Dissertations / Theses on the topic 'Liturgical music'
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Kinder, Patrick J. "God's instrument of praise liturgical and para-liturgical music /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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Koo, Gregory J. "The meaning of liturgical music." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Nelson, Kathleen E. "Medieval liturgical music of Zamora /." Ottawa : The Institute of Mediaeval music, 1996. http://catalogue.bnf.fr/ark:/12148/cb369600647.
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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.
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Miller, Timothy. "Benjamin Britten's liturgical music and its place in the Anglican Church music tradition." Thesis, University of Surrey, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583252.
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This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which function well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer's musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten's creative character; it casts additional light on the composer's technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten's commitment to the idea of a composer serving society. The importance of church-going in Britten's early life and the influence it exerted on his music for the church is considered. It is argued that 'Tradition' is a key concept in the music of the Anglican Church. The presentation of an adumbration of the Church of England's history shows what the totems of this Tradition are and that they are clearly recognisable in the music of composers at the heart of it. It is shown that Britten both respected and fed off Tradition and that his liturgical music clearly relates to the Anglican Church Music Tradition in a specific way. This study concludes that Britten's liturgical music can most intelligently be viewed in relation to a specific branch of the Tradition: the Parish Church Musical Tradition. It is a context that has not previously been clearly recognised in previous critical studies and this has therefore led, it is argued, to an insufficient understanding of its particular aesthetic characteristics.
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Darby, Rosemarie. "The liturgical music of the Chiesa Nuova, Rome (1575-1644)." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/the-liturgical-music-of-the-chiesa-nuova-rome-15751644(eac12ff5-339a-413b-8c05-eade9235645a).html.
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The music of the Congregation of the Roman Oratory has been the subject of previous research relating to their spiritual exercises or oratories, which contributed to the development of the oratorio. This thesis, however, investigates the liturgical music from the Chiesa Nuova, the church of the Congregation of the Oratory in Rome. The period covered extends from 1575, when the Congregation was officially recognised, to 1644, when Girolamo Rosini, the final member of the Congregation to hold the post of maestro di cappella, died. After referring to literature that has described the Chiesa Nuova as an important centre for church music in Rome, the sources of what once formed a vast library of liturgical music are discussed with reference to other important archival material, such as inventories of the music including one from as early as 1592, which had not previously been discovered. The necessary historic background on the music establishment at the Chiesa Nuova supplies new evidence on the musicians involved, as well as the impact made by the Oratorian emphasis on music as an inspirational tool for devotion. The largest part of the thesis is given to a discussion of a representative sample of the music. These sources provide one of the most complete pictures of the provision of liturgical music in a single institution in Rome during that period. It presents the great diversity of styles that existed side-by-side, ranging from the small-scale motet to large-scale polychoral works. As much of the music only exists in manuscript copies or in rare early prints, thirty-two complete transcriptions of these unique sources are included. This study provides a valuable contribution to research into sacred music in Rome during a period straddling the two traditionally defined epochs of the Renaissance and Baroque and an era of renewed energy in the Church, as well as providing evidence to substantiate the reputation of the Chiesa Nuova as one of the greatest centres for church music in Rome during that period.
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Noone, Michael John. "Music and musicians at the Escorial, 1563 to 1665." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358755.
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Rowe, Charles Edward. "The role of music in Omoto, a Japanese new religion." Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312918.
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Johnson, Clare Veronica. "Music, ritual and the therapeutic exploring the therapeutic potential of liturgical music in Roman Catholic worship /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Huncik, Kata. "A liturgical-repertorial study of 16th-century polyphonic music in "Bartfa MS 8"." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26929.
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Along with the other volumes of the Bartfa Collection , the 16th-century MS 8 was discovered in the Lutheran town of Bartfa (today Slovakia). While the manuscripts and prints of the Bartfa Collection have been somewhat neglected by Western scholars, the present study shows that this topic is worthy of attention. In examining the historical context, the role of the schoolmaster, Leonard Stockel stands out as particularly interesting; his life-time friendship with Luther and Melanchthon directly links Bartfa to the German Lutheranism. The German link is also apparent in MS 8 itself, as according to Muranyi, it was copied in Southern Germany ca. 1555. In this research, a thorough watermark study has also been carried out, the results of which challenge the established date and may shift it to as early as 1545. Furthermore, a reportorial study focusing on the anonymous compositions has been taken into consideration along with Bartfa's unique Lutheran liturgical practice.
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Smith, Kevin Bryan. "Phōs hilaron and the macro-liturgical approach text and context elevated through song and rite /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Ong, John Chun-kuo. "Resonance : a music director’s theomusicological study of ‘praise’ and ‘glory’ in a selection of four liturgical music excerpts." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/43508/1/John_Ong_Thesis.pdf.
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Some of my most powerful spiritual experiences have come from the splendorous and sublime sounding hymns performed by a choir and church organ at the traditional Anglican church I’ve attended since I was very young. In the later stage of my life, my pursuit of education in the field of engineering caused me to move to Australia where I regularly attended a contemporary evangelical church and subsequently became a music director in the faith community. This environmental and cultural shift altered my perception and musical experiences of Christian music and led me to enquire about the relationship between Christian liturgy and church music. Throughout history church musicians and composers have synthesised the theological, congregational, cultural and musical aspects of church liturgy. Many great composers have taken into account the conditions surrounding the process of sacred composition and arrangement of music to enhance the experience of religious ecstasy – they sought resonances with Christian values and beliefs to draw congregational participation into the light of praising and glorifying God. As a music director in an evangelical church this aspiration has become one I share. I hope to identify and define the qualities of these resonances that have been successful and apply them to my own practice. Introduction and Structure of the Thesis In this study I will examine four purposively selected excerpts of Christian church vocal music combining theomusicological and semiotic analysis to help identify guidelines that might be useful in my practice as a church music director. The four musical excerpts have been selected based upon their sustained musical and theological impact over time, and their ability to affect ecstatic responses from congregations. This thesis documents a personal journey through analysis of music and uses a context that draws upon ethno-musicological, theological and semiotic tools that lead to a preliminary framework and principles which can then be applied to the identified qualities of resonance in church music today. The thesis is comprised of four parts. Part 1 presents a literature study on the relationship between sacred music, the effects of religious ecstasy and the Christian church. Multiple lenses on this phenomenon are drawn from the viewpoints of prominent western church historians, Biblical theologians, and philosophers. The literature study continues in Part 2, where the role of embodiment is examined from the current perspective of cognitive learning environments. This study offers a platform for a critical reflection on two distinctive musical liturgical systems that have treated differently the notion of embodied understanding amidst a shifting church paradigm. This allows an in-depth theological and philosophical understanding of the liturgical conditions around sacred music-making that relates to the monistic and dualistic body/mind. Part 3 involves undertaking a theomusicological methodology that utilises creative case studies of four purposively selected spiritual pieces. A semiotic study focuses on specific sections of sacred vocal works that express the notions of ‘praise’ and ‘glorification’, particularly in relation to these effects,which combine an analysis of theological perspectives around religious ecstasy and particular spiritual themes. Part 4 presents the critiques and findings gathered from the study that incorporate theoretical and technological means to analyse the purposive selected musical artefact, particularly with the sonic narratives expressing notions of ‘Praise' and 'Glory’. The musical findings are further discussed in relation to the notion of resonance, and then a conceptual framework for the role of contemporary musicdirector is proposed. The musical and Christian terminologies used in the thesis are explained in the glossary, and the appendices includes tables illustrating the musical findings, conducted surveys, written musical analyses and audio examples of selected sacred pieces available on the enclosed compact disc.
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Hamilton, Thomas Keith. "The liturgical organist: the creative use of solo organ music in the Lutheran liturgy." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1463.
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Sunday after Sunday, liturgical organists are faced with the challenge of providing music for liturgy. While hymns, psalms, musical settings of liturgical texts, choral anthems and responses are often made clear in their choice due to the marriage of text and music, choosing music outside of those parameters is a challenge. Music that happens prior to worship as the community gathers, music to accompany ritual actions such as the presentation of the offering or the distribution of the Eucharist, and music that sends people on their way at the end of the service is not something to be taken lightly. Such choices are important and can have a significant effect on the over-all tenor of the liturgy. Many organists have concluded the most efficient and effective solution is to seek pieces which are based on the hymns sung by the assembly and trust that a cohesive liturgical whole has been created. This essay attempts to move beyond that notion into the realm of solo organ literature that is not derived from a chorale or hymn melody. Each piece of music carries its own aesthetic characteristics, and the task of the liturgical organist is to determine how those characteristics can best be incorporated into a given religious celebration.
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Generalow, Alice. "The Orthodox Concert Stage: Performing Rachmaninoff's All-Night Vigil, Op. 37 in a Liturgical Style." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594557.
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The purpose of this study is to demonstrate that Sergei Rachmaninoff's All-Night Vigil, op. 37 can successfully be performed by choral ensembles in a liturgical style by careful selection and grouping of individual movements, along with the interpolation of other chants or musical settings traditionally used in the Russian Orthodox Church that are not part of the composer's original score. This would make the work more accessible to choirs and conductors that may otherwise not be inclined to program an unaccompanied work over seventy minutes in duration. Additionally, such performances would more accurately reflect the Russian liturgical performance practice history of the work as traced in this document. This document explores the history and form of the All-Night Vigil service, Rachmaninoff's exposure to the Orthodox Church, performance decisions made for the viva voce presentation portion of this document, and the performance history of Rachmaninoff's All-Night Vigil before and after the Russian Revolution.
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Katani, Archwells Moffat. "Traditional Malawian choral music : a liturgical-critical study within the Church of Central Africa Presbyterian (CCAP)-Nkhoma Synod." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019.1/1268.
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Bakker, Sarah. "Fragments of a liturgical world| Syriac Christianity and the Dutch multiculturalism debates." Thesis, University of California, Santa Cruz, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589305.
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This dissertation explores the reconfiguration of Syriac Orthodox liturgical tradition among Aramaic-speaking Christian refugees in the Netherlands. Under the pressures of Dutch integration policy and the global politics of secular recognition, the Syriac liturgy is rapidly losing its significance as the central axis of social life and kinship-relations in the Syriac Orthodox diaspora. As such, it has become a site for debate over how to be religiously, culturally, and ethnically distinct despite the narrative binary of Christian Europe and the Muslim Middle East that dominates Dutch multiculturalism discourse. Every week, young Syriac Orthodox women and men congregate at their churches to practice singing the liturgy in classical Syriac. What they sing, and how they decide to sing it, mediates their experiments in religious and ethical reinvention, with implications for their efforts at political representation. Singers contend not only with conditions of inaudibility produced by histories of ethnic cleansing, migration, and assimilation, but also with the fragments of European Christianity that shape the sensory regime of secular modernity. Public debates over the integration of religious minorities illuminate this condition of fragmentation, as well as the contest over competing conceptions of ethical personhood inherent in the politics of pluralism in Europe.
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Pan, Yu-Wen. "The effect of phonetic instruction on performance of liturgical Latin diction for middle school mixed choirs /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487943610782237.
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Calitz, Coenraad Josepheus. "'n Prakties teologiese ondersoek na die vrye lied as 'n wesenlike deel van die Gereformeerde kerklied in die Nederduitse Gereformeerde Kerk." Pretoria : [S.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-03092006-095219/.
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Rutter, Philip. "Paris, Bibliotheque Nationale, fonds Latin 1240 : a transcription and analysis of the trope repertoire." Thesis, Royal Holloway, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307702.
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Duarte, Fernando Lacerda Simões. "Música e ultramontanismo : possíveis significados para as opções composicionais nas missas de Fúrio Franceschini /." São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/95106.
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Orientador: Prof. Dr. Paulo Augusto CastagnaBanca: Profa. Dra. Raquel Glezer
Banca: Prof. Dr. José Leonardo do Nascimento
Resumo: Este trabalho tem como objeto seis missas compostas por Furio Franceschini (1880-1976), compositor, regente e organista que atuou como mestre-de-capela na Sé de São Paulo por aproximadamente sessenta anos contados a partir de 1908. Seu objetivo é investigar possíveis significados às opções de Franceschini na composição das missas. Tais significados serão investigados levando em consideração o posicionamento estético do compositor, o período em que as obras foram escritas, a legislação eclesiástica sobre a música sacra e a prática musical litúrgica do período. Questiona-se também no que o conhecimento adquirido nesta pesquisa pode ajudar na compreensão da música litúrgica do presente. A busca pelos significados se deu com o auxílio dos seguintes conceitos explicadores: a teoria dos sistemas autopoiéticos de Niklas Luhmann e as noções de tradição inventada e mito de origem, ambos oriundos da História. O primeiro capítulo traz uma rápida biografia do compositor, seu posicionamento sobre questões artísticas de seu tempo e sobre técnicas de composição. O capítulo seguinte é dedicado à compreensão dos movimentos de restauração musical - Cecilianismo - e institucional - Ultramontanismo - que aconteceram na Igreja Católica Romana, no século XIX. Passa-se, então, ao passado considerado ideal, em termos de música, a polifonia de Palestrina, para então se chegar, no quarto capítulo, ao estudo do Motu Proprio (1903), que determinava este gênero musical e o canto gregoriano como modelos de música sacra. Por fim, são estudas as principais características das missas para que se possa responder às questões centrais formuladas neste trabalho.
Abstract: This paper has as goal six masses composed by Furio Franceschini (1880-1976), composer, conductor and organist who acted as chapel master at Sé in São Paulo for approximately sixty years having started in 1908. Its goal is to investigated possible meanings to the options of Franceschini in the composition of masses. Such meanings shall be investigated taking in consideration the esthetic positioning of the composer, the period in which the songs were written, the ecclesiastic legislation on sacred music and liturgical music practice at the time. It is also questioned in what way the knowledge acquired in this research can help understand liturgical music of the present. The search for significance happened with the help of the following explainers: the autopoietic systems theory of Niklas Luhmann and the notions of invented traditions and myth of origin, both coming from History. The first chapter brings a quick biography of the composer, his opinion about artistic matters of his time and about composing techniques. The following chapter is dedicated to the understanding of musical restoration movements - Cecilian Movement - and institutional - Ultramontanism - that took place in the Roman Catholic Church in the 19th century. It then goes on to the past considered ideal, in musical terms, the polyphony of Palestrina, to finally arrive at chapter four, at the study of Motu Proprio(1903), which determined this musical genre and the Gregorian chant as models of sacred music. Finally the main characteristics of the masses are studied to be able to answer the central questions formulated in this paper.
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Byrne, John Henry, and res cand@acu edu au. "Sacred or Profane: The Influence of Vatican Legislation on Music in the Catholic Archdiocese of Melbourne, 1843 - 1938." Australian Catholic University. School of Music, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp09042006.88.
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Despite the authoritative and very explicit directions from the Vatican in 1903, the Catholic Archdiocese of Melbourne successfully resisted the demands for a major reform of liturgical Church music for 35 years. This thesis will examine the reasons for this strong and effective resistance to the demands of the Holy See and show that despite being complex and interrelated these reasons can be summarised under two fundamental headings. The thesis will examine the broad spectrum of music performed in the Melbourne Archdiocese, but because of the limited availability of information and the prime importance of the two principal churches of the Archdiocese, it shall concentrate on St. Patrick’s Cathedral and on St. Francis Church. The thesis shall also examine in detail the documents of the Holy See concerning liturgical music which were relevant to musical practice in Melbourne. Special attention is drawn to the influential Motu proprio Tra le sollecitudini (1903) issued by Pope Pius X. The time span of this thesis covers the 95 years from March 1843 when the first music was sung in Melbourne’s only Catholic church to 1938 when Archbishop Daniel Mannix ordered the reforms to liturgical music as demanded by the Vatican. The thesis shall demonstrate that the resistance to the reform of liturgical music in the Catholic Archdiocese of Melbourne was due to the two following influences: the fact that the new freedom and wealth that the immigrant Irish community of the Archdiocese of Melbourne experienced enabled them to establish churches and liturgies whose grandeur and artistic excellence symbolized their success in establishing a major new social and cultural status in their new home. Church music was one of the great manifestations of this and as an integral part of their new significance and sense of achievement, it was to be jealously guarded. the second was the matter of authority and the independence of the Catholic bishops from the dictates and interference of the Vatican authorities. These Irish-born bishops were trained in an historical milieu in Ireland and Europe which fostered a fierce pride in the value of autonomy from external and alien authority. In this they were given a great degree of protection by the isolation of Australia and its distance from outside authority. In this Archbishops Carr and Mannix both proved to be strongly independent leaders who proved to be most reluctant to automatically implement reforms imposed by the Vatican. It will be shown that only in the fourth decade of the twentieth century was Episcopal authority finally brought to bear to make reforms to liturgical music a reality in the Catholic Church in Melbourne.
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Coker, Kevin Lee. "Time Suspended: The Crossroads of Ancient Orthodox Liturgical Music with English Experimental Technique in the Works of Composer, Conductor, and Priest Fr Ivan Moody." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1523634520869545.
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Smith, Catherine (Kit). "The transformative power of liturgical music: A case study of an Australian catholic parish." Thesis, Australian Catholic University, 2007. https://acuresearchbank.acu.edu.au/download/2a154dc08cbba3f4bc120c7de5f1e262fbffb2bb0f6076d732555b4e42282a68/3436103/65090_downloaded_stream_315.pdf.
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This thesis comprises a case study of liturgical music practice in one Australian Catholic worshipping community, the parish of Our Lady of the Rosary Waitara NSW (situated in the suburban Sydney Diocese of Broken Bay). The principal aim has been to employ qualitative and ethnographic methods to explore and assess the effect of music on the faith life of an Australian Catholic parish, where music is a constitutive part of that community's liturgical prayer, taking into account the experience of clergy, music leaders and members of the assembly. Recent scholarly literature and local anecdotal evidence reveal grave concerns that the transformative power of liturgical music is not generally being achieved in Australian Catholic worship. Yet there exist a number of parishes whose commitment to quality liturgical music practice could provide useful models in addressing the problem. This research thus entails an ethnographic study of one such parish, and seeks to demonstrate that in an Australian context the faith life of a worshipping community can be enriched and transformed by liturgical music. While the field of liturgical theology provides the primary basis for the research, this interdisciplinary study draws also on the fields of ethnomusicology and ritual studies. An appraisal of major church documents and relevant research literature is provided, along with an account of the development of the research design. Central to the thesis are three chapters which present an ethnographic portrait of current liturgical music practice in Our Lady of the Rosary Waitara, with analytic commentary based on data collected over a twelve-month period from interviews and conversations, and observations made during regular participation in parish liturgies and other events. A final chapter summarizes significant findings of the study, with recommendations for liturgical music practice at the local, diocesan and national levels of the Australian Catholic Church.
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Almeida, Márcio Antônio de [UNESP]. "Mistagogia da música ritual católica romana: estudo teórico-metodológico." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/95148.
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Este estudo tem por finalidade descrever metodologicamente a prática mistagógica dos séculos IV e V d.C. e discutir a recente sistematização e aplicação do método mistagógico à formação dos ministérios litúrgico-musicais da Igreja Católica Romana. No ano de 1963, promulgava-se a Sacrosanctum Concilium (Constituição sobre a Sagrada Liturgia) do Concílio Ecumênico Vaticano II (1962-1965) que, sustentada pelo Movimento Litúrgico, representava o retorno às fontes bíblicas e patrísticas da fase de estruturação da liturgia por volta do século IV. Atualmente, a formação continua sendo um dos maiores desafios à consolidação do processo de renovação litúrgica desencadeado pela reforma do Vaticano II. A reforma teve implicações sobre a liturgia e também sobre o modelo eclesial a ser assumido pelas novas gerações. Quanto ao uso do método mistagógico, dois autores, Mazza (1996) e Buyst (2006), serão largamente focalizados devido à especificidade de sua aproximação ao objeto de estudo. O primeiro expõe a sistemática catequético-mistagógica dos séculos IV e V; e a segunda aplica o método mistagógico ao estudo da música ritual com escopo formativo mais evidenciado. O propósito da pesquisa foi sendo consolidado a partir da leitura, tradução e interpretação de variados autores para se avançar de rudimentos conceituais à apropriação teórica e metodológica do termo e prática da mistagogia. Deste modo, o percurso assumido procurou evidenciar o deslocamento do discurso normativo e prescritivo, próprio dos documentos eclesiais, ao discurso reflexivo e propositivo sobre o processo de renovação da música ritual no Brasil a partir de produções litúrgico-musicais pós-conciliares. Esta pesquisa, ao propor o método mistagógico no estudo da música ritual como estratégia que articula diferentes áreas do conhecimento, procura identificar...
The purpose of this study is describe methodologically the mystagogic practice of 4th and 5th centuries, and discuss new approaches and application on mystagogic method related to liturgical musical formation of the ministries of Roman Catholic Church. In 1963 was promulgated the Constitution on the Sacred Liturgy (Sacrosanctum Concilium) of Second Vatican Council (1962-1965) that held on Liturgical Movement represented the return to biblical and patristic sources of the 4th century. Nowadays, formation continues being one of the main challenges to consolidation of the liturgical renewal process started at Second Vatican reformation. This reformation had effect on the liturgy and ecclesial model. Two authors Mazza (1996) and Buyst (2006) were focused on due to particular approach to mystagogic method. The first demonstrates the catechetical and mystagogic systematic from 4th and 5th; the second applies mystagogic method to the study of ritual music with a clearly formative scope. The purpose of this research was developed through reading, translation and interpretation of various authors to reach the concept and to get a theoretical and methodological understanding of terminology and practice of mystagogy. Therefore, the way assumed had revealed a changing from normative and prescriptive enunciation to a reflexive and rational enunciation related to renewal process of ritual music in Brazil and post-Second Vatican Council liturgical musical productions. This research proposes mystagogic method in the study of ritual music as a strategy that conjugates different areas of knowledge. Finally, also identify how the formation was theorized and performed in the liturgical renewal process to reach the method.
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Varelli, Giovanni. "Musical notation and liturgical books in late Carolingian Nonantola." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/264172.
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The musical notation of the northern Italian Benedictine abbey of St Sylvester in Nonantola has hitherto been neglected by most scholarship on early music scripts, mainly because of the paucity of surviving music manuscripts and their limited geographical diffusion. A new study was needed in order to develop a full understanding of the abbey’s role and importance in the first phases of development of the writing of music in the early Middle Ages. A Lombard foundation, Nonantola acquired much of its prestige from the links with the Carolingian court as early as the late eighth century. From the first decades after its foundation, the Po Valley abbey also benefited from an active scriptorium; this shaped a local type of text script that endured until after the fall of the Carolingian empire, when the abbey, including most of its library, was destroyed by the Hungarian invasion in 899 (§1). The study of the earliest surviving notated liturgical manuscripts revealed that, by the late ninth century, Nonantola already developed an institutional type of musical notation, making it the earliest known music script ever to be written in the Italic peninsula and, thus, among the earliest in Carolingian Europe (§§2–3). The unique design and use of musical signs showed that this northern Italic notation developed, for the most part, independently from a basic repertory of graphs derived from grammatical accents (§4). Finally, observations of the influences of the central Italic nota romana, which this study only began to explore, opened up the possibility that Nonantolan notation may preserve the oldest traces of graphic conventions for the representation of sound that can be associated with the city of Rome (§5). Placed between the northern and southern fringes of the Carolingian empire, the Benedictine abbey of Nonantola played an important role in the early history of music writing, and this study contributes to the breaking of new ground for further explorations.
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Tsai, ShuHui. "A Study of the Baroque Techniques and Lutheran Liturgical Contexts in Hugo Distler's Chorale-Based Organ Works." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460731474.
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Bray, Michael Robert. "The liturgical canticle settings for chorus and organ of Ralph Vaughan Williams." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186253.
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Within the sacred choral music of composer Ralph Vaughan Williams, little is known regarding his subset of works intended for liturgical use. This study focuses on the canticle settings for choir and organ, written by Ralph Vaughan Williams for use in Anglican Worship. The compositions in this study include: Magnificat and Nunc dimittis (Village Service), Te Deum in G, Service in D Minor and Te Deum and Benedictus. This study provides a discussion of the structure and history of the Anglican service and a description of how canticle settings traditionally function in liturgical worship. Each work in this study is analyzed with particular attention given to form and structure, harmonic language, text derivation and declamation, melodic tendencies and the role of the organ accompaniment. Evidence gathered from this study demonstrates that, although the liturgical canticle settings for choir and organ are diverse in function and style, they contain many common characteristics in such compositional areas as: structural form, voicings, consistent use of thematic material, and the effective application of text to music. Suggestions for performance options of the settings are also included in the results of this study. It is hoped that, through differentiating between these works with regard to function and style, this study will help close the lacuna in the choral literature concerning Vaughan Williams' smaller liturgical works and serve as an introduction to modern choral conductors.
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Arnold, David F. "Seeking balance between subjective and objective criteria for music in the liturgical assembly of the Orthodox Church in America." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Scot, Stefan Anthony. "Text and context : The provision of music and ceremonial in the services of the first Book of Common Prayer (1549)." Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297933.
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Katz, Tyler. "Amidah - תפילת העמידה." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6777.
Full textAbstract:
Amidah - תפילת העמידה – for soprano voice, clarinet, cello, and piano – is a liturgical work in three movements that uses common Jewish prayers as its text. These three movements focus on specific prayers that can be found in the Amidah, the central portion of a Jewish prayer service. This work uses prayers that can be performed on a Friday evening Shabbat service.
The first movement focuses on accompanimental music to the Silent Amidah, a silent prayer. The prelude uses the traditional Jewish melody of the opening prayer of the Amidah, Adonai S’fatai Tiftach (אדני שפתי תפתח), leading directly into the first movement. This movement, while harkening to some Jewish melodies, takes ideas from classical Western harmony. While conveying both a sense of calmness and unease, the movement allows for the listener to silently reflect and meditate while absorbing the music.
The second movement, Oseh Shalom (עושה שלום), takes its root in Freylach music, a traditional, fast-paced, upbeat style of Klezmer music. While keeping traditional elements, it also uses contemporary harmony and extensive ornamentation in a joyous, energetic fashion.
The third movement, Mi Shebeirach (מי שברך), combines flowing lines, ornamental ancient Hebrew trope cantillation, liturgical elements, Middle-Eastern aspects, and spectral harmonies to create a slow, lamenting prayer for healing, a prayer that cries out in pain and suffering, begging for a restoration of mind, body, and soul. The movement closes in mournful sadness comforted by the presence of the Divine.
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Way, Anthony David, and res cand@acu edu au. "Lift Up Your Hearts:A Musico-liturgical Study of the Eucharistic Prayer of the Roman Rite." Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp59.25092005.
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It is a well established fact that the practice of the eucharistic prayer in the roman, rite is seriously underdeveloped. This survey of complete or partially through -composed settings of the eucharistic prayer attempts to shed some light on why and how composers have responded to the wide-spread opinion that the eucharistic prayer is rarely experienced as the high point of the eucharistic celebration as it was intended. Divided into two parts, the study initially considers the official aims and norms of the post-conciliar liturgy, both in general and as they pertain to the eucharistic prayer, noting some tension between the aims and their realisation. Three broad themes are identified for the entire work: ritual structure, the role of music and participation. The texts of the eucharistic prayers are then discussed to see how the official expectations are realised. A survey of the theoretical writings on rnusic and the eucharistic prayer concludes the first part. The second part focuses on over 100 musical settings, both published and unpublished d the eucharistic prayer. After offering a general chronological overview of the music, noting its forces and general characteristics, the music is scrutinised to see whether its various parts are celebrated or submerged by music, the broader shape of the compositions is examined and then a discussion concerning participation issues follows. The use of tabulated data aids the discussion. While acknowledging that there are many ways to evaluate the usefulness of such compositions and that this study does not touch on their actual reception and performance, it is hoped the current work will offer some insights into the variety of existing responses to the challenge of the setting the eucharistic prayer and offer some suggestions as to how this important work may continue.
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Windt, Nathan John. "A Conductor’s Guide to Selected Short, Pre-Viennese Liturgical and Sacred Choral Works of Wolfgang Amadeus Mozart." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211394102.
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Kasparavičius, Aurelijus. "Kauno I dekanato jaunimo liturginės muzikos grupių katechezė." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110215_095022-63142.
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Muzika, jungianti materialų pasaulį su žmogaus siela, gali skatinti maldos nuotaiką ir padėti dalyvauti krikščioniškoje liturgijoje. Pastaruoju atveju ji gali būti vadinama liturgine muzika. Liturginė muzika nereiškia muzikinio stiliaus, o daugiau (tinkamą liturgijai) formą. Tačiau forma gali daryti įtaką turiniui.
Tarp jaunimo labiausiai paplitusi krikščioniška folk muzika, suprastina kaip naujasis liaudiškasis giedojimas, užpildo posovietinės Lietuvos bažnytinės muzikos paveldo spragas. Šio stiliaus giesmių bei „šlovinimo grupės“ termino tarp šv. Mišiose giedančio jaunimo atsiradimas liudija tam tikrą slinktį, galinčią reikšti tiek naujų tikėjimo išraiškos formų ieškojimą, tiek ir nesusimąstymą apie šv. Mišių slėpiniui deramą muzikinį repertuarą bei naudojimą žanrų, neatsižvelgiančių į liturgijos prasmę, apeigų dalis, liturginius metus. Tinkamos liturginės jaunimo katechezės užduotis – atliepti į šiuos iššūkius.
Apibendrinant atlikto Kauno I dekanato jaunimo liturginės muzikos grupių katechezės būklės tyrimo rezultatus, teigiamu reiškiniu galima laikyti, kad Kauno bažnyčiose giedantis jaunimas atskiria Mišias nuo kitų momentų, kad giedojimą jose patiria kaip maldos momentą, tuo pačiu kartais jausdami poreikį ir nutilti, nurimti. Jiems svarbūs giesmių žodžiai ir jų atitikimas šv. Mišių dalims. Taip pat jiems svarbus ir kitų liturginės asamblėjos narių įsijungimas į giedojimą bei įvertinimas. Vilties teikia jaunimo mėgstamas gyvas muzikavimas bei jaučiamas gimtosios kalbos... [toliau žr. visą tekstą]Music, which joins material world with human soul, evokes prayer in the heart and helps to participate in Christian liturgy. Thus, such music can be called liturgical music. Liturgical music does not mean a particular musical style, but rather a form of music suitable for liturgy - a form that can influence the content. Christian folk music, which is most popular with young people, should be understood as new folk singing which fills the gaps in post-Soviet Lithuanian Church music. The rise of this style of songs as well as coinage of the term “a worship group“, characterizing a group of young people singing during the Holy Mass, evidence a certain shift that can be described as a quest of new forms to express faith. However, it can also denote unreflecting about an appropriate musical repertoire suitable for the Mystery of the Holy Mass and using genres which make no reckoning of the meaning of the liturgy, the parts of the rite and the liturgical year. This is why there is an urge of an appropriate liturgical catechesis of young people. The results of the Survey on the Status of the Youth Groups of Liturgical Music in Kaunas 1st Deanery maintain that the young people who are singing in the churches of Kaunas dissociate Holy Mass from other moments as they consider their chant to be a moment of prayer at the same time sometimes feeling some need to be silent and quiet. They pay attention to the words of the hymns and their correspondence to the parts of the Holy Mass. It... [to full text]
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Han, Namhee. "Rethinking Grigny's Récit de tierce en taille in the liturgical context of the organ mass." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Batchelor, Christopher Graham Paul. "William Child : an examination of the liturgical sources and a critical and contextual study of the church music." Thesis, University of Cambridge, 1990. https://www.repository.cam.ac.uk/handle/1810/250974.
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Tan, Hwee-San. "Sounds for the dead : ritualists and their vocal liturgical music in the Buddhist rite of merit in Fujian, China." Thesis, SOAS, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401898.
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Zanandrea, Rene Antonio. "O canto e a música no contexto ritual da liturgia na igreja católica: desafios para a formação de agentes na diocese de Vacaria/RS." Faculdades EST, 2009. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=188.
Full textAbstract:
O canto e a música no contexto ritual da liturgia na Igreja Católica: desafios para a formação
de agentes na Diocese de Vacaria/RS. Os sons da natureza, selecionados e combinados,
originaram a arte musical. A música faz parte da cultura humana; é constitutiva de sua própria
existência. Na abordagem desse assunto, o capítulo primeiro deste trabalho busca uma
aproximação histórica da música; investiga a antropologia da música e sua relação ritual com
o sagrado, fazendo parte, inclusive, dos ritos cristãos. O Concílio Vaticano II resgatou, na
Igreja Católica, o valor da arte musical e ampliou suas possibilidades. A arte musical passa a
se inscrever dentre os ritos sacramentais. Mais que cantar na liturgia se nos impõe a
necessidade de cantar a própria liturgia. A música passa a ser entendida como veio de
participação favorecendo que os fiéis expressem sua fé, seu agradecimento e suas
necessidades. Na segunda parte se busca uma aproximação com a realidade litúrgico musical
da Diocese de Vacaria/RS. Além da localização histórico-geográfica, apresentam-se
significativos elementos obtidos através de uma pesquisa de campo. Tendo-se como ponto
referencial o Curso de Canto Litúrgico e Pastoral (CCLP), em execução há três anos, procurase
entender a compreensão que as pessoas têm de música e a forma que esta incide em suas
vidas. Depois, a pesquisa procura captar a função que a música ritual tem na liturgia, na
opinião dos entrevistados. De modo geral os entrevistados demonstram entender que uma
celebração bem cantada anima a caminhada e torna viva a Igreja cristã. Há, portanto, a
necessidade de preparar os agentes da arte musical para que contribuam na realização de
celebrações vivas através de um adequado uso da música e do canto nas celebrações
litúrgicas. O terceiro capítulo deste trabalho procura apontar indicativos práticos para a
formação dos ministros do canto e da música bem como para a sua atuação nos ritos
litúrgicos. Tais indicativos tomam em consideração os passos que já se tornaram realidade a
partir da renovação conciliar e, especialmente, as reflexões e exigências que se impõem para a
ação evangelizadora sob a ótica da Teologia da Libertação. Esse jeito de refletir e fazer
teologia inspirou passos significativos na reinterpretação bíblica e continua a oferecer
métodos de análise e reflexão pastoral, inclusive litúrgicos. Aos agentes do canto e da música
ritual da Diocese de Vacaria/RS sugere-se agirem considerando-se os fiéis como sujeitos da
ação litúrgica, proporcionando-lhes participação ativa e momentos de verdadeira
comunicação com seu Criador, através de liturgias bem cantadas. Propõe-se a formação
continuada e progressiva em diversos níveis, contando com a colaboração dos sujeitos desse
processo, os próprios agentes.Song and music in the ritual context of the liturgy in the Catholic Church: challenges for the formation of agents in the Diocese of Vacaria/RS. The sounds of nature, selected and combined, gave origin to the musical art. Music belongs to human culture; it is constitutive of its own existence. In the approach of this topic, the first chapter of this work looks for a historical approach to music. It investigates the anthropology of music and its ritual relation to the sacred, also as a part of Christian rites. The II Vatican Council has restored, in the Catholic Church, the value of musical art and increased its possibilities. The musical art begins to be inserted into the sacramental rites. More than singing in the liturgy, there is the need to sing liturgy itself. Music begins to be understood as a means of participation, helping the faithful to express their faith, their gratitude and their needs. In the second part, one looks for an approach to the liturgical-musical reality of the Diocese of Vacaria/RS. Besides the historical-geographical localization, there appear significant elements obtained through a field research. Having as a referencial point the Course of Liturgical and Pastoral Singing (Curso de Canto Litúrgico e Pastoral =CCLP), since three years in function, one tries to perceive what understanding persons have of music and the form by which it influences their lives. Afterwards, the research tries to capture the function of ritual music in liturgy in the opinion of the persons interviewed. In a general way, the persons interviewed show their understanding that a well-song celebration animates the journey and makes the Christian Church to be alive. There is, therefore, the need to prepare the agents of musical art, in order that they contribute to perform living celebrations through an appropriate use of music and song in the liturgical celebrations. The third chapter of the present work tries to point out practical indications for the formation of ministers of song and music, as well as for acting in liturgical rites. Such indications take into consideration the steps which already became reality since the conciliar renewal, especially the reflections and requirements necessary for the evangelizing action from the point of view of the Theology of Liberation. This way of reflecting and making theology has inspired significant steps in the biblical reinterpretation and continues to offer methods of pastoral analysis and reflection, including liturgical ones. To the agents of song and musical ritual of the Diocese of Vacaria/RS, it is suggested to act by taking into consideration the faithful as subjects of the liturgical action, offering them active participation and moments of true communication with their Creator, through wellsong liturgies. The suggestion is the continued and progressive formation on various levels, counting on the collaboration of the subjects of this process, namely, the agents themselves.
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Puyat, Tara Elena. ""The Gradual" at Oregon State University: A Rough Guide to Assessing the Identity of a Late Roman Catholic Chant Book." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19190.
Full textAbstract:
In the 1930s, Oregon State University received an impressive oversized manuscript, now known as "The Gradual," as part of a large donation of books. Not much was known about this manuscript. It does not have documentation attached from the time of its acquisition, nor had any methodical study been undertaken regarding the manuscript. This thesis examines the OSU Gradual, aiming to provide research tools for the identification of musical manuscripts of unknown or unclear provenance that could be useful to conservators, archivists, and librarians, irrespective of musical training. It is conceived as a "rough guide" for working situations where there is no dedicated manuscript specialist, in particular, a fulltime Latin paleographer or a chant scholar overseeing a massive collection. Instead, its "how-to" nature addresses curators and catalogers managing smaller manuscript collections as generalists, offering an interdisciplinary approach both beneficial and suitable to the aims of this study.
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Leightenheimer, Douglas Blair. "From Couperin to Vierne: Liturgical and Stylistic Connections between the French Baroque and French Romantic Organ Mass." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613259.
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The alternatim practice is one of the oldest and longest observed liturgical practices in the French Catholic Church. With the gradual addition of the organ to the practice beginning in the fifteenth century, the organ came to play an important liturgical function that exists to this day. Organ improvisations in the liturgy gave rise to composed organ masses such as those of François Couperin (1668-1733). Composition of the Baroque organ mass continued through the Classical period and into the nineteenth century. Liturgical and musical changes through the decades of the nineteenth century, however, led to a gradual cessation of the composition of organ masses. These same changes gave birth to a new type of liturgical mass that, while not performed in the traditional alternatim style, displayed stylistic and liturgical influences from the Baroque organ masses of the preceding centuries. Messe, op. 4, of Camille Saint-Säens (1835-1921) was composed in 1856 in the midst of nineteenth-century changes and reforms. This mass is the pivotal event between the masses of the preceding generation and those that were to follow, notably those of Charles-Marie Widor (1844-1937) and Louis Vierne (1870-1937). Because the viva-voce presentation of this document featured a performance of Louis Vierne's Messe solennelle, op. 16 using a solo organ edition of the work, Appendix A includes considerations for the work as well as an overview of four solo editions.
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Nelms, Jonathan P. "A guide to the liturgical use of the Baptist Hymnal (1991) in fourfold Sunday worship at First Baptist Church, Cookeville, TN." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Duarte, Fernando Lacerda Simões [UNESP]. "Música e ultramontanismo: possíveis significados para as opções composicionais nas missas de Fúrio Franceschini." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/95106.
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Universidade Estadual Paulista (UNESP)
Este trabalho tem como objeto seis missas compostas por Furio Franceschini (1880-1976), compositor, regente e organista que atuou como mestre-de-capela na Sé de São Paulo por aproximadamente sessenta anos contados a partir de 1908. Seu objetivo é investigar possíveis significados às opções de Franceschini na composição das missas. Tais significados serão investigados levando em consideração o posicionamento estético do compositor, o período em que as obras foram escritas, a legislação eclesiástica sobre a música sacra e a prática musical litúrgica do período. Questiona-se também no que o conhecimento adquirido nesta pesquisa pode ajudar na compreensão da música litúrgica do presente. A busca pelos significados se deu com o auxílio dos seguintes conceitos explicadores: a teoria dos sistemas autopoiéticos de Niklas Luhmann e as noções de tradição inventada e mito de origem, ambos oriundos da História. O primeiro capítulo traz uma rápida biografia do compositor, seu posicionamento sobre questões artísticas de seu tempo e sobre técnicas de composição. O capítulo seguinte é dedicado à compreensão dos movimentos de restauração musical – Cecilianismo – e institucional – Ultramontanismo – que aconteceram na Igreja Católica Romana, no século XIX. Passa-se, então, ao passado considerado ideal, em termos de música, a polifonia de Palestrina, para então se chegar, no quarto capítulo, ao estudo do Motu Proprio (1903), que determinava este gênero musical e o canto gregoriano como modelos de música sacra. Por fim, são estudas as principais características das missas para que se possa responder às questões centrais formuladas neste trabalho.
This paper has as goal six masses composed by Furio Franceschini (1880-1976), composer, conductor and organist who acted as chapel master at Sé in São Paulo for approximately sixty years having started in 1908. Its goal is to investigated possible meanings to the options of Franceschini in the composition of masses. Such meanings shall be investigated taking in consideration the esthetic positioning of the composer, the period in which the songs were written, the ecclesiastic legislation on sacred music and liturgical music practice at the time. It is also questioned in what way the knowledge acquired in this research can help understand liturgical music of the present. The search for significance happened with the help of the following explainers: the autopoietic systems theory of Niklas Luhmann and the notions of invented traditions and myth of origin, both coming from History. The first chapter brings a quick biography of the composer, his opinion about artistic matters of his time and about composing techniques. The following chapter is dedicated to the understanding of musical restoration movements – Cecilian Movement – and institutional – Ultramontanism – that took place in the Roman Catholic Church in the 19th century. It then goes on to the past considered ideal, in musical terms, the polyphony of Palestrina, to finally arrive at chapter four, at the study of Motu Proprio(1903), which determined this musical genre and the Gregorian chant as models of sacred music. Finally the main characteristics of the masses are studied to be able to answer the central questions formulated in this paper.
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Jankowitz, Hendrika Johanna. "Die praktyk van liturgiese psalmsang in die NG Kerk in Suid-Afrika en Namibië / H.J. Jankowitz." Thesis, North-West University, 2009. http://hdl.handle.net/10394/3659.
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This study probes the state of psalm-singing in the Nederduitse Gereformeerde Kerk (Dutch Reformed Church) in South Africa and Namibia during 2007-2008. First, the history of psalm-singing, from its Old Testament origin to its contemporary use in South Africa, is researched. Highlights of its development, as well as low points where congregational psalm-singing all but died out, are researched in order to establish the causes of the current situation.
The essence of the study involves an empirical study to determine the frequency of use and functionality of psalms. The results of different approaches all show that to a large extent, psalms have fallen in disuse in this church and that, with the exception of only a small number of psalms, they are becoming extinct. However, in criticism against the Liedboek van die Kerk (Songbook of the Church) (2001) a number of important problems were emphasised, according to which conclusions and recommendations are made.
The most prominent cause of the problem is identified as the cultural difference between the existing psalm tradition and the intelligibility of the members of the church. The reason for this problematic situation is traced back to the one-sided application of fixed norms. Based on these, research is done to determine which factors should be taken into account in terms of the receptiveness of church-goers to accommodate these norms as adaptable norms. These factors are explained, ways to apply them are discussed and recommendations are made accordingly.Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2009.
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Alley, Zachary W. "Michael Praetorius's Theology of Music in Syntagma Musicum I (1615):A Politically and Confessionally Motivated Defense of Instruments in The Lutheran Liturgy." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1402316351.
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Almeida, Márcio Antônio de 1970. "Mistagogia da música ritual católica romana : estudo teórico-metodológico /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/95148.
Full textAbstract:
Orientador: Dorotéa Machado KerrBanca: Maria Aparecida Bento
Banca: Valeriano dos Santos Costa
Resumo: Este estudo tem por finalidade descrever metodologicamente a prática mistagógica dos séculos IV e V d.C. e discutir a recente sistematização e aplicação do método mistagógico à formação dos ministérios litúrgico-musicais da Igreja Católica Romana. No ano de 1963, promulgava-se a Sacrosanctum Concilium (Constituição sobre a Sagrada Liturgia) do Concílio Ecumênico Vaticano II (1962-1965) que, sustentada pelo Movimento Litúrgico, representava o retorno às fontes bíblicas e patrísticas da fase de estruturação da liturgia por volta do século IV. Atualmente, a formação continua sendo um dos maiores desafios à consolidação do processo de renovação litúrgica desencadeado pela reforma do Vaticano II. A reforma teve implicações sobre a liturgia e também sobre o modelo eclesial a ser assumido pelas novas gerações. Quanto ao uso do método mistagógico, dois autores, Mazza (1996) e Buyst (2006), serão largamente focalizados devido à especificidade de sua aproximação ao objeto de estudo. O primeiro expõe a sistemática catequético-mistagógica dos séculos IV e V; e a segunda aplica o método mistagógico ao estudo da música ritual com escopo formativo mais evidenciado. O propósito da pesquisa foi sendo consolidado a partir da leitura, tradução e interpretação de variados autores para se avançar de rudimentos conceituais à apropriação teórica e metodológica do termo e prática da mistagogia. Deste modo, o percurso assumido procurou evidenciar o deslocamento do discurso normativo e prescritivo, próprio dos documentos eclesiais, ao discurso reflexivo e propositivo sobre o processo de renovação da música ritual no Brasil a partir de produções litúrgico-musicais pós-conciliares. Esta pesquisa, ao propor o método mistagógico no estudo da música ritual como estratégia que articula diferentes áreas do conhecimento, procura identificar ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The purpose of this study is describe methodologically the mystagogic practice of 4th and 5th centuries, and discuss new approaches and application on mystagogic method related to liturgical musical formation of the ministries of Roman Catholic Church. In 1963 was promulgated the Constitution on the Sacred Liturgy (Sacrosanctum Concilium) of Second Vatican Council (1962-1965) that held on Liturgical Movement represented the return to biblical and patristic sources of the 4th century. Nowadays, formation continues being one of the main challenges to consolidation of the liturgical renewal process started at Second Vatican reformation. This reformation had effect on the liturgy and ecclesial model. Two authors Mazza (1996) and Buyst (2006) were focused on due to particular approach to mystagogic method. The first demonstrates the catechetical and mystagogic systematic from 4th and 5th; the second applies mystagogic method to the study of ritual music with a clearly formative scope. The purpose of this research was developed through reading, translation and interpretation of various authors to reach the concept and to get a theoretical and methodological understanding of terminology and practice of mystagogy. Therefore, the way assumed had revealed a changing from normative and prescriptive enunciation to a reflexive and rational enunciation related to renewal process of ritual music in Brazil and post-Second Vatican Council liturgical musical productions. This research proposes mystagogic method in the study of ritual music as a strategy that conjugates different areas of knowledge. Finally, also identify how the formation was theorized and performed in the liturgical renewal process to reach the method.
Mestre
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Campbell, Colin Archibald 1970. "Music ministry in the missional worship service of the Dutch Reformed Church in South Africa / Colin Archibald Campbell." Thesis, North-West University, 2013. http://hdl.handle.net/10394/8998.
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This thesis investigated the approach to, and the conducting of worship services in ten missional faith communities of the Dutch Reformed Church in South Africa during the period 2004 – 2009. It investigated the shift in theological paradigm (towards mission) taking place in the Dutch Reformed Church from 2002 onwards, and the effects thereof on liturgy and music in the worship domain.
In order to contextualise the liturgical developments emanating from the case studies, the history and liturgy of the Dutch Reformed Church in South Africa were traced back to the early Dutch pastors arriving with the first settlers at the Cape Colony in 1652. The historical events leading to the Dutch Reformed Church being labelled as the state church and its sanctioning of the apartheid ideology were placed in perspective as a result of the successes of missionary work in South Africa.
The missional paradigm was unpacked according to the missio Dei. God is the primal agent in mission and calls His church into mission, and sending the church to restore society. Created in the imago Dei, human beings have a responsibility towards contextual society in everyday life. Missional worship therefore becomes a paradigmatic way of life. God is the focal point in worship and liturgy: it is all about God.
The core of the research revolves around the ten missional faith communities, eight of which were part of the initial Southern African Partnership for Missional Churches project. Unstructured interviews were conducted with pastors, musicians and persons involved in the focussed missional activities within these congregations. Having an insider's perspective on the project, the researcher included his own narrative in order to further underline the changes taking place in the worship domain.
Liturgy in the faith communities under investigation was found to be shifting towards ecumenical models: the gathering, the service of the Word, the service of the Table, and the sending. A trend to celebrate the Eucharist/Holy Communion more frequently than the tradition dictated was also noted in the communities. In general, a more creative approach towards the planning and execution of liturgy has been observed – this freedom allowing for the Holy Spirit to move the faith community during worship, and was vastly different to the cognitive historical liturgy.
The music ministry has developed into a new paradigm from the historical role of the organist. Music was found to become a focal point, manifesting as liturgical art, pointing towards God and enabling the faith community to meet God in worship. This led to the change in the role of the church musician in terms of scope and spiritual/religious value. The shift towards leading the liturgy and shaping the faith community through music has been noted – thus establishing a music ministry.
The Eucharist/Holy Communion is presented as a metaphor, the underlying basis for a model in music ministry. Music ministry is now defined under the theological lens as being sacramental in nature. In closing, recommendations are made to address the re-education of church musicians and theologians to deal with the theological changes taking place in worship.Thesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.
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Porret-Dubreuil, Amélie. "Contribution à l'étude de la restauration de la musique à l'église au xixe siècle au prisme de l'expérience de Félix Clément (1822-1885)." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES043/document.
Full textAbstract:
L'étude de la musique à l'église au XIXe siècle est une thématique de recherche en plein essor. Depuis quinze ans, lesrecherches menées ont permis d'appréhender ce large sujet et d'ouvrir les perspectives de recherche qui en découlent,mais une part de cette thématique reste encore à explorer. En effet, le mouvement de restauration de la musique d'égliseest à ce jour peu abordé de façon singulière.Notre objectif étant de mettre en évidence l'étendue du champ de recherche, musicologique et pluridisciplinaire liée àl'étude de ce mouvement, Félix Clément est apparu être une entrée appropriée. Bien que n'étant pas chef de file, Clémentsemblait s'engager dans toutes les voies qui s'ouvraient à lui pour aborder et développer la question de la restauration dela musique à l'église.Dépassant le domaine du religieux, Clément fait montre, dans son travail de restaurateur du chant liturgique et selon sesdifférentes approches, d'une réelle acuité d'esprit et prend bien en considération toute la complexité d'une telleentreprise. Surtout, il permet d'intégrer le mouvement auquel il appartient dans le flux historiographique, sociétal,politique et cultuel et d'en révéler toute la profondeur. li ouvre la voie de plusieurs axes de recherches liés à l'étude de larestauration du chant liturgique de sorte qu'un vaste paysage du mouvement se dépeint au seul regard de ses activités.Notre étude s'applique à replacer les démarches de Clément dans leur contexte afin d'en dégager le rapport àl'environnement politique et cultuel et de définir l'importance et les retombées de ses travaux19th century church music is a research area that is greatly expanding. The last 15 years of research has Iead to a better understanding of this expansive subject, but much remains to be examined. ln particular, the 19th century French Church Music Restoration Movement has yet to be studied in its own right.Our goal was to demonstrate the breath of the musicological and multidisciplinary research opportunities related to this movement, and Félix Clément emerged as an ideal starting point. Although he was nota principle leader, he was involve in ail areas of the Church Music Restoration Movement that were open to him. Beyond the field of religion, Clément revealed a real insight, through his work as a Iiturgical chant restorer and his different methodological approaches, and understood the entire complexity of the field. Above all else, his experience allows for a deeper understanding of the societal, political, religious and historiographical currents involved in this kind of work. His work opens the door to many research possibilities relating to the study of the restoration of Iiturgical chant in such a way that an entire field is revealed by looking at his activities. Our study attempts to place the work of Clément in their context in order to extract the political and religious relationship and to define the importance and Iegacy of his work
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Hamilton, Elizabeth P. K. "A Study of Early Sixteenth-Century English Music Fragments from the DIAMM Database." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20241.
Full textAbstract:
While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued.
This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.
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Terra, Adenor Leonardo. "O repertório litúrgico para coro no Brasil após o Concílio Vaticano II." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/1544.
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The liturgical repertoire for choir in Brazil from the last decades of the twentieth century was marked by the determinations of Vatican II, an event that promoted the reform of the Catholic rite. Due to this context of change, which allowed the celebration of Mass in the vernacular, the liturgical chant, which includes choral, suffered a readjustment, along the lines proposed by the conciliar bishops.
O repertório litúrgico para coro no Brasil a partir das últimas décadas do século XX foi marcado pelas determinações do Concílio Vaticano II, evento que promoveu a reforma do rito católico. Em decorrência deste contexto de mudanças, que permitiu a celebração da Missa em vernáculo, o canto litúrgico, que inclui o canto coral, sofreu uma readequação, seguindo os moldes propostos pelos bispos conciliares.
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Mofokeng, Mokete. "The Belhar Confession and liturgy : a hymnological study." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63034.
Full textAbstract:
Much study regarding the Belhar Confession has been conducted already such as: The
Belhar Confession in its historical context Plaatjies-van Huffel (2014), Chronicle of
Conference Barman/ Belhar Consultation 18 and 19 October 2004 Hansen (2005), A
gift from heaven-the receptions in the Belhar Confession in the period 1982-2000 and
its ecumenical significance today Naudè (2003) and On violence, the Belhar Confession
and human dignity Koopman (2008) to mention but a few. From preliminary
observations and some initial research, it seems that there is still a need to do an indepth
study on the liturgical function of the Belhar Confession in Music. The working
hypothesis of this study is if the Uniting Reformed Church in Southern Africa URCSA
uses Belhar more in the liturgy, especially in singing it will have an impact on the
congregations and members. In other words the working hypothesis is that there is a
link between liturgy, here specifically hymn singing, and the formation of worshippers. If
URCSA is expecting others to adopt this confession it is its responsibility to embrace it
during worship in church and to the rest of the society outside church vicinities. The
literature survey that will be carried out later in this study confirms this state of affairs
and that there is thus indeed a huge research gap in this regard. The researcher did a
literature study, conducted semi-structured group interviews, as well as the some
empirical research in order to explore the basic research question.Dissertation (MA Theol)--University of Pretoria, 2017.
Practical Theology
MA Theol
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Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene." Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.
Full textAbstract:
Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia.Thesis (DMus)--University of Pretoria, 2005.
Music
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