. They confirmed the assumptions of the model presented in the theoretical part and made it possible to identify the effect of choral singing on the performers' health and the improvement of their skills. In addition, they showed a direct relation between prayer and spiritual well-being when singing in a choir, a coherence of activities with values as well as the striving for happiness. [ABSTRACT FROM AUTHOR]

The paper presents the oldest scores of sacred music in the former Winiker's Music Library (Carl Winiker's Musikalien-Leih-Anstalt), whose surviving collection is now housed by the Moravian Library. The paper looks at some of its most valuable sheet music and explores nearly 200 manuscript and printed scores. Many of these can be traced to the well-known Leipzig conductor and composer Johann Gottfried Schicht (1753-1823), which is why the paper covers sheet music published or copied up to 1823, the date of Schicht's death. Besides the inventory of the scores, the paper offers an analysis of the repertoire as well as the provenance of all the identified copies. It draws on the surviving catalogues of Winiker's Library, the extant scores in the Moravian Library, and the auction catalogue of Schicht's collection after his death. [ABSTRACT FROM AUTHOR]

The Zeliangrong Nagas (Zeme, Liangmai, Rongmei and Inpui) inhabit the contiguous regions of the present-day Indian states of Manipur, Assam and Nagaland. The Rongmeis first embraced Christianity in the 1920s through converts and evangelists from their neighbouring communities, who were themselves influenced by the American Baptist missions. Through these encounters, indigenous singing practices of their neighbouring Thadou-Kukis were translated and incorporated into Rongmei Christianity as the lujam. The lujam songs have survived in popular practice and print culture, coexisting alongside translations of English hymns and, in more recent years, contemporary Christian worship music. In tracing the journeys of the lujam, this paper presents the gradual indigenisation of Christian teachings and practices among the Rongmeis. It argues that the lujam, as practised among the Rongmeis, embodies an effective mode and method of theologising among the Rongmeis. At the same time, the paper teases out inherent tensions that are managed in the lujam (if awkwardly), between traditional 'landed' lifeworld and the lujam's 'heavenly' lifeworld. Thus, the study highlights the theological agency of Rongmei Nagas in their encounters with Christianity as evidenced in the lujam practice. [ABSTRACT FROM AUTHOR]

The paper examines the significance of the selection, planning, and factors that affect the leading and singing of hymns in corporate Christian worship. While myriads of scholarly literature abound on hymnology, through bibliographies and an in-depth library search, the paper seeks to discuss the guidelines that engender the leading of congregation hymns and methods required for a dynamic leading of hymns. The research findings reveal that in some Nigerian churches where there are no trained music ministers, many untrained song leaders merely stand before the congregation to announce the hymns for the congregation to sing without performing a leadership role. Others merely stand to wave a hand. Leading congregational hymns requires training and vivaciousness in skill application. The three major areas of focus include planning, leading, and congregational response to hymn singing. The paper concludes that planning and selection of hymns are both spiritual and intellectual exercises that involve basic knowledge of the rudiments of music. The research will help the church musicians and academics in further research into church music and congregational hymn singing. [ABSTRACT FROM AUTHOR]

Classical Pentecostal Churches in Ghana have various policies to guide their operations such as; administrative structure, functions of various office holders, their terms of office, activities guidelines and many more. Using the qualitative research approach, the paper finds out challenges faced by rural Classical Pentecostal Pastors, families, and congregants in Ghana with regards to policy generalization, which often fails to address some specific challenges of rural folks. Based on results from interviews conducted, this paper offers various recommendations which if adopted would help minimize the challenges of marginalization faced by pastors, their families and the church congregants to the enhancement of their holistic development. [ABSTRACT FROM AUTHOR]

Psychedelic-assisted therapy has attracted considerable clinical attention in the past decade for its ability to bring therapeutic benefits to patients in treatment-resistant categories. In contradistinction from other psychopharmaco-therapies, contemporary psychedelic therapists, like their predecessors, paid close attention to the 'set and setting', and argued that the mind-set of the subject and the conditions or environment of the session was as influential as the pharmacological reaction itself. In this paper, we examine how religious sounds and music were both incorporated into and strategically avoided in the early psychedelic therapeutic sessions in an effort to achieve spiritual epiphanies at peak experiences. Prominent contemporary practices, we conclude, recapitulate many of the practices of the past, relying, we argue, on aesthetic premises that could hinder the therapy's broader applicability. [ABSTRACT FROM AUTHOR]

Copyright of Romanian Review of Eurasian Studies / Revista Română de Studii Eurasiatice is the property of Romanian Review of Eurasian Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers information about the Canterbury Christ Church University's first ‘Church Music and Musicians in Britain' conference held from June 20 to 23, 2017. It reports that organized principally by Chris Price, lecturer at the university and a lay clerk at Canterbury Cathedral, and David Newsholme, assistant organist at the cathedral.

This paper aims to present the Armenian music - especially the Armenian liturgical music - from Transylvania, based on the scant research conducted so far and also starting from the research carried out by the author, based on some recently discovered musical materials. The troubled history of the Armenian people largely defines the way the arts developed, and moreover how the vast and rich culture that characterizes the Armenian people spread throughout the world. The article briefly presents the historical process of migration and the settling of Armenians on the Transylvanian lands, the founding of cities, and the construction of Armenian churches, followed by the assimilation of this large ethnic group into the Hungarian population, the gradual transformation of religious worship, and the almost forced transition of Armenians to the Catholic rite. The paper also presents the local traditions and the influence of the Hungarian people, with whom the Armenians came into contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the change of the musical art. References are made to folk music, and afterward a large part of the article is dedicated to information related to Armenian religious music in Transylvania. The article - as mentioned above - presents only briefly this little researched topic, a quite intriguing one, while the in-depth study of the issue and the analysis of the manuscripts discovered will be carried out as part of the doctoral studies of the author. [ABSTRACT FROM AUTHOR]

The paper examines formal changes of traditional church music in postmodernism: the choice of brief passages in the Bible characterised by soul searching (Jesus musing on his destiny, experiencing confusion about his purpose and mission), heroic acts (Esther and Judith saving the Jewish people), self-sacrifice and moral fables rather than key chapters of dogmatic stringency. Characteristic of postmodernist aesthetics are the combination of high and low art, fragmentation, and hybridity. Music rooted in the Bible draws on heterogeneous sources, such as medieval religious mysteries (the Wakefield Mysteries), jazz, folk music (Celtic, Far Eastern or East European, as in James MacMillan's Seven Last Words from the Cross, 1994) quasi ancient music (actually a pastiche, as in Howard Goodall's The Beautitudes, 2009). The sacramental atmosphere is lost in a narrative about a tamed and belittled Jesus figure: The Boy (1977) by David Palmer, or El Niňo (2000) by John Adams. These compositions at the turn of the millennium are belated and sublimated echoes of the rock operas of the '70s, which carried with them intimations of politics (as in Yale Marshall's The Business of Good Government, 1970), disseminating concern for the public spirit, care for the wretched of the earth, support for the hippie movement and ideology (especially Lloyd-Weber's Jesus Christ Superstar). [ABSTRACT FROM AUTHOR]

This paper examines archival records reflecting the existence of at least three choir lofts and performance practice there during the 15th and 16th centuries. It introduces new sources: besides archival records, results of research in situ, i.e. in the church of St. James in Brno. [ABSTRACT FROM AUTHOR]

The article presents an ongoing research project which aims to map the everyday musical life of Pest-Buda and outlines the structure of the public musical events of the city. It offers an explanation of the reunion as a concert genre in a regional context. The paper details the background, operation and structure of the musical life of the city based on the analysis of three daily newspapers, the Budapesti Hírlap, the Hölgyfutár and the Pesth-Ofner Lokalblatt und Landbote. More than 5,000 articles relating to the public musical life of the cities appeared in the pages of these newspapers in the 1857 issues alone. The structure of the public concert life of Pest-Buda, based on this microhistorical research, can be divided into the following categories: concerts, opera and musical theatre performances, church music, promenade concerts and promenade music, music performances in cafés and restaurants, balls and dances. From these categories, special attention has been given to the reunion genre, trying to define it more precisely based on existing re search (Kálmán Isoz) and on new research on the period’s press material as well as archival musical sources (Eins für Alles. Großes Potpourri by Karl Morelli). [ABSTRACT FROM AUTHOR]

This paper explored the origin and journey of my musical career. How my family, church, school, and friends influenced me to pursue a career in music and teaching, and take a Master in Music Major in Choral Conducting degree. An auto-ethnographic approach was used to investigate shared experiences that are all based on my personal experiences. [ABSTRACT FROM AUTHOR]

Copyright of Clotho is the property of University of Ljubljana, Faculty of the Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper examines formal changes of traditional church music in postmodernism: the choice of brief passages in the Bible characterised by soul searching (Jesus musing on his destiny, experiencing confusion about his purpose and mission), heroic acts (Esther and Judith saving the Jewish people), self-sacrifice and moral fables rather than key chapters of dogmatic stringency. Characteristic of postmodernist aesthetics are the combination of high and low art, fragmentation, and hybridity. Music rooted in the Bible draws on heterogeneous sources, such as medieval religious mysteries (the Wakefield Mysteries), jazz, folk music (Celtic, Far Eastern or East European, as in James MacMillan's Seven Last Words from the Cross, 1994) quasi ancient music (actually a pastiche, as in Howard Goodall's The Beautitudes, 2009). The sacramental atmosphere is lost in a narrative about a tamed and belittled Jesus figure: The Boy (1977) by David Palmer, or El Niňo (2000) by John Adams. These compositions at the turn of the millennium are belated and sublimated echoes of the rock operas of the '70s, which carried with them intimations of politics (as in Yale Marshall's The Business of Good Government, 1970), disseminating concern for the public spirit, care for the wretched of the earth, support for the hippie movement and ideology (especially Lloyd-Weber's Jesus Christ Superstar). [ABSTRACT FROM AUTHOR]

The research of the Byzantine music started in Romania during the first decades of the twentieth century, especially due to priest Ioan D. Petrescu's studies. A restricted group of researchers continued this work within the second half of the last century, thus making way to important paths of research, particularly oriented towards the musical manuscripts belonging to the Romanian archives. Following 1990, together with the change of the political regime, much was written on the Byzantine music in Romania. Our paper aims at succinctly unveiling these concerns which have sprung out of the legitimate questions mostly related to the age of the Byzantine music within the Romanian space, to the Romanian contribution to the perpetuation of the Byzantine tradition, and to the peculiarities of the pew music form the different areas of Romania. A presentation of the most important themes of research tackled within the last decades in Romania is given, together with the scientific manifestations and the categories of papers published within the given amount of time. Numerous are the questions that have troubled those interested in the Byzantine music over the years. Now, many of these questions belong to the young people willing to revive the ancient Byzantine music in the pews of the Romanian churches. The perplexities and difficulties the young are confronted with when adequately interpreting the specific semiography are briefly presented in the final part of our paper, a section dedicated to the questions which are still waiting for an answer. [ABSTRACT FROM AUTHOR]

During their century-old activity, the cappella of the Basilica del Santo and that of the Cathedral of Padua welcomed among their collaborators such outstanding figures as Costanzo Porta, Luigi Balbi, Lelio Bertani, Amadio Freddi, Leandro Gallerano, and many others. Some of their compositions were included, alongside those of other chapel masters working in similar Italian chapels, in several collections printed in various European cities: Heidelberg, Munich, Nuremberg, Frankfurt, Antwerp, and Strasbourg. The aim of the present paper is a mapping the compositions of Paduan composers within the collections printed in Europe during the first half of the 17th century. In particular the attention will focus on the case of Il Trionfo di Dori (Venice, 1592) that was provided with German texts by Johann Lyttich (Nuremberg, 1612-1613) and Martin Rinckart (Leipzig, 1619). Beside that, the paper will investigate the channels that might have allowed these compositions to reach the various cities in which they were printed and the possible reasons for their large diffusion. [ABSTRACT FROM AUTHOR]

The theme of the paper is an analysis of the composition StaÒ siÊ! (ìThy Will Be Done!î) written by Henryk Jan Botor ñ a contemporary Polish composer and organist, whose Silesian roots have deeply influenced both his whole life and the character of his creativity. It was a famous stained glass window by Stanis?aw WyspiaÒski BÛg Ojciec ñ StaÒ siÊ (ìGod the Father ñ Thy Will Be Doneî) placed above the main entrance to the Franciscan Church in KrakÛw, that inspired the composition StaÒ siÊ! (ìThy Will Be Done!î) to come into being. The paper shows the artist as a man of deep faith, respecting the values that determine his work and defines most of his pieces as a part of religious music. [ABSTRACT FROM AUTHOR]

A letter by Don Celso Morassi, pastor of Cleulis of Paluzza (Udine), to Barbieri from 22 November 1941 confirms the growth: "you talked to me about the need to increase your factory of pipe organs and automatic organs, to increase staff and machines, given the increase in orders in recent times."[62] Assuming average sales of fifteen automatic organs per year, as stated earlier, an estimated 150 Barbieri machines were sold between 1931 and 1941. Reprinted in Barbieri, I Auto-organo Barbieri 1931-1933 i , 12, 29-34 and 38; and I Auto-organo Barbieri 1933-1934 i , 2. 50 Nidasio, "L'autoorgano nella liturgia e una prova sorprendente", 14. 51 I La Diocesi di San Bassiano - Bollettino Diocesano i 7, 1940, 114-15. Information on the characteristics and merits of the automatic organ Barbieri created for the Pope can be gleaned from a signed letter by Armando Antonelli to Barbieri of 8 November 1947, the day after the inauguration of the I auto-organo i at Saint Anne. This part of the automatic organ is identical for all types of organs and can be accommodated in a small mobile case or in the console.... The organ interface consists of devices which are different for each type of organ played.[19] Barbieri had chosen a difficult market for his machines. [Extracted from the article]

Starting with theoretical considerations on redemption in Rosenzweig's Der Stern der Erlösung, this paper highlights the connection between redemption and choral form in Church music (e.g. in Bach's Passions and in musical mass). Therefore, according to Rosenzweig, one can clearly distinguish between sacred/religious (geistlich) and spiritual/intellectual (geistig) music. Rosenzweig also writes about renewing Jewish worship through Bach's vocal music, but we are given scant hints about this. "Bach in die Synagogen!" is nevertheless important, not only as an example for interreligious dialogue, but above all as an invitation to think about redemption in the postmodern condition. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to analyze and discuss current policies and position statements related to religious music and teaching about religion and propose a four-part framework for stakeholders to incorporate or amend policy on religious music in the public schools. The framework is based off of an analysis of sixteen public school district policies, the National Education Association (NEA) Policy on Religion in the Public Schools, and the National Association for Music Education's (NAfME) Sacred Music in Schools Position Statement. The framework contains the following four themes: a) Religious Expression—I suggest that policy stakeholders clearly state that while religious or non-religious expression may manifest among the students, classrooms are non-devotional spaces that do not promote or inhibit religions; b) Teaching About Religion—I suggest that in their policy and position statements, stakeholders address the context of religious music within the curriculum; c) References—I suggest that stakeholders carefully consider the references they put forth in their policy documents and provide relevant related research, current case law, and statements that consider multiple perspectives within a nonpublic forum; and d) Intercultural Perspective—I suggest that stakeholders develop policies that require an intercultural perspective of religious music in the public schools and avoid language that may serve as a rationale to program mostly Christian music. [ABSTRACT FROM AUTHOR]

Information about the topics discussed at the Fifteenth International Congress of the Gesellschaft für Musikforschung held on September 7, 2012 is presented. Indranil Roy presented the research entitled "Children of Artifice: Colonialism, Enlightenment, Reason and the Genesis of Urban Bengali Music(s)" and Jittapim Yamprai presented the paper entitled "Musical Interactions of the Franco-Siamese Relation." The event aimed at what extent enlightenment ideals influenced European music.

Reimagining Romanos the Melodist's On the Victory of the Cross, this paper explores the relationship between cognition and emotion in the performance of this hymn in Byzantium. It argues that the affective mysticism of Byzantine hymnody portrayed sacred music as a liturgical act that mirrored the heavenly choir of angels and shaped the passions of the singer's soul. Beginning with a brief overview of rhetoric, emotions and mystagogy in Byzantium, the paper then examines Romano's On the Victory of the Cross and how its liturgical performance transformed emotions, placing them within an eschatological context. By reimagining the historical performance of Romano's text--to the extent possible--this paper probes how hymnography and holy ritual embodied godly emotions, inviting the faithful to feel beyond their nature. [ABSTRACT FROM AUTHOR]

COVID-19 pandemic impacted all aspects of life including faith communities around the globe. It has taken musicians and worshippers out of their comfort zones challenging the traditional delivery of church services. Music forms an important aspect in worship and is a vital link that connects parishioners to God and each other. Thus, in times of trials and tribulations, music and worship can positively enhance wellbeing. In this paper, the authors draw on autoethnographic narratives, sharing personal memories and reflective journals from March 2020 to October 2022 from two different church settings in Australia. Through their shared emotions, challenges and experiences, they discuss two themes (discordant moments and harmonious reflections) that describe the meaning of how playing music in church during this time affected their commitment and connection to faith. Whilst recommendations are offered, they acknowledge that generalisations to other faith settings and musicians cannot be made. As music plays a significant role in the lives of church musicians in faith communities, the authors continue to strive to 'keep the faith and play on'. [ABSTRACT FROM AUTHOR]

Although scientists agree that replications are critical to the debate on the validity of religious priming research, religious priming replications are scarce. This paper attempts to replicate and extend previously observed effects of religious priming on ethical behavior. We test the effect of religious instrumental music on individuals' ethical behavior with university participants (N = 408) in the Czech Republic, Japan, and the US. Participants were randomly assigned to listen to one of three musical tracks (religious, secular, or white noise) or to no music (control) for the duration of a decision-making game. Participants were asked to indicate which side of a vertically-bisected computer screen contained more dots and, in every trial, indicating that the right side of the screen had more dots earned participants the most money (irrespective of the number of dots). Therefore, participants were able to report dishonestly to earn more money. In agreement with previous research, we did not observe any main effects of condition. However, we were unable to replicate a moderating effect of self-reported religiosity on the effects of religious music on ethical behavior. Nevertheless, further analyses revealed moderating effects for ritual participation and declared religious affiliation congruent with the musical prime. That is, participants affiliated with a religious organization and taking part in rituals cheated significantly less than their peers when listening to religious music. We also observed significant differences in cheating behavior across samples. On average, US participants cheated the most and Czech participants cheated the least. We conclude that normative conduct is, in part, learned through active membership in religious communities and our findings provide further support for religious music as a subtle, moral cue. [ABSTRACT FROM AUTHOR]

On the Margins of the Musicological Canon: the Generation of Composers Petar Stojanovi'c, Petar Krsti'c and Stanislav Binicki. Lana Pa'cuka in her paper "Guest Serbian Artists on the Sarajevo Concert Podium: The Case of Stanislav Binicki and Petar Stojanovi'c" describes the concerts of Stanislav Binicki as the head of the King's Guard Orchestra during 1919 and Petar Stojanovi'c in 1922, 1924, and 1931 organized by the Sarajevo Philharmonic. The main intention of this Collection of papers, according to the editor Dr. Biljana Milanovi'c, is to fill the gaps in the scientific literature on Stojanovi'c, Krsti'c, and Binicki. [Extracted from the article]

If today the Library of the Banat Orthodox Metropolis (Western Romania) can be proud of the fact that hosts some musical manuscripts of inestimable value for the history of the Banat church music, this is due to the work of a lifetime and the generosity of a single person: Archpriest Ioan Farca. He donated to the Metropolitan Library a significant number of manuscripts or edited scores, either by church music or by choral music or even by classical music. Moreover, on many of the donated scores, Farca has usually left annotations containing information of real historiographical value for the history of Romanian music. This present paper evokes the personality of Ioan Farca and presents the manuscript corpus donated by him to the Banat Orthodox Metropolis Library. [ABSTRACT FROM AUTHOR]

The article offers information on most volumes of choral and vocal music in the new Carl Philipp Emanuel Bach edition, hardbound with the most exquisite quality of paper has impossible to refuse. Topics include bringing the major research centers of Leipzig into collaboration with Harvard University, the project being reminiscent of those enormous has collected editions of composers and national repertories, and inaugurating at the center points of both the nineteenth and twentieth centuries.

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A conductor, pedagogue and composer, Laurynas Vakaris Lopas (b. 1948) mostly writes music for children and compositions on the subject of religion. He began to compose church and religious music only in 1989. He has composed several Mass cycles (Missa brevis, Missa brevis quasi grigalis), other compositions for choir a cappella or with instrumental accompaniment (motet Judas mercator, Te Deum, hymns, Stations for soloist, choir and orchestra, etc.), the literary-musical composition Dievo vaikai (God's Children), as well as instrumental compositions with religious or liturgical titles. The paper analyses the features of Lopas' religious music and presents the composer's insights into his relationship with liturgy, as well as the situation of church music genres in Lithuania at the beginning of the 21st century. Lopas' creative work is characterised by moderate modernity, which in his sacred music points to the earliest church tradition (monody, organum), while the attention to the text and every word links his music to a later tradition - that of the rhetoric of baroque music. The texture of his music is often based on polyphony (polymeter, polyrhythmic, polytonality principles), while his melodies are based on archaic intonations (Lithuanian folk songs, Gregorian chant). Like other choir conductors who compose sacred music, Lopas continues the traditions of Lithuanian organists-choirmasters of the 19th century and the first half of the 20th century; he is well-versed in the possibilities of choir voices and employs them in his compositions. However, unlike a century ago, today composers' relationship with religion is more varied and requires conscious self-determination. [ABSTRACT FROM AUTHOR]

The article offers information on the Annual Coptic Studies Symposium of the Canadian Society for Coptic Studies was held in combination with the 19ème Journée d'études of the Association Francophone de Coptologie on June 19–22, 2019. Topics include the growing body of scholarship investigating the role, status and experiences of contemporary Copts, and the collections of early Christian literature in North America.

The paper presents an overview of non-musical sources in Vienna archives, which can significantly contribute to enlarge our knowledge about the life of musicians under the Emperor Rudolf's II reign. The aulic accounting ledgers register various items of musicians' payments, clarifying different aspects of the Imperial musical environment. Besides the accounting ledgers, other important typologies of documents in Vienna Archives can be studied, as "Panis Briefe", numerous applications for coat-of-arms grants, testaments and repeated requests of the remaining wage payments many years after the servant's activity conclusion etc. These sources are rich in terms of biographical data and sometime contain rare autograph notes of many musicians. The author focuses her research on the study of Habsburg accounting ledgers under the Emperor Rudolf II (1576-1612) and related Rudolfine non-musical sources. After having reconstructed the Imperial Chapel and all the musical staff on the basis of the regular wage payments, other important documents conserved in Austrian and Czech archives are processing. [ABSTRACT FROM AUTHOR]

Copyright of Recercare is the property of LIM Editrice s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)