Invocation
Invocation is the act of calling upon a deity, spirit, or supernatural force, typically through prayer, ritual, or spoken formula, to seek guidance, assistance, or presence. It is a practice found in numerous religious, spiritual, and esoteric traditions, where it serves to establish a connection between the human and the divine or metaphysical realms. Invocation can be directed toward a singular deity, multiple deities, spirits, or abstract forces, and may involve formal liturgies, spontaneous prayers, chants, or symbolic actions. Unlike evocation, which is generally understood as calling a spirit to appear outside the practitioner, invocation often implies inviting the entity to be present within or to closely align with the practitioner.
The purpose of invocation varies across cultural and religious contexts. In many traditions, it is used to request divine intervention, protection, wisdom, or blessings in personal or communal matters. Invocation may also serve to consecrate a space, mark the beginning of a sacred ritual, or facilitate a deeper spiritual experience. In mystical or esoteric practices, invocation can be a means of aligning oneself with a higher spiritual principle or archetype, fostering personal transformation or enlightenment. In some traditions, the practitioner ritually identifies with the deity or spiritual figure. This is distinct from possession, where the invoked being is believed to inhabit or act through the practitioner directly and autonomously.
The scope of invocation is broad, encompassing a wide range of religious, magical, and philosophical practices. In formal religious contexts, such as Christianity, Hinduism, and Islam, invocation is often integrated into prayers, hymns, and rituals. For example, Christian liturgy frequently includes invocations of the Holy Trinity or saints, while Hindu pujas invoke various deities through mantras and offerings. In ceremonial magic and theurgy, invocation is used to summon divine powers for guidance or to achieve specific spiritual outcomes. Additionally, modern spiritual movements, such as Wicca and modern Paganism, employ invocation to call upon deities, elemental forces, or spirits of nature. Beyond religious practice, invocation has also been explored in psychological frameworks; Carl Jung's concept of active imagination involves engaging with archetypal figures from the unconscious, a process that parallels the symbolic aspects of invocation.
Atlas
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Dear Harp of My Country "The Farewell to My Harp" (Arr. Stevenson for Bass Voice & Harp) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Erin! the Smile and the Tear in Thine Eyes (Arr. Stevenson for 4 Voices & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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How Sweet the Answer Echo Makes (Arr. Stevenson for 2 Sopranos & Guitar) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Silent, Oh Moyle! Be the Roar of Thy Water "The Song of Fiionnulala" (Arr. Stevenson for Tenor & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Rich and Rare Were the Gems She Wore (Arr. Stevenson for 4 Voices, Harp & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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The Twisting of the Rope (Arr. Bunting for Harp) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Joice's Tune (Arr. Bunting for Fiddle & Square Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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The Summer Is Coming (Arr. Bunting for Fiddle, Harp & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Carolan's Concerto (Arr. Bunting for Fiddle, Harp & Square Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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The Harp That Once, Thro' Tara's Halls (Arr. Stevenson for 4 Voices, Harp & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Nanny McDermotroe (Arr. Bunting for Fiddle) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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The Valley Lay Smiling Before Me "The Song of O'Ruark, Prince of Breffni" (Arr. Stevenson for Bass Voice & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Abigail Judge (Arr. Bunting for Fiddle) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Avenging and Bright (Arr. Stevenson for Harp & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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The Minstrel-Boy (Arr. Stevenson for 4 Voices, Harp & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Lament for Owen O'Neill (Arr. Bunting for Fiddle) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Tis Believed That This Harp "The Origin of the Harp" (Arr. Stevenson for 2 Voices, Bass & Harp) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Come, Rest in This Bosom (Arr. Stevenson for Soprano & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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She Is Far from the Land (Arr. Stevenson for 3 Voices & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Come o'er the Sea (Arr. Stevenson for Bass Voice & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Tis the Last Rose of Summer (Arr. Stevenson for 4 Voices, Harp & Guitar) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Girls, Have You Seen George? (Arr. Bunting for Fiddle & Harp) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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The Pretty Girl Milking the Cows (Arr. Bunting for Harp) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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John, Heir of the Glen (Arr. Bunting for Fiddle, Harp & Square Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Love in Secret (Arr. Bunting for Square Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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The Jointure (Arr. Bunting for Fiddle, Harp & Square Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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How Dear to Me the Hour (Arr. Stevenson for Tenor & Harp) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Fly Not Yet (Arr. Stevenson for 4 Voices, Piano & Guitar) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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At the Mid Hour of Night (Arr. Stevenson for 4 Voices & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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What the Bee Is to the Floweret (Arr. Stevenson for 2 Voices & Piano) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Fill the Bumper Fair! (Arr. Stevenson for 4 Voices, Fiddle, Harp, Piano & Guitar) - Thomas Moore's Irish Melodies (In Their Original Settings) -
Invocation
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Awake, My Lyre - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Fly to My Aid, O Mighty Love - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Ah! What Avails the Sprightly Morn of Life - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Ye Sportive Loves, That Round Me Wait - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Sonata in A Minor, Op. 2 No. 3: I. Allegro - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Sonata in A Minor, Op. 2 No. 3: II. Dolce con affetto – Un poco più presto – Dolce con affetto - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Love in Thine Eyes for Ever Plays, Op. 13 No. 7 - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Could He Whom My Dissembled Rigour Grieves, Op. 3 No. 3 - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Enchanting Harmonist - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Go, Rose! My Chloe's Bosom Grace - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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To Heal the Wound a Bee Had Made - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Where the Bee Sucks, Op. 11 No. 6 - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Sonata in D Major, Op. 4 No. 4: I. Allegro - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Sonata in D Major, Op. 4 No. 4: II. Andante - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Sonata in D Major, Op. 4 No. 4: III. Allegro spiritoso - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Ode to the Memory of Italian Virtuosi - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Damon and Clora - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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Alas, from the Day My Poor Heart - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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He Who Could First Two Gentle Hearts Unbind - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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In Thousand Thoughts of Love and Thee - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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The Lyre - Enchanting Harmonist: A Soirée with the Linleys of Bath (English Orpheus 21) -
Invocation
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