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In the complex landscape of contemporary Romanian religious music, the last decades have been marked by a phenomenon of crystallization and diffusion of a new musical genre, with deep roots in the popular music tradition. This genre, defined by specific structural, thematic and functional characteristics, has succeeded in imposing itself within the Koinonikon liturgical ritual, in some cases replacing the traditional musical repertoire of the period. Initially, Christian ceremonial folk songs were associated with certain liturgical feasts dedicated to the Virgin Mary, fulfilling an occasional function of marking important moments in the church calendar. Through oral transmission and adaptation to the religious context, these songs entered the collective consciousness and became an integral part of the religious practices of rural communities during pilgrimages. Over time, under the influence of sociocultural and religious factors, Christian ceremonial folk songs underwent a revalorization and an expansion of their original functions. They have thus gone beyond the strict liturgical ritual of pilgrimages and have been integrated into various forms of cultural and religious expression, such as folksong festivals or religious events: camps, competitions. An emblematic case in this respect are the pilgrimage songs, especially those associated with the Nicula Monastery. These songs, originally intended to accompany pilgrimages to the monastery, have spread nationwide, becoming a symbol of Romanian religious and cultural identity for the musical genre of Christian ceremonial folk songs. [ABSTRACT FROM AUTHOR]

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The article focuses on various innovative choral collaborations across the country, highlighting their impact and unique approaches. Topics include the ESOL Chorus's integration of English learners through music, the Cincinnati Choral Academy's El Sistema-inspired program for underserved youth, and Common Ground Voices' efforts to build peace through music between diverse communities.

The article focuses on the creation and benefits of Adaptive Choirs, which cater specifically to the needs of neurodivergent singers. Topics include the concept and structure of Adaptive Choirs, the differences and similarities between these choirs and neurotypical choirs, and practical strategies for implementing and funding such programs.

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 subject of the Aesthetics of Byzantine Music is somewhat related to an aspect that we presented previously, namely that of the interpretative intuition that a performer of Church Music manages to develop. And in this case we wish to highlight not only the originality but also the rarity with which this concept is approached - a surprising fact perhaps for a musicologist of a different specialty than that of Byzantinology. Confused with the theology of Byzantine music, in fact that discipline that is strictly concerned with the spirituality of this musical genre and its implications on the soul, the Aesthetics of Byzantine Music is, at the beginning of the 21st century, a science still in formation. It is only at the level of searching for its own working methodologies and its own terminology. The present study aims to state several research perspectives on the aesthetics of Byzantine music. [ABSTRACT FROM AUTHOR]

The Romanian Orthodox Diocesan Theological Institute of Caransebeș was established in 1865 after the hierarchical separation of Romanians and Serbs from the Austro-Hungarian Empire initiated by Metropolitan Andrei Șaguna. The Diocesan Theological Institute of Caransebeș found a special place in both the cultural and spiritual life of the Romanians in Banat. Thus, it not only constituted a center of theological education, but also became a keeper of the Romanian language in that period of the early 20th century in which the national feelings of Romanians outside the borders of the motherland were expressed more and more forcefully. Church music from the pew, but also harmonic choral or instrumental music, were subjects on which a special emphasis was placed, along with the liturgical and typical practice of the Romanian Orthodox Church. [ABSTRACT FROM AUTHOR]

The article is devoted to the exploration of the life and creative path of an outstanding Ukrainian composer, singer, conductor and music educator – Dmytro Stepanovych Bortnianskyi. The relevance of this topic is connected both with the revitalization of church life in our country and with the spread of concert and performance practice. Without studying the main directions of the development of Ukrainian musical art in the 18th – 19th centuries, it is impossible to understand the ways of development of modern Ukrainian music. The purpose of this work is a comprehensive examination of the figure of Dmytro Bortnianskyi, not only as a composer, but also as an individual against the background of historical events of the 18th century. Distinctive features of Dmytro Bortnianskyi’s creative heritage and his influence on the national and world musical culture are established. The theoretical and methodological footing of the work is based on general scientific methods of cognition with the use of scientific and critical analysis of sources. The subject of the study presupposes the use of comparative historical and descriptive methods, as well as analysis and synthesis of the material. The scientific novelty of the work lies in the analysis and systematization of the life and creative path of the outstanding Ukrainian composer, musician, singer and conductor Dmytro Bortnianskyi; in the reproduction of the socio-cultural context of the time which contributed to the artist’s development; and in highlighting the importance of his oeuvre for the actualization of the Ukrainian national spiritual heritage. [ABSTRACT FROM AUTHOR]

This research aims to raise traditional concepts among the people of East Nusa Tenggara, which can contribute to the development of traditional singing in worship. This concept was developed using an ethnomusicological approach related to scales in East Nusa Tenggara. In this case, the process can provide a change in the musical atmosphere related to liturgical music in the Evangelical Christian Church in Timor (GMIT). The composition is done only in a hybrid form due to the use of tones that appear in traditional songs, which are then developed for the benefit of liturgical singing in accordance with biblical texts or the habit of singing in a liturgy. This development can be done in the form of contextualizing songs to add to the repertoire of church music at GMIT. The method used in this research is the Art Creation Method. [ABSTRACT FROM AUTHOR]

This study aims to analyze, through religious hymns in the German-speaking area from the early 18th century, the influence that the Pietist theological movement, starting from Philipp Jacob Spener's Pia Desideria, had on the centralization of the self in the Protestant religious world, through the introduction of personal feelings of love towards God. On the one hand, the origins of Pietism can already be traced back to the late 16th century in areas affected by the radical reforms of the Anabaptists. On the other hand, it is from the late 17th century and throughout the 18th century that this theological and spiritual movement destabilized orthodox Lutheranism in some symbolic cities of Protestant Germany, such as Frankfurt am Main, Halle, and the Duchy of Westphalia, up to Moravia. The extensive publication of hymnals and musical compendia for the use of individuals, lay groups (collegia pietatis), faith communities, and churches denotes a fervor and a desire to preach their way of "practicing" spirituality, which greatly contrasts with both orthodox Lutheranism and the prevailing rationalism in the religious and philosophical sphere in Germany of the mid-18th century. For the first time since the Reformation, Lutheranism saw the use, in the theology of the preached and sung Word, of personal feelings and emotions that connect the individual with God, who is made an object of individual as well as collective worship. This was one of the most significant accusations that came from the University of Wittenberg against Pietism, namely the shift of theological and spiritual focus from the centrality of God to the centrality of the self, which manifests its faith through the most intimate emotions and feelings. Through the analysis of some examples taken from hymnographic and theological production, centered on the individual feelings of the believer, this article focuses on how this influenced the religious revival movements that would pervade England and the United States of America for more than two centuries (from the First Great Awakening in the late 18th century to the Pentecostal movements of the 20th century), with a spotlight on Italian hymnody during the Risorgimento. [ABSTRACT FROM AUTHOR]

In 2022, the Choir of the Metropolitan Cathedral of Cluj-Napoca celebrated 100 years of uninterrupted activity in the field of church music. The centenary of the Cluj choir can be considered a particularly important event, both for the Transylvanian musical space and for the tradition of Romanian choral music. Founded in 1922, the Metropolitan Cathedral Choir has had an outstanding musical career, having performed countless religious concerts, cultural and missionary activities, and participated in religious and secular ceremonies. The recognition of the artistic contribution of the Metropolitan Choir is largely due to its prolific activity in the musical field, which has led to increased visibility, both locally and nationally. With a constant activity of 100 years, the Cathedral Choir has had at the conductor's desk, but also among the choristers, outstanding personalities of Romanian music. Among those who have led its musical destiny we remember: Gheorghe Dima, Vasile Petrascu, Augustin Bena, Sava Golumba, Ioan Brie, Vasile Stanciu. Through the prestige it has acquired over time, the Metropolitan Cathedral Choir has become a benchmark for church choirs in the Diocese of Vad, Feleac and Cluj, being a benchmark of mastery and virtuosity. [ABSTRACT FROM AUTHOR]

The purpose of the present article is to define the legal position of the occupation of an organist in the Catholic Church in the context of the interwar labor law of the Second Polish Republic and canon law. It presents the characteristics of the profession as well as the rights and duties of an organist under the common and particular law of the Catholic Church. The special position of organists, whose work was subject to two autonomous legal orders, prompts one to reflect on the relationship of an organist, as a church worker, to state law. Research indicates that the occupation of an organist was classified as that of a white-collar worker in accordance with the legal regulations of the period. The article depicts attempts to legally regulate the occupation of an organist as well as the difficulties connected with accurately defining the employing entity of an organist. These issues were particularly relevant in the context of insurance for people performing this profession. [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]

The article focuses on the importance and benefits of unison singing for choirs of all ages and skill levels. Topics include the pedagogical value of unison singing in developing young singers' vocal techniques, the challenges and misconceptions associated with unison singing, and the impact of unison singing on advanced choirs.

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]

The genre of the concerto arose at the turn of the 16th and 17th centuries in church music as a choral work, in which instrumental accompaniment was often used. The presence of an instrumental part in a spiritual concert had a great influence on the emergence and development of the instrumental version of the instrumental genre of the concert. The purpose of the article is to highlight the ways of modification and features of the instrumental concert genre during the period of stylistic transition from Baroque to Classicism. The research methodology is based on a comprehensive approach based on historical-cultural, hermeneutic and music-theoretical research methods. The main theoretical methods of work are: historical-comparative, genre-stylistic, systematisation, generalisation, analysis. The scientific novelty lies in the fact that questions of the evolution of the instrumental concert are considered in the context of stylistic changes from Baroque to Classicism. Special attention is paid to intra-genre changes, which have not been received due attention by musicologists. Conclusions. The genre of the instrumental concert of the transition period from Baroque to Classicism is marked by a certain dual character. First of all, this manifests itself at the level of form, which is characterised by both ritornello and sonata principles of thematic organisation. Along with the alternating exposition of sections of the sonata form by the orchestra and by the soloist, which comes from the baroque concerto grosso, in the early classical samples of the instrumental concert, there is a dialogic type of exposition of the material at the level of thematism, approved in the classical samples. The coming to the fore and dominance of the soloist in the concert causes a change in the texture of the solo part, which acquires extraordinary virtuosity and improvisation. This affects the strengthening of the role of the soloist, the rejection of his participation in the tutti, leadership in the presentation of the material, which leads to the multiplicity and diversity of thematics. At the same time, the orchestra, in addition to performing an accompanying function in support of the soloist, gets the opportunity to "express" itself in independent "plays", thereby violating the clear distribution of the sections of the sonata form. The specified transformations contributed to the stratification of the sound space and the duality of its perception, characteristic of the classic models of the genre. [ABSTRACT FROM AUTHOR]

The FORUM Church Music presents in its annual series "Continued SINGING" interviews with regional cantors from various regional churches. An interview with the regional cantor of Baden, KMD Achim Plagge, is conducted, in which he talks about the Regional Youth Cantorei (LaJuKa), a youth choir for talented young people. Despite the challenges posed by Corona, it was possible to maintain LaJuKa and establish a complementary ensemble called "voix unie." The funding is provided by the Church Music Association of Baden, and recruiting new talent is a challenge. [Extracted from the article]

The "Forum Church Music" presents French compositions for worship, specifically for harmonium or organ. These works, created by renowned composers such as Cesar Franck and Alexandre Guilmant, are designed for simpler circumstances in the French provinces. Despite their simplicity, they are still relevant musical pieces that can enrich worship services and concerts. Registration instructions for harmonium and tips for performance on "Neo-Baroque organs" are also provided. [Extracted from the article]

The Forum for Church Music publishes an article titled "Singing in Hebrew! - Encouragement to Sing 'with Israel'". The author, Susanne Hiekel, emphasizes the importance of the connection between Christianity and Judaism through singing Hebrew songs in worship. She encourages singing in Hebrew and incorporating the Hebrew language into choral music to deepen the connection to Judaism. The collection of ideas includes four thematic aspects that highlight the similarities between Christianity and Judaism, such as the shared praise of the name of God and the shared hope for a new heaven and a new earth. [Extracted from the article]

The article offers information on the critical issue of diversity in music education, particularly in choral music. Topics include the various terms and approaches related to culturally responsive education, such as culturally responsive teaching and culturally relevant pedagogy. The article also introduces the Culturally Responsive Pedagogical/Andragogical Context Knowledge (CRPACK) framework, which aims to integrate culturally responsive education into music teaching practices.

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]