Church Music

„Die Päpste und die Kirchenmusik als Politikum im Kulturkampf“, in: Papsttum und Kirchenmusik vom Mittelalter bis zu Benedikt XVI. Positionen – Entwicklungen - Kontexte, proceedings of the conference Rome 2006, ed. Klaus Pietschmann, Kassel 2012 (= Analecta musicologica 47), 263–275

by Linda Maria Koldau

Beauty Springeth Out of Naught: Interpreting the Church Music of Herbert Howells

by Jonathan Clinch

British Postgraduate Musicology - Volume 11

“Church Singing and Chant in Galicia, 1900-1944. An Historical and Theological Survey,” Church, State and Nation in Orthodox Church Music. Proceedings of the Third International Conference on Orthodox Church Music University of Joensuu, Finland 8 - 14 June 2009, ed. Ivan Moody and Maria Takala-Roszczenko (Jyväskylä, Finland: The International Society for Orthodox Church Music, 2010), 88-103.

by Daniel Galadza

Marenzio spirituale: The Sacred Italian Music of Luca Marenzio“, in: Rivista internazionale di musica sacra 20 (1999), 139–198

by Linda Maria Koldau

„Exegese mit musikalischen Mitteln: Die Psalmvertonungen von Claudio Monteverdi“, in: Musik und Kirche 67 (1997), 367–375

by Linda Maria Koldau

„Monteverdi, Rigatti und der stile concertato der 1630er Jahre“, in: Schütz-Jahrbuch 24 (2002), 79–99

by Linda Maria Koldau

Ultramontanismus in der Musik: Der Kölner Domkapellmeister Friedrich Koenen

by Linda Maria Koldau

La «prattica ben ragionata» di Francescantonio Vallotti

by Mark Lindley

Published in “Rivista italiana di musicologia, v.15 (1980).

Between “Heathen’s Tumult” and “Graceful Movements”

by Nepomuk Riva (geb. Nitschke)

Between “Heathen’s Tumult” and “Graceful Movements” - How the first missionaries perceived music in the Bakossi area, published in "Voices of Kumba, Theological Reflections for Cameroon, Africa, and the World", 2010

The relationship between religious thought and the theory and practice of church music in England, 1603 - c.1640

by Peter Webster

Ph.D. thesis, University of Sheffield, 2001.

This thesis explores the ways in which people in early Stuart England understood the place of music in worship, its... more This thesis explores the ways in which people in early Stuart England understood the place of music in worship, its effect on the auditor, and the task of determining what was appropriate music for the task. Central to this is the task of exploring the validity of the trend in current historiography to assign to the ‘Laudian’ movement a polemically and practically distinctive view of music in worship.
Part One deals with the published and manuscript discussions of the nature and role of music. It contends that in the 1630s music became associated with one of the two rival conspiracy theories of Popish tyranny and Puritan profanity and subversion. In subsequent chapters, it examines the common language in which music was discussed; the use of Biblical, patristic and continental authorities; and continental and broader philosophical understandings of music. It is concluded that no clear theologies of church music can be attributed to church parties as identified in the historiography to date.
In Part Two, the thesis considers the surviving musicological evidence of practice in cathedral and collegiate churches from 1603 onwards, to attempt to discern any patterns of distinctive usage in ‘Laudian’ institutions. It examines the use of musical instruments, the incidence of various anthem texts, the singing of parts of the liturgy, and the incidence of compositions in various styles. It is argued that much ‘Laudian’ practice was indistinguishable from that in non-Laudian cathedrals, and that the habit of the scholars to extrapolate a ‘Laudian’ style from the work of John Cosin is a misleading one.
Overall, it is then concluded that the necessary place that church music has been given in the Laudian experiment is not a tenable one, either in theory or practice. There was no necessary relationship between Laudian churchmanship and elaborate church music.

The older the singer the better!

by Oliver Gerlach

Gerlach, Oliver. 2006. 'The older the singer the better! On the role of creativity in passing down liturgical music from the 19th and 20th centuries'. In: «Papers read at the 12th Meeting of the IMS Study Group “Cantus Planus” Lillafüred/Hungary, 2004. Aug. 23–28», ed. by László Dobszay, 883–891. Budapest: Institute for Musicology of the Hungarian Academy of Sciences.

In autumn 2002 fifteen music manuscripts of the early 19th century from Bosporos and Small Asia regions were... more In autumn 2002 fifteen music manuscripts of the early 19th century from Bosporos and Small Asia regions were rediscovered in the collections of the state library in Berlin. Four of them in late Byzantine Round notation before the introduction of the modern notation around 1814, which was invented by Chrysanthos. So these manuscripts can be studied in comparison and offer new insights in the change of notation – as well as in the change of the medial function of the notation.

The notation of the New Method, which eliminated the signs of the Great Hypostases, could be read more easily, but its definite form abandons the freedom of the traditional notation and tends to be very normative. Otherwise a lot of ornaments were not indicated by the new Chrysanthine notation and the singer must have in mind the traditional way of singing in recognizing some passages of the new notation – a knowledge which seems to pass over.

A second step of this study is the analysis of field recordings made by Greek Orthodox singers in the last three decades – 150 years after the reform. Its focus is on the individual creativity that a singer spends on singing out of the modern notation, which is quite in use since Chrysanthos – partially improved by the reintroduction of some Great Hypostases.
The paper is based on philological studies of manuscripts, ethno musicological research and systematic analysis of field recordings (historical field recordings of the phonogram archive Berlin, of the Greek publication series μνημεια εκκλησιαστικης μουσικις edited by Manolis K. Chatzēgiakoumēs and own field recordings).

"The Heavy Mode (ēchos varys) on the Fret Arak" — Eastern Chant in Istanbul and the Various Influences during the Ottoman Empire

by Oliver Gerlach

Paper 02/12/2010, Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council of Traditional Music (ICTM), Institut of Musicology, Department of Music, Martin-Luther-Universität Halle/Wittenberg

The living traditions of monodic Orthodox chant were going through innovations, as the music theory and its notation... more The living traditions of monodic Orthodox chant were going through innovations, as the music theory and its notation were created starting from 1814. They are the results of a reform finished under the third generation or the “4th music school of the patriarchate” (Istanbul). The reformers, who were called “the three great teachers”, had close relationships with musicians at the Ottoman Court, with musicians belonging to Sufi brotherhoods, and with synagogal singers—a context which Rudolf Maria Brandl called 1989 the Levantine community of traditional musicians (“The Music of the Fanariots”).

The paper is about the performance practice of Greek-Orthodox singers and is focused on the various forms of the diatonic (papadikan) ēchos varys, as they can be found in the living tradition today. It is also an attempt to trace back the theoretical concept of this mode and to answer the question, to what extent the reformers were inspired by traditional musicians of the Levant.

About the Import of the Byzantine Intonation AIANEOEANE in an 11th Century Tonary

by Oliver Gerlach

Paper 12/12/2007, Internationale Fachtagung „Byzanz in Europa – Europas östliches Erbe“ (Greifswald, 11th–15th December 2007)

Recent studies have shown that a sophisticated framework of the tone system is used in 11th century Western tonaries... more Recent studies have shown that a sophisticated framework of the tone system is used in 11th century Western tonaries which refer to the Boethian mensura of the monochord. What is less known, however, is the fact that in some tonaries the system used does not work properly-one example is a well-known compilation of older tonaries called "alia musica". These sources are of particular interest for scholars of Byzantine music for they describe the Greek "oktōēchos system" . The Latin tonally proves that some E-mode melodies in the Roman-Frankish redaction have to be sung in such an intonation as it differentiates between a 10w (extreme) and a high (intense) finalis E, an intonation which does not exist within the Boethian diagram. This was obviousIy an imitation of contemporary Greek singers. The anonymous compiler and commentator of the treatise also offers a theoIogicaI interpretation of this intonation concept which is described by the intonation fonnula "AIANEOEANE".

Gender In Church Music: Dynamics of Gendered Space In Muziki Wa Injili In Dar Es Salaam, Tanzania

by Imani Sanga

As It Was In The Beginning, Is Now, and Ever Shall Be?: Church Organists, Community, and Musical Continuity

by Deborah Justice

Published in Pacific Review of Ethnomusicology, Volume 14, 2009

Do local church organists form communities? As ritual specialists, church organists have long played an indispensable... more Do local church organists form communities? As ritual specialists, church organists have long played an indispensable role in facilitating North American and European Christian worship. Despite the diverse musical practices of Christianity, most mainline Protestant Sunday morning organ music falls within a relatively narrow range of repertoire and performance practice. Such musical continuity implies a level of communication between organists. Yet, since most organists work similar hours on Sunday mornings, they only infrequently observe each other during services. What explains the musical similarities? Do organists share educational backgrounds and sources of repertoire? How does musical information travel between organists? How does the contemporary reconfiguration of mainline Christianity impact organists’ sense of community? In this paper, I explore these issues through one basic question: do local organists form a musical community?

HARMONY AND GOOD COMPANY: THE CHOIR-BAND AS A VEHICLE OF SOCIABILITY IN NOTTINGHAMSHIRE, c.1750–1830

by Katie Holland

Transactions of the Thoroton Society, 115, 2010

New theories for old music: An analysis of Lamentations settings by Thomas Tallis and William Byrd

by Enoch Jacobus

The Theology of Atonement in Eastern Orthodoxy and Lutheranism Viewed Through Hymnody

by Kyle Schiefelbein

Published in "Dialog: A Journal of Theology" 48, no. 4 (Dec. 2009)

The last twenty years have seen a resurgence in dialogue between Lutheranism and Eastern Orthodoxy, especially as the... more The last twenty years have seen a resurgence in dialogue between Lutheranism and Eastern Orthodoxy, especially as the dialogue pertains to deification, known as theosis. For Eastern Orthodox Christians, theosis is one way to describe atonement. This paper approaches the theology of atonement through the lens of each tradition's hymnody. Although the images in the hymns are not identical, their themes are similar enough to reinforce the present-day dialogue between these two traditions.

Anglican "Establishment" Reactions to "Pop" Church Music in England, c.1956-1991

by Peter Webster

Co-authored with Ian Jones, in Kate Cooper and Jeremy Gregory (eds), Elite and Popular Religion (Studies in Church History 42, 2006) pp.429-441

Expressions of Authenticity: Music for Worship

by Peter Webster

CO-authored with Ian Jones, in Garnett, Grimley, Harris, Whyte and Williams (eds), Redefining Christian Britain: Post-1945 perspectives (SCM Press, 2007)