Catholic Church music Research Papers (original) (raw)

"Terimalah di Hati-Mu" (in English: Accept it in Your heart) is catholic offering song. This is one of my favorite song which composed by Putut Pudyantoro. Mr. Putut is a songwriter also as known as maestro for catholic church music in... more

"Terimalah di Hati-Mu" (in English: Accept it in Your heart) is catholic offering song. This is one of my favorite song which composed by Putut Pudyantoro. Mr. Putut is a songwriter also as known as maestro for catholic church music in Indonesia. He has made many songs for mass (worship/ritual). I tried to create the orchestration and I used some instruments. This score actually is for choir, but I just did it for instrumental song so I don't put in the lyrics. I make one full part without any repetition.

The Catholic Church has seen its musical culture neglected since the Second Vatican Council as a result of the dominant interpretation of the concept of actuosa participatio which the Council’s Consititution on the Sacred Liturgy... more

The Catholic Church has seen its musical culture neglected since the Second Vatican Council as a result of the dominant interpretation of the concept of actuosa participatio which the Council’s Consititution on the Sacred Liturgy Sacrosanctum Concilium took as its guiding principle. This paper examines the varying interpretations of the concept and examines how it was applied to St Peter’s Basilica, Rome in papal liturgies.

Pada dasarnya tulisan ini bertujuan untuk mendalami musik Gereja dengan memperkenalkan kepada pembaca tentang musik resmi Gereja secara umum. Meskipun bentuk pendalaman dalam tulisan ini sangat terbatas, setidaknya pertanyaan-pertanyaan... more

Pada dasarnya tulisan ini bertujuan untuk mendalami musik Gereja dengan memperkenalkan kepada pembaca tentang musik resmi Gereja secara umum. Meskipun bentuk pendalaman dalam tulisan ini sangat terbatas, setidaknya pertanyaan-pertanyaan fundamental mengenai nyanyian Gregorian sudah disentil di dalamnya. Pertanyaan yang perlu dijawab adalah: (1) Bagaimana awal mula perkembangan nyanyian Gregorian? (2) apa unsur-unsur pokok dalam nyanyian Gregorian? (3) Bagaimana irama dan bentuk musik Gregorian? Tiga pertanyaan ini akan dijawab dengan ringkas dan sangat luas dalam tulisan ini.

The Musical Archive of the Cathedrals of Zaragoza possesses an interesting early source for the study of the music of Georg Friedrich Händel (*1685; †1759). It is a manuscript volume, carefully copied and professionally and luxuriously... more

The Musical Archive of the Cathedrals of Zaragoza possesses an interesting early source for
the study of the music of Georg Friedrich Händel (*1685; †1759). It is a manuscript volume,
carefully copied and professionally and luxuriously bound in parchment, containing
a copy of the Suites de pièces pour le clavecin, which the Anglo-German musician would
print for the first time in London in 1720. This copy, made in Rome on 26 March 1727,
only seven years after his editio princeps, and owned by Francisco Xavier Nebra, bears witness
to the early knowledge of the best European music of the time in Spain as well as the
fluid musical connections between Italy and Spain.

Práce představuje přehled církevních nařízení o posvátné hudbě v časovém období od papeže Pia X. (1903) až po II. vatikánský koncil (1962-1965). Především budou představeny tři důležité dokumenty týkající se posvátné hudby: motu proprio... more

Delivered in 2012, published in 2015 [recte 2016]. In questo studio viene indagato il contesto nel quale sono stati pubblicati gli Offertoria e le Communiones totius anni di Mikołaj Zieleński. Attraverso un’analisi della produzione... more

With the aim of investigate the causes to understand the effects, at least as a premise, this paper presents some short reflections on what parameters are more or less constant in the musical repertoire of medieval Hispanic kingdoms.... more

With the aim of investigate the causes to understand the effects, at least as a premise, this paper presents some short reflections on what parameters are more or less constant in the musical repertoire of medieval Hispanic kingdoms. Thus, love (also the fervour) is taken as authentic driving force and guide of creativity, with special emphasis since the twelfth century. Some significant and paradigmatic examples are taken to show some ways and contexts in which this occurs.

The franciscan Eliseus Bruning (1892-1958) is known for his liturgical practical work. This practical work was embedded in thorough scholarship. Musicological investigations layed the basis for practical songbooks (gregorian chant,... more

The franciscan Eliseus Bruning (1892-1958) is known for his liturgical practical work. This practical work was embedded in thorough scholarship. Musicological investigations layed the basis for practical songbooks (gregorian chant, liturgical songs in vernacular); his knowledge of the history of liturgy made him an ardent believer of participation of the people in liturgy. In this article Bruning is characterised not as musician and ‘man of practice’, but as scholar.

Działający na przełomie XVIII i XIX w. Wacław Raszek należy do grona muzyków, o których-mimo zainteresowania ze strony badaczy-wiadomo nader niewiele. Na lakoniczne komunikaty dotyczące Wacława Raszka (czasami określanego jako Raszko,... more

Działający na przełomie XVIII i XIX w. Wacław Raszek należy do grona muzyków, o których-mimo zainteresowania ze strony badaczy-wiadomo nader niewiele. Na lakoniczne komunikaty dotyczące Wacława Raszka (czasami określanego jako Raszko, Raszke czy Raschek), ale też Ludwika, Ludwika Wacława, a nawet Antoniego Raszka, natknąć się można m.in. w opracowaniach poświęconych życiu muzycznemu w Gidlach 1 , na Jasnej Górze w Częstochowie 2 czy w kościele pw. św. Benona w Warszawie 3. Niejasności dotyczące właściwie wszystkich podstawowych informacji na temat muzyka, tj. jego imienia, lat życia, ośrodków, w których przebywał, czy przypisywanych mu utworów muzycznych, doprowadziły do licznych nieścisłości, pomyłek i niesprawdzonych hipotez. Przedstawione w poniższym artykule dane faktograficzne mają na celu nie tylko znaczne uporządkowanie, lecz także poszerzenie wiedzy na temat muzyka, który odegrał niebagatelną rolę w życiu muzycznym przełomu XVIII i XIX w. na ziemiach polskich.

William Byrd's motets with Latin text are a little-known contribution to the sacred vocal repertoire. Most important among these works are three books of Cantiones Sacrae, published 1575, 1589 and 1591, respectively. The 1589... more

William Byrd's motets with Latin text are a little-known contribution to the sacred vocal repertoire. Most important among these works are three books of Cantiones Sacrae, published 1575, 1589 and 1591, respectively. The 1589 Cantiones Sacrae was Byrd's first harvest from a backlog of motets that had been accumulating since 1575.This collection lies at a midpoint between Byrd's earliest published works and his full maturity, as seen in the Masses of 1592-95.
This dissertation will describe the contrapuntal strategies that characterize Byrd's 1589 Cantiones. I will examine Byrd's deeper-Ievel tonal organization and its derivation from cantus firmus technique. I will show how Byrd uses musical material in cantus firmus values (the breve and semibreve) to shape his subject material and his cadence points, and how this shaping plays out over the course of an imitative point.
I will then examine Byrd's introductory gestures in the 1589 Cantiones,
identifying 24 presentation types that characterize different degrees of beginning. These types contain one or more melodic subjects in a recurring temporal relationship, and form a vertical interval pattern or harmonic motive.
Next, I will discuss Byrd's variation techniques by which he develops these presentation types: textural change, transposition, melodic inversion and invertible counterpoint. Byrd's presentation and variation of subject material divides an imitative point into distinct phases of tonal and contrapuntal activity, providing insight into its overall form and tonal design.
Finally, I will apply these analytical tools to a complete analysis of Tristitia et anxietas, from the 1589 Cantiones, thereby showing how Byrd establishes central pitches in the middleground. Through this analysis, I will summarize Byrd's contrapuntal strategies, both long-range and local, that typify his middle-period sacred vocal style, as viewed through the lens of the 1589 Cantiones Sacrae.

o r d i a U n i v e r s i t y , 7 1 4 1 S h e r b r o o k W e s t A D 1 0 3. 8 , M o n t r e a l. Q u e b e c. C a n a d a. Abstract Pope John Paul II encouraged people to make good use of the means of social communications to sustain... more

o r d i a U n i v e r s i t y , 7 1 4 1 S h e r b r o o k W e s t A D 1 0 3. 8 , M o n t r e a l. Q u e b e c. C a n a d a. Abstract Pope John Paul II encouraged people to make good use of the means of social communications to sustain positive impacts of contemporary media on audiences. A re-reading of Pope John Paul II's texts led me to the conclusion that he applied media effects theory to his reflections in social communications. What were the topics contained in the reflections of Pope John Paul II about impacts of media on the audiences, using missionary commitments in Catholic Church as a case study? This article examined selected texts of St. John Paul II on four major impacts of media: secularization in the world, power of new instruments of communication, globalization of communication, and visibility of the Church in the world of the twenty-first century. The article's analysis revealed that John Paul II's views about media effects were shaped by two-step flow theory of media effects.

PhD Proposal for the Albert-Ludwigs University of Freiburg

This is the first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. Though the musical settings of the Ordinarium missæ and of the Missa pro defunctis have been the... more

This is the first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. Though the musical settings of the Ordinarium missæ and of the Missa pro defunctis have been the subject of countless studies, the stylistic evolution of the polyphonic masses composed in France during the seventeenth and eighteenth centuries has been neglected owing to the labor involved in creating scores from the surviving individual parts. Jean-Paul C. Montagnier has examined closely the printed, engraved and stenciled choirbooks containing this repertoire and his book focuses mainly on the music as it stands in them. After tracing the choirbooks’ publishing history, the author places these mass settings in their social, liturgical and musical context. He shows that their style did not all adhere strictly to the stile antico, but could also employ the most up-to-date musical language of the period.

This paper aims to describe some aspects of the Afro-American culture in Colombia starting from the observation of its religious manifestations. The ethnographic analysis of the activities carried out within the framework of the... more

This paper aims to describe some aspects of the Afro-American culture in Colombia starting from the observation of its religious manifestations. The ethnographic analysis of the activities carried out within the framework of the Afro-Colombian Catholic pastoral care allows us to reflect on the importance of the notions of identity, corporeality and spirituality for the descendants of former African slaves in Colombia. From an anthropological point of view, the Afro-Colombian pastoral can be analyzed as a peculiar form of religious syncretism which demonstrates the resilience of African descendents faced with the pressure of the enculturation process led by the Catholic Church.

This article examines Duruflé’s writings and music on Vatican II between 1970 and 1983, which reveal his growing resignation to the popularization of church music. One article of 1978 illustrates a softening of Duruflé’s position,... more

This article examines Duruflé’s writings and music on Vatican II between 1970 and 1983, which reveal his growing resignation to the popularization of church music. One article of 1978 illustrates a softening of Duruflé’s position, resulting in an impasse towards the disappearance of Gregorian chant. The musical correlate to the shift in tone surfaces in the harmony in the motet Notre Père, Duruflé’s last composition and his only one suited for congregational singing. His last essay of 1983 bitterly closes the door on Vatican II, as he realized Gregorian chant would not return in his lifetime.

The “Geistliches Meyenlied” is a sacred contrafactum of a secular May song made by the itinerant singer and poet Benedikt Gletting (1500–ca. 1565). From the 1560s on, the song spread outwards from Bern and the Old Swiss Confederacy; it... more

Schweizer Jahrbuch für Musikwissenschaft 30 (2010), pp. 117-161. – In 1675 the monastery of Einsiedeln (Switzerland) acquired by the Jesuits a residence in Bellinzona. This house used until 1852 represents a very important ‘pied-à-terre’... more

Schweizer Jahrbuch für Musikwissenschaft 30 (2010), pp. 117-161. – In 1675 the monastery of Einsiedeln (Switzerland) acquired by the Jesuits a residence in Bellinzona. This house used until 1852 represents a very important ‘pied-à-terre’ to Italy and especially to Milan. An exceptional cultural transfer occurs along this way with an intense circulation of musical sources. Aim of this study is, on the one hand, to investigate the modalities of circulation of music between Milan and Einsiedeln; on the other, to show how this swiss connection has influenced the selection of Italian music.

Los Apéndices 1-3, a los que se hace referencia en las pp. 258, 265, 268 y 272, no fueron incluidos en la publicación, se incluyen aquí con algunas modificaciones y adiciones con respecto al original no publicado. Appendixes 1-3,... more

Los Apéndices 1-3, a los que se hace referencia en las pp. 258, 265, 268 y 272, no fueron incluidos en la publicación, se incluyen aquí con algunas modificaciones y adiciones con respecto al original no publicado.
Appendixes 1-3, referred to in pp. 258, 265, 268 and 272 were not included in the publication, here they are included with minor corrections and additions to the unpublished original.

In my "Werkbuch Psalmen I/II" the references to the biblical psalms, which are recorded in the most used German church song- and prayerbooks, are listed. In 2013 the Roman-catholic "Gotteslob" (nGL) has been totally revised and reedited.... more

In my "Werkbuch Psalmen I/II" the references to the biblical psalms, which are recorded in the most used German church song- and prayerbooks, are listed. In 2013 the Roman-catholic "Gotteslob" (nGL) has been totally revised and reedited. As the references to the nGL are not yet listed in my "Werkbuch Psalmen I/II", a list is given as a supplement to them.

Kirchenmusikalisches Jahrbuch 98 (2014), pp. 59-83

The introduction of indigenous Black music—namely, Negro Spirituals, Black gospel, and jazz—into Catholic liturgy has largely been described as a phenomenon emerging in the late 1960s and a few decades thereafter. This paper seeks to... more

The introduction of indigenous Black music—namely, Negro Spirituals, Black gospel, and jazz—into Catholic liturgy has largely been described as a phenomenon emerging in the late 1960s and a few decades thereafter. This paper seeks to explain how the change came about, tracing back to the early years of the US Catholic Church and the varying factors which eventually led to Black Catholic inculturation.