Chant research

The Influences of the Dominican Order in the Middle Ages
Taylor Institute, Lincoln College, and Blackfriars Hall, Oxford University

September 10-12, 2015

This interdisciplinary conference will explore the influences of the Dominican Order on all aspects of medieval life, encompassing the large-scale influences of the Order and the legacy of its prominent figures, as well as the impact that the Order had on those that came into contact with it.

The keynote paper will be delivered by Mary Rouse, on ‘The Vital Impact of the Dominicans on Books at the University of Paris, 1217-1350’.  The program will feature papers on the Dominican influence in England, Northern Europe, Italy, Eastern Europe, and the Byzantine world; the influence of Friars on other movements and communities; Dominican influence on architecture, art, books, music and liturgy; and influential Dominican philosophers and theologians.

Confirmed speakers are from the UK, the USA, Canada, Austria, Denmark, France, Germany, Israel, Italy, the Netherlands, and Switzerland.  In addition, the conference will include a walking tour of medieval Oxford, and a concert of music that can be associated with the Dominican Order. 

http://www.torch.ox.ac.uk/influences-dominican-order-middle-ages

This talk is being presented on the heels of the release of a two new publications in the Metropolis of Portland of the Divine Liturgy in English in Byzantine notation and the Service of the Great Vigil of Pascha (and subsequent simplified editions in Western notation for our emerging mission communities). This edition is not simply another re-transcription of the Seattle Liturgy Book will prayerfully represent an adaptation of the classical Patriarchal and Athonite repertoire into the English language or at least a small part of it. It is my hope in giving this talk that I can give some insights as to Byzantine musical history (and hysteria) as well as the Metropolis Cathedral's methodology and practice, as it presents in many ways a departure from what has been accepted as norms and conventional wisdom of the recent past. Byzantine chant in English-a cultural history While understood as originating from hymns in the Greek language, the Byzantine musical tradition has been successfully transplanted into not only Arabic and Syriac languages, but also into the southern Slavic Orthodox nations of Serbia, Macedonia, Bulgaria and Romania, not only using the received Chrysanthine notational reforms, but also as the received classical style of singing. It seems only natural that Byzantine chant with its traditional style, theory and notation should be not only taught, but chanted in worship in our native English language here in the New World.

A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription.

For a recording and score-video see the link below:
https://www.youtube.com/watch?v=_p9WQlyVPrA

Journal of the Alamire Foundation 2 (2010), 233-269.
This paper focuses on the Cistercian historia in honor of the beguine and recluse Mary of Oignies. It provides a context for the office by studying the musical and literary culture at the Cistercian abbey of Villers, where it was composed, and aspects of the liturgical legislation in the Cistercian order. Furthermore, it suggests that the abbey protected the early beguine movement and promoted the cult of local saints in general, and that of Mary of Oignies in particular. The historia's only source, combined with a seventeenth-century reference, suggests that it was not composed for use at Oignies — where a different office, no longer extant, was sung — but for the Cistercian devotion to Mary of Oignies, or perhaps for a specific, not yet identified ceremonial event. The analysis of the office's texts demonstrates that it relies on the vita and its pastoral theme of the Seven Gifts of the Holy Spirit, and furthermore reflects the prominence of Bernard of Clairvaux and Mary Magdalene in the order. It cannot be certified if the author of the office is Goswin of Villers, even though it seems probable on account of his authorship of several vitae of local saints and his duties as a cantor at the abbey. Musically, the historia seems to be in accordance with the characteristics of the genre in the thirteenth century, and thus suggests that informed musicians were at work at the abbey.

The Middle Ages greatly valued originality and creativity, although these qualities were not only linked in the long chain of imagination (as we usually do today), but they were also framed in the field of memory. Therefore, the usual assumption that memory is an exclusive resource of an oral society does not seem to be entirely satisfactory: in the Middle Ages the memory was equally present in the more cultured and literary social strata. In fact, during the medieval period, the influence of an inherited pedagogy (from Classical rhetorical roots) meant that the cultivated memory (and the affective appropiation of preexistent material) remained fundamental to medieval literary culture because it was understood as essential not only to reading and composition, but also to the formation of character. This paper suggest some thoughts and sacred and profane examples on this issue.

En 1885, Alessandro Parisotti publicó una antología de partituras de arias barrocas titulada Arias antiguas Italianas, en una versión para para canto y piano. Este libro se convirtió desde entonces y hasta la actualidad en el texto obligado de las cátedras de canto de todos los conservatorios del mundo, imponiendo la lengua italiana como idioma natural del canto, dejando de lado importantes y antiguas tradiciones del arte lírico como la francesa, la inglesa o la española, y ayudó a instalar el canon del canto lírico italiano. Con el ánimo de dotar las cátedras de canto de América Latina y España de un material didáctico de índole similar, pero escrito originalmente en idioma español, se ofrece aquí una antología análoga a la de Parisotti, Arias antiguas del Nuevo Mundo, contentiva de arias, villancicos, cantadas y oratorios barrocos en lengua castellana, compuestas en Hispanoamérica durante los siglos XVII y XVIII. Se trata de un repertorio prácticamente desconocido, pero de inmenso valor musical e histórico, cultivado en catedrales, conventos, iglesias y cortes de la América colonial durante el período de dominación española. Aquí están representados compositores como Manuel de Sumaya, Esteban Ponce de León, Tomás de Torrejón y Velasco, José de Orejón y Aparicio, Juan de Herrera, Rafael Antonio Castellanos, Manuel José de Quiroz, Esteban Salas o José Francisco Velásquez “el joven”, quienes ejercieron su oficio en México, Cuba, Perú, Guatemala, Colombia y Venezuela, escribiendo música equiparable en calidad musical y técnica a la de sus contemporáneos italianos.
El fin de este libro es difundir entre los cantantes líricos, y muy especialmente en las cátedras de canto de América Latina y España, un repertorio que hasta ahora ha sido de muy difícil acceso. El proyecto fue financiado con fondos de la Fundación Grammy Latino para ser difundido con una licencia Creative Commons a través de la web, por lo que la distribución de esta partitura así como su ejecución pública y grabación en disco es absolutamente libre y gratuita.

This thesis provides the first comparative analysis situating the chants of Hildegard von Bingen within the mid-12th century Cistercian liturgical reform. In applying Cistercian theory, a clear distinction between the melodies written before and after Hildegard’s move to the Rupertsberg is exposed. In practice, her later chants demonstrate shared compositional strategies and motifs with the chants composed under the Cistercian reform, as demonstrated by antiphonals from the third quarter of the 12th century. Moreover, cross-referencing subjects represented within the Dendermonde Codex with those feasts and commemorations added to the Cistercian calendar between 1150 and 1175 suggests that the liturgy celebrated at the Rupertsberg was Cistercian influenced. A review of Hildegard’s correspondence in her later years suggests that she intended the Cistercian liturgy to continue after her death.

This paper is a study of Hildegard's Musical Hermeneutic, and the upload includes the bibliography of the entire volume in which the paper appears: Unversehrt und Unverletzt: Hildegards von Bingen Menschenbild und Kirchenverständnis Heute, ed. Rainer Berndt SJ and Maura Zátonyi OSB

This thesis provides the first comparative analysis situating the chants of Hildegard von Bingen within the mid-12th century Cistercian liturgical reform. In applying Cistercian theory, a clear distinction between the melodies written before and after Hildegard’s move to the Rupertsberg is exposed. In practice, her later chants demonstrate shared compositional strategies and motifs with the chants composed under the Cistercian reform, as demonstrated by antiphonals from the third quarter of the 12th century. Moreover, cross-referencing subjects represented within the Dendermonde Codex with those feasts and commemorations added to the Cistercian calendar between 1150 and 1175 suggests that the liturgy celebrated at the Rupertsberg was Cistercian influenced. A review of Hildegard’s correspondence in her later years suggests that she intended the Cistercian liturgy to continue after her death.

This is my PhD dissertation. The third chapter might be interesting since it shows that the natural scale was the primary scale used in European antiquity (the so-called Folk Music Scale). It combined with the early diatonic scale (stacking thirds on the diatonic scale that those instruments couldn’t play) to create our modern scale. The Highland bagpipe is an ossified hybrid between the two.

The fourth chapter might be of interest to composers because it explains the rhythm of languages (especially English) and also the pitch-patterning of the spoken word which is used as the basis of melody.

The link brings you to the University of Otago library which is open and non-private. So you have to force your web browser to continue to the site.

ABSTRACT:
The purpose of this study was to investigate through archival and musicological analysis the audio recordings of Fenian lays made in the middle of the last century. These recordings were made from informants who learned the material orally; they contain cultural elements that assist in comprehending the musical mechanics of Fenian lays at a time when their performance practices were being extirpated by foreign musical influences. These elements include Indo-European (IE) thematic material, poetics, language register, pitch structuring, rhythm, and vocal techniques. Audio recordings of Fenian lays from Ireland, Scotland, and Nova Scotia, Canada were analysed in terms of their linguistic-musical material. Results show that the rhythm of the lays did not display a repetitive musical metre but the more complex structure of speech. However, rhythmic patterns did alter with volume. Also, resonance tuning was apparent. Many characteristics associated with volume in lay recordings exist in declaimed speech as well; both may be seen to act as a bridge between speech and metered song. Lay poetry appeared to be syllabic, which is unusual for a stress-timed language; this reflects an Indo-European genesis that is supported by the presence of oral formulaic language. Both stress and accent shifted pitch by poetic line to match spoken characteristics. A high language register was present, which does not indicate composition by the intelligentsia for use at court, but rather a fear-induced protective linguistic device apparent in all social classes. Moreover, the addition of delineated pitch to spoken declamation may be seen as an attempt to further increase the communicative register. The pitch structure was seen to be anachronistic, matching the linear scales played by pastoral instruments, particularly that of wooden shepherd trumpets used since at least the beginning in the Early Neolithic Age.

More than a dozen 15th- and early 16th-century music theorists prescribed or referred to a formation of the chromatic scale in which all 5ths are pure except B-F#. In this kind of tuning, the 3rds and 6ths containing one sharp (D-F#-A-C#-E-G#-B-D#) are impure by less than 1/10-comma, i.e. for all practical purposes pure. The liturgical keyboard music in the Faenza Codex (ca.1420) and some non-liturgical pieces in the “Buxheim Organ Book” (the largest 15th-cenbtury source of keyboard music) fit this kind of tuning particularly well. Other 12-note Pythagorean dispositions are referred to in 15th-century sources, but none anywhere near so often as this one. Just how widespread its use became is moot; yet, by enabling keyboard instruments to demonstrate the sound of a triad in virtually pure intonation (in cadential chords containing one or two sharps) it probably affected the harmonic usage of some late Gothic composers such as Matteo of Parugia. Pythagorean intonation may thus have (a) abetted the development of tonality by promoting “half-cadences” in the Dorian mode, and (b) whetted an appetite, which only meantone temperaments could satisfy on normal keyboard instruments, for sonorous triads throughout the musical fabric. Most of the Buxheim repertory, as well as the 1452 version of Paumann’s “Fundamentum,” does not fit any Pythagorean tuning very well and appears, in certain cases at least, to requite some form of meantone temperament for its proper effect. Gaffurio, Schlick and Spataro referred in their writings to tempered tuning, and the 1480 contract for the cathedral organ at Lucca implies a meantone temperament.

The essay focuses on a historical moment placed at the beginning of the parable outlined by the technology of music writing in Western culture: the introduction, at the beginning of the ninth century, of the first neumatic notations, whose main aim consisted in recording the repertoire of liturgical songs known as Gregorian chant. Assuming that writing in medieval culture constituted a technology of memory, the essay tries to interpret in this light the characteristics of neumatic notation, as well as some formal characteristics of liturgical chants transmitted through it.
A new interpretation of the typical formulaic construction of Gregorian chant is suggested: formularity is understood as a result of a sophisticated use of memory based on the conceptual model of writing. The analysis of some pieces handed down in melismatic neumatic notation, sometimes accompanied by texts composed ex novo (prosulae), shows how neumatic writing corresponds to analytical and creative strategies based on memorization. An idea that emerges at the end of the discussion concerns the link between the technology of memory and the essentially open vision of the liturgical chants – especially the liturgical tropes – namely the fact that they were not conceived as autonomous and concluded units, but rather as different configurations of a number of fixed (mnemonic) elements that feature a wide range of different songs.

The prestigious and exceptional characterization of Hildegard von Bingen, promoted for at least the past century, and popularized within the past few decades, has become the standard expectation in most textbooks and curriculums on Medieval Music. Some questions arise against many historians" claims however. While there might be many surviving chants of Hildegard, possibly numbering more than any other single contemporary individual, this claim seems to propose that there was no other individual writing significant amounts of innovative monophonic liturgical music during this time. However, evidence available to musicologists for the past fifty years would indicate otherwise. Music by such 12 th century composers as Hermannus Contractus clearly shows evidence for an extremely prolific and progressive monophonic compositional style at least fifty years before Hildegard von Bingen. This evidence suggests that the musically historical position that historians have given Hildegard von Bingen is perhaps over inflated and ultimately incorrect, neglecting the novel innovations of composers a generation before her time.

Although the general position within musicology is that all musical instruments originate from the Middle East, it is still possible that in the case of the gusla – at least regarding the way it was played, with a bow – that it was a Slavic innovation or a modification of a similar instrument. The theory of the bow’s origin from the nomadic people of Central Asia does not exclude the Slavs, who were in their vicinity and lived in a similar manner.
The etymology of the term is the strongest proof concerning the specificity of the gusla. Compared to the other similar instruments, their names subsisted with certain variations among all the people who adopted them. For instance, the Sumerian pan-tur in Greece and Byzantium became pandoura and pandura in Rome, then the Semitic kinnor became kinyra, kithara in Greece, the Arabic rabab became rubab, rabob, robab, ribab, rbab, rababa, in Europe rebec, etc. It may be expected that the Slavs had some kind of a transcription of the rabab, the zither, or the Byzantine lyre, not their own terms which managed to subsist in spite of the strong influences of the musical traditions of the powerful empires throughout the medieval era and up to modern times.

The article presents an old folio kept in the church of Däbrä Śaḥl (Gärˁalta, northern Ethiopia), one of a few other leaves, all originating from a codex dating to a period well before the mid-14thcentury. The codicological and palaeographical features reveal the antiquity of the fragment. The content of the folio is remarkable since it contains chants dedicated to St. Gärima (also known as Yǝsḥaq) which can be identified as the chants for the Saint from the Dǝgg w a, the main Ethiopian chant book. In the Ethiopian Orthodox Täwaḥǝdo Church the feast of Gärima is celebrated on the 17th of Säne. By means of the fragment of Däbrä Śaḥl, the composition of the liturgical chants for Gärima can be dated to a time much prior to the mid-14th century. Moreover, both the chants and the 15th-century Acts of Gärima by Bishop Yoḥannǝs refer to a famous miracle worked by the Saint. This fact proves that the miraculous account, in whatever form, was in circulation prior to the mid-14th century.

Many scholars have described Dufay's sense of harmony and tonal structure, but almost no one seems to have noticed that some of his early music contains 3rds, 6ths and major 10ths used in a remarkably salient way as harmonic intervals between a natural and an explicit sharp. This is shown in Examples 1-17; very little equivalent use can be found, in Dufay's early songs, of the corresponding harmonic intervals among the naturals or between a natural and a flat.

Balázs J. Nemes: Das lyrische Oeuvre von Heinrich Laufenberg in der Überlieferung des 15. Jahrhunderts. Untersuchungen und Editionen (The Lyrical Oeuvre of Heinrich Laufenberg in 15th Century Manuscripts) (ZfdA Beiheft 22), Stuttgart 2015.

In the scholarship on Heinrich Laufenberg, itself more a trickle than a river, the instances of disparate transmission have played an essentially marginal role. They ought to deserve significantly greater attention, and not just in connection with the project taken up by Max Schiendorfer about ten years ago, which has as its aim the reconstruction of the lost Strasbourg song manuscript *B 121. It is not just textual criticism of Laufenberg’s songs that can profit from study of the manuscripts, but literary interpretation as well. Beyond all that, a glance at the manuscripts can offer new impulses and insights in response to the question regarding the function and historical context of the songs. These are considerations that have impelled me to turn my attention to the manuscript transmission of Laufenberg’s lyric oeuvre. Above all else, I hoped to find in it more information about the final stage of Laufenberg’s life, which he spent as a priest brother in the Strasbourg Hospitaller commandery zum Grünen Wörth. If one takes the scholarship at its word, Laufenberg’s considerable oeuvre achieved “in all likelihood, scarcely any” circulation outside this convent. In fact, the “sparsity of the instances of disparate transmission”, according to Burghart Wachinger, permits the conclusion that “many of the songs never left the private literary sphere of the author himself (and presumably that of a very few of his friends).” Wachinger thought of these ‘friends’ primarily in terms of individual women and communities of religious women to whom Laufenberg would have provided pastoral care. Others see Heinrich’s literary productivity more in connection with his general duties as a secular priest, an office that he exercised initially in Freiburg, and then in Zofingen, before he entered the Hospitaller commandery in Strasbourg in 1445. We do not know what activities he pursued here as a conventual brother. It is assumed that he could have had some responsibility for the provision of pastoral care to the urban convents of religious women. And indeed, as I shall now demonstrate, two manuscripts with songs and prayers held to be authentic Laufenberg products can be attested in close proximity to one such female convent in Strasbourg. The larger part of the manuscript transmission, however, takes us away from Strasbourg, and attests that individual songs left the compass of the author’s immediate circle in Freiburg and Zofingen during his lifetime; as long as, that is, we are really dealing with Laufenberg songs.

Historically, Ethiopian sacred Christian chant may offer unparalleled insight into the human progression of oral to written cultures. Additionally, it has  the potential to offer scientists a new perspective on the structure of memory and the needs of a culture for both music and a method for communicating it.. In addition to expanding our knowledge of eastern Africa, it has far-reaching repercussions in the fields of music, epic poetry, medieval history and human memory.

This study explores the idea of music being used in interreligious engagements involving Muslims, both so non-Muslims can be aware of Muslim sensitivities and so Muslims can positively contribute to such types of engagement. After explaining Muslim reservations, I identify four genres of sound art (Qurʾān recitation, the call to prayer, liturgical chants, and eulogy chants) which are deeply engrained in the Islamic tradition such that Muslims are united in attesting to their sacredness. I explain a little about the important features of the sacred music of the Islamic tradition and note that the type of Muslims who risk being left out of dialogue are the same Muslims who are most sensitive regarding music. I argue that Muslims can be both engaged and engaging through the use of music, without their musical sensitivities being side lined.

In the late 11th /early 12th century Pistoia was a flourishing centre for the production of tropes and has consequently attracted increasing attention from scholars. This essay looks at the main extant evidence of that work: the troper that constitutes the first part of the composite manuscript C121 (Pst 121) in the Archivio Capitolare of Pistoia Cathedral. For the first time systematically inventoried and catalogued (see appendices), the contents of the troper are seen in relation to those of two other extant documents, the well-known manuscripts C119 and C120 from the same Archive (Pst 119 and Pst 120), with which it seems to form a coherent whole and which in all probability were produced within the same circle. The five codex components reunited in the three manuscripts have various features in common and seem to be complementary to each other. The recent hypothesis that this group of manuscripts dates from the time when Hildebrand was Bishop of Pistoia (1105-1131) - a period when the Chapter of the Cathedral of San Zenone achieved particular levels of power and independence - is considered and examined. The general characteristics and some specific (sanctoral) features of the repertoire in the three manuscripts would seem to support the claim. Other evidence taken into consideration is the fragment 622.27 in the Archive of the History Institute in St. Petersburg (SpA27). However, doubts are raised regarding its recent attribution to Pistoian circles. The essay then examines in detail the repertoire of tropes in Pst121, looking also at the fragment now in the library of Rodrigo de Zayas in Seville (SeZ2). Particular attention is focussed on the introit tropes which make up the largest single part of the manuscript (and of Italian tropers in general). The analysis brings to light the large number of original re-workings of features taken from abroad (particularly, France), and the considerable similarities with two important collections of tropes from in Central-Northern Italy (the Volterra troper Vol 39, dating from the second half of the 11th century, and the gradual-troper RoA 123 in Bologna, c.1029-1039). The last aspect of the concordance and comparison of the various versions concerns the relation between Pst 121 and the traditions that existed in Southern Italy. Here, one work that stands out is the "Gentis linguae", whose importance in the context of Pst 121 is clear from the fact it was intended for the celebrations of the feast day of the patron saint, San Zeno. The piece is to be found only in Pst 121 and in two manuscripts in Benevento. The parallel with the phenomenon of 'acclimatization' that Planchart notes with regard to the piece "Mulieres quae ad sepulchrum" suggests that the work was actually written in the Benevento area. "Gentis linguae" would therefore provide further evidence of the passage of melodies from South to North Italy, and at the same time confirm the central role of Pst 121 in this phenomenon.

Die Studie verdankt sich der Identifizierung des ʽHeltauer Marienliedesʼ in zwei Handschriften, die wie die von CAROLA L. GOTTZMANN 1991 bekannt gemachte Grazer Handschrift Ms. 1972 dem bairisch-österreichischen Raum entstammen: Paris, BN, Ms. lat. 16664, fol. 4r und Wien, ÖNB, Cod. 3835, fol. 82v-84r. Mein besonderes Augenmerk gilt der Vorstellung der überlieferten Handschriften des ʽHeltauer Marienliedesʼ (die Handschrift aus Heltau [rumänisch Cisnădie, ungarisch Nagydisznód] ist seit 1916 verschollen), geben sie doch Aufschluss wenn auch nicht über die funktionale Einbindung, so doch über die Überlieferung dieses Textes, der im deutschen Südosten nachweislich als Lied wahrgenommen wurde. Mir geht es also nicht (bzw. nicht in erster Linie) darum, ob das Lied in liturgischen oder außerliturgischen Kultzusammenhängen verwendet wurde oder der privaten Lektüre diente, denn die untersuchten Handschriften bieten keine eindeutigen Indizien, die es erlauben würden, diese im Zusammenhang der Diskussion um die Funktionsbestimmung des mittelalterlichen geistlichen Liedes aufgekommene Frage zu beantworten. Ergiebiger scheint mir, die Orte der Überlieferung in den Blick zu nehmen. Gefragt werden soll also nach der Verortung unseres Textes innerhalb der jeweiligen Handschrift und der Zuordnung der jeweiligen Handschrift zu einer bestimmten sozialen Formation. Diese Untersuchungen zur Überlieferung werden durch eine Edition komplettiert, die das ʽHeltauer Marienliedʼ in synoptischer Form präsentiert, indem auf der einen Seite die durch den Heltauer Text vertretene ostmitteldeutsche, auf der anderen die durch die Handschriften aus Graz, Paris und Wien repräsentierte bairisch-österreichischen Texttradition dargeboten wird.

The spoken language phenomenon in social interaction, like in the sports
discourse domain, is always exciting but rare to be discussed. This study
focuses on the textual meaning of the supporting chants to support football
players sung by supporters of the English Premier League (EPL), especially
from the six biggest clubs (The Big Six). It is a qualitative descriptive study
using content analysis. Within the Systemic Functional Linguistic approach,
this study reveals textual meaning through the analysis of Theme and Rhyme
consist of the Topical Theme; Unmarked Topical Theme and Marked Topical
Theme, Textual Theme, and Interpersonal Theme. The data are clauses taken
from the football player supporting-chant lyrics from the supporters of the big
six clubs. The analysis results are obtained through domain, taxonomy,
componential and cultural themes analysis. Six chants are analyzed by textual
meaning. Topical Theme analysis shows the development of a topic in the
lyrics of supporting chants. Textual Theme indicates the connecting clause
from the previous. Interpersonal Theme shows the interaction and transacting
socially. These themes created a smooth information flow on the chant.
Besides, it brought the meaning of these lyrics delivered well to the listener.
A R T I C L E I N F O
1. Introduction
Language as an expression has a message from the speaker to the listener that could bring speakers
experience and identity (Nirmala, 2018). The message could be a suggestion, an expectation, something ridicule
or it could be the ideology of the speaker (Purwanto, 2008). (Halliday & Hasan, 1989) explained that the
language, verbal or written, is a medium to declare our thinking. In our society, the kind of verbal expression
could be a speech, discussion, song, etc. This study focuses on exploring a particular kind of song genre. The
song is related to each level of society such as children, teenagers, and adults even the elderly. Besides, a song
could send the message differently better than other communication media. In this term, a song is a media to
share feeling such as happy feelings or disappointed feelings, messaging, appreciation, motivation, or even
derision.
A song certainly has a background story and culture (Gordon & Djonler, 2019), it is one of the elements
focused on this study. Some researchers analyzed meaning, culture, and the effect of songs (Coats, 2016;
Plemenitaš, 2016). A song could convey the feeling and invoke the intended emotions. Some studies analyzed
the lyric of songs using Van Dijk’s critical discourse (El-falaky, 2015; Fadhilah, 2019; Putri & Triyono, 2018).
Those studies analyzed text analysis, social cognition and social context, and also ideology. Another research
explored the main character in the song. The researchers found the construction of character in a tribute song
through transitivity analysis (Zahoor & Janjua, 2016). Studying a song could also investigate culture, attitude,
social, and situation context through Systemic Functional Linguistics (Arif & Triyono, 2018).
Some studies of a song found the problem of knowing the message, the interaction, and the function.
Generally, the song is analyzed semantically to find out the meaning inside (Trisnantasari, 2017). However, a
song meaning can be identified through other approaches. Songs representing the social, situation, and cultural
context can deeply be perceived through SFL. For example, the research entitled Textual Meaning in Song

Keywords: Chant, Supporter, Football Players, Theme-Rhyme, Discourse, Lyric

This paper compares the use of older and newer technologies in Hindu chanting through the example of Iskcon (International Society for Krishna Consciousness) devotees. Iskcon is global but has spiritual roots in West Bengal, India, and devotees try to connect with the deity Krishna through daily chanting. The use of prayer beads is compared to the mechanical counter, the haptics of chanting is linked to the co-ordination of mental and physical rhythms and the material affordances of the two devices are related to their respective effects. By analysing the views and practices of Indian and non-Indian devotees in different situations, technological changes are related to social changes and perceptions of time. Internal debates surrounding the use of the counter expose tensions between secular and sacred time, and indicate negotiations that accompany devotional performance within a contemporary landscape.

This article presents a study of melodic practice for the Exultet iam angelica of the Easter vigil associated with medieval Braga, and also comments on text variants observable in the sources. Principal sources studied are the Missal de Mateus (Braga, Arquivo Distrital, MS 1000) and the Pontifical of Braga (Porto, Biblioteca Pública Municipal, MS 1134). The notation is Aquitanian. The melody notated for the first section of the Exultet is found to be unique although drawing on known formulas.

This paper presents and comments on the plainchant treatise printed in 1533 by the then chapelmaster of Évora Cathedral, the Spaniard Mateus de Aranda. It focus both on the main theoretical concepts used, and on the historical and musical context. It also identifies and transcribes monody by Aranda that had not been acknowledged as his original composition. Part of the contents correspond to work done by undergraduate students at the Universidade Nova de Lisboa during a semester, under the direction of M. P. Ferreira.

The music of Estonian minimalist, Arvo Pärt, is influenced by the style and form of medieval polyphony. This influence permeates both his compositional method, and the resulting musical affect. This paper focuses on rhythm as a point of comparison, most significantly the appearance of rhythmic modes in his vocal works, and the declamation of text. Also significant is his biography, which includes a period of monasticism which the author postulates may have led to the "tranquil" mood of much of his music.

The sacramentary, Madrid, Biblioteca Nacional VITR/20/8, thought to have been prepared for the monastery of Sahagún, is strongly associated with Bernard of Sédirac, (c. 1040-1125), Archbishop of Toledo during the latter part of his career. The scant musical materials to be found in the book are the focus of the paper. These materials are the two short chant incipits written in Lorraine (Messine) notation, and the easily overlooked Aquitanian notation that was added in association with some segments of the text of the Exultet iam angelica. In considering these musical items, aspects of the manuscript's history are reviewed and proposals made.

The paper deals with the contemporary church music repertoire and practices at the divine services of the Valaam Monastery in Finland, based on the author’s participant observation as a singer, chanter, and reader, carried out in multiple periods since 2013. The topic is further contextualized with the historical traditions of Valaam church singing as they appear in archived musical materials, catalogued and researched also by myself, and other relevant documents.

Old Spanish ballads have survived extensive travels through time and space in the hearts of Sephardic Jews. The songs are part of a cultural memory that has remained with these people for more than 500 years since they were banished from the land they had inhabited and loved for centuries before that. This talk explores some of the ramifications of these observations, especially from the viewpoint of contemporary performance.

A müncheni Bayerische Staatsbibliothek gyűjteményében Res/2 Liturg. 380 jelzet alatt őrzött Psalterium Strigoniense, melyet a könyvtár a közelmúltban digitális adatbázisán keresztül mindenki számára hozzáférhetővé tett, 1 elsősorban a középkori magyar liturgia-és zenetörténet kutatói számára jelent hiánypótló új forrást, 2 de a magyar könyvtörténet szempontjából is értékes újdonság. Borsa Gedeon kategorizálása szerint ún. 'intézményi hungarikum', hiszen a középkori Magyarország jelentős zsolozsma-hagyományának egyik szerkönyve. 3 Könyvünk a nyomtatásban megjelent Psalterium Strigoniensék közül a második, 1523-as velencei kiadás, teljes címe: Psalterium chorale secundum consuetudinem Strigoniensis ecclesiae : cum antiphonis simul et letania ac hymnis de tempore et sanctis per totum annum : cum vesperis et vigiliis mortuorum. Nyomdásza Petrus Liechtenstein volt, és ez esetben Michael Pryschwicz budai könyvárus megrendelésére dolgozott. 4 A müncheni példányt könyvészeti szempontból különösen is értékessé teszi, hogy a címlapon olvasható tekintélyes donátor-, ill. posszesszor-bejegyzés alapján biztosan Oláh Miklós (1493-1568) esztergomi prímás érsek tulajdonában