Traditions – Influences – Identities- Proceedings of the International Musicological Conference- July 4–7 2013, Iaşi (Romania)
Psalm and Psalmody. Continuity & Discontinuity. Tradition & Novelty. Unity & Diversity – with references at Psalmus by Ştefan Niculescu
Psalm and Psalmody.Continuity & Discontinuity. Tradition & Novelty. Unity & Diversity – with references at Psalmus by Ştefan Niculescu
Carmen ChelaruDepartment of Theoretical Music Studies“George Enescu” University of Arts IaşiStr. Horia 7–9, IaşiROMANIAcarmen.email@example.com
The Psalm is one of the oldest forms of religious incantation – actually, a very persistent one! This means that the psalm is not only an archaic poetic-musical form, but also a still living one – in the rituals, and professional elaborate music as well. These are the main respects we have chosen to investigate and comment this complex form of spiritual expression, this exposal being a brief beginning. The introduction and the first part refer at the psalm roots, also at two main directions in the history of the genre: the Hebrew and the Christian Psalmody. On the other hand, the Christian Psalmody has kept certain common features, but, at the same time it changed considerably the psalm importance during the ritual, theological interpretations of the text, even the musical performance manner. For space reasons, we refer here at the Romanian Orthodox chant only. The second part of our exposal comments Psalms approach, both in letter and in spirit, by the 20th century music – with reference at a vocal work by Ştefan Niculescu: Psalmus for six voices (1993). The Romanian composers of 20th century noticed the remarkable resemblances between the doina-like manner of the folk music – see Enescu’s Monophonic Prelude from the 1st Suite for orchestra – and...
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