FRENCH music, REQUIEMS, MUSICAL composition, and SACRED music

The solemn, religious musical field has always been a very important and fertile realm for composers, providing different tools and contexts as compared to lay music, both in terms of spiritual context, writing techniques, and symbolism. In the present study, we will put forth certain aspects of religious music, addressing the evolution and main features of the genre, as well as the context in which the British composer John Rutter's Requiem was created. In the section dedicated to the composer's own portrait, his role in Anglican music is emphasized, while the analysis of the Requiem's parts, both from the standpoint of composition and style, will presents important details concerning Rutter's work. [ABSTRACT FROM AUTHOR]

REQUIEMS, FUNERAL music, CHANTS, ANTIPHONS (Musical form), and ISRAELITES crossing the Red Sea (Biblical event)

The article discusses the singing of the chant "In paradisum" as an antiphon to Psalm 113 during the conclusion of a funeral mass. Topics include the unique character of the chant which conveys a sense of hope in the redemption of the departed, the relation of the chant to the story of Exodus which tells the crossing of the Red Sea by the Hebrews going to the Promise Land and a comparison of "In paradisum" and "Chorus Angelorum" which is usually sung as a single antiphon.

Folk songs, graphic novels, illustrations, narrative arts, requiems, requiem of Boş Beşik, story of requiems., Fine Arts, Arts in general, NX1-820, and Language and Literature

Graphic novels which a type of pictorial narrative art, are fed from various sources. Graphic novels, like comics, can be drawn on the basis of an original scenario or can be adapted from other narratives. Generally, literary works; stories, novels or poems are adapted to the graphic novels. In addition to this, requiems can be used for graphic novel adaptation. Requiems, which a type of oral narrative art, are mostly in the form of folk songs which are sung after death. The purpose of this study is to transform an oral narrative form into a pictorial narrative form. For this purpose, a part of the “Boş beşik” is drawn as a graphic novel. Firstly, in study the graphic novel art was defined, followed by a review of the story of the “Boş beşik”. As a result, the graphic novel study drawn total five pages was presented.

MASS mobilization, REQUIEMS, VIOLENCE in music, SYMBOLISM in music, MINORITIES, VICTIMS of violent crimes, LIBERTY -- History -- 20th century, WAR -- History, HISTORY, and 20TH century

This account departs from the focus and consensus on the centrality of song in pungwes for mass mobilisation during Zimbabwe's war for independence. It traces the less commented upon dystopian continuities between the usage of pungwe during the liberation war and the gukurahundi (1982-1987). It suggests that music is a mnemonic device through which experience is narrated, facilitating the storage, transfer and remembering of memory. It uses the song "Mai VaDhikondo" to position gukurahundi pungwes as sites of state-sanctioned mass violence against ethnic minorities. The song's reception and symbolism has morphed from the 1980s when it was composed for and sang by the Fifth Brigade and introduced to gukurahundi victims, to being recorded for public broadcast and becoming a hit with people who were oblivious and or indifferent to its gukurahundi usage in the mid-1990s, to the spirited 2012 campaign that stopped its remixing and rebroadcasting. The 2012 uproar lifted the veil of silence that shrouded public discussion about the Fifth Brigade's gukurahundi conduct. The history and reception of the song curates the memory of the gukurahundi. As a song that remains from the killing fields, "Mai VaDhikondo" embalms time and history as an unintended and undesignated requiem. [ABSTRACT FROM AUTHOR]