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Dissertations / Theses on the topic 'Songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Junkermann, Penelope Robin. "The relationship between Targum Song of Songs and Midrash Rabbah Song of Songs." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-relationship-between-targum-song-of-songs-and-midrash-rabbah-song-of-songs(d9749f55-93cb-4b58-b235-36d5a0f9a697).html.

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This dissertation investigates the relationship between Targum Song of Songs and Song of Songs Rabbah, and challenges the view that the Targum is dependent on the Midrash. In chapter one I set out the problem to be investigated and consider some of the reasons why scholars in the past have assumed that the Targum drew on the Midrash. Having rejected these reasons as inadequate and established the need for a fresh review of the evidence, I describe the approach I will adopt in the present thesis. In chapters two and three I introduce the two key texts individually, discussing such background information as their manuscripts, provenance, date, genre, coherence and theology. In chapter four I analyse textual parallelism and its implications, reviewing first some seminal studies of the subject, and then introducing and defending a distinction between one-to-one parallelism and multiple parallelism. In chapters five and six I examine in depth a number of indicative cases of both one-to-one and multiple parallelism between Targum Song and Song Rabbah, demonstrating that direct literary dependency between the one work and the other simply cannot be proved. In chapter seven I set this conclusion in the context of a wider comparison between Targum Song and Song Rabbah, arguing that the hypothesis of literary dependency rests on a model of text-creation and text-transmission that is inappropriate to Rabbinic literature in late antiquity. In a series of appendices, printed for convenience as a separate volume, I provide the texts discussed in the case studies in chapters five and six.

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2

Rostig, Grace. "Ambiguity in the Song of Songs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ47791.pdf.

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3

Munro, Jill M. "The imagery of the 'Song of Songs'." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/27082.

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The intention of this thesis is to classify the imagery of the Song of Songs, and to see how the images therein combine to give movement to the whole. A translation of the Song tests the findings of the analysis. It is accompanied by a discussion of rare words and textual cruxes. Four main chapters follow, containing the main body of the work. Images are examined under the broad categories of 'Courtly Imagery', 'Imagery Drawn from Family Life' and 'Nature Imagery', each of which subdivides into a number of sections. The way in which they combine is considered in the final chapter, 'Metaphors in Time and Space'. Among the conclusions of the study is the importance of imagery in the constitution of the unity of the Song; the variety of images illumines the themes of seeking and finding, longing and fulfilment from a number of different perspectives, whilst their homogeneity builds up a common language between the lovers. This deepening communion is both the subject and purpose of the Song.

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Clarke, Rosalind S. "Canonical interpretations of the Song of Songs." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=203507.

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Traditional interpretations of the Song recognised in it many allusions to the wider canon and used these as the basis of an allegorical reading. The allegorical interpretation has largely been supplanted by dramatic, cultic and literal interpretations of the book, and the focus of scholarship on the Song has shifted towards methodological issues, rather than interpretive paradigms, using comparative studies, ideological approaches and literary analysis. These methods have tended to overlook the canonical context of the Song by focussing on extra-canonical parallels and internal literary features. Without advocating a return to the allegorical interpretation, the canonical approach recognises the significance of the book's canonical status, giving due attention to the literary, theological and ecclesiological contexts which the canon provides. A canonical method of interpretation drawing on literary theories of intertextuality and speech-acts is developed and applied to the Song of Songs. The Song is a particularly valuable test case for this method, since it is found in different contexts within the Jewish, Greek and Christian orders of the canon. The intertextual element of the canonical method is applied to each of these three contexts in successive chapters, with a final chapter analysing the canonical speech-acts associated with each context. It will be shown that the Song is deeply embedded within the canon as a result of a rich complex of literary allusions and theological motifs, and that its interpretation within each canonical context yields coherent yet distinctive results. In each context, the Song is shown to evoke feelings of desire in the reader. This desire is focused on woman wisdom in the wisdom literature context, on the ideal spouse in the Writings, and on Christ in the context of the Christian canon. For the Christian reader, the person of Christ provides the basis for the coherence of these readings.

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5

Stewart, Andrew Philip. "Participant identity in the Song of songs." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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6

Juma, Dorcas Chebet. "Encountering the female voice in the Song of Songs : reading the Song of Songs for the dignity of Kenyan women." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95821.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This study investigates one of the central aspects of a Kenyan woman’s identity, namely the notion of sexuality, which unfortunately also underlies numerous socio-economic and developmental challenges currently confronting Kenyan women. The research shows that in Kenya, patriarchal ideologies are used to control the sexuality of women in the name of ‘our culture’. Thus, it is and has been difficult for many Kenyan women to live with dignity as beings equally created in the image and likeness of God. The study, therefore, sought to identify, expose, criticize, destabilize and to deconstruct patriarchal ideologies that deny Kenyan women the right to live with dignity. Patriarchal ideologies that have been used to mute the voices of Kenyan women on matters of sex and sexuality are challenged by introducing the voices of Kenyan women. The latter is done with reference to poetry that reflects the voices and experiences of Kenyan women as a means of expressing who they really are in the midst of a society that silences them. It is shown that, by means of poetry, the full power and energy of these women may be mobilized. Moreover, the voices and experiences of Kenyan women offer a contextual re-reading of the Song of Songs for their dignity. The study presents the female voice in the Song of Songs (a text from a male pen) as responding in a new way to the patriarchal Old Testament society on matters of sex and sexuality. In the process, a twofold strategy is proposed with which negative perceptions of the sexuality of women in the worldview of Kenya may be addressed: First, this study proposes that it is important to purposefully steer conversations regarding issues of sex and sexuality. The latter is done in the conviction that this is one way of creating a platform for addressing other gender-based injustices that deny Kenyan women the right to live with dignity. Second, by focusing on Kenyan poetry, as well as on the female voice in the Song of Songs, there is a possibility of reconstructing positive aspects of the sexuality of Kenyan women, which may allow them to live with dignity. To achieve the aim of this study, to re-read the Song of Songs for the dignity of Kenyan women, an African Women’s Theological approach is used within the broader context of feminist and womanist approaches to the Song. Through an African Women’s approach to the Song of Songs, the study asks how the female voice that spoke boldly in the patriarchal setting of the Old Testament can also be liberating in the Kenyan patriarchal setting. The female voice in Song of Songs presents issues of sex and sexuality in a new way. As such, it is proposed that the latter voice, read through the hermeneutical lens of Kenyan women’s poetry or poetry on Kenyan women, has the potential to inform and therefore to transform the patriarchal setting of the Kenyan society. It is only if Kenyan women are empowered to negotiate safe sex and to express their sexuality on their own terms and conditions, that this will be fully realized.
AFRIKKANSE OPSOMMING: Hierdie studie ondersoek een van die sentrale aspekte van ’n Keniaanse vrou se identiteit, naamlik die idee van seksualiteit, wat ongelukkig ook onderliggend is aan talle sosio-ekonomiese en ontwikkelingsuitdagings wat Keniaanse vroue tans konfronteer. Die navorsing toon in Kenia word patriargale ideologieë gebruik om die seksualiteit van vroue te beheer in die naam van ‘ons kultuur’. Dit is dus moeilik vir baie Keniaanse vroue om met waardigheid te leef as gelyk-geskape na die beeld en gelykenis van God. Hierdie studie poog om patriargale ideologieë wat Keniaanse vrouens die reg om met waardigheid te leef ontneem te identifiseer, te kritiseer, te destabiliseer en te dekonstrueer. Die studie daag patriargale ideologieë uit wat gebruik is en word om die stemme van Keniaanse vrouens oor seks en seksualiteit stil te maak. Dit word spesifiek gedoen deur die stemme en ervarings van Keniaanse vrouens in poësie te gebruik (soms in die gedigte van manlike digters!) as uitdrukking van hulle lewens te midde van ”’n patriargale samelewing. Dit word getoon hoedat hiedie gedigte die krag en energie van hierdie vroue kan mobiliseer. Meer nog, die stemme van Keniaanse vrouens bied die geleentheid tot ’n kontekstuele herlees van Hooglied met die oog op die erkening en beskerming van hulle waardigheid. Die vroulike stem in Hooglied word verstaan as ’n nuwe reaksie op die Ou Testamentiese samelewing met betrekking tot kwessies soos seks en seksualiteit. In die proses word daar met ’n tweeledige strategie voorendag gekom waarmee die negatiewe opvattings oor die seksualiteit van vroue in die wêreldbeeld van Keniaanse mans aangespreek kan word. Eerstens word die noodsaak voorgestel van ’n doelbewuste rigtinggewing aan gesprekke oor seks en seksualiteit. Dit word gedoen vanuit die oortuiging dat dit een manier is om ’n platform te skep waar gelsagsgebasseerde ongeregtighede wat Keniaanse vroue die reg op ’n menswaardige lewe ontsê aangespreek kan word. Tweedens, deur op Keniaanse poësie en die vroulike stem in Hooglied te fokus, word voorgestel dat dat posititewe aspekte van die seksualiteit van Keniaanse vroue herkonstrueer kan word, wat dan kan meewerk om hulle met waardigheid te kan laat leef. Ten einde bogenoemde doelwit van hierdie studie te bereik, word ’n Afrika-vrouebenadering toegepas in die lees van Hooglied. Dit vind plaas binne ’n breër konteks van Feministiese en sogenaamde “Womanist” benaderings tot die boek. Met ’n Afrika vroue benadering as leesstrategie, word aangedui dat en hoe die vroulike stem wat vreesloos in haar eie patriargale, Ou Testamentiese konteks spreek ook bevrydend kan funksioneer binne die Keniaanse patriargale konteks. Daar word dus getoon dat die vroulike stem in Hooglied seks en seksualiteit op ’n nuwe manier aanbied. Gevolglik stel hierdie studie voor dat die vroulike stem in Hooglied, gelees deur die hermeneutiese lens van Keniaanse gedigte oor of deur vroue, die potensiaal het om die patriargale konteks van die Keniaanse samelewing eendersyds te ontbloot en andersyds te transformeer. Dit is slegs wanneer Keniaanse vroue bemagtig word om vir veilige seks te kan onderhandel en hulle seksualiteit op hulle eie terme uit te kan druk, dat hulle menswaardigheid ten volle gerealiseer sal word.

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7

Gault, Brian P. "The adjuration repetend in the Song of songs." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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8

Baxter, Brian A. "An exegesis of Song of Songs 2:15." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1168.

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9

Black, Fiona Catherine. "The grotesque body in the Song of Songs." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311696.

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10

Huber, Daniel A. "The rhetorical structure of the Song of Songs." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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11

Bego, Alessia <1986&gt. "Songs for learning, songs for remembering: linguistic and (inter)cultural education through songs." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4698.

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Music and songs are excellent instruments for linguistic education: they help the memorization of lexis and grammatical structures thanks to melody, rhyme, repetition and redundancy and to their multisensory characteristics. Furthermore music avoids the production of steroid, the stress hormone, creating so the best conditions for learning processes and increasing students’ motivation. Music represents, in fact, one of the first communicative channel used by young people. We can also use music for intercultural education considering that music was one the first communicative channel used by prehistoric hominids representing so a sort of universal language. It is possible, then, to develop cultural and intercultural paths thanks to the fact described in songs and, through the memory of the event or situation described, to lay the bases for a better future.

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12

Mitchell, Mark Howard. "Season songs : a song cycle for voice and orchestra." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.

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Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work. The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs. The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface.
Arts, Faculty of
Music, School of
Graduate

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Grosser, Emmylou Joy. "The extended botanical metaphors of the Song of Songs." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Thesis (M.A.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2003.
Abstract and vita. Appendix contains Hebrew text of the Song of Songs. Includes bibliographical references (leaves 88-92).

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14

Yang, Yoon Joo. "A Practical Approach to Donald Martino's Twelve-Tone Song Cycles: Three Songs and Two Rilke Songs, for Performance." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68066/.

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The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting them. It also offers practical and systemized ways of analyzing and preparing Martino's songs for performance. It is hoped that the methods suggested herein will reduce a singer's difficulties and rehearsal time with the pianist. The present study will offer a valuable addition to the literature on the performance practice of twelve-tone vocal music, and provide insight and advice on how to practice and perform other non-tonal music. This method of study may be applied to other contemporary music. Doing so can in turn help develop a singer's skill in handling tonal and rhythmic difficulties of all kinds, including non-traditional notations.

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Parker, Anthony Raymond. "Solomon's song a three act screenplay based on the Song of Songs /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Cobb, Brian A. "Campfire songs /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11271.

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Thesis (D. Mus. Arts)--University of Washington, 2006.
For mezzo, baritone, flute, clarinet, bass clarinet, guitar, banjo, violin, cello and 2 percussionists. Texts by Walt Whitman, Hamlin Garland, David Wagoner, Mary Austin, and John Haines. Vita. Includes bibliographical references (leaf 156).

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Hubbard, Colton M. "Tea Songs." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116378208.

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18

Chiu, Remi. "Motet settings of the Song of Songs ca. 1500-1520." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.

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This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiritual.
Several motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.

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Chen, Ching-Yi. "A Performer's Guide to John Musto's Song Cycle, Quiet Songs." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1331099604.

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Boston, Kris A. "Stephen Sondheim: Crossover Songs for the Classical Voice Studio." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin985625314.

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Wiens, Carl K. (Carl Kristian). "Structural organization in selected songs from Charles Ives's 114 songs." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61136.

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Charles Edward Ives was the first twentieth-century North American composer to write from a purely American perspective. His music also anticipated many of the stylistic features which characterize later twentieth-century music. This study begins with an examination of secondary literature to show how other scholars have interpreted Ives's music. Few projects have dealt with the question of coherence in Ives's music, in large part due to the seemingly disjunct nature of the music. Unity and coherence were overriding concerns to Ives, as is evident in his writings which are strongly steeped in transcendental philosophy. The second part of the thesis presents analyses of four songs from the 114 Songs: "The Cage," "Ann Street," "Like a Sick Eagle," and "At the River." Linear techniques in concert with the labelling system of pitch-class set theory are the principal analytical tools used to investigate the songs. The analyses begin from the premise that each song contains an underlying compositional plan and is a coherent whole.

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Benningfield, Brittany C. "THE NILES-MERTON SONGS: A PERFORMANCE GUIDE OF SELECTED SONGS." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/110.

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The Niles-Merton Songs is a two-opus collection of twenty-two songs by John Jacob Niles setting the poetry of Thomas Merton. The songs are beautiful but contrast from his more popular works in poetry and composition. This project explores reasons why these songs are rarely performed, and gives an overview and analysis of ten selected pieces. The document includes a brief introduction, biographies of Niles and Merton, information detailing Niles’s compositional process, and the technical and artistic requirements for performing the songs, including appropriate age and voice type.

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King, J. Christopher. "The bridegroom's perfect marriage-song : Origen on the Song of songs as eschatological text." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312664.

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Elder, Hilary Elizabeth. "The Song of Songs in late Elizabethan, Jacobean and Caroline poetry." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/2165/.

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This thesis is about reading. Working on the understanding that all texts read other texts, it aims to uncover something of how English poets from 1590-1650 read the Song of Songs, by analyzing when and how they use it in their poetry. By looking at poetic readings, rather than theological ones, it also explores the connections and distinctions between reading literature and reading Scripture. As both Scripture and lyric love poetry, the Song of Songs has participated in theological and literary discourse over a long period. The Introduction gives background on both kinds of reading, and how they have been applied to the Song of Songs. It also sets out the structure of the thesis. Chapter 2 surveys theological writing about the Song of Songs produced during the period. The material includes sermons, commentaries, household advice books, hymns and translations, including poetic translations. There is a stable core of interpretation, which reads the Song as primarily about the relationship between Christ and the Church, or the individual soul, or both. Within this stable core, however, there is a wide variety of interpretations. Chapters 3-5 are themed, and look at how poets handle the three topics of the feminine voice, beauty and desire when they read the Song of Songs. The first poet considered in each chapter is Aemilia Lanyer, who provides a plumb-line for the exposition. As a poet seeking elite patronage, Lanyer is typical of her age in many important respects; but she also challenges expectations about poets of the period. The other poets considered are Shakespeare, Southwell, Mary Sidney, Countess of Pembroke, Spenser, Donne and Crashaw. The Conclusion considers what light these poetic readings shed on the relationship between Scripture and literature.

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De, Crom Dries [Verfasser]. "LXX Song of Songs and Descriptive Translation Studies / Dries De Crom." Göttingen : Vandenhoeck & Ruprecht, 2019. http://www.v-r.de/.

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Newby, Mark. "The Song of Songs before Origen : aspects of canon and hermeneutics." Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246493.

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Sahr, Nate. "Song/Casting: Combining Podcasts and Songs to Create a Hybrid Medium." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619174946672814.

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28

Stewart, Kevin Royce. "Increasing intimacy in Christian marriages by examining the Song of Songs." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Talbott, Christy Jo. "The French art song style in selected songs by Charles Ives." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000455.

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Meredith, Christopher. "Journeys in the songscape : reading space in the Song of Songs." Thesis, University of Sheffield, 2012. http://etheses.whiterose.ac.uk/3113/.

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This thesis employs a range of contemporary critical and theoretical tools to examine the spatiality of the biblical Song of Songs. Ch. 1 examines the limitations of existing modes of biblical spatial analysis, critiquing biblical scholars’ uses of the work of Henri Lefebvre and Edward Soja. The thesis then develops new ways of engaging with literary space, using the writings of Walter Benjamin and Jacques Derrida as its starting point. Ch. 2 looks at the broad poetic world conjured up by the Song. The trope of the phantasmagoria provides a framework in this chapter for thinking through the relationship between the spatialities of sex and of text in the poem. Ch. 3 takes a detailed look at the Song’s most iconic settings, the garden and the city, with the observations of ch. 2 in mind. It uses specialist work on the politics of garden space and on urban space to re-read these settings; is the garden necessarily a ‘good’ space, is the city really all that bad? Ch. 4 looks at threshold space in the text, using the lines and limens of the poetic world to think about the Song’s attitude towards gender, and how spatiality, gendered performativity and textual meaning are connected in the poem. Ch. 5 looks at the Song’s approach to bodily space, paying particular attention to the ways in which landscaped space and bodily space work as a self-sustaining milieu in the text. The chapter thus circles around to think about the ways in which the Song’s bodily spaces are symptomatic of the nature of the Song as a whole. Throughout, the thesis argues that the Song fuses the spatiality of sex with the spatiality of reading, and suggests that the poem’s idiosyncratic world speaks to the structures of textual signification itself.

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Hung, Justin. "Songs about Words." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.

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A song cycle for baritone and mixed chamber ensemble, "Songs about Words" consists of five songs for everyday concepts and subjects, and explores deeper themes of communication and identity. The ensemble consists of piano, accordion, tenor saxophone, percussion and double bass. The text was inspired by Pablo Neruda and written by the composer.

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Nelson, Michael. "Songs for cripples." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002952.

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33

Tan, Justin Teng-Tiong. "Mystical anthropology in Gregory of Nyssa's Homilies on the Song of Songs." Thesis, King's College London (University of London), 1995. https://kclpure.kcl.ac.uk/portal/en/theses/mystical-anthropology-in-gregory-of-nyssas-homilies-of-the-song-of-songs(98abf7a5-3380-48cd-baf3-20bbfb9ba285).html.

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The Thesis is an attempt to explicate Gregory of Nyssa's mystical anthropology in one of his most mature of mystical writings, the Homilies to the Song of Songs. Gregory's mystical anthropology draws its basis from his philosophical anthropology, and explores the implication of the nature and destiny of man in terms of the concept of divinisation or the transformation of human nature by the indwelling Christ. Gregory utilises the neo-Platonic concept of the ascent of the soul to its original perfection, but transforms this concept by the biblical doctrine of Grace and Incarnation. Holding to the unbridgeable gulf between the Created and the Uncreated, Gregory proposes the abandonment of all senses and entrance into the darkness where God ist and he postulates the divinisation of human nature without end based on that unbridgeable gulf. Gregory's philosophical anthropology would be incomplete without his mystical anthropology. The divinisation of human nature does not imply an idiosyncratic idea of the soul in flight, "from the alone to the Alone". The soul, as Gregory understands it, is firmly attached to its ecclesiastical community, where it has its space-time existence in a life of imitating its Lord in his love for mankind. Its destiny is ultimately linked with the destiny of the body of Christ, the Church. Gregory's concept is then compared with Origen's, whose ideas are said to have the most influence on Gregory's. Analysis shows that there are extrapolations of Origen's theology in Gregory's, but there are obvious discontinuities. The fact of the Incarnation is stressed by both writers, but the soul in Origen seems to pass beyond faith in the Incarnation in its ascent to God into the light of the full knowledge of God; whereas Gregory places his theology on the faith of the Incarnation throughout the soul's ascent, not into increasing light, but into increasing darkness where God is. An illustration of Gregorys mystical anthropology can be detected in his other writing, the Life of Macrina, where he describes his sister using the familiar imageries from the Song of Songs i. e. virgin, bride, Thecla, refining gold and guidance to her ascetic community. Her ascent in perfection is also described in the language of the doctrine of Epektasis. Gregory seems to see in Macrina a real life paradigm for his mystical anthropology.

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Smith, Yancy Warren. "Hippolytus' commentary on the Song of songs in social and critical context." Fort Worth, TX : [Texas Christian University], 2009. http://etd.tcu.edu/etdfiles/available/etd-04212009-145402/unrestricted/SmithY.pdf.

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Thesis (Ph.D.)--Brite Divinity School, Texas Christian University, 2009.
Title from dissertation title page (viewed May 21, 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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Elliott, Mark W. "The Song of Songs and christology in the early Church, 381-451 /." Tübingen : Mohr Siebeck, 2000. http://catalogue.bnf.fr/ark:/12148/cb38889232v.

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Saunders, Jessica Anne. "Songs of the Kalevala: art song inspired by the Finnish national epic." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5622.

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The Kalevala, first published in 1835 by Elias Lönnrot, is the Finnish national epic and was fundamental in formalizing the Finnish language. It is a collection of stories Lönnrot collected over many years, pieced together to create a coherent epic. The stories in the Kalevala stem from an oral tradition, in which singing and music was integral. The stories in the epic contain many different characters, with Väinämöinen and his quest in to find a wife at the forefront. Other major characters discussed include Kullervo, Lemminkäinen, and Luonnotar. Extensive research exists about the history of the Kalevala itself, as well as its impact on music in Finland in the areas of pop music, symphonic music, choral music, and opera. However, little scholarship exists, regarding how the texts from the Kalevala have been incorporated into 19th and 20th century art song. The lack of research about the Kalevala in art song is due partly to the fact that no catalogue of related songs exists. Also, works based on the Kalevala are hard to obtain, as many are only available in manuscript form, or are found only in the Finnish National Archives. This essay aims to bridge the research gap on art song inspired by the Kalevala, while evaluating the works available in the context of their incorporation of the folk singing tradition that would have been used in the early performance of these Kalevala texts. Songs analyzed include works by Gabriel Linsén, Emil Kauppi, Jean Sibelius, Otto Kotilainen, and Erkki Melartin.

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Dapcic, Samantha. "John La Montaine's "Songs of the Rose of Sharon" and "Fragments from the Song of Songs": A Socio-Historical Analysis and Performer's Guide." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538657/.

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The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.

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Fowler, Heather. "Father and Mother Songs." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2048.

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Lanci, Michael P. "Songs for Joe Hill." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin149580760300849.

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Foust, E. J., and E. J. Foust. "Songs out of Sorrow." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/622987.

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Songs out of Sorrow is a seven-movement work for wind ensemble and soprano. The text and title come from the second chapter of American poet Sara Teasdale’s collection Love Songs. The methodical use of trichord combinations provides the primary harmonic and melodic language of the work, creating rising tension through the first four movements and subsequent resolution through the final three. Movement one, Spirit’s House, utilizes non-functional triadic harmonies with the addition of fourths and seconds. The second movement, Mastery, contains whole tone language. An instrumental interlude precedes the vocal music of the third movement, Lessons. When the soprano enters, the harmonic material of the interlude intermingles with the octatonic nature of the vocal line to create a folk music quality. Another instrumental interlude follows, utilizing a truncated and re-orchestrated version of the musical material featured in the first interlude. This leads directly into the climatic fourth movement, Wisdom, which is characterized by chromatic lines and tritones. A subdued fifth movement, In a Burying Ground, follows, undulating with a percussion ostinato, which is also a feature of the first movement. Wood Song, the sixth movement, begins with a stylized birdcall based loosely on Messiaen's transcription of the call of the wood thrush, which is referenced in opening line of the text. The harmonies of this movement contain augmented triads. The final movement, Refuge, features a return to the triadic harmonic material of the first movement, providing a sense of large-scale resolution.

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Chang, Debra Wei Kwen. "Songs of the wind." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332464/.

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Songs of the Wind is a five-movement composition for reader, chamber choir, and chamber orchestra. The work is approximately twenty-five minutes in duration. The title describes the programmatic nature of the piece, which depicts an animistic ritual invoking the wind as a deity. The texts are drawn from translations of American Indian poetry as well as original poems by the American Indian scholar Hartley Alexander.

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Jones, Reba Pestun. "An examination of coal mining song repertoire in the Virginia elementary music curriculum with the creation and incorporation of a suggested coal mining musical unit of study /." < Digital Thesis and Dissertation Collection > Username and password required for access, SU only, 2003. http://www.su.edu/library/digitalthesis/jonesreba.pdf.

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Fawzi, S. O. "Mystical interpretation of Song of Songs in the light of ancient Jewish mysticism." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/1159/.

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Abe, Shoko. "Two Argentine Song Sets: A Comparison of Songs by De Rogatis and Ginastera." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248378/.

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Latin American classical vocal repertoire is vast, but in the United States, we only hear a fairly limited part of this literature. Much of this repertoire blends western European classical music traditions and native folk music traditions. One example of such a Latin American vocal work that is well-known in the United States is Alberto Ginastera's frequently performed song set from 1943, Cinco canciones populares argentinas. However, another lesser-known, earlier work, Cinco canciones argentinas (1923), by fellow Argentine composer Pascual De Rogatis (1880-1980) deserves attention as well. As with Ginastera's set, De Rogatis' songs are based on Argentine folk genres, but contain stylistic features of European classical music of its time. De Rogatis' neglected songs are a significant, overlooked part of Argentine classical music history, and a full understanding of well-known works such as Ginastera's song set and of the genre as a whole, must include attention to De Rogatis' Cinco canciones argentinas. Beyond vocal repertoire, De Rogatis' songs are an important part of the development of Argentine classical music. While Western musical trends change rapidly, folk music remains largely unchanged. Both De Rogatis and Ginastera were proud of their Argentine heritage, and incorporated traditional music into their compositions. I believe that De Rogatis's composition had a direct influence on Ginastera, and that the similarities between the two sets are not coincidental.

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Dahlenburg, Jane Elizabeth. "The motet c.1580-1630 : sacred music based on the Song of Songs /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.

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Kim, Young-Youn. "Traditional Korean children's songs : collection, analysis, and application /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11288.

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Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.

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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.

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Baur, Dominikus. "The Songs of Our Past." Diss., lmu, 2011. http://nbn-resolving.de/urn:nbn:de:bvb:19-137993.

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Vazquez, Ricardo Marcelo. "Songs from the boca kitchen /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203579641&sid=3&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Ommen, Ann Elizabeth. "Songs of the Ziegfeld Follies." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1179334149.

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