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This study examined the relationship between Christians' religious fundamentalism and subjective well-being, and investigated the roles of religious music and religious well-being in this relationship. Participants were 312 Christians in South Korea. The proposed path models were examined using analysis of moment structure. The results indicated that Christians' religious fundamentalism was positively correlated with the conservatism of religious music, immersion in church music, religious well-being, and subjective well-being, whereas Christians' immersion in church music was closely correlated with religious well-being. Additionally, Christians' religious well-being closely was correlated with their subjective well-being. The study results provide support for a path model from Christian religious fundamentalism to subjective well-being via the conservatism of religious music, immersion in church music, and religious well-being. Thus, a direct path from religious fundamentalism to subjective well-being was found, with an excellent model fit. However, in this model, the coefficient of the direct path from religious fundamentalism to subjective well-being was negative. This study found that religious music plays an important role in Christians' religious and subjective well-being, and that Christians' religious fundamentalism can enhance their subjective well-being only through religious well-being. [ABSTRACT FROM AUTHOR]

This study explores the history of the Hagia Sophia Mosque and its religious music forms, with a particular focus on how these forms are applied in the newly reopened Hagia Sophia. All genres performed here are executed by imams and muezzins who are highly skilled in their fields, making it a model for both contemporary performers and future generations. The study examines the types of mosque music performed during the five daily prayers, Fridays, holy days, and religious holidays in Hagia Sophia, which has functioned as a mosque since 2020.Analysis reveals that some of these forms are unique to Hagia Sophia in terms of both structure and execution, underscoring the importance of bringing them to light. To this end, extensive research, observation, recording, and notation processes were carried out to document these unique styles. The article provides detailed insights into the maqam (musical mode) dimensions, performance styles, timing, and duration of various mosque music forms, including Qur'ān Tilāwah, Adhān, Ṣalā/Ṣalawāt, Iqāmah, Ilāhī, Mawlid, Miʿrācīyah, Qaṣīdah, Istighfār, Tasbīḥ, and others. The distinct and improvised characteristics of certain forms are also discussed. Furthermore, specific to the Hagia Sophia Mosque, the article includes the notations of the Tasbīḥāt recited at the mihrab after the Fajr prayer on Fridays, Saturdays, and Sundays, as well as the notations of various Istighfār recited in different maqams collectively by the muezzins after each obligatory prayer. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Music & Folklore Studies is the property of Journal of Music & Folklore 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.)

Copyright of Van Journal of Divinity / Van Ilahiyat Dergisi is the property of Ilahiyat Fakultesi, Yuzuncu Yil University 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 determine the value aspects of contemporary evangelical worship and its impact on the formation of believers' spiritual experiences, the integration of musical elements into religious practices, and the development of community value orientations. Worship is considered as a tool for shaping both personal and communal values and its adaptation to the modern socio-cultural context. Research methodology is based on the application of cultural analysis, structural analysis, and content analysis of musical practices in evangelical worship services, as well as a socio-cultural approach to understanding the integration processes within religious communities. The use of these methods allows for a deeper understanding of worship's functions as a form of religious expression and its influence on the moral and ethical norms of worship practices. The scientific novelty of the research lies in the provision of insights regarding the establishment of contemporary religious movements in Ukraine, as well as defining contemporary musical worship not only as a ritual component of religious practice but also as a means of forming new spiritual and cultural paradigms. The study reveals the dynamic nature of evangelical movements and their ability to adapt to contemporary conditions through the use of new musical styles and technologies. Conclusions. The study concludes that the act of musical worship in contemporary evangelical churches takes place in a format of live interaction between musicians, the worship service, and attendees, fostering immersion into value frameworks based on biblical principles. This interaction facilitates the development of moral and ethical norms that influence social connections. Furthermore, interdenominational cooperation, which is enhanced through joint musical worship services, stimulates the creation of new forms of religious expression that align with modern societal demands. This highlights the significance of music as a means of communication and spiritual integration, opening up new opportunities for religious and social interaction in the modern world. [ABSTRACT FROM AUTHOR]

Music used in rituals was an essential tool in establishing relationships with gods in ancient times. So much so that the responsibility for disasters that befell societies was attributed to the musicians' improper music in rituals, and they were sentenced to death. The tools, objects, and instruments used in a domain attributed to such sacredness have acquired a religious identity. The spiritual meaning gained in ancient times may change over thousands of years. However, when we look at the application models of today's religious culture, the elements that have survived to the present day without changing are also significant. Among these elements, instruments have become indispensable tools for music. Among the instruments used in music, "calpara", a percussion rhythm instrument, is our focus in this article. The first examples of çalpara are found in the hieroglyphic findings of ancient civilisations. Especially in Anatolian, Greek, Mesopotamian, Middle Eastern and Egyptian civilisations, çalpara, whose traces are found, will be dated to a five-thousandyear historical process with the connection we have established with Sufi culture. Using the calpara, examples of which are found in relief paintings from the Sumerian, Hittite, Egyptian and Greek civilisations, with the same name in Sufi music theory books and Ottoman dictionaries, has helped us to provide a five-thousand-year-old fiction. Thus, the "calpara" instrument, with its five-thousand-year-old ancient history, has become an ancient type of instrument known today as "zil" (cymbals). After examining the "calpara" instrument, the subject of our article, within a conceptual framework, we provided information about its place in different civilisations. The metal raw material used in its production since the Ancient civilisations, its formal features and production techniques are also among the subjects we examine. The conceptual definitions made by different musicians and historians are essential in terms of seeing the five-thousand-year-old process in formal descriptions. The religious ritual culture of various periods and civilisations and their position in different activities with social value are information that must be known to make comparisons with today. The information we obtain from ancient findings allows us to document the value given to the calpara instrument in different time periods. [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 Mevzu is the property of Ali Sever 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 Journal of Eskişehir Osmangazi University Faculty of Theology is the property of Journal of Eskisehir Osmangazi University Faculty of Theology 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 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]

Copyright of Revista Anuario de Historia Regional y de las Fronteras is the property of Universidad Industrial de Santander 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 article examines the negotiation of prayer melodies at Or Chadasch, a liberal Jewish synagogue in Vienna, exploring how these melodies represent the community’s balance between tradition and innovation within a progressive Jewish framework. As a “minority within a minority,” Or Chadasch operates on the periphery of Vienna’s Orthodox-dominated Jewish community and global progressive Judaism. The article begins by providing a historical context for progressive Judaism in Austria and by tracing the development of Or Chadasch and its repertoire of prayer melodies. Drawing on ethnographic fieldwork, it explores how the emotional connections of congregants and prayer leaders to specific melodies shape debates on musical tradition, continuity, and communal belonging. Central to this analysis is the concept of minhag (custom), an insider term that serves as a flexible yet deeply rooted foundation in the musical worship practices of the congregation. The article identifies six “modes of minhag”—continuity, habit, authority, potluck, participation, and choice—as distinct approaches through which congregants negotiate persistence and change in prayer melodies. These modes illustrate how minhag functions as both a stabilizing and adaptive force, which accommodates diverse attachments across transnational and transhistorical Jewish musical practices. The study posits that minhag, understood as enacted through multiple modes, transcends a simple binary of tradition versus innovation. Furthermore, the article situates the musical minhag of Or Chadasch within broader ethnomusicological research on minority communities, arguing that this minhag reflects the specific historical, ideological, and sociopolitical positioning of the congregation, thus serving as a living archive of the community’s history.

Our study focuses on the recitation of the first verse of the Genesis/Bereshit chapter in the Torah, the holy book of Judaism and Christianity, with Taamim symbols. Taamim symbols, dating back to ancient times, are markings placed above or below sacred texts. These symbols generally denote a melodic sequence formed by two or more notes, rather than a single note. In our study, the first verse of the Genesis chapter, which is significant from both Jewish and Christian perspectives, has been transcribed into notation and analyzed comparatively with the Turkish music system. When examining the academic landscape of Türkiye, particularly in the field of Turkish Religious Music, it is observed that the music or musical recitations found in the sanctuaries of Semitic religions are not adequately addressed. These studies typically consist of postgraduate theses or articles derived from these theses, primarily contributed by M. Safa Yeprem and his students. Our study is significant as it will be the first to examine the musical recitation of the Torah and fill this gap in the field. Furthermore, our study is the first to explore the application of Taamim symbols to the recitation of sacred texts. The origin of Taamim symbols dates back to ancient times, and like the Neumatic notation system, these symbols guide the reader. The difference between Taamim symbols and the Neumatic notation system is that Taamim symbols represent a melodic sequence rather than a single note. These symbols are markings placed above or below words in sacred texts, each symbol indicating a distinct melodic sequence. Moreover, variations exist in the melodic sequences of these symbols within Ashkenazi and Sephardic cultures, and the symbols we are examining belong to the Sephardic Jewish culture, which sought refuge in the Ottoman Empire to escape European persecution. Therefore, there is no record of how Ashkenazi Jews interpret Taamim symbols. Hence, a comparative study with the Sephardic Jewish tradition is necessary. In a study conducted by M. Recai Çiftçi on the musical analysis of sacred recitations, the recitations of Armenians, Greeks, and Muslims were comparatively examined in terms of pitch and interval consistency, melodic structure in prolonged syllables, and duration of pauses. However, Jewish sacred text recitation was not included in this study. Our study will fill a significant gap by comparatively analyzing the recitation of Sephardic Jews with the Turkish music system. To examine existing studies on Jewish sacred text recitation, various keywords were identified, and searches were conducted in internet databases and various online libraries in Turkish, English, and German languages. However, it was observed that there are no studies on the musical expression of Jewish sacred text recitation. Additionally, studies on Taamim symbols are scarce, and existing studies mainly consist of brief historical information. Following the literature review, a recording of the first verses of the Genesis chapter from the sacred book was obtained from Rabbi David Sevi of the Şişli Bet-Israel Synagogue. To compare this recitation with Turkish music, the recording was transcribed into notation using the Mus2 notation program. Ornamentations made by the reader during performance were indicated on the notation. Additionally, decibel (dB) values were provided on the fourth line of the notation to show the pitch values during recitation and on the fifth line to indicate the emphasis made by the reader. Computer-aided programs were used to show cent and decibel values and to ensure that the research yielded more scientific and reliable results. After completing the notation process, the recording was analyzed in terms of pitch, interval usage, melodic structure in prolonged syllables, and duration of pauses. In postgraduate studies and articles in the field of Turkish Religious Music, we observe the use of the four-line notation technique. However, in our study, the five-line notation technique was employed. The five-line notation technique has been used in postgraduate theses and articles derived from these theses in the field of Turkish Religious Music until now. We believe that the five-line notation technique should be used in future notation studies as well. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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 Perspectives on Culture / Perspektywy Kultury is the property of Jesuit University Ignatianum in Krakow 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 Ethio-South Sudanese border is characterized by instability and conflict. Most populations in this area have experienced violence and displacement and face ongoing insecurity and political inequality. During my fieldwork in the region, several composers gave accounts of how composing and singing Christian songs provided them with comfort and hope in times of hardship, particularly following episodes of violence. Using ethnographic research and interviews as primary methodologies, this article explores how these individuals use religious music-making as a means of coping and resilience in the wake of trauma. The primary goal of this article is to provide a platform for their stories. The secondary goal is to explore resonances between their accounts and scholarly observations about potential roles of music-making in trauma resilience across disciplines. I focus particularly on themes of embodied music-making, community connection, and spirituality. All point to the same phenomenon: that music can play a role in human resilience and meaning-making. Finally, I make suggestions on how to enhance mental health care in culturally-relevant ways in a religious society such as in Ethiopia, as well as draw out cross-cultural implications for mental health care in the western system.

Scholars of contemporary Christianity have long noted the importance of sacred music in constructing faith communities and distinguishing religious actors from one another. Drawing on historical and ethnographic evidence gathered over 16 months in Johannesburg, South Africa, I examine the role of music in contributing to the Christian identity of conservative evangelicals and in mediating their relationship with religious others. For the interdenominational, multiracial network of conservative Christians with whom I worked, music sung during weekly church services was carefully curated to meet elders' pastoral aims informed by the conventions of orthodox Christian theology, yet it was also a site of tension and innovation as efforts to appeal to wider demographics were implemented. The palpable contrast between this music style and that of more charismatic evangelical churches was a point of implicit social commentary, semiotically standing in for the spectre of dangerous religious difference. This ethnographic research illustrates the power of embodied, sonic "feeling" to maintain cultural boundaries in South Africa's heterogeneous religious soundscapes. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Near East University Islamic Research Center / Yakın Doğu Üniversitesi İslam Tetkikleri Merkezi Dergisi is the property of Journal of Near East University Islamic Research Center 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 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.)

In the modern world, there is a problem of the young generation's loss of spiritual landmarks, which is manifested in the dominance of pragmatism, focus on obtaining material goods, indifference to the feelings of other people, including loved ones. Education of moral qualities of an individual cannot be effective if all social institutions are not involved in it: family, school, cultural institutions, church. Nowadays, the importance of religious education is gaining a high status in the domestic society - children and teenagers get used to attending church, study in Sunday schools, where they participate in choir singing. Musical spiritual works today are not limited to church life, but are included in the repertoires of singing groups of general secondary and primary music education institutions, are offered for listening to music at school, etc. (Rostovskyi, 2003). (Rostovskyi, 2003). The urgent task of preserving the traditions of Orthodoxy in its competition with the Catholic and Uniate influences on the Ukrainian community determines the special interest of teachers and scientists in the educational possibilities of Orthodox music (Afonina, 2012). [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Religious Education Studies / Türkiye Din Eğitimi Araştırmaları Dergisi is the property of Turkish Journal of Religious Education 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.)

Copyright of Turkish Journal of Religious Education Studies / Türkiye Din Eğitimi Araştırmaları Dergisi is the property of Turkish Journal of Religious Education 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.)

Yaklaşık bir asır öncesine kadar icrasının yaygın olarak devam ettiği fakat bugün örneklerine coğrafyamızda pek de rastlayamadığımız nevbe üzerine yaptığımız bu çalışma ile onun farklı mekân ve zamanlardaki icrası hakkında yeni bilgiler açığa çıkmıştır. Sn. Hasan Sevil’in şahsi gayretleri ile kayıt altına alınan nevbe kaydından ilk kez 2018 yılında haberdar olduk ve 2021 yılı itibari ile yaklaşık bir saatlik bu kayıt üzerinde çalışmaya başladık. 14 kişinin katılımı ile yapılan bu icranın akışını inceledik ve bazı neşîde ve ilâhileri notaya aldık. Güfte eksiklerimiz ve nevbenin icra edilişi ile ilgili ayrıntılı bilgi için nevbe reîsi Şeyh Muhammed Keyyâli ile görüştük. Keyyâli ailesi, Şeyh İsmail Keyyâlî’den itibaren Halep’te tasavvufi geleneği devam ettirmiştir. 2013 senesinde mücbir sebeplerden dolayı ailenin bir kısmı Türkiye’ye göç etmiştir. Bu şekilde hakkında çok da fazla bilgi sahibi olmadığımız İsmail Keyyâlî, Keyyâliyye tariki ve tasavvufî kültürü hakkında yeni bilgiler edinmiş olduk. Bu çalışma ile Keyyâlîyye örneği üzerinden nevbe formunun genel akışını ve bazı neşîde örneklerini vermeyi amaçladık, kayıt içerisindeki bütün icraların notasyonu makale formatının hacmi için fazla olacağından bunları daha geniş bir çalışmada ele almayı uygun gördük.

The purpose of this phenomenological study was to investigate the religious development, life experiences, and perspectives of six atheist high school choral music teachers on their current attitudes about performing sacred choral music within the public school education system. Six atheist choir directors participated in eighteen semi-structured interviews, resulting in 608 minutes of data. Main analysis occurred through first- and second-wave coding, with horizontalization within the process. Analysis revealed five main themes that defined atheist choir director experiences: youth religious participation largely motivated by community and vibrant music, moving away from religious teaching throughout adolescence and college, feelings of other as a non-Christian minority, stepping into a role to participate in religious rituals, and programming religious music by presentation rather than proselytizing. Additionally, there was intersectional overlapping between the sexuality of a participant and their development as atheists. The essence of atheist choir directors is that of a lived contradiction between religious music and a non-believing music presenter. [ABSTRACT FROM AUTHOR]

Copyright of Tradition Oral Literature / Boletín de Literatura Oral is the property of Boletin de Literatura Oral 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 Dinbilimleri Journal is the property of Dinbilimleri 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 musical art of the Banat region has asserted itself since the 19th century due to its originality. The establishment of choral societies and gatherings in the second half of the 19th century will lead to a flourishing of choral music in this land. Among the oldest choral formations in the Banat region, we mention the Ion Vidu choir of Lugoj, founded in 1810, and the plowmen's choir from Chizătău, founded in 1857, the first village choir in Banat and in Romania. The religious choral creation from Banat at the beginning of the 20th century is very impressive. [ABSTRACT FROM AUTHOR]

This study identified the relationship between preoccupation with devotional songs and spiritual well-being of religious individuals, and examined the mediating effect of intrinsic religiosity on preoccupation with devotional songs and spiritual well-being, moderated by the emotionally adaptive functions of music. The participants were 427 male and female Korean religious individuals. PROCESS Macro 3.5 Model 7 was used to analyze the moderated mediating effects. The results revealed that preoccupation with devotional songs was positively correlated with the emotionally adaptive functions of music, religiosity, and spiritual well-being, whereas emotionally adaptive functions of music were not significantly correlated with intrinsic religiosity. Intrinsic religiosity was positively correlated with spiritual well-being, whereas extrinsic social religiosity was not. In a moderated mediating model, there was a significant interaction effect of preoccupation with devotional songs and the emotionally adaptive functions of music; however, intrinsic religiosity could mediate the relationship between preoccupation with devotional songs and spiritual well-being, regardless of the level of emotionally adaptive functions of music. These findings suggest that, although there may be a slight difference depending on the level of use of emotionally adaptive functions of music, preoccupation with devotional songs can promote intrinsic religiosity and lead to the spiritual well-being of religious individuals. [ABSTRACT FROM AUTHOR]

In a concert hall, the attitude of the audience focusses on the formalistic aspects of music. In religious rituals, music is a means of leading the hearer to a spiritual experience. What happens when music, meant originally for a liturgical purpose, is played in a concert setting? Gadamer shows, with his conception of Verwandlung ins Gebilde, that an art work is never static, but carries a depth in itself, which is connected to an artistic ingenuity throughout centuries. In this ‘depth’ lies the connection to the listener, which is broader than a mere aesthetical one. On the other hand, music in itself has a strong ‘theatrical’ side, which can easily surpass its contemplative aspect in consumer culture. It appears that this aspect, in combination with the formalistic-aesthetic approach of modern museum culture, of which concert culture is a part, made the hearer become almost ‘deaf ’ to the religious content; because a concert practice focusses primarily on entertaining the hearer, s/he is not able to engage in the music as a source of spiritual edification of the soul. Nevertheless, Gadamer’s conception of play makes us be aware that there will always be new, unexpected ways in which the truth comes into being in the interaction of a piece of music and its hearer. In order to create such a reality, it is necessary to turn to new and renewing hearing practices, where the play between music and the hearer has a wider range of musical experience than the mere formalistic aspect.

Introduction: The impact of invasive treatment procedure in children undergoing healthcare in hospital is a trauma since the treatment brings about an uncomfortable feeling. The study aimed at factors in the application of atraumatic care in the form of religious music and digital storytelling given to patients. The study aims to find the difference of effectiveness between religious music and digital storytelling in regard to the level of cooperativeness and pain in children as they undergo invasive treatment Methods: The design of research was quasi-experiment with time series design. There were two group treatments; the group of intervention 1 consisting of preschool children undergoing invasive treatment via religious music and the group of intervention 2 consisting of preschool children undergoing invasive treatment via digital storytelling. Results: The statistical test shows p: 1.000 > 0.05, meaning that there is no difference between religious music and storytelling in regard to the level of cooperativeness and pain in children having invasive treatment Conclusion: Religious music and digital storytelling have similar effectiveness of influence in regard to the change of cooperativeness and pain level in children having invasive treatment.

İslam sanatlarının hemen hemen her sahasında kendisine hususi bir yer bulan mevlid, toplumu bir arada tutan mühim geleneklerden birisidir. Bu çalışmanın konusu XIX. Yüzyılın sonlarında doğmuş XX. Yüzyılın son dönemlerine kadar yaşamış dini mûsikî sahasına önemli katkıları olmuş Hafız Kemal Batanay’ın hayatı, mûsikîşinaslığı ve 1956 yılında Yeni İstanbul gazetesinin açmış olduğu yarışmaya isnaden bestelemiş olduğu mevlidin ilk bahrinin notasyonu ve makam tahlili hakkındadır. Gerek mûsikî gerekse edebî sahada mevlidin tanımı ve tarihçesine dair akademik pek çok çalışma yapılmıştır. Bu sebepten ötürü mevlidin tanımı, tarihçesi hakkındaki bilgiler ilgili çalışmalara havale edilmiştir. Makalenin ana hedefi hakkında akademik çalışma yapılmayan bu besteli mevlidin tanıtılmasıdır. Nitel araştırma yöntemi ile kaleme alınan bu çalışmada öncelikle veriler tarama yöntemi ile ele alınmıştır. Elde edilen içerikler ise içerik analizi yöntemiyle analiz edilmiştir. Hafız Kemal’e ait besteli mevlidin ilk bahrinin notasyonu Finale 2014 nota yazım programı ile yazılmıştır. İlgili bahrin makam tahlili Arel-Ezgi sistemine göre irdelenmiştir.

Copyright of Van Journal of Divinity / Van Ilahiyat Dergisi is the property of Ilahiyat Fakultesi, Yuzuncu Yil University 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 article discusses Islamic da'wa delivered through music with its song lyrics. The purpose of this study is to uncover Islamic da'wa in Bimbo songs. Bimbo's type of music is categorized as seasonal music which is only popular at certain times, especially the month of Ramadan. The research used a historical approach to uncover the development of Bimbo songs, and a semantic approach is also used to analyze the meaning and Sufism message contained in their song lyrics. Based on data analysis conducted, it is known that in Indonesia, Bimbo was a music group established in Bandung in 1974 that pioneered religious music and songs. Bimbo started its career through pop music with love, politic, environment, and humor themes. For six years, the Bimbo music group has sung more than 50 songs adopted from Taufiq Ismail 's Islamic poetry some of which were about Sufism. The theme of Sufism in Bimbo songs illustrates the deep inspiration of the singer and creator so that it becomes separate preaching that is easily accepted by the community. It can be concluded that Bimbo, the religious music group was famous for its musical character and Islamic poetry which contains the Sufiems values. Artikel ini membahas tentang tema tasawuf sebagai dakwah Islam yang disampaikan melalui seni musik dalam syair-syair lagu. Tujuan penelitian ini adalah untuk mengungkap dakwah Islam dalam lagu-lagu Bimbo. Jenis musik Bimbo dikategorikan sebagai musik musiman yang hanya populer pada saat-saat tertentu, khususnya bulan Romadhan. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan sejarah untuk mengungkap perkembangan lagu-lagu Bimbo. Pendekatan semantik juga digunakan untuk menganalisis makna dan pesan tasawwuf dalam lagu Bimbo. Berdasarkan analisis data yang dilakukan, diketahui bahwa di Indonesia, musik religi Islam dipelopori oleh kelompok musik Bimbo asal Bandung pada 1974. Bimbo mengawali kariernya melalui musik pop yang bertemakan cinta, politik, lingkungan, dan humor atau jenaka. Selama enam tahun kelompok musik Bimbo telah menyanyikan lagu dengan syair islami karya Taufiq Ismail sekitar lebih dari 50-an lagu, bahkan ada yang bertemakan tasawuf. Tema tasawuf dalam lagu-lagu Bimbo menggambarkan penjiwaan yang dalam pada penyanyi dan penciptanya sehingga menjadi dakwah tersendiri yang mudah diterima di kalangan masyarakat. Dengan demikian dapat disimpulkan bahwa kelompok musik religi Bimbo terkenal dengan karakter musik dan syair islami yang mengandung nilai-nilai tasawuf. يناقش هذا البحث الدعوة الإسلامية التي يتم تقديمها من خلال فن الموسيقى في نصوص الأغاني. و الغرض من هذه الدراسة كشف الدعوة الإسلامية في أغاني بيمبو(Bimbo). أغاني بيمبو(Bimbo) موسيقى مؤقتة تحظى بشعبية كبيرة في أوقات معينة فقط، خاصة في شهر رمضان. و الطريقة المستخدمة في هذا البحث هي الطريقة التاريخية و الدلالية. استنادًا إلى تحليل البيانات الذي تم إجراؤه، من المعروف أن الموسيقى الدينية الإسلامية في إندونيسيا كانت رائدة في مجموعة Bimbo الموسيقية من باندونج في عام 1974. بدأ Bimbo مسيرته المهنية من خلال موسيقى البوب (Musik Pop) بعنوان: الحب، والسياسة، والبيئة، والفكاهة. على مدار ست سنوات، غنت مجموعة بيمبو الموسيقية أغاني الشعر الإسلامي يؤلف توفيق إسماعيل أكثر من 50 أغنية، و أن هناك الأغاني بالموضوعات الصوفية. و يوضح الموضوع الصوفي في أغنيات Bimbo الإلهام العميق للمغني والمبدع بحيث يصبح عظة منفصلة يتم قبولها بسهولة في المجتمع. لذلك، استنتج الباحث أن مجموعة بمبو(Bimbo) الموسيقية الدينية تشتهر بطابعها الموسيقي والشعر الإسلامي الذي يحتوي على القيم الصوفية ويؤثرعلى تطور الموسيقى في إندونيسيا أيضا.

A review of the studies of V. Ciolac's creation is reflected in the pages of the aricle, in order to highlight the most important genres approached in his compositional record, emphasis is made on the tendency to revivethe spiritual music in the Republic of Moldova and the directions outlined during the 1990s within the native musical culture. The current issue regarding the continuity of the traditions and the innovations made in the local religious music is presented, as well as a succint summary of V. Ciolac's compositional activity.

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Purpose of the article. To investigate the significant stylistic influences of О. Scriabin's creative method on О. Messian's compositional approach. Determine the means by which the liturgical and mysterious orientation of the work of both composers is realized. Methodology. The methodological foundations of the work include analytical, comparative-historical and genre-nominative musicological approaches determined by aesthetic, cultural and philosophical positions. This methodological approach allows us to reveal and analyze individual plays of the cycle "20 views on the infant Jesus" in order to find an adequate approach to the construction of interpretation. Scientific novelty. For the first time in Ukrainian musicology, the completeness of the implementation of the idea of scriabinism in the works of О. Messian is being raised. For the first time in this perspective, the cycle "20 views on the infant Jesus" is analyzed. Attention is drawn to the extra-procedural, extra-dramatic, but especially ecstatic identification of the musical meaning of compositions for the first time. Conclusions. Analysis from the accepted perspective of the expressive positions of the O cycle. Messiana demonstrated a pronounced liturgical-mysterious orientation, which correlates with the characteristic attitudes of Scriabin's music. The analysis highlights the effect of" quiet climax", which is" drama on the contrary", since it focuses on the sacred phenomenon of the infant Jesus, which defines the essence of this phenomenon. In the works of О. Messian, we find a "spill" of dance-motor sounds, which corresponds to the Franciscan attitude to sacred danceability - and to divine play in ecstatic compositions by О. Scriabin. The interval-semantic load of the Prometheus Chord Forms a hyper-branched monologue of the cycle of A. Messiaen, in which the basis is the concept of an open sequence of the composition of pieces of the French Clavier tradition, and The Prelude in the sacred sense of its basis of music, as it is seen in the Sonata-poetic heritage of О. Scriabin, and the suite-variational thinking of О. Messiaen. [ABSTRACT FROM AUTHOR]

Dini mûsikî ilmî çalışma sahasında yapılacak olan çalışmalar arasında en acil ve önemli olanı derleme çalışmalarıdır. Böyle çalışmaların icrası, büyük ve köklü medeniyetimizin son temsicileri ile günümüz insanı ilgilileri arasında kurulacak bir bağ ile mümkün olabilir. Bu bağı kurmak günümüz insanının aslî vazifelerindendir. Eğer bizler bu muazzam medeniyetin mûsikî mirasını son temsilcilerinden derleyip kayıt altına almazsak bu kültür mirası yok olacaktır. Bu bağlamda mûsikî mirasımızı hâvi kaynak kişiler çok büyük önem arz etmektedirler. Bu kuşak kaybolduğu zaman artık zaten ilahilerden ve geçmişin mûsikî kültüründen söz edemeyiz. Camiler, köprüler gibi taşınamayan kültürel varlıklar ve kitaplar gibi yazılı kaynaklar on yıllar sonra da restrore edilip ihya edilebilir fakat kaynak kişilerin hafızasında saklı sözlü gelenek ve mûsikî kültürü böyle bir zamanda kaybolmaya mahkumdur. Aslında bu olay zamana karşı nasıl bir yarış içerisinde olduğumuzu da göstermektedir. Bu noktada insan ömrü meselenin aciliyetini ve ehemmiyetini belirleyen en önemli kriter olarak karşımıza çıkmaktadır. Sonuç olarak sözlü geleneğin ve mûsikî kültürünün derlenmesi zaman, tahrif edilme ve hatta yok olma tehlikesinden ötürü bahsedilen diğer kültürel varlıklardan ehem ve mühim sıralamasında daha önde gelmektedir. Kültürel varlıkların muhafazası hususunda sırayı bu şartlar belirler. Bu çalışma sözlü gelenek ve mûsikî kültürü, husûsen dinî mûsikî derleme çalışmalarının nasıl yapılacağını, derleme çalışmaları sırasında riayet edilecek kuralları ve uygulanacak metodları ele almaktadır.

Choral church music has appeared in Romania as an expression of the process regarding the modernisation of the country and the abandonment of the Oriental fashion, in favour of the Western one. The modernisation of the educational system and the foundation of new schools have facilitated the approach of a wider area of subjects for study, among which music can also be encountered. This aspect has contributed to the enlargement of the perspective and the assumption of other forms of practicing religious singing, which then led to the embellishment of the public worship service. Once the Theological Seminary appeared in Roman, also the first choral groups for the Episcopal Cathedral appeared, and they constituted the starting ground for the appearance of a professional permanent choir. Following Roman' example, Bacău, and even Comănești, through their most important churches, encouraged the appearance of choirs, which would participate to the Holy Liturgy and also to various cultural manifestations of the city, thus attracting to this process young music lovers, willing and capable of becoming choir singers. The archive documents are testimonies for the existence of these choirs, the ones which indicate their popularity, as well as the various stages, either good or bad, thorough which the respective choral groups managed to go in the time period we have proposed to cover here. [ABSTRACT FROM AUTHOR]

Krzysztof Knittel, a composer who has been writing at the turn of the 20th and 21st century, is faith-ful to his artistic vision that bears testimony to his affiliation to the trans-avantgarde aimed at synthe-sizing the codes of modernity and tradition. One of its manifestations is the phenomenon of intermediality, picturing the relationships emerging between a given object (action) and media. Novelty in Knittel’s works is based on composing intuitive music, described as free improvised music, and recycled, or ecological, music. The 1970s saw increased interest in the sacred and the spiritual in Polish music. The song cycle Z głębokości wołam do Ciebie, Panie… (‘Out of the depths I cry to thee, O LORD!’, 2000) for choir and electronic media, the first religious composition by Knittel, was written, as the composer claims, ‘to express the truth and the strength of faith’. The songs were written to texts of the Psalter of King David from Biblia Tysiąclecia (‘The Millenium Bible’). The aim of this article is to assess how the source of inspiration influenced the structure and aesthetics of the intermedial work being discussed. [ABSTRACT FROM AUTHOR]

This article examines the NAfME Position Statement on Sacred Music in Schools, which has not been significantly updated since it was first published in 1984. Using genealogical inquiry, the author examines the conditions surrounding the construction of this document in relation to the conditions in the present. Relationships between the history of school prayer, the archive of Music Educators Journal, and relevant case law are investigated. Postsecularsim is described and explored as a possible theoretical framework for a future revision of the position statement. [ABSTRACT FROM AUTHOR]

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