Search

Shana L. Redmond's presidential address at the American Studies Association's conference in New Orleans in 2022, titled "The Dark Prelude," explored the soundtracks and listening practices preceding historical instances of anti-Black police violence. Redmond's talk, accompanied by a pop-music mixtape, proposed experimental listening-with as a method to emphasize the vitality of Black living. The text of Redmond's talk was published in American Quarterly, with responses from Erica R. Edwards and Kimberly Juanita Brown highlighting the collaborative listening and scholarly engagement in Redmond's work. Redmond's scholarship, including works like "Anthem: The Sound of Solidarity in the African Diaspora" and "Everything Man: The Form and Function of Paul Robeson," has had a significant impact on popular music studies. [Extracted from the article]

Copyright of Zeitschrift für Religionswissenschaft is the property of De Gruyter 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.)

When contemporary worship music emerged over fifty years ago, it was born in part out of the desire for more intimate worship. Widely adopted by white evangelicals, intimate lyrics have granted the genre the nickname of "Jesus is my boyfriend" music. Recently, language for God's love has depicted an aggressive, overwhelming force through words like "reckless," "jealous," and "insatiable." This article examines connections between this language, sexual intimacy and consent, and evangelical worship. In line with feminist liturgists who have long considered how gendered religious language impacts women's experiences, it explores the gendered impacts of contemporary worship music's intimate and aggressive lyrics. Following analysis of several songs that use this language, the article concludes with suggestions for how language and worship structures could be altered to provide respect and agency to worshippers of all genders. [ABSTRACT FROM AUTHOR]

Local hymnals are cultural artifacts that express a community's values, history, and identity and serve as vehicles for communal agency. This study investigates the role of local hymnals in shaping cultural identity and theological expression within four Indonesian Christian communities. Through interviews with church leaders, songwriters, and musicians, and an analysis of four hymnals from different communities in Indonesia, this study explores how these communities exercise agency in creating, perceiving, experiencing, and utilizing locally created songbooks. The research reveals that local hymnals are not only tools for shaping communal identity and transmitting theological understanding but also instruments through which communities assert their agency, fostering cultural dynamism. The study also considers the impact of colonialism and globalization on the development of local hymnody, highlighting how these communities have actively adapted and reinterpreted external influences to create unique and meaningful expressions of faith. The research concludes that local hymnals are not merely collections of songs but living artifacts embodying the agency of communities: the ongoing dialogue between tradition and innovation, faith and culture, and the individual and the community. By fostering autogenic cultural reflection and asserting communal agency, local hymnals fuel momentum and sustainability within a culture. [ABSTRACT FROM AUTHOR]

The objective of this article is to analyze the social and symbolic resources that intra-prison Pentecostalism provides to converted inmates for their intra- and then extra-prison community reintegration. To conduct this analysis, we present two sections. Firstly, we present a characterization of two prison spaces between 1950 and 1970: the Public Prison and the Santiago Penitentiary, both located in the city of Santiago de Chile. In them, Pentecostal communities developed and adjusted to the prison contexts with different proposals. Secondly, we see religious work as an organizer of meaning based on the three most important religious rituals of prison spaces: the invocation ritual, which is prayer as sacred work; music, which is sung work; and preaching, which is the work that makes the community grow. The theoretical framework we employ is that of structuralism, to adapt to the era explored in this article, complemented by the phenomenological proposal of René Girard. Methodologically, this study is a qualitative vision focused on the autobiography of a religious leader, to which two autobiographical novels of the time are added, in addition to institutional magazines (Pentecostal) and a magazine of journalistic reportage, to contextualize the information provided by the autobiography. [ABSTRACT FROM AUTHOR]

Multilingual and multicultural worship can take on many models and expressions. Initially, Chinese immigration to the UK in the 1950s and 1960s led to an increased population of churches. Many Chinese church services were conducted in Cantonese, catering to the needs of first-generation immigrants, mainly from Hong Kong. Yet, the children of these older generations grew up with a bicultural hybridized identity expressed first in small English-speaking youth groups that led to English-speaking worship services within Chinese churches. Contributing to the field of worship studies through music repertoire studies over four weeks in June and July 2017 at Birmingham Chinese Evangelical Church, we raised the following questions: (1) what do the chosen worship songs represent with regards to the liturgical theology and cultural expressions of this community and (2) how is self-perception and perception of the divine expressed in the lyrical themes of these songs? Our study revealed that singing English songs from the West dominated the corporate liturgical identity of these services. Yet, through a British-born Chinese evangelical cultural reading, some lyrical themes were particularly resonant within Chinese culture, such as honor, shame, reverence, and bowing. [ABSTRACT FROM AUTHOR]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music 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.)

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music 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.)

The voice plays a paradoxical role – it is inclusive because everyone has one, and it is exclusive as it is used to falsely separate 'singers' and 'non-singers'. A new choral movement has emerged, with a low threshold for participation and inclusive practices, where one of the early offerings was Everyone Can Sing (ECS) in Norway. As a low-threshold choir, it focused on solid vocal training as well as the advanced features of the music. This study investigates to what extent this blended choral pedagogy is realised and differs from more traditional choirs. A quantitative analysis of ECS singers (N = 495) was done, comparing it with a more experienced choir (N = 81) and elite choirs (N = 106). The results show that a blended approach in low-threshold-choirs is possible and that attention to musical refinement grows with experience. The article positions such low-threshold choirs within key choral pedagogic positions. [ABSTRACT FROM AUTHOR]

The article discusses the publication of the Strasbourg Cantiones in 1539, a collection of Latin-texted sacred motets. The author, Daniel Trocmé-Latter, explores the historical and religious context of Strasbourg during the Protestant Reformation, highlighting the city's radical ecclesiastical changes and the role of music in public worship. Trocmé-Latter also examines the life and career of Peter Schöffer, the printer of the Cantiones, and speculates on the motivations behind the publication. The article concludes by praising Trocmé-Latter's comprehensive study and its contribution to the understanding of early motet anthologies. [Extracted from the article]

Gordon Cameron Sly's article explores the vocal compositions of Benjamin Britten, focusing on his Serenade for Tenor, Horn, and Strings and his cycles of songs set to the poetry of John Donne, Thomas Hardy, and William Blake. Sly argues that Britten's works reflect his personal experiences and beliefs, particularly his homosexuality, pacifism, and apostasy. Sly also discusses the influence of religion and Christian faith in Britten's compositions, as well as his use of musical techniques such as inversion and twelve-note thinking. While Sly's interpretations are thought-provoking, they may not fully capture Britten's intentions and the complexities of his music. [Extracted from the article]

This study aims at highlighting the choral chant in the Orthodox church of Bessarabia. Sacred music is a cultural area that covers the fundamental human values able to build and to perfect the complex cultural approach of human life. The spiritual history of Moldavia is definitely marked by an ancient original musical art, incorporated in an infinite gamut of emotions. [ABSTRACT FROM AUTHOR]

This article, titled "Introduction to the Soundscapes of Religion," explores the relationship between sound, music, and spirituality in various religious traditions and cultural contexts. It discusses the role of sound in evoking unique feelings and leading individuals to spiritual realizations. The article includes ten papers that cover topics such as the sounds of mountains, Romani communities, academic institutions, Christian churches, private chapels, and landscapes. The papers also discuss the interplay between senses, emotions, spirituality, and religious experiences. Overall, the article provides a comprehensive examination of how sound influences religious life and the perception of the sacred. [Extracted from the article]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin 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.)

Copyright of Acta Historica Tallinnensia is the property of Teaduste Akadeemia Kirjastus 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.)

This document examines the concept of liturgy in a divided world and the role it plays in either perpetuating or bridging divisions. It presents two case studies to illustrate how worship can be used to break barriers and promote unity. The first case study explores the cross-cultural influence of Black music on American popular music, while the second case study focuses on the works of Donald Lawrence, who merges gospel and music theater to create cross-cultural experiences. The document emphasizes the importance of critically examining liturgies and using transcultural elements to foster justice and unity in a divided world. [Extracted from the article]

The spread of the Leçons de ténèbres in the French capital and later in large provincial cities contributed to the evolution of musical practices and the listeners' sensibilities and favored the incorporation of religious music into secular musical calendars. This explains why, from the end of the seventeenth century, the genre has been the focus of criticism from clerics and lay people of different persuasions, who denounced the contamination of the church by opera, using the conventional argument of antitheatricality. Initially focused on the Lessons, the criticism's terms and arguments used against the Lessons became instrumental in the Jansenist's critique of modern music throughout the eighteenth century, particularly to contest Jesuit musical patronage and Jesuits' sensualist conception of music for religious services. While Jansenist criticism portrays an irreducible opposition between opponents and supporters of modern music, the latter being equated with the Jesuits, the article highlights the ambiguities of Jansenist positions. An analysis of these criticisms reveals a double reference to the Augustinian tradition, on the one hand concerning the opposition between musica luxuriantis and musica sapientis and, on the other, a moral reflection on musical pleasure's legitimacy based on individual introspection. In the second half of the eighteenth century, the condemnation of all modern forms of religious music appeared to contradict the claim to a part of this Augustinian heritage. [ABSTRACT FROM AUTHOR]

How can a post-Christian, secular audience understand the devoutly Christian, sacred music of Johann Sebastian Bach's St. Matthew Passion ? This article addresses this question with reference to the hermeneutics of Hans-Georg Gadamer and Hans Blumenberg. Their confrontation reveals broad implications for the theory of humanistic interpretation at large. Gadamer celebrates Bach as a 'classical' touchstone of Western culture whom we may productively interpret through a 'fusion of horizons'. Blumenberg, by contrast, cautions that our relation to Bach's Passion is fractured because it is impossible to 'pace off the horizon'. Blumenberg emphasizes the first-person experience of the diminution of historical meaning, a position this article calls 'shattered hermeneutics'. The article concludes that Blumenberg's interpretation of Bach and his critique of Gadamer thereby usefully and plausibly deepen and radicalize hermeneutics. [ABSTRACT FROM AUTHOR]

This article examines the stylistic influences shaping Mozart's sacred music, offering an in-depth analysis of its evolution. It identifies two distinct styles: the Salzburgian and contemporary approaches. The Salzburgian style is defined by brevity, counterpoint, and tonal unity, adhering to traditional liturgical requirements. Meanwhile, the contemporary style reflects the influence of secular music, with larger structures, concertante melodies, and thematic contrasts drawn from symphonic and operatic works. A comparison between Mozart's two Lauretian litanies, Litaniae Lauretanae KV 109 and KV 195, illustrates his compositional development. The earlier litany demonstrates simplicity and compactness, while the later piece shows increased complexity, operatic influence, and a more intricate orchestral role. The analysis highlights how Mozart blended sacred music's formal rigor with expressive elements from operatic and instrumental traditions, creating a distinctive style that paved the way for future innovations in liturgical music. By drawing from contrapuntal traditions and integrating operatic expressiveness, Mozart's sacred works reflect his genius in synthesizing diverse influences into a cohesive and innovative musical language. [ABSTRACT FROM AUTHOR]

India has a rich heritage of culture, traditions, and art forms. One such state is Odisha, located on the eastern coast of India, known for its vibrant and diverse cultural traditions. Odisha's tradition of sacred songs is a prominent aspect of its cultural legacy. These sacred songs have been passed down through centuries, blending influences from various sources and indigenous practices. The religious music of Odisha, mainly bhajans or kirtans, showcases the fusion of Hinduism, Buddhism, and indigenous traditions. These devotional songs, with Odia lyrics, have played a significant role in shaping Odisha's religious and creative heritage, seamlessly combining spirituality, music, and literature. These devotional songs have not only held cultural importance but also have had a lasting impact on India's diverse culture. These songs serve as a reflection of the pluralism and inclusivity that is characteristic of India. The devotional music of Odisha encompasses a wide range of forms, including Odīśī music, Bhajans, Odia Abhinaya Geeta, and Maha Mantra Kirtan-s. These forms of devotional music are explored in this study, delving into their poetic, melodic, and instrumentāl elements, as well as their religious and cultural contexts. Furthermore, notable composers and vocalists, such as Jayadeva, Salabega, and Prabhupada Baladeva Rath, have made significant contributions to Odisha's devotional music tradition, and their lives and art are examined in this study. The sacred songs of Odisha hold a significant place in India's vibrant culture, showcasing the fusion of Hinduism, Buddhism, and indigenous traditions. They serve as a bridge between spirituality, music, and literature, forming a unique cultural expression. The research aims to understand the composite culture of India by exploring the tradition of devotional songs in Odisha and evaluating their origins, subjects, musical aspects, and cultural value. [ABSTRACT FROM AUTHOR]

This document is an editorial introduction to the Journal of Feminist Studies in Religion. It discusses the complexity of large systems, such as countries, religions, and universities, which can both offer benefits and inflict harm. The issue focuses on religious institutions and explores how they have caused pain and suffering through abuse, while also providing spaces for empowerment and healing. The document highlights two articles in the issue: one on the language used in contemporary Christian worship music and its impact on abuse survivors, and another on how US Muslim women interpret gender equality and abortion within their religious communities. The issue also includes special features that examine the potential harm and healing within religious communities. [Extracted from the article]

"Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin" is a collection of essays that examines the life and contributions of Sara Levy, a wealthy Jewish woman in 18th and 19th century Berlin. The book explores Levy's involvement in the salon culture of Berlin and her role in preserving and performing music by the Bach family. It also delves into the tension between Levy's Jewish faith and her participation in Christian sacred music. The book offers a comprehensive assessment of the role of Jewish salonnières in Berlin's cultural landscape, providing a valuable perspective on the contributions of women, particularly Jewish women, in music and culture during this time period. The review suggests that the book is suitable for graduate seminars, but may also be of interest to advanced undergraduate music majors or students in disciplines like Women's Studies or Jewish Studies. [Extracted from the article]

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing 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.)

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]

In the past, the Romani in Slovakia identified with the prevailing religion, mainly with the Roman Catholic Church. However, the missionary activities of various Christian denominations after 1990 resulted in the conversion of the Romani to Pentecostal Christian communities. This launched a long, creative process of the formation of Pentecostal Romani music. Romani believers consider music and the ability to play and sing to be a gift from God and view these as a form of prayer that should serve for the praise of God. That is why many have given up their worldly music making and now play only praise songs. They gradually modified the hymns they borrowed and replaced them with their own creations. The soundscape of religion does not lie only in religious singing and music, as the emotional sermons and prayers, glossolalia and sounds during the healing and blessing rituals can also be considered religious sounds. During the worship services, this mixture of various sounds leads to the gradual spiritual and emotional unification of the community. The music and the rituals create feelings of intense sensory and emotional character that reflect in bodily expressions. Movements, dance, and the positions of the hands can help glorify God and experience the worship service more intensely. However, under certain circumstances, they might become sources of temptation and sin. This is related to the concepts of "purity" and "impurity". The premises, whether sacral or profane, interior or exterior ones, also play a significant role in creating the sound. In writing this paper, I have also drawn on my own research on Romani Christian songs, which I carried out in (2012–2013 in Eastern Slovakia). [ABSTRACT FROM AUTHOR]

Chan-bul-ga (찬불가, 讚佛歌), which in English means 'songs in praise of the Buddha', refers to a style of Korean Buddhist hymn that emerged during the modernization of Korean Buddhism. Buddhist hymns—which can be considered to be based on Christian hymns—are characterized by the fact that they can be easily learned by the general public so that they can easily participate in Buddhist rituals together, unlike the existing Korean Buddhist musical styles of 'Beom-pae (범패, 梵唄)' and 'Hwa-cheong (화청, 和請)'. The monk Baek Yong-sung (1864–1940), who embraced the function and effectiveness of these new religious music styles as one of his methods of propagation, participated in the independence movement after the 1910 Korea–Japan Annexation Treaty, and he led both the public enlightenment movement and the spread of Buddhism by creating Buddhist hymns. The present study seeks to examine Baek Yong-sung's social activities and the context in which modern Buddhist hymns emerged. This study also explores the religious, social, and musical meanings of Buddhist hymns while focusing on his works 'Wang-seng-ga (왕생가)' and 'Se-gye-gi-si-ga (세계기시가)'. [ABSTRACT FROM AUTHOR]

Understanding religious music is challenging. Indeed, the whole idea can seem perplexing and problematic. In this paper, a number of ways of understanding religious music are sketched. Seven main models are distinguished: the side-effect model, the ringtone model, the honey model, the addition model, the fitting beauty model, the organic unity model, and the similarity model. Some issues concerning Bach's Sacred Cantatas are then considered in order to see how these approaches apply in one particularly controversial and puzzling example. [ABSTRACT FROM AUTHOR]

This article explores the author's personal experiences and reflections on their love for tonal music and their shame for also enjoying Japanese popular music. They discuss the societal expectations that influenced their feelings of shame and the performative aspect of expressing their enthusiasm for European classical music. The author also examines the concept of tonality and its connection to racism, as well as the limitations of the tonal narrative. They argue for a broader understanding of music beyond the tonal and atonal categories, suggesting that tonal harmony still exists in modern popular music and should not be dismissed as inferior. The author proposes being specific and clear in discussing different types of music, avoiding the privileging of one style over others. [Extracted from the article]

Surreptitiously collected field recordings of cantors at the pulpit, made in disregard for the rules of synagogue comportment, circulated for decades among a small group of collectors in an underground economy of homemade dubbed cassettes. These secret recordings, referred to as "live davenings," usurp the characteristic ephemerality of prayer to document a twentieth century aesthetic concept of cantorial music as an art form beyond its ritual function. In the past decade, many of these recordings have surfaced on YouTube and file sharing sites, reaching an expanded audience and exposing a new generation to a largely abandoned style of liturgical performance. Through ethnography with field recording makers, internet-savvy collectors, and the artists who use the secrets in the live davening archive to build projects of cantorial revival, this article offers an examination of a body of archival material that has not previously been the topic of any scholarly investigation. [ABSTRACT FROM AUTHOR]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin 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.)

Sadhukarn, a sacred music composition performed ritually to salute and invite divine powers to open a ceremony or feast, is played in Thailand, Cambodia, and Laos. Different countries have unique versions, arranged based on musicians' skills and en vogue styles. This study presents the results of multivariate statistical analyses of 26 different versions of Sadhukarn main melodies using non-metric multidimensional scaling (NMDS) and cluster analysis. The objective was to identify the optimal number of parameters for identifying the origin and relationships among Sadhukarn versions, including rhyme structures, pillar tone, rhythmic and melodic patterns, intervals, pitches, and combinations of these parameters. The data were analyzed using both full and normalized datasets (32 phrases) to avoid biases due to differences in phrases among versions. Overall, the combination of six parameters is the best approach for data analysis in both full and normalized datasets. The analysis of the 'full version' shows the separation of Sadhukarn versions from different countries of origin, while the analysis of the 'normalized version' reveals the rhyme structure, rhythmic structure, and pitch as crucial parameters for identifying Sadhukarn versions. We conclude that multivariate statistics are powerful tools for identifying relationships among different versions of Sadhukarn compositions from Thailand, Laos, and Cambodia and within the same countries of origin. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches 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 purpose of this study is to conduct a detailed analysis and examination of the impact of musical material on the formation of the ethos of church worship in contemporary Protestant churches. In this context, ethos is understood as the set of moral, spiritual, and cultural values and norms that are formed and maintained during worship. The study focuses on determining the role of music in worship and its significance for believers, as well as identifying specific musical practices that contribute to spiritual growth and the consolidation of the religious community. The methodological basis of the study includes qualitative data collection methods, particularly in-depth interviews with worship participants, observation of musical practices in various Protestant communities, and analysis of musical works used during worship. The research also relies on a literature review of existing works on the theology of music and ethnographic studies of religious rituals, providing a deep understanding of the phenomenon of musical worship. The scientific novelty of the work lies in a comprehensive approach to studying the musical aspect of Protestant worship, which has not received sufficient attention in scientific literature to date. The research highlights how the musical component of worship affects the spiritual state of believers and their integration into the church community, and also reveals new trends in the musical practices of contemporary Protestant churches. Special attention is given to how music helps to form and sustain an ethos that defines the moral and spiritual orientation of believers. Conclusions. The results of the study show that musical material plays a key role in shaping the ethos of contemporary Protestant worship services. Music not only fosters the emotional engagement of believers but also serves as a means of spiritual communication and enrichment of the religious experience. The importance of music in Protestant worship is emphasis+ed by its ability to unite the community and maintain religious identity. Thus, the musical component of worship becomes an integral part of the spiritual life of Protestant communities, shaping their unique ethos. [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]

This article explores how two specific musical performances, drawing respectively on the rich repertoire of Italian sacred music and a specific sound environment of a region, can promote cultural participation and ingenuity in the Italian countryside amidst uncertainty and demographic change due to depopulation and the loosening of traditional communal ties. The first study focuses on a specific case in the town of Ortona dei Marsi in the Italian province of L'Aquila. A seemingly everyday experience – participation in community singing – is considered and appreciated from a musicological perspective, while its importance for the revitalisation of a community is recognised. The rediscovering of a forgotten musical heritage contributes to an evolving, prosaic sense of rural cultural resources. The particular case of the community of the small rural town of Ortona dei Marsi, overcoming isolation, distance and new circumstances through the revitalisation of a musicologically significant object, sheds light on how a community serendipitously uses the opportunity to make and maintain music together to demonstrate social and cultural resilience. The second study looks at the experiences of middle school students in the Italian city of Biella of a specific sound memory that guides and paves the way to a diverse learning environment. [ABSTRACT FROM AUTHOR]

In 1996, Helen Lee dubbed the departure of second-generation Asian Americans from the non-English-speaking immigrant churches that they were raised in as the "silent exodus". This nationwide phenomenon was taking place largely because first-generation churches failed to provide the second generation with culturally relevant care that would enrich their ethnic, national, and spiritual identities. Glory, the church of focus in this study, was founded by and is home to many silent exiles. In hopes of being an enriching church for second-generation Asian Americans, pastoral staff and leaders have created spaces within Glory for racial identity and faith to be in conversation with one another. However, in regard to the music of the church, they were stumped on what could be done to make it uniquely and proudly Asian American. This conundrum inspired a key question in this study: What is distinct about the way that Asian Americans worship God through music? This study argues that the worship music at Glory Church is distinctly Asian American not by what is sonically perceived, but rather by what is physically performed and collectively experienced. The Korean-English, or Konglish, term nunchi bwa-ing (눈치 봐-ing) is utilized as a keyword to describes Christian musicking in a multilingual setting and foregrounds the Korean/Asian American worshiping body. This study concludes by looking forward and arguing that Asian Americans ought to amplify their worship music to the larger Contemporary Worship Music scene as it has the potential to be a powerful site of intergenerational healing. [ABSTRACT FROM AUTHOR]

This article discusses several recent recordings of classical music. Octavie Dostaler-Lalonde's album "From Mannheim to Berlin: Sonatas for violoncello piccolo" features German cello sonatas from the 18th century, many of which are being recorded for the first time. Dostaler-Lalonde's choice to play on a smaller-sized 18th-century cello adds an interesting element to the music. Florian Berner's recording of Bach's solo cello suites showcases historically informed playing. The article also mentions other recordings, including one by Janos Starker and another by the Elbipolis Barockorchester Hamburg. The importance of historical research and superb musicianship in creating reimagined music is emphasized. [Extracted from the article]

Copyright of Special Treatment / Különleges Bánásmód is the property of University of Debrecen 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.)

Copyright of Theology & Morality / Teologia I Moralmosc is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) 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.)

Choral music and the sacred have been intertwined since the Middle Ages. With the increasing secularisation of society, it is notable that the sacred choral canon continues to expand and attract audiences in religious and secular spaces, underlining the enduring importance of tradition and the human desire to search for something beyond our existence. The practice of setting sacred texts to music abounds in the work of contemporary composers, continuing the historic tradition into the present day via a wide range of compositional and stylistic approaches. In his sacred works, Irish composer Eoghan Desmond achieves a sound that fuses the past and present, exhibiting both the visceral and meditative aspects associated with the texts that he sets. This article focuses on the composer's choral work Nothing in Vain (2021), a setting of John Henry Newman's 'A Meditation on Trust in God'. Through critical score analysis, I highlight Desmond's ability to reflect Newman's devotion to God and to evoke a sense of the spiritual through his formal organisation and application of harmonic, rhythmic, and textural techniques, drawing on influences from the Renaissance tradition, the contemporary style of ambient music, and the work of well-known composer James MacMillan. Desmond's synthesis of ancient and contemporary compositional practices invites all listeners to engage in this musical meditation and contemplate the message of the spiritual text. [ABSTRACT FROM AUTHOR]

The landscape of sacred music in the United States is broad and wide and cannot be neatly defined into a collective approach or style. The boundaries of Roman Catholic sacred music in America have been expanding further and further since the establishment of the liturgical reforms outlined by the Second Vatican Council's Constitution on the Sacred Liturgy (Sacrosanctum Concilium), and it was through this new sense of "freedom" that alternative styles of liturgical music emerged during the past 60 years. Interestingly, the state of Minnesota was at the center of this liturgical music revolution as composers associated with the University of St. Thomas, St. John's University, and St. Catherine's University composed a large portion of 'new' liturgical music. This article explores the musical trends of the past 60 years in the United States, and offers suggestions regarding the practice and education of sacred music in America and beyond. [ABSTRACT FROM AUTHOR]

Copyright of Catholica is the property of Aschendorff Verlag GmbH & Co. KG 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.)

Has there ever been a time in history when the status of music in worship was as high as it is now? From the early church to the present, the Word and the Lord's Supper have formed an important framework for worship. This is an emphasis that transcends denominations and is found in any liturgy. However, after the praise and worship movement evolved in the 1960s, music in worship came to occupy an important place no less than that of the Word and the Lord's Supper. Regardless of the denomination's theology and liturgical traditions, it is no exaggeration to say that the first half of the service is dominated by the band-leading praise and worship style music. Believers of this age are looking for a church that longs for good quality of preaching, but at the same time, they are searching for a church that provides good worship music. While music ministries are in the spotlight, pastors and leaders have a fundamental question: Is church music necessary in worship? Would not the negative function of music be greater than the positive one in this era? What hymns will churchgoers sing in worship? What kind of music is suitable for worship? Why are church hymns important? Humans are created as homo musicus beings who love and use music. It expresses a person's inner feelings and emotions and it shapes as well a person's character and thoughts. Not only does the melody of music stimulate people's nerves and bring about psychological changes, but the lyrics woven into the music also convey thoughts that become ingrained knowledge in the mind. Above all, music contributes to the togetherness of the community, its formation, identity, and transmission of its traditions. This study, due to space limitations, does not delve into the diverse views of theologians regarding church music or the historical controversies surrounding it. From a liturgical theological point of view, I will discuss why church music is important, which church music could be used, how church music forms personal faith identity, and how it affects community faith formation will be analysed. In the end, this article will demonstrate that the music people sing shapes the character of their faith. [ABSTRACT FROM AUTHOR]