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.
Full textKoo, Gregory J. "The meaning of liturgical music." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
Full textNelson, Kathleen E. "Medieval liturgical music of Zamora /." Ottawa : The Institute of Mediaeval music, 1996. http://catalogue.bnf.fr/ark:/12148/cb369600647.
Full textNguyễn, 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.
Full textMiller, 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.
Full textDarby, 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.
Full textNoone, 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.
Full textRowe, 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.
Full textJohnson, 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.
Full textHuncik, 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.
Full textSmith, 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.
Full textOng, 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.
Full textHamilton, 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.
Full textGeneralow, 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.
Full textKatani, 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.
Full textBakker, 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.
Full textThis 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.
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.
Full textCalitz, 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/.
Full textRutter, 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.
Full textDuarte, 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.
Full textBanca: 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.
Mestre
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.
Full textCoker, 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.
Full textSmith, 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.
Full textAlmeida, Márcio Antônio de [UNESP]. "Mistagogia da música ritual católica romana: estudo teórico-metodológico." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/95148.
Full textUniversidade Estadual Paulista (UNESP)
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.
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.
Full textTsai, 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.
Full textBray, 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.
Full textArnold, 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.
Full textScot, 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.
Full textKatz, Tyler. "Amidah - תפילת העמידה." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6777.
Full textWay, 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.
Full textWindt, 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.
Full textKasparavičius, 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.
Full textMusic, 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]
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.
Full textBatchelor, 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.
Full textTan, 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.
Full textZanandrea, 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 textSong 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.
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 textLeightenheimer, 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.
Full textNelms, 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.
Full textDuarte, 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.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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.
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.
Full textThesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2009.
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.
Full textAlmeida, 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 textBanca: 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
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.
Full textThesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.
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 text19th 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
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 textTerra, 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.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
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.
Mofokeng, Mokete. "The Belhar Confession and liturgy : a hymnological study." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63034.
Full textDissertation (MA Theol)--University of Pretoria, 2017.
Practical Theology
MA Theol
Unrestricted
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 textThesis (DMus)--University of Pretoria, 2005.
Music
Unrestricted