Dissertations / Theses: 'Psalm'

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Seong, Chong Hyon. "Psalm 24." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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Drude, Matthias. "Dresdner Psalm." Matthias Drude, 2005. https://slub.qucosa.de/id/qucosa%3A7875.

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Der Dresdner Psalm für sechsstimmigen Chor und sechs Blechbläser entstand als letzte gemeinsame Arbeit mit dem 2006 verstorbenen Dresdner Theologen und Schriftsteller Dietrich Mendt aus Anlass des Dresdner Stadtjubiläums 2006. Der Text des Werkes reflektiert Geschichte und Gegenwart der Stadt Dresden im Stil eines Psalmgebets. Werkdauer ca. 17 Minuten

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Man, Stanlas Ping Kwan. "Psalm 23." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500804/.

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Psalm 23 is a sacred work in four movements, written for women's chorus (SSAA), a tenor solo and a chamber ensemble consisting of flute, oboe, trumpet, percussion, timpani, and string quartet. It is designed to be performed as a portion of a church service or in concert. The text, Psalm 23 from the Bible is sung in Chinese, and the verses of the Psalm are arranged as follows: Movement 1, Verse 1, General musical characteristics: pastoral; Movement 2, Verses 2-3, General musical characteristics: peaceful; Movement 3, Verses 4-5, General musical characteristics: agitated; Movement 4, Verse 6, General musical characteristics: majestic. The form, tonal structure and harmony of each movement are influenced by the characteristics of an original synthetic scale.

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Mobley, Aaron. "Sonnets and psalm." Thesis, The University of Arizona, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3605915.

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Sonnets and Psalm investigates the relationships between the sacred nature of Psalm 91 and the secular nature of two sonnets, William Shakespeare's Sonnet 73 and Henry Howard, Earl of Surrey's Sonnet 8. Sonnets and Psalm exploits a dynamic that arises from the juxtaposition of disparate musical universes, choral and instrumental, and the unique and, at times, ineffable aesthetic qualities that emerge as a result of the intentional ordering of musical language and block structures. In a five movement form the listener is guided from vocal events painted on orchestral palettes, to solely instrumental movements, and back again. While the movements can stand independently of each other, there are ponderous transformations of material within and throughout the piece that create a thread that functions as a consistent generative unifying element. A recurrent utilization of motive, color, register, pitch-specific sonorities and gesture, enhances the unity of the work while exploiting the contradistinctive nature of each movement. Relational aspects of hidden and transformed materials from the Psalm and the sonnets (including the Mosaic movements) that are present throughout create a forward and back-relating dynamic. There is a programmatic element at work as well that in itself is a statement: after the sonnets and the mosaics, the listener is finally presented with the Psalm, a conclusion.

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Mobley, Aaron Darnell. "Sonnets and Psalm." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311586.

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Sonnets and Psalm investigates the relationships between the sacred nature of Psalm 91 and the secular nature of two sonnets, William Shakespeare's Sonnet 73 and Henry Howard, Earl of Surrey's Sonnet 8. Sonnets and Psalm exploits a dynamic that arises from the juxtaposition of disparate musical universes, choral and instrumental, and the unique and, at times, ineffable aesthetic qualities that emerge as a result of the intentional ordering of musical language and block structures. In a five movement form the listener is guided from vocal events painted on orchestral palettes, to solely instrumental movements, and back again. While the movements can stand independently of each other, there are ponderous transformations of material within and throughout the piece that create a thread that functions as a consistent generative unifying element. A recurrent utilization of motive, color, register, pitch-specific sonorities and gesture, enhances the unity of the work while exploiting the contradistinctive nature of each movement. Relational aspects of hidden and transformed materials from the Psalm and the sonnets (including the Mosaic movements) that are present throughout create a forward and back-relating dynamic. There is a programmatic element at work as well that in itself is a statement: after the sonnets and the mosaics, the listener is finally presented with the Psalm, a conclusion.

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Cameron, Bruce A. Luther Martin. "Luther's Summaries of the Psalms (1531) a model for contemporary Psalm interpretation /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Thesis (S.T.M.)--Concordia Seminary, 1991.
Appendix is an English translation of: Summarien über die Psalmen / Martin Luther ; [tr. by Bruce A. Cameron]; published in 1531. The original text is that of the Weimar edition, v. 38. Includes bibliographical references (leaves 141-143).

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7

Smith, Kenneth William. "From Psalm to sermon preaching from the Psalms in a genre-sensitive manner /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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8

Jones, Christine Danette Brown Bellinger W. H. "The Psalms of Asaph a study of the function of a psalm collection /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5346.

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Maurer, Bernard. "Psalm 95 and intertextuality." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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10

Drude, Matthias. "Der 121. Psalm: (1986)." Matthias Drude, 2020. https://slub.qucosa.de/id/qucosa%3A72064.

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Auf Anregung von Prof. Renate Altmann und Prof. Julius Severin komponierte Matthias Drude 1986 und 1987 drei Vertonungen von Psalmen für vierstimmig gemischten Chor und Orgel. Die drei Vertonungen sind in ihrer überwiegend homophonen Setzweise der musikalischen Romantik verpflichtet und für leistungsfähige Laienchöre geeignet. (überarbeitet und Computer-Notensatz (SIBELIUS): Juni 2020), siehe auch: 'Der 23. Psalm' (1986) und 'Der 91. Psalm' (1987)

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Drude, Matthias. "Der 23. Psalm: (1986)." Matthias Drude, 2020. https://slub.qucosa.de/id/qucosa%3A72062.

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Auf Anregung von Prof. Renate Altmann und Prof. Julius Severin komponierte Matthias Drude 1986 und 1987 drei Vertonungen von Psalmen für vierstimmig gemischten Chor und Orgel. Die drei Vertonungen sind in ihrer überwiegend homophonen Setzweise der musikalischen Romantik verpflichtet und für leistungsfähige Laienchöre geeignet. (überarbeitet und Computer-Notensatz (SIBELIUS): Mai-Juni 2020), Siehe auch: Der 91. Psalm (1987) und Der 121. Psalm (1986)

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Raison, Stephen J. "An exegesis of Psalm 45." Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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McIver, Ian. "An interpretation of Psalm 132." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.

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Deal, Brooke Lemmons. "Divine queenship and Psalm 45." Fort Worth, TX : [Texas Christian University], 2009. http://etd.tcu.edu/etdfiles/available/etd-04232009-145435/unrestricted/deal.pdf.

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Thesis (Ph.D.)--Brite Divinity School, Texas Christian University, 2009.
Title from dissertation title page (viewed June 15, 2009). Includes abstract. "Dissertation presented to the Faculty of the Brite Divinity School in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Biblical Interpretation." Includes bibliographical references.

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Christensen, Ashley Mae. "First Psalm: Poems and Paintings." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3062.

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This collection of poems and paintings seeks to find the places where visual and written communication intersects, and the places where those two media diverge. The collection consists of poems and paintings juxtaposed, as if in conversation with one another throughout the pages. The collection treats each painting and poem as a separate attempt at prayer. As a reader turns the pages, similar questions are asked again and again, but in different settings and with different outcomes. This collection focuses on finding reconciliation between the oral culture of storytelling and the written culture of ideas, all within the context of prayer.

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Botha, Carine. "Psalm 139 - a redactional perspective." Diss., University of Pretoria, 2018. http://hdl.handle.net/2263/64293.

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In spite of the beauty of Psalm 139, it is notorious for its extreme exegetical divide. Research to date has put exceptional focus on Psalm 139 and its unity and/or division. This study, attempts to come to a clearer insight into Psalm 139. To accomplish this, a twofold approach is taken. First, we let the text speak for itself by exploring the textual and poetic features. These results will then be put in the wider context of the Psalter, specifically Book V of the Psalter. The placement of Psalm 139 within the context of the theology of Book V of the Psalter is seriously considered and attention is drawn to the relationship that Psalm 139 has with other texts in its immediate context.
Dissertation (MTh)--University of Pretoria 2018.
Old Testament Studies
MTh
Unrestricted

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Nerkko-Runtti, A. (Arja). "Lågorna är många:studier i språket i den svenska psalmen 1819–1986." Doctoral thesis, University of Oulu, 2007. http://urn.fi/urn:isbn:9789514286605.

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Abstract The aim of the present dissertation is to study what linguistic conditions contribute to the accessibility of the psalm to the user of the psalm. The study is to shed light upon the role of adjectives, interjections, the syntax of the text, nouns with religious semantic content, and nouns pertaining to nature, in the Swedish psalm. Futhermore, the use of adjectives by a group of psalm authors is studied by way of comparing their use of adjectives in psalms with that in the rest of their poetry, in order to find out if psalms act as a special genre of poetry for them. The material consists of the psalms of 48 Swedish psalmists, and also a selection of other poetry by nine psalm authors. The authors chosen from the psalm book of 1819 were born in the 18th century, those from the psalm book of 1937 in the 19th century, and those from the psalm book of 1986 in the 20th century. The portion of adjectives of the words in the graphical text is the highest among the 19th century psalmists and lowest among the 20th century psalmists. All the groups of psalmists share the adjectives evig ‘eternal’, god ‘good’, and helig ‘holy’ out of the ten most often occurring adjectives. Some adjectives used in older psalms are not found in the psalm poetry of the 20th century psalmists. All the nine psalmists with the special reference to other poetry use a greater variety of adjectives in the rest of poetry than they use in their psalms. The older psalm authors use adjectives with religious content more often than the younger psalmists in the rest of poetry. The portion of interjections varies quite little in the psalm texts from different centuries. The most common are interjections that express emotion. Among these the interjection ack ‘o!, lo!’ shows an insignificant frequency of occurrence in the new psalm. The nouns of religious content belong to psalm language. With respect to the ideological content of religion, the nouns nåd ‘grace’, synd ‘sin’, salighet ‘blessedness; salvation’, and barmhärtighet ‘mercifulness’ occur less often in the new psalm than in the old one. The use of nouns pertaining to nature is derived from the Bible. Names of Swedish plants and animals occur in the psalm of the 20th century, only. Syntactically and, semantically the psalm has become more easily accessible to the psalm user since the year 1819
Abstrakt Syftet med föreliggande avhandling är att undersöka vilka språkliga omständigheter som inverkar på psalmens tillgänglighet för psalmbrukaren. Avhandlingen vill redogöra för vilken roll adjektiv, interjektioner, textens syntax, substantiv med religiöst innehåll och naturbetecknande substantiv spelar i den svenska psalmen. För adjektivens del jämförs också vissa författares bruk av adjektiv i psalmer och övrig diktning för att undersöka om psalmdiktning för dem är en speciell art av diktning. Materialet omfattar psalmerna av 48 svenska psalmförfattare samt ett urval av nio psalmförfattares övriga dikter. Författarna från 1819 års psalmbok är födda på 1700-talet, författarna från 1937 års psalmbok är födda på 1800-talet och författarna från 1986 års psalmbok på 1900-talet. Andelen av adjektiv av alla grafiska ord är störst hos 1800-talisterna och minst hos 1900-talisterna. Av de tio oftast förekommande adjektiven är evig, god och helig gemensamma för alla grupperna. Vissa i äldre psalmer förekommande adjektiv finns inte hos 1900-talisterna. Alla de nio särskilt undersökta psalmförfattarna använder i sin övriga produktion flera adjektiv än i sina psalmer. äldre psalmförfattare använder religiöst laddade adjektiv i sin övriga produktion oftare än yngre psalmister. Andelen av interjektioner i texter från olika århundraden varierar inte mycket. Vanligast är känslouttryckande interjektioner. Av dem har ack i den nya psalmen en obefintlig roll. Substantiv med religiöst innehåll hör till psalmspråket. Angående religionens ideologiska innehåll kan det konstateras att substantiv som nåd, synd, salighet och barmhärtighet förekommer mera sällan i den nya än den gamla psalmen. Bruket av naturbetecknande ord i psalmer är bibelbundet. Svenska växt- och djurnamn förekommer endast i 1900-talspsalmen. Sedan 1819 har psalmen syntaktiskt och semantiskt blivit tillgängligare för psalmbrukarna

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Johns, James L. "The early Jewish transmission of Psalm 16 : from psalm to messianic proof text in Luke-Acts." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/30323.

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This thesis seeks to address one question: What may be known about the early Jewish transmission of Psalm 16 and how may the early Jewish transmission of Psalm 16 help us understand its messianic usage in Acts 2:14-36 and 13:16-41? Chapter 1 provides an overview of Psalm 16’s journey from Hebrew poetry to messianic proof text. By examining the transmission of psalmody in Second Temple Judaism, the two-day relationship between prophecy and psalmody is seen as influencing the appropriation of Psalm 16. The Hebrew Bible shows the Psalms becoming part of the post-exilic practice of inner-biblical exegesis. Psalms are appropriated eschatologically within prophetic texts. In the extrabiblical literature of Second Temple Judaism, the Psalms are gradually seen to have a distinctive function as prophetic proof texts. Chapter 2 finds that Psalm 16'’ significant literary features confirm its sharing in ancient Syro-Palestinian poetic traditions. The poet of Psalm 16 uses traditional material, literary motifs, and stylistic techniques common to other Northwest Semitic languages. Psalm 16 appears to employ a variegated, heterogenous language reflecting an early stage of Hebrew as evidenced by its relatively dense cluster of Israelite Hebrew features. The form of Psalm 16 is that of a Vertrauenspsalm, “psalm of confidence,” - language of the psalmist intimately expresses confidence in YHWH’s provision, even in the case of death. Chapter 3 asserts that Psalm 16’s structure clearly supports its classification as a psalm of confidence and emphasizes its major theme of trust in YHWH. No textual, linguistic, formal or structural evidence suggests a composite Psalm. A working translation of Psalm 16 suggests that, for its readers, Psalm 16 sets up a tension which awaits resolution. Sourced in the claim of a Heilsorakel (to which we have no further access), and confirmed in ongoing communion with YHWH, the psalmist may affirm something which partly fits received views on human destiny but also transcends them.

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Kynes, William Joseph. "My psalm has turned into weeping : the dialogical intertextuality of allusions to the Psalms in Job." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609884.

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Park, Sang Hoon. "An exegetical study of Psalm 33." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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Santos, Carluci Ferreira dos. "An exegetical study of Psalm One." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Lane, William Lacy. "An exegetical study of Psalm 78." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Dryden, Jeffrey de Waal. "Psalm 110 in New Testament Christology." Online full text .pdf document, available to Fuller patrons only, 1999. http://www.tren.com.

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Drude, Matthias. "Der 91. Psalm: (8-9/1987)." Matthias Drude, 2020. https://slub.qucosa.de/id/qucosa%3A72063.

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Auf Anregung von Prof. Renate Altmann und Prof. Julius Severin komponierte Matthias Drude 1986 und 1987 drei Vertonungen von Psalmen für vierstimmig gemischten Chor und Orgel. Die drei Vertonungen sind in ihrer überwiegend homophonen Setzweise der musikalischen Romantik verpflichtet und für leistungsfähige Laienchöre geeignet. (überarbeitet und Computer-Notensatz (SIBELIUS): Mai 2020), siehe auch: 'Der 23. Psalm' (1986) und 'Der 121. Psalm' (1986)

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Burnett, Jason. "Revisioning a Masterpiece: Jon Magnussen’s “Psalm”." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500109/.

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In 2001, composer Jon Magnussen met the unusual challenge of unifying his new score for Psalm, an already-existing dance work from 1967, with the original artistic conceit of the choreographer, José Limón, who died in 1972. Limón was inspired directly by his reading of André Schwartz-Bart’s Holocaust novel, The Last of the Just, and had initially desired to use Stravinsky’s Symphony of Psalms as the score for the dance. Faced with cost-preclusive licensing fees for the Stravinksy, Limón engaged Eugene Lester to compose a score for Psalm. The Lester score, now lost, served the work for only a brief time, when the piece fell out of the repertory. When approached to create a new score for the extant dance work, Magnussen chose to draw his own influence from three works: the dance itself, Schwartz-Bart’s novel, and Stravinsky’s Symphony of Psalms. In addition, Limón Company Artistic Director Carla Maxwell served as Magnussen’s collaborator in reworking Psalm to resemble the work she believed Limón had desired all along. Magnussen’s influence from Stravinsky and Schwartz-Bart are revealed in the choices of text, the scored forces, and melodic ideas generated by the composer by mapping the names of significant Holocaust sites onto scalar patterns. Limón’s memoir, personal articles, and sketches of artistic ideas along with personal interviews with Magnussen and Maxwell will inform my research. These sources easily establish Magnussen as a significant composer, and Psalm as a significant work of art; its value is reflected in the careful confluence of the artistic contributions of three significant artists, Limón, Schwartz-Bart, and Magnussen.

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au, david cohen@vose wa edu, and David John Cohen. "An Examination of the Psychodynamic Effects on Individuals Using Psalms of Lament Intentionally, in the Form of Ritual Prayer, as a Way of Engaging With Experiences of Personal Distress." Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20081118.153252.

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The Psalter has formed the basis of Judeo-Christian worship since ancient times. It has served, and continues to serve, individuals and communities of faith as a foundation for communal and personal devotion. As a devotional tool it is unique in that it provides prayers which address God directly concerning the whole gamut of life experience. While the Psalms can be examined and analysed as a literary text, they must be used and experienced by people to more fully discover and recognize their power in providing a pathway for expressing life experience. The lament psalms are of particular interest in this regard. There appears to be a reluctance, in some quarters, to employ them as an expression of prayer. As a result, the lament psalms as a way of engaging with experiences of personal distress, and voicing the reflections and responses such experiences produce, have often been ignored. This study suggests that psalms of lament provide a framework for expressing personal distress in the context of prayer. The framework, identified as a matrix of lament, consists of various modes of articulation characterized as expressing, asserting, investing and imagining constellations. The study examines what happens when individuals, who have first been made aware of the matrix of lament and its constellations, use lament psalms for prayer. Praying of lament psalms in this study is embedded in a prescribed process through which participants engage with their experiences of personal distress. As a result of such a process any significant psychodynamic changes which may take place can be observed, examined and explored, thereby, highlighting the efficacy of using lament psalms as a form of prayer. The study achieves this by examining the reflections and responses of selected individuals to see whether the process does in fact facilitate changes in the individuals levels of distress, sense of personal control over distress and the nature of relationship between the individual and God. The reflections and responses also provide some indication of how the process might birth a fresh perspective on personal distress for those who choose to incorporate these psalms into their journey of faith.

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Duguid, Timothy Charles. "Sing a new song : English and Scottish metrical psalmody from 1549-1640." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5966.

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The Book of Psalms has occupied a privileged place in Christianity from its earliest years, but it was not until the sixteenth century that metrical versifications of the Psalms became popular. Because of the notable influence of Martin Luther and John Calvin, the musical phenomenon of metrical psalm singing spread throughout Protestant circles on the European mainland and in Britain. These versifications knew no boundaries among Protestants: reformers and parishioners, kings and laypeople, men and women, young and old memorised and sang the metrical psalms. In England and Scotland, the versifications written by Thomas Sternhold and John Hopkins became the most popular, as editions of these texts were printed in England from 1549 to 1828. The present study considers these metrical versifications and their melodies as they were printed and performed in England and Scotland from their inception until the final Scottish edition appeared in 1640. In particular, this study asserts that the years from 1560 to 1640 saw the development and reinforcement of two distinct ecclesiastical psalm cultures, one in England and the other in Scotland. Though based on a common foundation in the Sternhold and Hopkins texts, English and Scottish metrical psalmody preserved their distinct natures. However, both traditions also influenced their counterparts. The present study considers these cross‐influences and their effect on the tensions between conformity with foreign influences and fidelity to established practice in both countries. This study finally seeks to fill two significant gaps in current scholarship. It first compares the developments in English and Scottish metrical psalmody in the sixteenth and seventeenth centuries. Secondly, it considers the relationships between psalm tunes and their texts, with a closer musical analysis of the tunes than has previously been attempted.

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Temme, Diane. "Orlando di Lasso's psalm settings : an examination of genre in late sixteenth-century psalm motets and German Leider." Thesis, Bangor University, 2019. https://research.bangor.ac.uk/portal/en/theses/orlando-di-lassos-psalm-settings(734d892f-f377-4279-bda2-2b6315cbb6a1).html.

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Lasso was considered the greatest composer of his generation with undisputable mastery of all sixteenth-century genres. The dynamism of the late sixteenth century saw the most sophisticated compositions in the continuation of the psalm motet tradition. However, more flexible applications for the psalms in the form of meditations, vernacular translations, and paraphrases opened the door for new and diverse interpretations. This dissertation is a study of Lasso's engagement with established musical traditions and new trends in psalmody. This study unfolds in two parts. First in the discussion of the Latin psalm motet genre and then ensuing with investigation of the German Lied. In each of the genres (1) there is a focus on the definition and classification of terms and older traditions, (2) the examination of the text and the discussion of ways in which the music engages with the prose and poetic forms, and (3) the evaluation of Lasso's interpretation of psalm texts. From negligible German Lieder to expansive motet cycles, the psalms afforded endless polyphonic inspiration and the diversity of which categorically points to the shifts and development of cultural and aesthetic traditions. The use of psalms to reflect devotion and confession amplifies the Catholic Reform implemented at the Bavarian court during Lasso's lifetime. This context along with Lasso's compositional innovation provides an interesting study for the stylistic development of psalm settings in the late sixteenth century.

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Ehorn, Seth. "Citation of Psalm 68(67).19 in Ephesians 4.8 within the context of early Christian uses of the Psalms." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/17946.

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This thesis examines the citation of Ps 68(67).19 in Eph 4.8. Following an introduction that introduces the problem of the altered wording in the citation in Eph 4.8, chapter 2 comprises a History of Research that is organised around the possible sources for the author’s citation in Eph 4.8. One of several conclusions made is that the proclivity of NT scholars to attribute the source text to particular Jewish traditions has contributed to overlooking the import of Ps 68(67).19 within a normal pattern of christological reading of the Psalms in early Christianity. Following these opening chapters, the thesis is divided broadly into Part One and Part Two. The first is deconstructive in nature; the second is constructive. Part One examines textual traditions of Ps 68(67).19 within Justin Martyr, the Peshitta Psalter, and Targum Psalms. Each of these sources share the reading ‘give’ rather than ‘receive’, raising the question of the relationship between these traditions and Eph 4.8. Chapter 3 examines Justin’s Dialogue with Trypho, which contains two citations of Ps 68(67).19 that strongly resemble Ephesians. Nevertheless, as nearly all interpreters acknowledge, Justin never refers directly to ‘Paul’ or ‘Pauline’ letters in any of his writings. Is the parallel wording of Justin’s citations evidence for an early Christian tradition that was also available to Ephesians? I argue that although unmentioned by name, a reasonable case can be made that Justin is familiar with the Pauline corpus, including Eph 4.8. Chapter 4 considers the evidence of Peshitta Psalms, which agrees with the reading of Eph 4.8 in a strand of its copyist tradition. After examining scholarly construals of the Peshitta MS tradition, I consider direct evidence for the influence of Eph 4.8 upon some Peshitta MSS as intimated by Theodore of Mopsuestia. Chapter 5 examines Targum Psalms, focusing on translation techniques and the targumist’s tendency to add, alter, or modify his source in various ways. I argue that when the targumist’s techniques and tendencies are taken into consideration, the targum’s reading ‘give’ is better understood as a typical targumic insertion. The proclivity of many scholars to link Targum Psalms to Eph 4.8 is a classic example of ‘parallelomania’. Part Two turns to make a constructive case for the citation found in Eph 4.8. Chapter 6 is a close examination of the author of Ephesians’ approach to literary borrowing. I consider both his citations from the Jewish scriptures and his use of Colossians as evidence. Chapter 7 examines how early Christians read the biblical Psalms as prophecies. Following a survey of Jewish readings of the Psalms, this chapter surveys how early Christians read the Psalms in light of the death and resurrection- exaltation of Christ. Drawing insights from this, chapter 8 turns to consider the phrases ‘he ascended . . . he gave gifts’ in Eph 4.8. I argue that an ambiguity of the addressee in the text of Ps 68(67).19 allowed for the application of this text to Christ. Moreover, the ‘ascent’ language could easily be applied to the resurrection- exaltation and this association naturally led to the language of gift-giving in Eph 4.8. Chapter 9 considers how the citation of Ps 68(67).19 fits into the context of Ephesians 4, focusing on several important factors such as the language of descent in Eph 4.9–10. Part One and Part Two are followed by a short conclusion that summarises the thesis and draws out several conclusions and implications based upon this study.

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Lebaka, M. E. K. (Morakeng Edward Kenneth). "Psalm-like texts in African culture : a Pedi perspective." Thesis, University of Pretoria, 2009. http://hdl.handle.net/2263/25129.

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Up to now there has been no attempt by Biblical scholars to compare the book of Psalms in the Old Testament with Pedi psalm-like songs. This study aims to fill that gap in the research and so contribute to the development of the African cultural heritage – especially that of the Pedi culture, by using indigenous knowledge systems. The research commences with a descriptive analysis of the various genres within the Book of Psalms. A variety of psalms types are discussed, including: Hymns of praise; Thanksgiving songs (communal and individual); Laments (communal and individual); Royal psalms; Hymns of Zion; Psalms of Yahweh’s kingship; Wisdom psalms; Liturgical psalms; Entrance liturgies; Judgement liturgies; Psalms of trust; Imprecatory psalms; Creation psalms; Torah (Law)-psalms; and Festival psalms. Each of these genres is described with reference to structural elements, characteristics and function(s). Then follows a descriptive assessment of numerous types and specific examples of Pedi Psalm-like songs via the provisioning of text, translation and a detailed commentary pertaining to contents and function. These include: Songs of Praise (e.g. Kgoparara); Thanksgiving songs (e.g. Mogale wa marumo - thanksgiving birth poem); Lament songs (e.g. Madi a manaba - a funeral song); Royal songs (e.g. Kgoshi - an inauguration song) Liberation songs (Ga e boe Afrika - a liberation song); Wisdom songs (Mokgoronyane - initiation song for boys and Kgogedi - initiation song for girls); Prayers of trust (e.g. Salane - a song of trust); Imprecatory songs (e.g. Leepo - song with irony); Law songs (e.g. Bana ba Modimo, thaetsang melao ya Modimo ka badimo - instruction song); Feasts (e.g. Ngwana malome nnyale - a lobola song and Hela Mmatswale, tlogela dipotwana - a wedding song). Finally the thesis provides a critical comparision between biblical psalms and Pedi psalm-like songs. The research demonstrates that, on the one hand, there are numerous interesting similarities between the two cultures’ songs with regard to a variety of aspects. On the other hand, the assessment also reveals substantial differences between the two musical traditions pertaining to an equally great number of issues.
Thesis (PhD)--University of Pretoria, 2009.
Biblical and Religious Studies
unrestricted

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Lowe, C. Jane. "The psalm settings of Marc-Antoine Charpentier." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239094.

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Groenewald, Alphonso. "Psalm 69 : its structure, redaction and composition /." Münster : Lit, 2003. http://catalogue.bnf.fr/ark:/12148/cb392315962.

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33

Lee, Byeong Gu. "The use of Psalm 16 in Acts." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Snider, Gordon L. "Cleansing in Psalm 51 cultic or ethical? /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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Burkett, Ken. "Psalm 119 a thematic and literary analysis /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.

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Celliers, Ben. "The splendour of forgiveness in Psalm 32." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/75284.

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I have fallen in love with Psalm 32 when journaling through the psalms as a teenager. The aim was to rewrite each psalm and to make notes. Psalm 32 stood out among other psalms. Aspects of Psalm 32 that came to the fore were its personal tone. The author is sincere and honest in his account of his circumstances, and the YHWH addressed him directly, by promising proximity and guidance. I do hope that the reading of this in-depth study of Psalm 32 will yield similar results in modern-day readers.
Dissertation (MTheology)--University of Pretoria, 2019.
Old Testament Studies
MTheology
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De, Bruyn Joseph Jacobus. "Die christologie van die Eerste Testament met spesifieke verwysing na die Psalms 'n praktiese toespitsing op Psalm 110 /." Pretoria : [S.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-05262008-143608/.

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Owen, Jonathan Clark. "Psalm 104 Yahweh's polemic against the Ugaritic pantheon /." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.

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Lett, Raymond Lee. "An Exegetical and theological study of Psalm 90." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.

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Van, Straaten Jacobus Petrus Lodewicus. "Raakpunte tussen Psalm 82 en die Ugaritiese Kirtuverhaal." Diss., Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-06192007-115025/.

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Schlicht, Matthias. "Luthers Vorlesung über Psalm 90 : Überlieferung und Theologie /." Göttingen : Vandenhoeck & Ruprecht, 1994. http://catalogue.bnf.fr/ark:/12148/cb38991414x.

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Fitch, Philip A. "An exegetical and theological study of Psalm 16." Online full text .pdf document, available to Fuller patrons only, 1992. http://www.tren.com.

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43

Ortlund, Raymond C. "Psalm 68 in ancient, medieval and modern interpretation." Thesis, University of Aberdeen, 1985. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU354525.

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We base our interpretative study of Psalm 68 on the persuasion that the most objective point of departure for Old Testament exegesis is the body of traditional meanings handed down to us through the Hebrew-based ancient versions and through Judaica. Comparative Semitics may, and at times does, serve to supplement and to correct traditional interpretations; but the specific relationship of tradition with the psalm as opposed to the casual relationship of, say, Ugaritic or Arabic meanings with this particular piece of literature give tradition the fundamental role in establishing the meaning of the Hebrew. Accordingly, we devote the first five chapters to the ancient versions, viz., the Greek, Aramaic, Syriac, Latin and Arabic, in an attempt to determine their value for the modem interpretation of the psalm. While none of the versions discloses an authentic interpretation of the psalm as a unified and coherent whole, for that sense seems to have been lost to them, each one does nevertheless contain various meanings which commend themselves to us as authentic. These are specifically noted. In Chapter Six the commentaries of the three giants of medieval Jewish biblical interpretation are examined: Rashi, Ibn Ezra and David Kimchi. It was during this era that Jewish scholars sought to organize and evaluate their traditionally-inherited body of knowledge of the Scriptures. In a search for credible understandings and beliefs they re-assessed the witness of their fathers with the result that they established an important milestone in the history of biblical exegesis. Neither the versions nor the rabbis provide us with complete or perfect knowledge of the psalm, but within their testimony we have the only solid foundation for objective interpretation. We review the high points of the modern study of Psalm 68 by turning to three landmark English versions in Chapters Seven through Nine, viz., the Authorized Version of 1611, the Revised Standard Version of 1952 and the New English Bible of 1970. Each one is examined in its relation to traditional and modern studies. The AV we find to be essentially a rabbinic interpretation of the psalm in English. The RSV, as a product of its times, searches for greater authenticity by going back beyond the rabbis to the ancient versions and comparative Semitic philology. As a result, there is a fullness to the RSV's rendering which commends itself well to our judgement. The NEB reflects a more skeptical view of the value of tradition for authentic understanding. The aim of this version seems to be to re-create the linguistic situation in which the psalm originated, leaping over the centuries of an accumulated tangle of tradition which defaces and obscures the authentic psalm lying in remains within the Hebrew text. The NEB translators approach the psalm as if it were a recently-discovered document without intervening traditions and seek to establish its meanings through the use of what would have been the relevant linguistic sources in the ancient world. Presumably, the subjectivity of such an approach is outweighed in their minds by the extremely low value of traditional interpretations and by their confidence in their own ability to draw accurate comparative philological relations with the Hebrew text. Their rendering of Psalm 68, however, does not vindicate that confidence. Our own interpretative comments on the psalm are dispersed to some extent throughout the paper. Judgements on the meaning of the Hebrew cannot be avoided, nor should they be, in connection with the versions and rabbis. But the bulk of my particular exegetical opinions are subsumed under the chapters on the AV, RSV and NEB. Where I believe from my own study that the English translators have interpreted a point correctly, I indicate this by offering my own defense and exposition of their rendering. The RSV chapter contains a majority of these discussions. Finally, in the Conclusion, I offer my own interpretation of the structure of the psalm and of the course of the poet's thought, adding remarks there which I had not been able to include conveniently within previous chapters. In my opinion Psalm 68 is a hymn of descriptive praise to God for his power and goodness revealed to Israel in her early history up to his establishment on Zion and of confident expectation that the purposes of God will be brought to complete fulfillment with his eventual conquest and rule of the whole world from his sanctuary at Jerusalem. The psalm is designed to encourage Israel's faith in God as her only lord and source of life and to lead her to deeper commitment to and participation in his purposes for history.

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Nichols, E. Byron. "The kingship of Yahweh in Psalm 74:12-17." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Seiver, Randall O. "The use of Psalm 69 in the Fourth Gospel." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Nel, Pieter. "Die rol van Psalm 110 in Hebreërs / Pieter Nel." Thesis, North-West University, 2004. http://hdl.handle.net/10394/701.

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The book of Hebrews presents fascinating material for the study of Scripture on many dimensions. This is especially true when it comes to Hebrew's use of the Old Testament. Hebrews is not only the book that quotes from the Old Testament more than any other book in the New Testament, it also implements and organizes these quotations in a remarkable fashion. These quotations, references and reminiscences are also not made at random but are implemented in an organized structure. Not only does the Hebrew writer use the message of the Old Testament, but he also gives a message in the way that he organizes his quotations. Certain quotations appear right through the book, while they are also quoted in a more concentrated area in specific sections of the book. The quotations also appear to have introductory formulas unique to Hebrews. The specific source of these quotations appears to be the Psalms and the Pentateuch. One such text, which is used in a very high frequency and which has an enormous impact on Hebrews is Psalm 110. The present study makes clear that especially this Psalm is used in an organized and decisive way in the thought pattern of Hebrews. Quotations from, references to and reminiscences on verse 1 and verse 4 appear to form the proverbial "backbone" of Hebrews. It is even possible to indicate a that there is a parallel thought pattern between that of Psalm 110 and the basic thought structure of the "sermon" to the Hebrews. The study shows that Psalm 110 plays even more than a structural role in the book of Hebrews. The exposition of the quoted verses constitutes the central message of the book as a whole. The message is that Jesus is the risen Christ, the King-Priest of our salvation. The way in which Hebrews explains the message of Psalm 110 leads to the conclusion that Hebrews can be viewed as an example of an early-Christian Midrasj on Psalm 110. In accordance with the characteristics of a Midrasj the Hebrew writer makes abundant use of the expository methods of the rabbinical hermeneutics of it's time. In accordance with this method Psalm 110 is explained and applied as a Messianic Psalm. The Hebrew writer makes even a further step than his contemporary Jewish expositors, by applying the Messianic prophecy of the Psalm directly to Jesus Christ. Both Hebrews and the other Jewish expositors did justice to the messianic message of Psalm 110 by adherence to the literary and historical context of the Psalm. Through an exegetical study of Psalm 110, in it's context of the Hebrew Tenach, this is the conclusion to which this study comes. Even in it's original form the Psalm was destined to refer to more than an ordinary earthly king is. It proclaimed the coming of a Priest-King who would finally conquer the enemies and foes of the people of God and who will reign forever. Hebrews makes clear than this became a reality in the work of Jesus Christ, the incarnate Son of God. By studying the way in which Hebrews uses and explains Psalm 110 this study contributes some valuable insights into the hermeneutics of our own day, especially the contemporary hermeneutics on the Messianic Psalms. It shows that present day expositors, in complying with the approach of Hebrews, can rightly maintain that the Messianic Psalms did indeed make reference to the person and work of Jesus Christ and can still be interpreted as such today. The study finally examines the use of Psalm 110 in Hebrews with the aim of determining the hermeneutic principles of the book and comparing them with that of the Jewish exegetes of its time. These principles are then also compared with those being used today and the points of critique against the hermeneutics of Hebrews are evaluated.
Thesis (M.A. (New Testament))--North-West University, Potchefstroom Campus, 2005.

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47

Campbell, Harris Williams. "The meaning and significance of rûaḥ in Psalm 51." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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Nassau, Scott P. "Psalm 89 as a midrash on the Davidic covenant." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p001-1216.

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Thesis (Th. M.)--Dallas Theological Seminary, 2008.
Expanded version of a paper read at Center for Leadership Development, Southwestern Baptist Theological Seminary during the ETS Southwest Region Spring Conference of the Evangelical Theological Society and the Evangelical Missiological Society in Fort Worth, Texas, March 23-24, 2007. Includes bibliographical references (leaves 58-66).

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Lebaka, Morakeng Edward Kenneth. "Psalm-like texts in African culture a Pedi perspective /." Pretoria : [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-05302009-110332/.

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Rata, Cristian G. "The enemies of God in Psalm 74:12-14." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Dissertations / Theses on the topic 'Psalm'

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