Results 81 to 90 of about 5,739 (214)

Musica e teologia in Sacrosanctum Concilium: il munus ministeriale della musica nella liturgia

open access: yesStato, Chiese e Pluralismo Confessionale, 2022
SOMMARIO: 1. Premessa - 2. La fase antepraeparatoria (1959-1960) - 3. La fase praeparatoria (1960-1962) - 3.1. La prima sessione plenaria (12 e 15 novembre 1960) - 3.2.
Elena Massimi
doaj  

A Sephardic Quevedo? Abraham Gómez Silveira, Between Controversy and Poetry

open access: yesRenaissance Studies, EarlyView.
ABSTRACT A book published in 2000, El barroco sefardí Abraham Gómez Silveira (The Sephardic Baroque Abraham Gómez Silveira), introduced us to this hitherto unknown author, baptised in Castile in 1651, who was educated at the school of the sacred congregation of the Sephardic Jews in Amsterdam.
Mercedes Blanco
wiley   +1 more source

Insider/Outsider/Transsiders of Transnational Migration

open access: yesStudies in Ethnicity and Nationalism, EarlyView.
ABSTRACT Migration is individually and collectively a challenging but also a transformative praxis and process. In my proposal, I present these in the context of transnational migration of two multigenerational families whose pioneers originally migrated from Turkey to Germany.
Halil Can
wiley   +1 more source

Worship Music as Theology: A Methodology

open access: yes, 2016
Theology and music have long been at odds, having been treated as exclusive fields of theory and praxis. In Christian worship, music tends to be viewed as a matter of taste and not a significant conveyor of theology.
Williams, David
core  

THE EXPRESSIVE POWER OF THE HARMONIC PARAMETER AND OF THE FORM IN THE CYCLE OF LIEDS DIE SCHÖNE MÜLLERIN BY FRANZ SCHUBERT

open access: yesStudia Universitatis Babeş-Bolyai. Musica, 2013
The purpose of this paper consists in the analyze of the unifying correspondences of structural, artistic, and musical content of the cycle of Lied Die Schöne Müllerin by Franz Schubert. The entire cycle of Lieds represents a unified whole, in which the
Gabriela COCA
doaj  

God Knows Best

open access: yesAmerican Anthropologist, Volume 128, Issue 4, Page 875-881, December 2026.
ABSTRACT The Arabic phrase Allāhu a‘lam—“God knows best”—is used frequently in everyday Muslim speech and to conclude seemingly assertive statements or fatwas. At its heart lies the recognition that God is the All‐Knowing, whereas humans know next to nothing. Reflecting on this recognition, this essay discusses Sufi refusals of the ethnographic project
Amira Mittermaier
wiley   +1 more source

Making Music in the House of God: How Augustine Influenced Jean Calvin and Martin Luther's Opinions on Musical Worship

open access: yesMusical Offerings
Music for worship has been a divisive topic throughout church history. Augustine of Hippo influenced Jean Calvin and Martin Luther’s theology of music, although in different ways.
Emma N. Ross
doaj   +1 more source

EDE TERÉNYI – MONO-OPERA “LA DIVINA COMMEDIA” FORM AND CONTENTS (II. PART – “PURGATORIO”)

open access: yesStudia Universitatis Babeş-Bolyai. Musica, 2009
Ede Terényi had come across the poetical work La Divina Commedia for the first time at the beginning of the 1970’s. As it was a turning point in his life as well, the work of Dante had a very sensitive influence in his own life as along thirty years of ...
Gabriela COCA
doaj  

The keys to the garden: Capital, class, and the repurposing of Persian mystical poetry in Los Angeles

open access: yesJournal of Linguistic Anthropology, Volume 36, Issue 3, December 2026.
Abstract This article traces the social life of medieval Persian poetry as it is repurposed within Los Angeles's Iranian diaspora. Based on 5 years of immersive ethnography in private erfān classes and mystical assemblies, I argue these gatherings function as contemporary diasporic courts, mobilizing core texts within a spiritual marketplace structured
Zia Khoshsirat
wiley   +1 more source

A Different Tenor: Songs of Love and Sorrow--Re-Engaging the Social Ethics of Music

open access: yes, 2011
The question of how music relates to our existence as ethical beings has not always elicited the same response. For much of the twentieth century, the relation between music and ethics was addressed from the angle of music's autonomy.
Smick, Rebekah, Zuidervaart, Lambert
core   +1 more source

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