This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the nexus of music and religious education and to illustrate the ways music served as a means of ...religious teaching and learning in early modern Europe.
In the oktoechos tradition, liturgical hymns are sung in eight modes or eight colours (known as eight 'niram' in Indian liturgy). In this paper, recurrent neural network (RNN) models are used for ...oktoechos genre classification with the help of musical texture features (MTF) and i-vectors. The performance of the proposed approaches is evaluated using a newly created corpus of liturgical music in the South Indian language-Malayalam. Long short-term memory (LSTM)-based and gated recurrent unit (GRU)-based experiments report an average classification accuracy of 83.76% and 77.77%, respectively, with a significant margin over the i-vector-DNN framework. The experiments demonstrate the potential of RNN models in learning temporal information through MTF in recognising eight modes of oktoechos system. Furthermore, since the Greek liturgy and Gregorian chant also share similar musical traits with Syrian tradition, the musicological insights observed can potentially be applied to those traditions. The generation of oktoechos genre music style is discussed using an encoder-decoder framework. The quality of the generated files is evaluated using a perception test.
Immaculate Sounds Favila, Cesar D
2023, 2023-11-26, 2023-10-20
eBook
Odprti dostop
In Catholic doctrine, the Immaculate Conception of the Virgin Mary is the belief that Mary, the mother of Christ, was exempt from original sin from the moment of her conception, and thereby a ...co-redeemer alongside her son. Praise for this complicated devotion took place in Europe throughout the medieval period and resounded in the Americas with the founding of the first convent in Mexico City under the Order of the Immaculate Conception in 1540. All other orders of nuns in New Spain branched out from this convent, spreading the Marian devotion throughout the region. In this book, author Cesar D. Favila argues that the sonification of virginity and the Virgin Mary was fundamental to the promotion of the Immaculate Conception doctrine, and that this was part of a complex network of sonified practices in the lives of New Spanish nuns. These ""immaculate sounds,"" a term Favila uses for the cloistered nuns' idealized vocalizations as well as the expression of doctrinal rhetoric through musical metaphors, echoed the highly regulated realm of the convent and played a pivotal role in mediating between the lives of New Spanish nuns and the expectation that they would save the secular world with their vocalized prayers. In addition to the sonification of discipline, Favila shows that immaculate sounds also enhanced the nuns' engagement with their religious practices and facilitated embodied and spiritual engagement with Catholic doctrines. Throughout his study, he delves into rarely studied music sources from seventeenth- and eighteenth-century New Spain alongside the rulebooks, devotional literature, and nuns' biographies that regulated convent life and inspired nuns' hymns. In doing so, Favila brings together a narrative of salvation that shines a light on the musical lives of nuns and locates women's agency within a hierarchical society that silenced some women and required others to sing.
Die interdisziplinär ausgerichtete Reihe erkundet das Verhältnis von Liturgie und Volkssprache in Mittelalter und Früher Neuzeit. Im Zentrum des Interesses stehen volkssprachliche Bearbeitungen und ...Kommentierungen lateinischer Hymnen und Sequenzen sowie literarisch ambitionierte Neuschöpfungen volkssprachlicher geistlicher Lieder, die sich am Formen- und Themenkanon lateinischer Hymnen und Sequenzen orientieren.
This collection presents fresh evidence and new perspectives on the diverse ways in which women created and interacted with cultures of song between c. 600 and c. 1500.
Se conoce poco de las prácticas musicales litúrgicas de las catedrales sudamericanas después de consolidada la independencia. En algunas ciudades, se llevó a cabo una singular adaptación de ...repertorios extra religiosos especialmente para actividades paralitúrgicas que permitían el uso de géneros musicales provenientes de espacios profanos y cuyos textos se escribían en lengua vernácula. Este artículo emplea la identificación de tópicos musícales en canciones escritas en lengua romance compuestas por Pedro Ximénez (1784-1856) presumiblemente para la catedral de Sucre, Bolivia, entre 1833 y 1856 para demostrar cómo se empleaban recursos sonoros provenientes del teatro y del salón en canciones de alabanza y exaltación por un lado; y lamentación y arrepentimiento por el otro, para el uso religioso. palabras clave: tópicos musicales, Pedro Ximénez Abrill, música sacra del siglo XIX, música religiosa no litúrgica, música en Sudaménca The liturgical music practices of South American cathedrals after the consolidation of independence remain unknown. In some cities, extrareligious repertoires were adapted, especially for paraliturgical activities that allowed the use of musical genres from secular spaces and whose texts were written in the vernacular. This article uses the identification of musical topics in songs written in the Romance language composed by Pedro Ximénez (1784-1856). presumably for the cathedral of Sucre, Bolivia, between 1833 and 1856. to demonstrate how sound resources from the theater and living room were used in songs of praise and exaltation on the one hand and lamentation and repentance on the other. keywords: musical topics, Pedro Ximénez Abrill, sacred music of the nineteenth century, nonliturgical religious music, music in South America
Se conoce poco de las prácticas musicales litúrgicas de las catedrales sudamericanas después de consolidada la independencia. En algunas ciudades, se llevó a cabo una singular adaptación de ...repertorios extra religiosos especialmente para actividades paralitúrgicas que permitían el uso de géneros musicales provenientes de espacios profanos y cuyos textos se escribían en lengua vernácula. Este artículo emplea la identificación de tópicos musícales en canciones escritas en lengua romance compuestas por Pedro Ximénez (1784-1856) presumiblemente para la catedral de Sucre, Bolivia, entre 1833 y 1856 para demostrar cómo se empleaban recursos sonoros provenientes del teatro y del salón en canciones de alabanza y exaltación por un lado; y lamentación y arrepentimiento por el otro, para el uso religioso.
In a seminal study, Cur cantatur?, Anders Ekenberg examined Carolingian sources for explanations of why the liturgy was sung, rather than spoken. This multidisciplinary volume takes up Ekenberg’s ...question anew, investigating the interplay of New Testament writings, sacred spaces, biblical interpretation, and reception history of liturgical practices and traditions. Analyses of Greek, Latin, Coptic, Arabic, and Gǝʿǝz sources, as well as of archaeological and epigraphic evidence, illuminate an array of topics, including recent trends in liturgical studies; manuscript variants and liturgical praxis; Ignatius of Antioch’s choral metaphor; baptism in ancient Christian apocrypha; and the significance of late ancient altar veils.
The focus of this Special Issue is language translation in the process of localizing religious musical practice. As an alternative to related concepts (such as contextualization and indigenization), ...musical localization is presented by ethnomusicologists Monique Ingalls, Muriel Swijghuisen Reigersberg, and Zoe Sherinian in Making Congregational Music Local in Christian Communities Worldwide (Routledge, 2018) as an effective way to account for the complex, diverse, and shifting ways in which religious communities embody what it means to be local through their musical practices: “Musical localization is the process by which Christian communities take a variety of musical practices – some considered ‘indigenous,’ some ‘foreign,’ some shared across spatial and cultural divides; some linked to past practice, some innovative – and make them locally meaningful and useful in the construction of Christian beliefs, theology, practice, and identity.” (13) This Special Issue shows the balance of translation priorities that local congregations can weigh as they work, between externally prescribed guidelines and exclusively local realities; between translations more oriented to the source language and culture, making that reality more plain, or to the recipients, ensuring that the meaning is adequately transferred to a new context; and between even the decision to translate or not, perhaps choosing to sing the songs of another culture and language as they are while risking appropriation.
