Thematische Bibliographien / Church music South Australia

Auswahl der wissenschaftlichen Literatur zum Thema „Church music South Australia“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 1. Februar 2022

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Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Zeitschriftenartikel zum Thema "Church music South Australia":

1

Southcott, Jane. „Curriculum Stasis: Gratton in South Australia“. Research Studies in Music Education 14, Nr. 1 (Juni 2000): 50–60. http://dx.doi.org/10.1177/1321103x0001400105.

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2

Koepping, Elizabeth. „Spousal Violence among Christians: Taiwan, South Australia and Ghana“. Studies in World Christianity 19, Nr. 3 (Dezember 2013): 252–70. http://dx.doi.org/10.3366/swc.2013.0060.

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Local, often unconscious, understanding of male and female informs people's views irrespective of the religious ideology of (for Christians) the imago dei. This affects church teaching about and dealings with spousal violence, usually against wives, and can be an indicator of the failure of contextualising, from Edinburgh to Tonga and Seoul to Accra, actually to challenge context and ‘speak the Word of God’ rather than of elite-defined culture. In examining five denominations (Assembly of God, Methodist, Lutheran, Roman Catholic, True Jesus Church) in Ghana, South Australia and Taiwan, ecclesial attitudes to divorce are shown to have a crucial effect on an abused woman's decision regarding the marriage, especially where stated clerical practice differs from precept. Adding that to the effects of church teaching, the side-lining of pressure and support groups and the common failure of churches to censure spousal violence of pastors, leads the writer to suggest that any prophetic voice is strangled by shameful culture-bound collusion.
3

김은성. „Reformation of Church Music in South Korea: The Reformation and Music for Worship“. Korea Presbyterian Journal of Theology 49, Nr. 1 (März 2017): 93–114. http://dx.doi.org/10.15757/kpjt.2017.49.1.004.

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4

English, Helen Jane, Sarah Monk und Jane W. Davidson. „Music and world-building in Newcastle, New South Wales, Australia“. International Journal of Community Music 11, Nr. 3 (01.12.2018): 245–64. http://dx.doi.org/10.1386/ijcm.11.3.245_1.

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5

Lydon, Jane, und Sari Braithwaite. „Photographing “the Nucleus of the Native Church” at Poonindie Mission, South Australia“. Photography and Culture 8, Nr. 1 (März 2015): 37–57. http://dx.doi.org/10.2752/175145215x14244337011126.

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6

Pitman, Julia. „Feminist Public Theology in the Uniting Church in Australia“. International Journal of Public Theology 5, Nr. 2 (2011): 143–64. http://dx.doi.org/10.1163/156973211x562741.

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AbstractThis article considers the expression of Protestant feminist public theology by the first women to gain access to leading positions in the Uniting Church in Australia, which was inaugurated in 1977. Roman Catholic and Protestant feminist theologians have started to provide theories of feminist public theology. The case studies of Lilian Wells, first Moderator of the Synod of New South Wales, and Jill Tabart, first woman President of the Assembly of the Uniting Church, provide evidence for the revision of these theories. The article argues that both the desire for and the expression by women of feminist public theology has a history that is longer than might be assumed. It also argues that such history confirms but also challenges aspects of received theories of feminist public theology, and that the two cases outlined below provide insight into the constraints inherent in the expression of feminist public theology in Protestant denominations such as the Uniting Church in Australia.
7

Moyle, Richard M., und Catherine J. Ellis. „Aboriginal Music: Education for Living. Cross-Cultural Experiences from South Australia“. Ethnomusicology 31, Nr. 1 (1987): 155. http://dx.doi.org/10.2307/852307.

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8

Wild, Stephen A. „Aboriginal music: Education for living. Cross-cultural experiences from South Australia“. Musicology Australia 9, Nr. 1 (Januar 1986): 66–69. http://dx.doi.org/10.1080/08145857.1986.10415166.

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9

Parker, Murray, und Dirk H. R. Spennemann. „Contemporary Sound Practices: Church Bells and Bell Ringing in New South Wales, Australia“. Heritage 4, Nr. 3 (12.08.2021): 1754–72. http://dx.doi.org/10.3390/heritage4030098.

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As a social species, humans have developed soundscapes that surround, and to some extent circumscribe, their daily existence. The concept of aural heritage, its conceptualization and its management represent a rapidly expanding area of research, covering aspects of both natural and human heritage. However, there have been no contemporary regional or supra-regional studies that examine the nature of sound making in Christian religious settings, nor the extent to which it is still used. This paper presents the results of a survey into the presence of bells and bell ringing practices among five major Christian denominations in New South Wales, and examines to what extent bell ringing is still practiced and what factors may determine any differentiation. In doing so, it provides an objective basis from which to investigate future changes in bell ringing practices, and provides a solid foundation with reference to aural heritage of sound in a religious setting.
10

Zweck, Dean. „A Fruitful Dialogue between Lutherans and Catholics in the South Land of the Holy Spirit“. Review of Ecumenical Studies Sibiu 8, Nr. 2 (01.08.2016): 206–18. http://dx.doi.org/10.1515/ress-2016-0017.

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Abstract Lutherans and Catholics in Australia have engaged in fruitful ecumenical dialogue for forty years, producing eight documents that have consistently had a view toward reception in the two respective churches. In recent years this Dialogue has been encouraged on its journey by the concept of receptive ecumenism. Ecumenical encounter is a work of the Holy Spirit, and each church can be enriched by recognising and receiving the charism of a partner church.
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Zeitschriftenartikel Dissertationen Bücher

Dissertationen zum Thema "Church music South Australia":

1

Maximova, Galina, und res cand@acu edu au. „Russian Orthodox Music in Australia: The translation of a tradition“. Australian Catholic University. School of Arts and Sciences, 1999. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp217.04092009.

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For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999. The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors. Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.
2

Southcott, Jane Elizabeth, und mikewood@deakin edu au. „Music in state-supported schooling in South Australia to 1920“. Deakin University, 1997. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104134.

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This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodologies, syllabi and materials of such music instruction, the provisions for teacher training in music, both preservice and as professional development for established teachers, and the place and function of music in schooling. Each of these themes will form the framework for a chronological narrative. Comparisons will be made with three neighbouring colonies/States concerning each of these themes and conclusions will be drawn. Finally, overall conclusions will be made concerning the initial contentions raised in this chapter in the light of the data presented. Although this study is principally concerned with the establishment of music in state-supported schooling, there will be a brief consideration of the colony of South Australia from its proclamation in 1836. The music pedagogical context that prevailed at that time will be discussed and this will, of necessity, include developments that occurred before 1836. The period under consideration will close in 1920, by which time the music curriculum for South Australia was established, and the second of the influential figures in music education was at his zenith. At this time there was a new school curriculum in place which remained essentially unchanged for several decades. As well as the broad themes identified, this thesis will investigate several contentions as it attempts to chronicle and interpret the establishment and development of music in state-supported schooling in South Australia up to 1920. The first contention of this thesis is that music in state-supported schooling, once established, did not change significantly from its inception throughout the period under consideration. In seeking a discussion of the existence and importance of the notion of an absence of change or stasis, the theory of punctuated equilibria, which identifies stasis as the norm in the evolutionary growth of species, will be employed as an insightful analogy. It should be recognised that stasis exists, should be expected and may well be the prevailing norm. The second contention of this thesis is that advocates were and continue to be crucial to the establishment and continued existence of music in state-supported schooling. For change to occur there must be pressure through such agencies as motivated individuals holding positions of authority, and thus able to influence the educational system and its provisions. The pedagogical method introduced into an educational system is often that espoused by the acknowledged advocate. During the period under consideration there were two significant advocates for music in state-supported schools. The third contention of this thesis is that music was used in South Australia, as in the other colonies/States, as an agent of social reform, through the selection of repertoire and the way in which music was employed in state-supported schooling. Music was considered inherently uplifting. During the nineteenth and early twentieth centuries, the music selected for school singing carried texts with messages deemed significant by those who controlled the education system. The repertoire was not that of the receiving class but came from a middle class tradition of fully notated art music in which correct performance and notational reading were emphasised. A sweet, pure vocal tone was desired, as strident, harsh, speaking tones were perceived as a symptom of incipient larrikinism which was not desired in schooling. Music was seen as a contributor to good order and discipline in schooling.
3

Hall, Margaret, und N/A. „Today’s Song for Tomorrow’s Church: The Role Played by Contemporary Popular Music in Attracting Young People to Church“. Griffith University. School of Popular Music, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070912.141700.

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This thesis is a phenomenology highlighting the phenomenon of declining youth attendance at mainstream churches where traditional church music is used in worship and the emergence of megachurches where young people are attending and contemporary popular styles of music is used in worship. An Australian Broadcasting Authority survey in 1999 revealed that music is a major influence in the lives of youth, assisting in their identity creation, in their making friends, and in relieving their stress. The survey also notes that youth prefer contemporary popular music and, in particular, rock. This is in stark contrast to the traditional music played and sung in mainstream churches, which tends to be neither meaningful nor relevant to youth, largely because they do not identify with it. An increasing proportion of youth are rejecting the mainstream traditional churches such as Anglican, Catholic, Baptist, Uniting Church. National Church Life Surveys in Australia show that by 2001, only fourteen percent of church attenders were young adults. Young non-attenders complained they found church services boring and unfulfilling. This declining youth membership does not auger well for the mainstream church’s future. It is clearly evident that, in Australian society a culture gap has emerged between the secular world and the mainstream Christian church. This thesis examines the role of contemporary popular music in attracting young people to church. Although, in comparatively recent times there has been some movement towards contemporizing worship services in mainstream churches, the change has met strong resistance, but that resistance is based on invalid arguments and the mainstream church is yet to respond effectively to the increasing culture gap and growing alienation of the young. Mainstream congregations are not adequately encouraged to participate in singing praise and thanks to God. Although the lyrics of songs that focus on thanks and praise can teach a Christian message, as well as promote an awareness of the presence of God, the importance of this aspect of worship appears to have been overlooked, even though music has always been a part of worship, with multiple biblical scriptures cementing its pivotal role. In 1980 twelve people began Christian City Church (CCC), a new church which was not one of the mainstream churches, with a vision to communicate the Christian message to the whole of Sydney. CCC used contemporary music as a vehicle to make their message relevant. That church has been strikingly successful, and had grown to five thousand members by 2004. This thesis focusses on a case study of the music of CCC to test a hypothesis that the use of contemporary popular styles of music, with a focus on thanks and praise, can play a significant role in attracting young people to join and remain as members, and that such music can be influential in communicating an experiential understanding of the Christian message. The aim of the case study was to discover whether the music was similar in style to young people’s preferred styles of music, whether they actively participated in its performance, whether it communicated to them, whether the lyrics conveyed a Christian message, and finally whether the congregation was both increasing and retaining young people as members. The songs examined in the study revealed that the music and paramusical aspects of the songs were similar to those of contemporary popular songs. The lyrics of the songs included themes of thanks and praise to God, and as such conveyed a Christian message. Thirty percent of the worship service was devoted to music praising God, and forty-nine percent of the church’s 5,000 members in 2004, were under twenty-five years. Further, the congregation participated enthusiastically in singing, an emphasis on belonging to small groups encouraged fellowship, and sermons addressed problems relevant to young people. It is proposed that CCC provides a pattern that mainstream churches could adapt, including the encouragement of congregational singing and worship, creation of effective small groups, relevant preaching, education opportunities, and culturally appropriate music. It is clear that contemporary and culturally appropriate music has played a significant and vital role in CCC’s successful development. To attract and retain youth membership, music needs to be contemporary, and culturally appropriate, thereby filling the gap between the secular world and the church. Contemporary popular music could provide today’s song for tomorrow’s church.
4

Tsounis, Demeter. „Rebetika music-making in Adelaide : diaspora musical style and identity /“. Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09pht88195.pdf.

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5

McNamara, Laurence James. „Just health care for aged Australians : a Roman Catholic perspective /“. Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phm1682.pdf.

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6

Hammond, Susan J. „Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians“. Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.

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7

Pollard, Susan J. „An investigation of the Catholic Leadership Education Programme in South Australia /“. Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09EDM/09edmp772.pdf.

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Thesis (M. Ed.)--University of Adelaide, Dept. of Education, 1992.
Analyses the Catholic Leadership Education Programme in the archdiocese of Adelaide in terms of the work of Paulo Freire and Carl Jung. Spine title: The Catholic Leadership Education Programme. Includes bibliographical references (leaves 255-260).
8

Oswald, Murray. „The emergence of new low-fee Protestant independent schools in South Australia since 1972 /“. Title page, summary and contents pages only, 1990. http://web4.library.adelaide.edu.au/theses/09ED.M/09ed.mo86.pdf.

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9

Evans, Ruth Lynette. „Picnics, principles and public lectures : the social, cultural and intellectual role of the Baptist Church in South Australian country towns /“. Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09are919.pdf.

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Thesis (B.A.(Hons.))--University of Adelaide, Dept. of History, 1994?
"Extensive use of written records including both minute books and published matter has been supplemented with oral histories." Tapes include conversations with members of various local communities, with an index to these: leaves 41-42. Includes bibliographical references (leaves 41-44).
10

Dennis, Simone J. „Sensual extensions : joy, pain and music-making in a police band“. Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phd4115.pdf.

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Bibliography: leaves 210-226. Based on 18 months ethnographic fieldwork about the ways in which members of the South Australian Police Band make music. Studies their disconnection from the body of the community, acheived via an embodiment of emotional disconnection; the power of the Department to appropriate a particular order of emotion for the purposes of power; and, the misrecognition of the appropriation of emotion by members of the public who are open to the Department's emotional domination. The context material describes the reasons for the existence of the police band in the police view, while the core material of the thesis is concerned with describing what it is that police band members do, and what they do most of all is, in their own words, experience something that they call "the feel".
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Bücher zum Thema "Church music South Australia":

1

Hunt, A. D. This side of heaven: A history of Methodism in South Australia. Adelaide: Lutheran Pub. House, 1985.

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2

Ellis, Catherine J. Aboriginal music, education for living: Cross-cultural experiences from South Australia. St. Lucia, Qld: University of Queensland Press, 1985.

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3

Reed, T. T. Anglican clergymen in South Australia in the nineteenth century. Gumeracha, S. Aust: Gould Books, 1986.

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4

Steinert, Claudio. Music in mission: Mission through music : a South African case study. Pietermaritzburg, South Africa: Cluster Publications, 2007.

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5

David, Hilliard. Godliness and good order: A history of the Anglican Church in South Australia. Netley, S. Aust: Wakefield Press, 1986.

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6

Don, Wright. The Methodists: A history of Methodism in New South Wales. St. Leonards, NSW: Allen & Unwin, 1993.

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7

Emilsen, Susan E. A whiff of heresy: Samuel Angus and the Presbyterian Church in New South Wales. Kensington, NSW: New South Wales University Press, 1990.

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8

Silsbury, Elizabeth. State of opera: An intimate new history of the State Opera of South Australia, 1957-2000. Kent Town, S. Aust: Wakefield Press, 2001.

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9

Sample, Tex. White soul: Country music, the Church, and working Americans. Nashville, TN: Abingdon Press, 1996.

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10

International Council for Traditional Music. Colloquium. Music and dance of aboriginal Australia and the South Pacific: The effects of documentation on the living tradition : papers and discussions of the Colloquium of the International Council for Traditional Music, held in Townsville, Queensland, Australia, 1988. Herausgegeben von Moyle Alice M. Sydney: University of Sydney, 1992.

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Buchteile zum Thema "Church music South Australia":

1

Bethke, Andrew-John. „Sounds of localisation in South African Anglican church music“. In Making Congregational Music Local in Christian Communities Worldwide, 161–78. New York : Routledge, 2018. | Series: Congregational music studies series: Routledge, 2018. http://dx.doi.org/10.4324/9781315142432-8.

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2

Zur, Sara Stevens. „Children’s Use of Music in Understanding Time: Perspectives from Singapore, Australia, and the US“. In Global Childhoods beyond the North-South Divide, 145–63. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95543-8_8.

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3

„Australia and The South Pacific“. In World Music: The Basics, 369–78. Routledge, 2004. http://dx.doi.org/10.4324/9780203997710-13.

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Crawford, Eric. „Church Music in Black and White“. In The Routledge History of the American South, 127–39. Routledge, 2017. http://dx.doi.org/10.4324/9781315768076-10.

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„12. The Hungarians’ Churches in the Distant Diaspora: Australia and South Africa“. In Church and Society in Hungary and in the Hungarian Diaspora, 303–15. University of Toronto Press, 2016. http://dx.doi.org/10.3138/9781442625273-014.

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Fiala, Michele. „Humbert Lucarelli“. In Great Oboists on Music and Musicianship, 177–95. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0018.

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Humbert Lucarelli has appeared as soloist with orchestras and chamber music groups throughout the United States, South America, Europe, Australia, and Asia. Among his recordings is the Concerto for Oboe and Orchestra written for him by John Corigliano. He held positions as professor of oboe at the Hartt School in West Hartford, Connecticut, and the Steinhardt School at New York University. In this chapter, Lucarelli describes his musical training, early career, and how he became a soloist. He shares his musical decision-making process and how he uses storylines in interpretation. Lucarelli discusses qualities of great performers and his experience in studying drama and the visual arts to further his artistry. He describes physical aspects of performing such as tongue placement and the relationship of the cheeks to the embouchure. He talks about vibrato, the character of the oboe, and his advice for young performers.

Konferenzberichte zum Thema "Church music South Australia":

1

Рidhorbunskyi, M. A. „South-eastern influences the formation and establishment of church music in Kievan Rus“. In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-23-27.

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2

Sun, B., A. Bona, A. King und B. Zhou. „Diamond Drill-bit Seismic-While-Drilling Velocity Analysis Using Semblance and MUSIC from Hillside, South Australia“. In 76th EAGE Conference and Exhibition 2014. Netherlands: EAGE Publications BV, 2014. http://dx.doi.org/10.3997/2214-4609.20140918.

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