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A new cantillation for the proclamation of 25 evangiles of the liturgical year

typ_thesis

French

<http://hdl.handle.net/20.500.11794/22335>

Abstract

An impulse of artistic creation combined with an impulse of religious life in search of radiation, and the need for awareness of close links between music and theology are at the root of this approach. Practical theology, in its interdisciplinary approach, has been the framework for this research and creation work. That thesis, entitled A NEW CANTILLATION FOR THE PROCLAMATION OF VINGT-CINQ Evangiles OF THE LECTIONNAIRE TEXTES, presents a musical work that has been worked in the light of the links between theology, aesthetic reception, exegesis and composition. The thesis is in two parts: the accompanying document describes the long ripening process and research that has modulated sound thinking. It is followed by the twenty-five singing evangiles, original creations of the author. While theology purports to say a comprehensible speech about God’s inefferable mystery, music helps to glorify, celebrate, participate in this mystery, especially when joining the Parole. How can the music of a liturgical text be an instrument of proclamation of the Parole, support for evangelisation, source of intériority 1. This question has always guided the author’s choices throughout this search. For the work to reflect this concern, compositional ripening has created the need to strengthen the reality of art as a pathway to spirituality and the millennial link between voice and sacred. For it to be rooted in a lively tradition, it was necessary to grasp the role played by music in Israel and the forms of the biblique song in the Temple and to explore the relationship between theology and music. As the cantillation of these evangiles was intended for the Christian liturgical celebration in French, a study of the main orientations of the French-speaking liturgic song from Vatican II and the role of music and singing in the celebrating assembly seemed essential to shape a work that fits into the contemporary cultural context. In the final part of the document, the author presents her actual musical composition process more directly to composers who want to put sacred texts into music. The 25 evangiles singing in this compendium, all experienced in the context of celebration, are intended to be an instrument for the liturgy in order to enhance its solemnity, support the listening of faithful people and enable better integration of the Parole de God. Each is preceded by a sheet linking exegesis of texts to musical choices, in order to guide the interpreter’s overall, aesthetic and meditative approach. The whole of this research is based on the belief that the aesthetic reception of the Parole can be a key to opening God’s experience to the men and women of our time, at a time when speeches and words are likely to lose their value in a disoriented society in search of meaning.

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