Church Music Research Articles

Restoration of the Roman Catholic Church Music Traditions of Galicia (From the Nineteenth Century)

The purpose of the research is to highlight the prerequisites and conditions for the development of organ and singing performances of Roman Catholics in Galicia at the intersection of the nineteenth and twentieth centuries, which influenced the current state of church music development. Research methodology. Based on the principles of objectivity and impartiality, the prerequisites for the development of Roman Catholic music in Galicia since the nineteenth century are considered. The comparative-historical method is used to draw chronological parallels of introducing the Roman Catholic rite to Ukrainian and Polish lands. The structural-functional method was used in the consideration of the process of liturgical performance traditions’ renewal of Roman Catholic music, which began in the nineteenth century and appeared in Galicia due to close interaction with the countries of Western Europe. The influence of the Caecilian and Bernardine movements on sacred art is noted. The historical and retrospective method was used to recreate the historical and social problems of the development of spiritual art in the 19th-20th century. The local and Western European resolutions of the 20th century and several official documents that influenced the renewal of church performance were emphasized. The socio-cultural method was used to indicate the influence of organ schools of the leading musical and educational centers in Lviv, Krakow, Tarnow, and Przemyśl on the improvement of the professional competence of performers. The cultural method was used to cover several artistic and spiritual events with the participation of secular and spiritual groups, thanks to which previously unknown composers have been introduced into scientific circulation. The scientific novelty of the research is that the article highlights the historical and cultural poly-confessional specifics of different ethnic groups' coexistence in the little-studied Galicia. The state of liturgical practice in the Roman Catholic rite is presented, the reasons for the emergence of the Caecilian movement in Europe and its influence on Roman Catholic church singing traditions in Galicia are illuminated, and the importance of official documents of the RCC is emphasized. Some vocal and choral educational institutions and schools for organists in Lviv, Krakow, Przemyśl, and Tarnów were mentioned. Attention is drawn to the intensification of the organization of musical life in the region and the emergence of publishing houses that contributed to the rapid reform of Roman Catholic liturgical performance since the nineteenth century. Conclusions. As a result, it was noted that the church music of the Roman Catholic rite of Galicia in the twentieth century underwent significant updates, returning to Gregorian chant and the canons of polyphonic liturgical music, and the improvement of the level of organ and singing performance led to the study of relevant subjects in modern universities.

The Lord’s Birth Troparion, Transylvanian Exegeses

"Church music of Transylvanian tradition expresses itself through the two quintessential styles, one through the voice and one through the text. The musical variants are recorded for the first time in musical notation by Dimitrie Cunțanu, in the year 1890, they also have a singed recording, which is still the today standard. The Lord’s Birth Troparion represents a good example of the music style in Transylvania. Fixed in musical notation and singed in most churches around here, this one met the most fixes and “repairs” out of them all and because of this today we have numerous versions of it. On another note, the musical double use, liturgical and ceremonial, it made it that this song to become the musical model which the church singers use when they want to sing without a noted song or book from which they are regulated. The multiple musical variants that exist nowadays demonstrate the presence of common background music, from which the ones that wrote the songs a long time ago and the today singers inspired themselves and sing like that today. The songs analyzed show us the value of the song variants ensemble, which together mark a singing style in the local zone. Keywords: troparion (hymn), The Lord’s Birth (song used in church), Dimitrie Cunțanu (song writer) "

Valaam as an Oasis of Spirituality and Church Music of Russia Abroad

Тhe topic of the transmission of tradition is understudied in musicology. This article contributes to the field by concentrating on the formation of the singing tradition of the parish of St Sergius in Paris. It studies the genesis of its musical tradition at the hands of Vladyka Benjamin (Fedchenkov) and M. M. Osorgin. Both loved Valaam greatly and found inspiration in Valaam and the Holy Trinity St Sergius Lavra to create a monastic liturgical style in the Parisian church. After comparing several chants, it looks at the musical books used by the choir of St Sergius, the Valaam Obikhod and the Psalmist’s Companion, and the different musical traditions they embody. After a review of the history of music at Valaam and a comparison of primary sources and contemporary analyses, the authors propose a picture of the singing tradition of the Karelian monastery prior to the Revolution. It then looks into historical figures such as A. Swan and M. M. Osorgin who studied and attempted to preserve ancient Russian practices in the diaspora, and how these two figures’ correspondence during the 1930s offers a unique window into their attempts at achieving this goal. The article concludes by reviewing the contemporary practices of the Parisian church, offering the reader a reflection on the survival of the great Russian melodic heritage in the Russia Abroad.

The Called. Church Musicians in the Face of Cultural Changes

The article is an attempt to diagnose selected cultural and social threats and to relate them to the everyday life of church musicians and their profession. In this regard, the reflection is based on the analysis presented in the book Kłopot za kłopotem. Katolik w dryfującej Europie [Trouble follows trouble. A Catholic in a drifting Europe] by Fr Maciej Zięba OP. In the second part, the article refers to the tripartite model of sacred music, consisting of feeling, aesthetics and mystery, proposed by an eminent theologian, member of the Pontifical Academy of Theology, Professor Inos Biffi. This model should provide answers to quetions of interest to us: How can a Christian musician plan and shape his professional future? Can he face the growing problems, and if so, then how?

Woman Hymns and Christian Songs: Analysing women’s marginalisation in Kidung Jemaat

Singing is a tool used by Christians to worship. The song forms the attitude of its adherents by following the verses contained in the song. This paper aims to analyse the Kidung Jemaat song used by Christians in Indonesia using the lens of feminist theology. The dominance of the patriarchal concept causes an imbalance in relations between society and the church. The research was carried out by qualitative research, observing and carefully reading the poems used by the church in general, especially Kidung Jemaat. The study found that church hymns mention very little about women's stories, whereas the Bible talks about women's ministry in the community. The people's attitude was formed over the years, causing women to be marginalised in Christian singing. As a result, women are also marginalised in worship in the church and community. The church needs to encourage church musicians to create women's songs in the church.

M. Leontovych’s Creative Heritage in the Context of Ukrainian National Culture

The purpose of the research is to systematise and give a comprehensive assessment of M. Leontovych’s creative heritage as an integral component of Ukrainian national musical culture. The research methodology is based on the application of an interdisciplinary approach to the studied issue. The author has used the following methods: comparative, analytical, cultural, source studies, and structural-logical. The scientific novelty consists in an attempt to comprehensively investigate the main parameters and characteristics of the creative heritage of M. Leontovych, an outstanding Ukrainian composer. Our tasks were also to reveal the multifaceted nature of his compositional activity, to analyse the methods of processing folklore works, to determine his contribution to the treasury of Ukrainian musical culture. Conclusions. M. Leontovych’s creative heritage is characterised by individuality, originality, and a high level of compositional skills. The artist entered the history of music as a brilliant creator of choral musical culture. The bases of his heritage are choral miniatures-arrangements of Ukrainian folk songs, which are still unsurpassed and are performed by the best national and diaspora choirs. Based on Ukrainian folk melodies, the composer created original choral compositions and gave them a unique sound. The themes of the composer's choral works are very diverse. These are ceremonial, spiritual, historical, humorous, playful, and everyday songs. The composer fruitfully continued both the centuries-old national choral traditions of brilliant famous and unknown secular and church musicians, as well as the classics of Ukrainian music. M. Leontovych managed to bring the Ukrainian song and choral singing to the world level, the works in his arrangements sound on all continents, demonstrate the beauty and originality of Ukrainian national folk music.
 Key words: choral singing, folk song, spiritual music, Ukrainian musical culture.

Church Music and Atheistic Ideology in the Last Decade of the USSR

Church Music and Atheistic Ideology in the Last Decade of the USSR

Health and Well-Being of Church Musicians during the COVID-19 Pandemic-Experiences of Health and Work-Related Distress from Musicians of the Evangelical Lutheran Church in Finland.

Earlier research has revealed contrasting gender results in standardized mortality ratios (SMR) for cancers and cardiovascular diseases of Finnish church musicians compared with the general population. In order to better understand the SMRs, our study examined gender differences in health and work-related experiences of church musicians with special focus on experienced stress and burnout on the one hand, and work engagement and mental well-being on the other. The data were collected by a questionnaire including both standardized measures and open-ended questions. Statistical methods (mostly χ2 tests) were used for examining gender differences in the measures, and the open-ended questions were analyzed using theory-driven content analysis. The two sets of data complemented each other. Analyses of the standardized measures showed that church musicians have more burnout and distress than the general population but the results were not gendered. However, the open-ended questions revealed clearly higher distress in females than in males. Based on the contrast between the measures and the open-ended questions, we raise the question about how well females who have distressing work can recognize the stress factors and change them, especially if distress becomes a “normal state”.

Texts About Music: Reflections on the Relations Between the Different Communities Living in 19th Century Istanbul

In the 18th century Istanbul, different congregational and ethnic groups started to come together in the public sphere. This created an environment of cultural transfer and exchange among the various congregations, that reached its climax at the beginning of the 19th century. Turkish classical music started to be written in Hamparsum notation which adapted the ancient note system of Armenian church music. The elements of the Rum Church and Profan Music met those of Turkish music. Several Jewish musicians emerged as masters who deeply affected the music in Istanbul. Gypsy composers entered the palace with their songs. In addition, the effect of western culture and music became more pronounced in the city. In the field of music print, developments included the writing down of Turkish music using Greek letters, Italian cantos with Arabic letters and Persian lyrics in Armenian letters. In this way, the cultures of the different ethnoreligious communities were intertwined with each other. The paper will present a portrayal of these interactions through an examination of written documents. To understand how Istanbul is nourished by both its own internal dynamics and the influences carried by the outside world, it will be tried toI will try to describe the sphere reflected in this article.

Development of Android-Based Digital Modules for Learning Music History in the Era of the COVID-19 Pandemic

The current state of the COVID-19 pandemic has changed everything, one of which is in the education sector. Educational technology must also adapt to existing conditions. One of them is by developing digital modules for students to be able to carry out learning activities anywhere. The purpose of this research is to develop a learning media that is packaged in the form of an Android-based Digital Module for the History of Music course for second semester students of class A & B Department of Church Music at STAKPN Sentani which is one of the solution ideas to increase learning motivation and increase student learning experience towards digital learning resources. This research is a development research using the ADDIE model. The subjects in this study were content experts for the history of music, learning media experts, and individual student responses, small group students, and students in field trials on the products developed. The variables studied in this study are Android-based Digital Modules that are used during the current Covid 19 pandemic. Research data were collected using interview instruments and questionnaires. The research data were analyzed descriptively qualitatively, descriptively quantitatively, and inferential statistics (t-test). The results of the study indicate that a Digital Module has been successfully developed which is packaged in the form of Android for Distance Learning activities and has been valid for use. The results of the inferential statistical analysis of the t-test showed that the product developed was able to increase student learning motivation.

Development of Android-Based Digital Modules for Learning Music History in the Era of the COVID-19 Pandemic

The current state of the COVID-19 pandemic has changed everything, one of which is in the education sector. Educational technology must also adapt to existing conditions. One of them is by developing digital modules for students to be able to carry out learning activities anywhere. The purpose of this research is to develop a learning media that is packaged in the form of an Android-based Digital Module for the History of Music course for second semester students of class A & B Department of Church Music at STAKPN Sentani which is one of the solution ideas to increase learning motivation and increase student learning experience towards digital learning resources. This research is a development research using the ADDIE model. The subjects in this study were content experts for the history of music, learning media experts, and individual student responses, small group students, and students in field trials on the products developed. The variables studied in this study are Android-based Digital Modules that are used during the current Covid 19 pandemic. Research data were collected using interview instruments and questionnaires. The research data were analyzed descriptively qualitatively, descriptively quantitatively, and inferential statistics (t-test). The results of the study indicate that a Digital Module has been successfully developed which is packaged in the form of Android for Distance Learning activities and has been valid for use. The results of the inferential statistical analysis of the t-test showed that the product developed was able to increase student learning motivation.

Transitions in Collegiate Church Music Pedagogy: Developing a Pedagogy for Undergraduate Modern Worship Curriculum

Church music pedagogy has a rich history dating back to the 9th century and is rooted in scripture and ancient traditions. Changes over the centuries have been gradual with incremental transitions; however, since the introduction of pop and rock musical stylings to church settings almost sixty years ago, changes have been swift and dramatic. The advent of modern worship has left Christian higher learning institutions scrambling to find a place where the curriculum would be useful and relevant to the modern 21st century Church. This paper seeks to examine the historical background of Christian church music pedagogy while suggesting strategies for adaptation and transition to the realities of modern church worship.

Explicit Identity: Church Music in the Global Age

Explicit Identity: Church Music in the Global Age

Turning points in shaping choral conducting practice: six tales of Norwegian conductors’ professional development

ABSTRACT Based on narratives on six choral conductors’ unfolding careers, the article investigates significant moments in professional trajectories – turning points – and how these shaped ongoing practices. The empirical material comprises interviews with conductors that represent different pre-conducting platforms – musicologist, music therapist, music educator, instrumentalist, singer, and church musician. Narratives present both an ontological view of experience – lived life is told life – and a methodology where the narrative analysis is the researchers’ integral retelling of fragments and episodes provided by the informants. The article draws on sensemaking theory to understand how the conductors attend to certain experiences, whether painful or pleasurable, and make their ongoing practice meaningful by modifying course of action as well as identity. A common theme is how they unexpectedly were thrown into the conductor position in their youth. Formal conductor education seems to take a highly ambiguous position in their developments, for some productive – and for some, even disruptive.

Said the Hooker to the Thief

Said the Hooker to the Thief

Музыкальные интерпретации Amor, Se Vuo’ Ch’i’torni Al Giogo Anticho Петрарки в канцонах Бартоломео Тромбончино, Бернардо Пизано и Себастьяно Фесты

The development of poetic Petrarchism in the first decade of the 16th century entailed the flourishing of Petrachism in music. During the transformation of poetic and musical composition due to the development of madrigal, musicians resorted to Petrarch’s poems as a way to free themselves from the dictate of normative song forms and language and to find new ways of musical expression. Among them are Bartolomeo Tromboncino, Bernardo Pisano, and Sebastiano Festa and their focus on Petrarch’s canzone Amor, se vuo’ ch’i’torni al giogo anticho. All the works were published within a short time span. The earliest is the canzone by Tromboncino, included in the Eleventh Book of Frottole by Ottaviano Petrucci (Fossombrone, 1514). Next came Pisano with a work from his author’s collection, also published by Petrucci (Venice, 1510). Finally, the composition of Festa became part of the First Book of Frottole, published by Giovanni Giacomo Pasoti and Valerio Dorico (Rome, 1526). In all the three cases the first stanza of the Petrarch’s canzone is set to music. Tromboncino’s version clearly shows the reliance on the frottola style and the possibility of a solo performance by cantore al liuto. Pisano creates a canzone-motet in a sublime contrapuntal style with a deep intonationbased elaboration of the text. Festa’s interpretation is based on his experience as a church musician. He has a penchant for complex texture, yet, in general, opts for a declamatory presentation of the text. In this way, the three stylistic interpretations of Petrarch’s canzone reflect both the creative individuality of each author and the general evolutionary trends of the first decades of the Cinquecento and its concepts about high secular vocal composition.

Григорианский хорал в органных сонатах Ж.-Н. Лемменса

The 1860s played a special role in the history of organ music in Belgium and France. This period was marked by the active development of substantive repertory and the establishment of the Franco-Belgian organ school. All the advances of this period could not be possible without the contribution of the Belgian composer, organist and teacher Jacques-Nicolas Lemmens. Brought up on the traditional for Catholic Belgium Gregorian chants and the organ works by Johann Sebastian Bach, Lemmens managed to organically transfer Bach's principles of working with Lutheran chant to completely different material of Gregorian hymns. Lemmens is also credited for the foundation of the first educational institution that trained church musicians. The three organ sonatas became the pinnacle of his work and the first examples of the synthesis of liturgical content and a secular form. The article reveals general patterns in the choice of themes from the large-scale corpus of Gregorian chants. The melody of the chorale can also be traced in parts in which no chorale is indicated. It shows a deep connection between Lemmens’s heritage and a thousand-year-old church musical tradition.

ADVOCACY FOR CONTEXTUALIZATION OF CHRISTIAN WORSHIP IN AFRICA

Though Christianity is the biggest religion in Africa (Johnson, 2018) its liturgy remains predominantly Western. Religion being a link between a community and its deity must be authentic and contextualized for it to have meaning. The introduction of Christianity and the damnation of the African culture by early missionaries, has contributed to the current worship style that can only truly be defined as foreign. Consequently, there has been retrogression over time of positive traditional worship practices that otherwise contribute to an authentic African liturgy. This paper seeks to demystify the notion that the African culture and its worship is entirely based on pagan practices and therefore void of emulative practices that can be used to enhance and contextualize worship. It seeks to illuminate the role that music plays in liturgy and worship within the African context. The method adopted for this study is qualitative and comparative approach. This study elucidates the fact that Africans are religious and contextualization of worship enhances and authenticates worship. It is a call on elite African musicians to educate church leaders and congregants on the need for contextualized worship based on idioms inherent within the African culture and worship. Recommendations on the incubation of contextualized African worship models; for both religious leaders and church musicians has therefore been made an integral part of this study.

Paying a Church Musician in the Nineteenth Century: Between Possibilities and Necessities

In Europe, the nineteenth century had its own kind of an impact on the development of church music: fellowships that looked over the repertoire of music played in churches and encouraged research into the sources of the old church music and the Gregorian chant started emerging in many different countries. In the middle of the said century, the Holy See released documents that repeatedly and strictly regulated music and especially the music played during masses. Bishops were ordered to establish new music schools, reinforce the existing ones, and form committees in charge of the repertoire, musical performance and care of musicians in dioceses. The salary of the members of church chapels depended on the length of their work and the level of their professionalism. Sometimes the best musicians earned as much as the chapel leader. The leader, who received a certain amount of money to be spent on salaries from the seniors of the church every quarter of the year, distributed it on their own accord, taking into the account the intensity and quality of the instrumentalists’ performance. Each choir singer received the same amount of money, and the salary of the organist depended on the number of masses. Gregorian chanters received smallest salaries. Often the musicians were paid in kind: in food, candles, clothes, footwear, vodka, beer, honey, and the like. Some church chapels even had a cook who prepared breakfasts and lunches specifically for the musicians. Unfortunately, at the end of the nineteenth century, the financial situation of church chapels the financial situation of church chapels changed for the worse much worse.

Die bepaling van ons mees geliefde Afrikaanse kerklied - 'n metodiese ondersoek

In hierdie artikel word 'n uiteensetting gegee van die proses en die resultate van die gebruik van 'n self-geadministreerde aanlyn opname en vraelys om die mees "geliefde" kerklied in Afrikaanssprekende gemeentes in Suid-Afrika te bepaal. Daar word aandag gegee aan aspekte soos die keuse van metode, steekproefneming van respondente, vraelysontwerp en die statistiese ontleding van response. Sommige van die risikoverminderingstrategieë wat die navorser gebruik, word ook uitgelig. Uit die ontleding van die data is dit duidelik dat gemeentes 'n voorkeur toon vir kerkliedere uit die Liedboek en Psalmboek, maar dat daar duidelik ook 'n liefde is vir liedere uit beide die VONKK- en FLAM-genre. Dit is verder ook duidelik dat die Psalms (al is dit net 'n paar) in die amptelike Afrikaanse Liedboek steeds 'n belangrike rol speel in die spiritualiteit van baie van die Afrikaanssprekende gemeentes in Suider-Afrika. Hierdie artikel dra by tot die metodologiese debat in die navorsingsveld van kerkmusiek.