Dissertations / Theses on the topic 'Sacred vocal music'
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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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Steed, Janna T. "Duke Ellington's jazz testament the sacred concerts /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.
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Hafar, Matthew Alan. "The psalmody of Monteverdi : choral settings of the vesper psalms CX and CXI." Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/6031.
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Ziegler, Reinald. "Die Musikaliensammlung der Stadtkirche St. Nikolai in Schmölln/Thüringen repertoiregeschichtliche Studien und Katalog : ein Beitrag zur Musiküberlieferung im 16. und 17. Jahrhundert in Mitteldeutschland /." Tutzing : Schneider, 2003. http://catalog.hathitrust.org/api/volumes/oclc/51654880.html.
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Board, Ryan Everett William A. "Dietrich Buxtehude's Membra Jesu nostri a study in baroque affections and rhetoric /." Diss., UMK access, 2006.
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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006."A dissertation in conducting." Advisor: William Everett. Typescript. Vita. Description based on contents viewed Oct. 30, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 100-102). Online version of the print edition.
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Bunnell, John H. "An open-ended database guide to assist ministers of music and vocal soloists to select solos that will match and enhance the lectionary readings during the Easter cycle (year "A")." Theological Research Exchange Network (TREN), access this title online, 2006. http://dx.doi.org/10.2986/tren.089-0073.
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Greene, Charles F. "There came Jesus a choral depiction of Messiah's last days of earthly ministry /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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Gardner, David B. "Filled with the fullness of God a choral concert expressing God's design for mankind /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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Soga, Hector Ian. "The sacred vocal works of Gottfried August Homilius (1714-1785) with particular reference to his St. Mark Passion." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/3961/.
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The chance discovery of a composer of whom the present writer had previously been unaware; who was allegedly a pupil of J.S. Bach; whose list of compositions occupied no small space in modern lexicographical entries, let alone in Eitner's now largely obsolete catalogue; who, according to Feder in his article entitled Decline and Restoration in Protestant Church Music - a History, though highly regarded in his day, had not received detailed consideration: such were the factors which gave impetus to the present day. No sooner was that study underway than it transpired that others, too, had been struck by the deficiency noted by Feder. Already in 1970, the American scholar Robert Ellis Snyder had prepared a doctoral thesis on the choral music of Gottfried August Homilius. More significantly, the East German scholar Hans Hohn had published a comprehensive survey of the composer's life and work which was subsequently published in a revised and shortened form in 1980. Far from undermining the work undertaken by the present writer, the above-mentioned studies helped to give it sharper focus. Snyder's contribution, valuable both for the attention drawn anew, through his editorial work in Volume 2, to the composer's music, and still more for his English translation of the Generalbass, nonetheless left room for deeper analysis and evaluation of Homilius' works. John's signal achievement, his painstaking collation of documentary evidence of the composer's life, remains largely inaccessible to the English reader who has no command of German. Further, his evaluation of the man and his compositions, based on an albeit rigorous survey, is vitiated by a tendency to play down the importance of theology in the formation of the composer's character and to portray him, in a one-sided way, as a torch-bearer for an emergent and emancipated bourgeoisie. Thirdly, John failed to distinguish correctly between the Passion Cantata So gehst du nun mein Jesu hin on the one hand and on the other the Markuspassion which bears the same subtitle and which turned out to be one of Homilius' lengthiest and most substantial works. These factors, then, helped to give shape to the present study which, as far as its author has been able to establish, is the first of substantial length to be undertaken in Britain. The first chapter of Volume I is devoted to a summary of Homilius' life. Relying, though by no means exclusively, on John, details are given of the composer's background, of his earlier life and education, of his first frustrated attempts to secure employment and his eventual success in being appointed organist of the Frauenkirche in Dresden in 1742, of his subsequent preferment in 1755 to the post of Cantor of the Kreuzkirche in the same city, of his varied life and success as cantor, teacher and organist over against a background of social upheaval, and finally of the circumstances of his death in 1785. Chapter 2 is deovoted to a general survey of the music. While account is taken of John's findings, the content is larely an independent survey of Homilius' music based on the main on manuscripts held in the Music Department of the Staatsbibliothek der Stiftung PreussischerKulturbesitz in West Berlin. The chapter contains details of the extant works, both published and in manuscript, new information about the dating of works established in the course of research, and, following a brief description of the main genres of music encountered (Oratorios, cantatas, motets and settings of the Magnificat), a discussion of the texts which underpin the works. Attention is then directed to the music: to the characteristics of the composer's musical language and to the techniques of composition and orchestration which he employs. From this study there emerges the picture of a composer who had full command of the musical dialects of his day, but whose obedience to a task which was essentially musico-theological kept him from producing music of lasting appeal. Chapters 3 and 4 constitute the main burden of the present study. The first of these is devoted to a study of the St Mark Passion both as a structure and as a theological statement. Through detailed analysis and comparison with similar works it is suggested that Homilius' work has its own particular theological stamp, in particular that he is more concerned with the life which faces his listeners in the here and now and with present moral choices than with affording to the listener a spiritual experience of the road to Golgothe. Unlike J.S. Bach who is content to let the gospel speak for itself, Homilius incorporates in the work a particular theological view of the work of Christ. Both factors conspire with others of a more musical nature to deprive this work of that timeless quality which characterises Bach's great Passions. In Chapter 4 the music is subjected to systematic analysis. If the arias emerge as the least satisfactory component, the recitatives are remarkably fluent, and the work as an entity proves to have been carefully and indeed ingeniously planned. Conclusions are drawn in Chapter 5, though a review of the most important literature, about the man, the composer and the St Mark Passion in particular. While there is some evidence to support the view, championed by John, that Homilius had certain progressive reflexes, Rudolf Steglich's 1915 analysis of him as an essentially conservative being seems the more perceptive and compelling, however dubious his comparison of Homilius with C.P.E. Bach. As a composer Homilius had great facility, but his musical language, shot through with gracious vocabulary and popular idiom, lacked innate strength. It is a language limited, too, by the composer's intellectual horizons and by his very pre-occupation with theology and his ecclesiastically based méier. As an oratorio Passion the St Mark Passion, a monumental work, is unique among the pieces which Homilius composed for performance during Holy Week. Of his entire oeuvre this work above all is both an expression of his debt to the Baroque past and at the same time an acknowledgement that he has left that past far behind. Volume I is furnished with three appendices. The first is devoted to a Choralbuch which sheds light both on the dating of works and on Homilius' treatment of the chorale. The second contains details of larger works and cantatas in manuscript. Musical incipits are given, where they were available, in order to facilitate more reliable identification of works. Appendix 3 contains diagrams and musical examples relevant to Chapters 2 and 4. Volume II contains a performance edition of Homilius' St Mark Passion furnished with a 3-part Critical Apparatus, containing 1) Text and Translation, 2) Notes on the Edition - including details of the manuscript, its provenance, an attempt to date the work, and an evaluation of its dedication to Princess Anna Amalia of Prussia - and 3) Notes on Performance.
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Jeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /." Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.
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Ealy, Gregory. "Medieval Russian chant and the contemporary church." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0469.
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Abdel-Malek, Kamal. "The sīra of the prophet Muḥammad in the repertoire of the contemporary Egyptian Maddāḥin." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39333.
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This is an interpretive study of the life of the Prophet Muhammad as it is artistically depicted in the repertoire (especially the narrative ballads) of fifty-one contemporary Egyptian maddahin (singers of eulogies in honour of the Prophet Muhammad, sing. maddah). The elements of this repertoire, as diverse as narrative ballads, classical odes, Qur'an chanting, and the melodies of the secular songs of well-known Egyptian singers, do not exist as discrete units but rather as a lively tawlifa (blend)--to use a common term in Colloquial Egyptian Arabic (CEA). This study is about blends where discrete units lose their borderlines and leak into one another, about phenomena which are "betwixt and between" the perceived scholarly categories which confidently delineate boundaries between elite and popular Islam, the historical and the legendary Muhammad, the sacred and the profane, orality and writing, standard and colloquial Arabic.In order to understand the process which marks the making of the people's Muhammad, the study deals with the sources and the contents of the repertoire of the Egyptian maddahin. The performance of these singers as well as their interaction with the audience are also considered. The "legendary" material in this repertoire is attested as historical by many authoritative and well-recognized "orthodox" authors of the past. Classical Arabic, classical poetic forms, philosophical notions, long believed to be the exclusive possessions of the learned, are freely utilized in the ballads and popular songs under study. The people's Muhammad appears as both a commanding figure, empowered by the supernatural, and a touchingly vulnerable human being; God's ascetic messenger and a man who savours life's lawful pleasures; an eloquent speaker who utters Qur'an-like terse Arabic and a lovingly familiar figure who also uses local patois. Bipolarity, beloved of many scholars, is seriously challenged by the art of the Egyptian maddahin. A renewed effort has to be made to discover more valid categories which will take into account the intermediary combinations (Mischbildungen) characteristic of that art.
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Clay, William Rudy Paul. "Incarnation for soprano duo and chamber ensemble /." Diss., UMK access, 2008.
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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008."A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
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Palionis, Solveiga. "Formation of pastoral musicians in Lithuania pastoral project : intensive one week summer course /." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.
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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
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Sullivan, Ryan W. "A Performance Edition of the Vespers Settings in Sacri E Festivi Concenti, Opera Nona by Giovanni Legrenzi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505211/.
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Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.
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Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.
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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.
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Napier, Dione J. "A STUDY OF J.S. BACH’S SACRED AND SECULAR VOCAL WORKS INFLUENCED BY POPULAR STYLIZED DANCE OF THE FRENCH BAROQUE COURT: A PERFORMER’S GUIDE." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/23.
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Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.
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Kirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.
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Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of San Pedro in Lerma. By comparing the repertory in the manuscript with sixteenth- and seventeenth-century instructions to minstrels in Le6n and Palencia, it has been possible to establish typical ecclesiastical performance responsibilities of minstrels and deduce how such a collection of instrumental music would have been used. Furthermore, after study of the surviving inventories of San Pedro, it has been possible to reconstruct the entire polyphonic musical repertory of the church. This enables us to see the sort of musical library available to the typical succentor or chapelmaster of the time, and the place that minstrel repertory occupied. Finally, a significant number of the original Lerma manuscripts and prints have been traced into modern collections, allowing us to know much more about their origins and history than heretofore.Plusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr
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Collingridge, Lorna Marie, and n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
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Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.
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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
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Eyzaguirre, Roberto. "Melchor Tapia and music in the Lima cathedral /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121815d.
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Cunha, Alcingstone de Oliveira. "The Portuguese royal court and the patronage of sacred music in Rio de Janeiro, 1808-1821 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122091j.
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Diss.--Philosophie--Fort Worth, Tex.--Southwestern Baptist theological seminary, 1998.Liste des musiciens (compositeurs et instrumentistes) de la Chapelle royale de Rio de Janeiro. Bibliogr. p. 151-165.
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Simon, Laurent. "L’œuvre vocale sacrée de Henry Purcell : à la recherche d’un équilibre." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040238.
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Le développement de la musique religieuse de Henry Purcell pendant la seconde moitié du dix-septième siècle est le fruit d’un compromis fructueux entre les contraintes politiques et religieuses de l’Angleterre de la Restauration et l’influence du baroque continental. L’évolution stylistique de ses compositions reflète la politique menée par les souverains successifs : Charles II, Jacques II et Guillaume d’Orange. Musicien baroque en pays anti-papiste, Purcell se montre particulièrement habile dans la manière de mettre les mots en musique et parvient à un équilibre entre l’exigence des réformateurs en matière d’intelligibilité du texte et l’esthétique de la contre-réformeThe development of Henry Purcell’s sacred music in the second half of the seventeenth century originates in a fruitful compromise between the political and religious constraints of Restoration England and the contribution of the continental baroque. The stylistic evolution of his religious compositions reflects the political and religious developments which took place during the successive reigns of Charles II, James II and William of Orange. As a baroque musician and a native of an anti-papist country, Purcell showed considerable skill in the art of setting words to music and managed to blend in the Reformers’ emphasis on the intelligibility of the text and Counter-Reformation aesthetics
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Fructus, Michel. "Les cantates de Nicolaus Bruhns (1665-1697)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20067/document.
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Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muableNicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing
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Tramonte, Marcella 1989. "O Coro Santa Cecília, uma análise documental : o papel da mulher como educadora musical na primeira metade do século XX em São João da Boa Vista /." São Paulo, 2017. http://hdl.handle.net/11449/151758.
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Orientadora: Dorotea Machado KerrBanca: Lutero Rodrigues da Silva
Banca: Hélio Sales Rios
Resumo: Este trabalho tem como foco o Coro Santa Cecília, coro feminino pertencente à associação católica Pia União das Filhas de Maria na cidade de São João da Boa Vista, na primeira metade do século XX. O grupo vocal, "moderno" para sua época, chegou a obter considerável projeção regional e desempenhou importante papel na transmissão de conhecimento na cidade e contexto em questão. Visto que os estudos direcionadas à educação feminina e à participação de mulheres na educação musical ainda se encontra em processo de crescimento, se comparado aos demais estudos sobre história da música e educação musical em geral, este trabalho propõe um estudo da função socioeducacional do Coro Santa Cecília associado à Pia União das Filhas de Maria a partir de fontes documentais primárias presentes no Acervo do Museu de Arte Sacra da Diocese de São João da Boa Vista - partituras, atas de reunião, listas de chamada, cartas, artesanato, fotografias, entre outros - e entrevistas realizadas com ex-integrantes do coro e da associação que o abrigava. Assim, a partir da análise desses documentos buscou-se investigar uma possível contribuição dessas mulheres para a formação de uma elite intelectual na cidade de São João da Boa Vista, e que perdura até os dias atuais.
This work focuses on the Santa Cecilia Choir, a female choir belonging to the Catholic Association Pia União das Filhas de Maria in the city of São João da Boa Vista, in the first half of the twentieth century. The vocal group, "modern" for its time, came to obtain considerable regional projection and played an important role in the transmission of knowledge in the city and context referred. Since studies on female education and on the participation of women in music education are still in the process of growth, if compared to other studies on the history of music and music education in general, this work proposes a study of the social and educational function of the Santa Cecilia Choir associated with Pia União das Filhas de Maria, from primary documentary sources present in the collection of the Museu de Arte Sacra da Diocese de São João da Boa Vista - music sheets, meeting minutes, attendance lists, letters, craft items, among others - and interviews with former members of the choir and the association which sheltered it. Thus, the analysis of these documents sought to investigate a possible contribution of these women to the formation of an intellectual elite in the city of São João da Boa Vista, which continues to this present day.
Mestre
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López, Morillo Luis. "Les Bourbons sacrés : musica sacra y liturgia de Estado en las cortes de Roma, Madrid y Versalles (1745-1789)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL174.
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La présente thèse tente d'aborder, pour la première fois, une analyse comparative du rôle que la musique liturgique a joué dans le processus de construction de l'image sacrée des souverains de la maison Bourbon de France et d'Espagne dans le cadre des cérémonies religieuses célébrées aux cours de Madrid et de Versailles pendant les dernières décennies de l'Ancien Régime, ainsi que du rôle que l'exemple de la Chapelle pontificale a joué dans ce processus. Le but principal de cette étude a été d’apporter un cadre conceptuel et un modèle d'analyse qui permettraient d'aborder une étude globale de la musique sacrée destinée à ces cérémonies, sous un angle plus proche de l'histoire culturelle que de la musicologie traditionnelle, mais toujours partant de l’analyse des aspects performatifs qui permettaient dévoiler l’interaction réciproque entre la musique avec le contexte cérémonial, politique et historique duquel a fait partie. Tout au loin de six chapitres on examine les éléments qui conformaient les cérémonies de la liturgie d’État, conçues à cette époque comme des représentations sacrées : les différentes scènes où avaient lieu, les acteurs, le cérémonial, ainsi que le fonctionnement des différents styles de chant utilisés pour solenniser aussi bien les cérémonies ordinaires que les extraordinaires célébrées à Rome, à Madrid et à Versailles entre 1745 et 1789. Cela comprenait non seulement les œuvres de musique sacrée produites ad hoc par les maîtres de chapelle, mais aussi d’autres musiques, comme le plain-chant, le contrepoint où le faux-bourdon, qui faisant partie de ce même système de représentation étaient parfois exécutés par l’improvisation ou la mémorisationThis thesis attempts, for the first time, to address a comparative analysis of the role that liturgical music played in the process of building the sacred image of the sovereigns of the Bourbon House of France and Spain as part of the religious ceremonies celebrated in Madrid and Versailles during the last decades of the Ancien Régime, as well as the role that the example of the Pontifical Chapel played in this process. The main purpose of this study was to provide a conceptual framework and analytical model that would allow a global study of sacred music for these ceremonies to be approached from a perspective closer to cultural history than traditional musicology, but always starting from the analysis of the performative aspects that revealed the reciprocal interaction between music and the ceremonial, political and historical context of which it was a part. Along six chapters, we examine the elements that shaped the ceremonies of the State liturgy, conceived at that time as sacred representations: the different scenes in which they took place, the actors, the ceremonial, as well as the functioning of the different styles of singing used to solemnize both the ordinary and extraordinary ceremonies celebrated in Rome, Madrid and Versailles between 1745 and 1789. This included not only sacred music works produced ad hoc by the choirmasters, but also other music, such as plainchant, counterpoint or faux-bourdon, which were sometimes performed by improvisation or memorization as part of this same system of representation
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Esteves, Claudio Antonio. "A obra vocal "de capella" de padre Jose Mauricio Nunes Garcia : seis edições e seus elementos de escrita." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284225.
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Orientador: Helena JankDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-27T00:26:48Z (GMT). No. of bitstreams: 1 Esteves_ClaudioAntonio_M.pdf: 10002260 bytes, checksum: c92a190f687f190dda5ade9b48cf3e06 (MD5) Previous issue date: 2000
Resumo: O conhecimento teórico de Padre José MauricioNunes Garcia, referência maior do Período Colonial Brasileiro, é ainda subestimado apesar de sua grande produção. Contribui para isto a pouca quantidade de obras editadas disponíveis para análise. O presente trabalho tem como objetivo o estudo dos elementos mais relevantes de escrita em seis obras vocais do gênero de capella do compositor. Cada uma destas seis obras são para como SATB com baixo cifrado para o órgão, estão datadas e subsistem como manuscrito original ou cópia da época. Estas foram editadas a partir dos microfilmes da Biblioteca Nacional e submetidas à análise harmônica e formal, de modo a constituir um panorama de sua técnica composicional. Compostas de 1797 a 1809, marcam fases importantes na vida do compositor e na produção de sua obra musical, considerando-se que em 1798 foi registrado como Mestre de Capela da Sé e em 1808 a Corte Portuguesa chegou ao Brasil. Os recursos empregados por Padre José Mauricio nestas poucas obras, revelam um quadro divergente da evidência simplista sobre sua realidade: um composito rexperiente,que dominavao meio para o qual produzia e procurava seu aprimoramento ao longo de sua tarefa composicional freqüente
Abstract: The theoretical knowledge of Father José Maurício Nunes Garcia, the greatest reference of Brazilian Colonial Period, is still underestimated, in spite of the amount of his production. The edited works available to analysis are scarce, contributing to this view. The aim of this research is the study of the most relevant elements of writing in six vocal works of de capella type of the composer. Each of these six works are intended to SATB chorus with figured bass to the organ, are dated and subsist as original manuscript or copy from the period. They were edited from the Biblioteca Nacional's microfilms and submitted to harmonic and formal analysis, to constitute a compositional outlook. Composed from 1797 to 1809, these pieces mark important stages in composer's life and musical production considering that in 1798 he was registered as Mestre de Capela of Catedral da Sé and in 1808 arrived the Portuguese Court to Brazil. The resources employed by Father José Maurício in these few works, reveal a divergent picture of the simplistic evidence about the reality: a skilled composer, dominating the medium to which he produced and looked for improve himself throughout his frequent compositional task
Mestrado
Mestre em Artes
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Woetmann, Christoffersen Peter Manley James. "French music in the early sixteenth century : studies in the music collection of a copyist of Lyons : the manuscript Ny kgl. Samling 1848 2 ° in the Royal Library, Copenhagen /." Copenhagen : Museum Tusculanum Press, 1994. http://catalogue.bnf.fr/ark:/12148/cb36959192q.
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Tenne, Pierre. "L’harmonie du Prince. Musique, sacré, pouvoirs dans les cours de Paris et Florence (vers 1560-vers 1610)." Electronic Thesis or Diss., Sorbonne université, 2020. http://www.theses.fr/2020SORUL155.
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À partir d’une démarche transdisciplinaire, notamment entre histoire et musicologie, cette thèse interroge les usages politiques de la musique sacrée dans les cours de Florence et Paris entre 1560 et 1610. En suivant l’angle du spectacle musical, il s’agit de démontrer tout d’abord qu’apparaissent dans la période de nouvelles formes de spectacles musicaux dans les cours considérées, comme en attestent les écrits humanistes comme les réformes ecclésiastiques menées par les synodes et conciles provinciaux. Ces spectacles musicaux permettent de répondre aux crises religieuses et politiques que rencontrent les princes, notamment les rois de France, en constituant une représentation du pouvoir souverain moins dépendante des contraintes sacramentelles inhérentes à la liturgie. Dans un deuxième temps, il s’agit de retracer comment les princes se sont dans la période dotés des moyens de produire de tels spectacles musicaux servant à exalter leurs propres pouvoirs. À travers les organisations institutionnelles des chapelles et de la musique de cour, émerge ainsi une sécularisation de la musique sacrée servant les cérémoniaux princiers. Cette sécularisation repose notamment sur un processus de professionnalisation des musiciens, aux dépens de l’emprise des clercs sur la musique des cérémonies héritée du Moyen Âge. Enfin, ces spectacles musicaux instaurent un public soumis à un ordre inédit, en rupture par rapport à l’assemblée des fidèles des offices liturgiques chrétiens. Il s’agit d’étudier comment le public du spectacle musical est instauré, en insistant sur la fonction de discipline ambivalente du spectacle musical et de l’esthétique qui la soutientFollowing an interdisciplinary approach, particularly between History and Musicology, this work deals with the political use of sacred music in the Florentine and Parisian courts from 1560 to 1610. Using the angle of the musical spectacle, we aim to emphasize the apparition of new spectacular forms at these courts in the period, as the humanist writings and the ecclesiastical reforms (particularly provincial synods) testify. These musical spectacles give to the Princes an efficient answer to the political and religious crisis they face, in particular the French kings: it allows them to represent their power without being tied to sacramental constraints inherent in Christian liturgy. Then, we intend to describe how these Princes have taken control over the means of production of such musical spectacles. By the reorganization of chapels and of court music, they set up a secularization of sacred music at the service of princely ceremonies. Such a secularization dwells particularly on the process of professionalization of musicians, at the expense of the clerical magister over sacred music inherited from Middle Ages. Finally, these musical spectacles establish an audience submitted to a new order, breaking away from the one of the assembly of faithfuls still existing in liturgical services. We show how such an audience has been established during the period, with an emphasis on the disciplinary functions of such a musical spectacle and of the aesthetics that goes with it
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Bolin, Joseph. "Doctoral thesis recital (lecture) conducting." Thesis, 2013. http://hdl.handle.net/2152/23468.
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Keyser, Amy Von Glahn Denise Stravinsky Igor Stravinsky Igor Stravinsky Igor. "A question of religion Igor Stravinsky's early sacred works /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08282003-161809/.
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Thesis (M.M.)--Florida State University, 2003.Advisor: Denise Von Glahn, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-18-03). Document formatted into pages; contains 63 pages. Includes biographical sketch. Includes bibliographical references.
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Ethier, Glen Edward. "A methodology for the analysis of melodic accent in Renaissance sacred polyphony." Thesis, 1996. http://hdl.handle.net/2429/4836.
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Modern scholars have suggested various approaches to the
analysis of the pretonal repertory. However, if we consider
the question of how the individual voice parts interact in a
Renaissance polyphonic composition to create coherence for the
movement as a whole, we find that there are no tools available
to undertake such a task. We may be able to speak generally
of the arrival of certain moments as relatively accented or
unaccented; we may even be able to dissect a complete melodic
line with some segmentation process to highlight motivic
structure, phrase development or contour-articulated pitch
events. But there are no analytic strategies available yet
which are capable of disclosing the structures of independent
voice parts and their interaction as timepoint-accenting
elements capable of creating formal, rhythmic and pitch-class
patterns. This study outlines a methodology that has been
developed to deal with these specific issues.
The analytic strategy is based on the perception of
accents in individual voices of polyphonic works. The types
of accents germane to Renaissance polyphony include
durational, leap, contour, cadential and beginning-accents.
The study proposes a simple, bipartite classification of
accentual strength—strong or weak. Each voice part in a work
is then analyzed, with every pitch attack represented as
strongly or weakly accented through special notation developed
for the analysis.
The methodology affords a picture of the most strongly-
accented timepoints in the individual melodies of three- and
four-voice cantus firmus masses of the mid- to late fifteenth
century. The relative strengths of these accents, along with
their synchronization in the multi-voice aggregate, are
disclosed through the notation. After renotating scores with
this special notational symbology, we extract points of
coincident strong accents in three or more voices to create
accent profiles for each section of a movement. We then
compare profiles of same-texted works by different composers
in order to disclose normative formal and pitch-class
procedures in some Renaissance compositions.
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Buijs-Dragusin, Cornelia. "Liturgical music in a new Japanese religion : the formation, survival and repositioning of tenrikyo through music." Phd thesis, 2013. http://hdl.handle.net/1885/151126.
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The Japanese religion, Tenrikyo, has a well-established reputation as one of the oldest 'new' Japanese religions still in existence. Its endurance over nearly two centuries might be partly explained by the many musical genres used in activities undertaken by its followers, because Tenrikyo music can draw on both traditional and contemporary themes, and employs a variety of styles. This thesis explores the way that music shapes and consolidates the Tenrikyo identity, has enabled it to become known to the world outside the religion, and has laid foundations for its future through propagation. Central to its followers' identity is a reported state of contentment and happiness through devotion and unconditional help. This includes regular participation in music making and service to others, which underpins the movement's efforts to generate innovative educational strategies, foster advanced artistic growth, and promote the meaningful representation of its principles to the global community. At the foundation of this research lies an ethnographic approach: I adopted a qualitative approach to data collection during my three phases of fieldwork in Australia and Japan. Methods included observation, informal and structured interviews, school visits in Japan and Australia, and the use of questionnaires in the Japanese cities of Tenri and Nagoya. Concerts, festivals, music rehearsals and open days, as well as liturgical celebrations, were attended and documented. This study finds that Tenrikyo displays an array of colourful musical genres, some of which originate in the seventh century, while others are derived from recently commissioned compositions. This musical repertory adds prestige and distinction to Tenrikyo's spiritual profile. In addition, Tenrikyo's missionary endeavours accentuate its international presence through contemporary music concerts and traditional Japanese arts tours. Findings from this research suggest that global exposure and dissemination are associated with a greater public prominence for Tenrikyo. Tenrikyo perpetuates and reinvents its spiritual identity by providing opportunities for continual aural awareness through its musical programs, and the well-structured diffusion and propagation of its music both in Japan and overseas. Simultaneously, however, this outward openness is countered by the systematic inner concealment of official scores and records of Tenrikyo's most iconic music. Not surprisingly, much of this secrecy is generated through a wish to protect the sacred legacy of Tenrikyo's liturgy. It applies not only to doctrinal lyrics, but also to sacred music, choreography, costumes, masks, books, and musical transcriptions. Extraordinarily, this secrecy extends to printed and audio-visual records of Tenrikyo's non-liturgical music as well. Important secular compositions are shrouded in an aura of mystery with their full scores withheld from circulation, yet paradoxically, are simultaneously promoted publicly through music competitions and large-scale concerts. I call this phenomenon 'The Tenrikyo Paradox'. I conclude that music plays an important role in constantly shaping and consolidating Tenrikyo's identity, by attracting, engaging and retaining members, and in connecting with outsiders through a rich variety of musical styles. This, in turn, allows members to carry out the processes of Tenrikyo's ongoing propagation and educational goals, and ultimately, of securing the religion's continuing survival.
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"Sacred vocal music by Ignacio Jerusalem found in the archives of the National Cathedral in Mexico City." Thesis, 2009. http://hdl.handle.net/1911/61817.
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This thesis analyzes and transcribes into a modern performing edition eight sacred works for solo voice and instrumental accompaniment by Ignacio Jerusalem, the chapelmaster of the National Cathedral in Mexico City from 1749 to 1769. It also places these works in historical context by examining Jerusalem's position within the evolution of Western musical style in New Spain.
The following works are transcribed and analized: Responsorio Segundo del Patrocinio de Santo San Jose, Responsorio Quinto de la Concepcion de Nuestra Senora, Responsorio Segundo Para Los Matines de Santo Ildefonso, Motete I del II Nocturno, Responsorio Tercero de Segundo Nocturno, Benigne Fac, Amplius lavame in Bb, and Amplius lavame in G.
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O'Connor, Michael Brian Kite-Powell Jeffery T. "The polyphonic compositions on Marian texts by Juan de Esquivel Barahona : a study of institutional Marian devotion in late Renaissance Spain /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-08282006-160857/.
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Dissertation (PhD) Florida State University, 2006.Advisor: Jeffrery Kite-Powell, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-10-07). Document formatted into pages; contains 246 pages. Includes biographical sketch. Includes bibliographical references.
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Dean, Michael Noel Zumaya Manuel de. "Renaissance and Baroque characteristics in four choral villancicos of Manuel de Sumaya analysis and performance editions /." 2002. http://catalog.hathitrust.org/api/volumes/oclc/52941754.html.
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Moshugi, Kgomotso Samuel. "Between the church and the marketplace: how professional gospel musicians negotiate the tension between sacred and market contexts, with reference to the case of No Limits, a vocal music group from Soweto." Thesis, 2016. http://hdl.handle.net/10539/19387.
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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in fulfilment of the requirements of the degree of Masters in Arts, Culture and Heritage ManagementThe music industry as a sector of cultural industries provides an environment for musicians to engage with the business of music. Churches, as religious and social environments, provide a platform for musical activity and development for musicians. While the church has provided musical development, the music industry has been looked to for sustaining musical careers. Using the adaptation of the Landry value chain model, this research highlights difficulties and successes that No Limits, a South African music group, has encountered in pursuing a professional career in sacred and marketplace contexts. In turn, this has revealed management and general administrative issues that independent musicians commonly face in their pursuit of a professional career. The study observes how professional gospel musicians handle the tension between the sacred and market contexts based on the assumption that these contexts have varying operating systems and thus present a difficulty for professional musicians seeking to operate in both contexts. The introductory chapter and the literature review provide the background and context for the study, the relevant historical information and the Seventh-day Adventist church context. A detailed narrative of the development of No Limits is provided in the fourth chapter leading to the analysis presented in the fifth chapter, which expands on specific moments and issues discussed in the narrative within Charles Landry’s framework of a value chain. His model suggests an integration of all the activities in the value chain in order to succeed in cultural pursuits. These entail beginnings, production, circulation, delivery mechanisms and audience reception (with feedback). No Limits was, therefore, analysed in terms of this model. Key findings point to the difficulty associated with the professionalisation of the music occupation, of seeking to be altruistic and sustainable at the same time. Also, that social and cultural value of devotional content from the sacred context and the material economic demands from the marketplace characterise the fundamental tensions for musicians pursuing existence in these contexts. The Seventh-day Adventist church, in which No Limits was incubated, provided the immediate context for this study and the data was collected through an analysis of archives, discography and interviews with different individuals in the No Limits value chain. Key words: marketplace,
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Odewole, Israel Oluwagbemiga Omoniyi. "Missional character of music in worship : a study of select churches in the metropolitan city of Abeokuta, Nigeria." Thesis, 2016. http://hdl.handle.net/10500/22012.
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In this thesis, the researcher engages in emerging work in music in worship to deepen contemporary conversations about musical styles in worship. This thesis critically examines the missional character of music in worship in seven selected evangelical churches in the metropolitan city of Abeokuta, Nigeria in order to propose a sustainable model for promoting God’s missions. . The selected churches are The Assemblies of God Church, Four Square Church, The Baptist Church, The Church of Nigeria, Anglican Communion, The Redeemed Christian Church of God, The Apostolic Faith, and The Gospel Faith Mission International. The thesis has investigated how missional and to what extent these churches have effectively sought to implement the missionary mandate in the area of music in worship.
The following specific objectives underpin the study: to establish the Biblical perspective of the missional character of music in worship in the life of the church, to study and outline the Theological perspective of the missional character of music in worship in the life of the church, to study the origin/history of music in the missional context, and outline the nature and emerging trends with regard to missional character of music in worship in the selected churches in Abeokuta, Nigeria, and to propose a sustainable model that can be adopted by churches to promote the missional character of music in worship effectively in Abeokuta, Nigeria. The following methods were used to achieve the objectives of the study: an exegetical study of relevant passages in the Scripture were engaged, relevant literature review on the Theological perspective of the missional character of music in worship in the life of the church were outlined, one-on-one interviews were carried out and self-administered interview questionnaires were served on the major leaders, worship leaders/choir members and key lay members of those selected churches in order to explore the origin/history of music in the missional context, its impact for good on the believers and non- believers, as well as the role, qualities and influence of the missional character of Music in Worship
in seven different denominations and all the information gathered from questionnaires served was evaluated and logical conclusions drawn as appropriate to formulate a sustainable model that can be adopted by churches to promote the missional character of music in worship effectively in the city of Abeokuta, Nigeria, in the final instance.
In closing, recommendations and conclusions are made to reassess and reconsider their missionary approaches, with a view to enhancing their ways of engaging music in their worship as the thesis goal explores the implications this work might have for Church leaders, pastors, worship leaders, musicians, liturgists and missionaries in their work of preparing music for worship across Christian denominations.Christian Spirituality, Church History and Missiology
D. Th. (Missiology)