Tesis: "Musica e Religione"

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Mugenyi, Moses. "Fiascos Religion : -en studie om religionen i Lupe Fiascos Musik". Thesis, Uppsala universitet, Religionssociologi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260981.

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Religion and music are two cultural entities that have been closely related over time (Bossius, Harris & Häger 2010:1). To investigate this close relationship the author of this paper has chosen to use two theories. The first is the secularization theory as it is presented by James A. Beckford in his book Social Theory & Religion (2003), which expresses the idea that religion will become less visible in a society as it evolves and progresses. The second theory is based on music and is brought forth by Theodor A. Adorno in his paper On Popular Music (2008); it states that popular music is highly standardized and inevitably inferior to “Serious” music. The two theories will be used in researching and trying to understand how religion and music are interrelated to each other in Fiasco’s music and to investigate if the artist uses private or public religion in his music, furthermore the standardization theory will be used to see if his music and message are standardized. The aim of this paper is use the aforementioned theories by James A. Beckford and Theodor A. Adorno and see how they work in cohesion with Lupe Fiasco.The conclusion of this paper is that religion is influential and relevant in Lupe Fiascos music. In all his songs that have been released on CD: s, a total of 54 songs; 42 of these songs contained a religious word or phrase. This shows that the secularization theory, which stated that religion, would diminish and disappear from the public sphere the more modern a society got is not the case within the investigated artist and his music. The artists’ use of religion was a mix between public and private religion depending on the theme and message of the song. The second theory, which stated that popular music is standardized, could be verified, the message in Lupe Fiascos music is not new and neither it the music that he makes use of, even though the artist tries to give it a new sound. All music is standardized within its own genre and therefore will sound similar/standardized for one who is uninitiated within the different genres. Keywords: popular music, Religion, Lupe Fiasco, secularization, standardization, rap music.

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Walker, Seth. "Musical Spirituality: The Transformative Power of Popular Music". Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1050.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Humanities

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Engelhardt, Jeffers. "Religious and social change in Estonian musical life and music scholarship:". Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2008. https://ul.qucosa.de/id/qucosa%3A16014.

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Some of the most noteworthy changes to have taken place in Estonian musical life and music scholarship since the late 1980s have centered around Christian musics.1 Religious song festivals organized by the Estonian Evangelical Lutheran Church, the Orthodox Church of Estonia, and the Union of Free Evangelical and Baptist Churches of Estonia have re-established a tradition of public amateur music-making. In the Estonian traditional (pärimusmuusika), jazz, and improvised music scenes, musicians have embraced folk chorales and church hymnody to create their own niche in the Estonian music industry. Newly restored churches have become one of the most important venues for concerts of choral music, Estonian traditional music, jazz and improvised musics, symphonic and chamber music, and paraliturgical and evangelistic musics. And projects to revise or publish new hymnals and service books are everywhere afoot.

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Dalzell, Victoria Marie. "Freedom, Margins and Music| Musical Discourses of Tharu Ethnicity in Nepal". Thesis, University of California, Riverside, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731835.

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The Tharu are reportedly the fourth largest minority group in Nepal. Yet despite their numerical strength, their social experience in modern Nepal largely consists of marginalization. A culturally and linguistically diverse people indigenous to the flat, southern Terai region of Nepal, the Tharu have claimed an ethnic group identity in the past sixty years in light of their shared geographic location and state exploitation, as well as the rise of ethnic politics in Nepal. I examine how performance practices and musical experiences are central to the Tharu’s group identity formation. First, I examine how the Tharu combat their social exploitation largely through musical means. I focus on the role of sociomusical practices in community ritual, its transformation through folkloricization, and extension as tools for activism. The cultural significance of these practices shift as the Tharu come into contact not only with Nepal’s changing political, social and economic scenes, but also paradigms of global indigenism and human rights. However, even as a marginalized people, the Tharu have their own internal politics. Second, I examine how musical practices are locations for productive friction within Tharu communities. Musical performances constitute intense community negotiation and contestation concerning Tharu womanhood and religious identity, and are places where the Tharu produce situated knowledge about development and modernity. While not ignoring political, historical, and global frameworks, my focus on sociomusical practices brings attention to how an ethnic identity is generated and embodied on a local level.

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Massol, James. "Reading religion a music and text approach to religious Themes tn Tosca and Suor Angelica /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1196129960.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: Mary Sue Morrow. Title from electronic thesis title page (viewed Feb. 8, 2008). Includes abstract. Keywords: Puccini; Opera; Religion; Tosca; Suor Angelica. Includes bibliographical references.

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Wickham, Anna. "That Old Time Religion: The Influence of West and Central African Religious Culture on the Music of the Azusa Street Revival". Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/323242.

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The Azusa Street Revival was a movement started in 1906 by a small group of black individuals at a prayer meeting in Los Angeles, California. The revival is largely considered the beginning of the Pentecostal movement. This paper investigates the relationship between the worship practices of the Azusa Street Revival and the musical and religious traditions of the West and Central African peoples who were the ancestors of some of the most prominent and influential participants in the movement. These practices, which include spirit possession, physical movement and rhythm, musical collaboration, and indeterminate times of worship, seemingly made their way from Africa into the daily lives of African American slaves, where they were adopted by participants at the American camp meetings of the early nineteenth century. From there, these West and Central African musical traditions became instituted in the holiness movement, the precursor to the Azusa Street Revival.

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Novo, José Alessandro Dantas Dias. "Educação musical do espaço religioso: um estudo sobre a formação musical na Primeira Igreja Presbiteriana de João Pessoa – Paraíba". Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8422.

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This study deals with a master's research in the music education area in the subject field of music education and religion. The overall objective of the research is to understand the ways in which the musical training of the individuals surveyed is concretized at the First Presbyterian Church of João Pessoa - Paraiba. The chosen method was the case study in a qualitative approach, using as techniques for the collection of data: document sources, interviews and observations. The research has as theoretical basis the conception of musical practices as social practices supported in the music sociology (KRAMER, 2000; SOUZA, 2000, 2014, etc). The Church, locus of this investigation, has four musical groups: the Youth Choir, Camerata, the Coral Society and Band. From a total of eighty-one participants in these groups, twelve people were interviewed . The results reveal that the songs practices that take place in the Church offer different possibilities and strategies of musical learning, which are established starting from the relationship between the group members. It is a musical learning that is intertwined with the other spaces, such as family, school, friends, Internet and media. Regarding the value assigned to the musical experience, in the interviewees reports three points emerged : strengthening of interpersonal relations among group participants; consider that musical practices contribute to a rapprochement with the divine; the pleasure of communicating with yourself and with one another through music.
O presente estudo versa sobre uma pesquisa de mestrado na área de educação musical no campo temático da educação musical e religiosidade. O objetivo geral da pesquisa consiste em compreender as formas pelas quais a formação musical dos sujeitos pesquisados se concretiza na Primeira Igreja Presbiteriana de João Pessoa - Paraíba. O método escolhido foi o estudo de caso em uma abordagem qualitativa, utilizando como técnicas para o levantamento dos dados: fonte documental, entrevistas e observações. A pesquisa tem como fundamentação teórica a concepção de práticas musicais como práticas sociais apoiadas na sociologia da música (KRAMER, 2000; SOUZA, 2000, 2014, entre outros). A Igreja, locus dessa investigação, tem quatro grupos musicais: o Coral Jovem, a Camerata, a Sociedade Coral e a Banda. De um total de oitenta e um participantes desses grupos, foram entrevistados doze pessoas. Os resultados revelam que as práticas musicas que acontecem na Igreja oferecem diferentes possibilidades e estratégias de aprendizagens musicais, que se estabelecem a partir das relações entre os integrantes dos grupos. É uma aprendizagem musical que está imbricada com os outros espaços, como a família, escola, amigos, Internet e as mídias. Em relação ao valor atribuído à experiência musical, nos relatos dos sujeitos entrevistados emergiram três pontos: fortalecimento das relações interpessoais entre os participantes dos grupos; considerar que as práticas musicais contribuem para uma aproximação com o divino; o prazer de se comunicar consigo e com o outro através da música.

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Vasconcelos, Jorge Luiz Ribeiro de. "Axé, orixá, xirê e música = estudo da música e performance no candomblé queto na Baixada Santista". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284924.

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Orientador: Jose Roberto Zan
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Através deste estudo pretendo trazer à discussão alguns elementos da relação entre música e ritual no candomblé queto. Tal estudo foi centrado na manifestação desta religião em casas de culto da Baixada Santista, principalmente no Ilé Asè Alaketú Omo Oyá Asè Osun, localizado na cidade de São Vicente. O enfoque na relação citada foi principalmente efetuado na maneira como ela se apresenta nas festas públicas desta religião afro-brasileira, cuja teologia se baseia nos conceitos de orixá - suas divindades; e de axé - seu fundamento principal, princípio dinâmico que estrutura a religião. Para tanto, uma das bases teóricas é a etnomusicologia e, desdobrando as relações entre antropologia e etnografia com o enfoque musicológico, propõe-se que esta base se articule com a antropologia interpretativista de Clifford Geertz, encaminhando-se para uma etnomusicologia interpretativista em que a base é a transcrição densa. Além disso, busca-se suporte na antropologia da performance para estudar estas manifestações culturais em que ritual, expressões sonoras e musicais articulam-se com narrativas míticas, gerando vívidas exteriorizações de conteúdos cujos significados são vividos religiosamente pelos devotos. Com base nestes aportes pode-se concluir que os sons são utilizados no candomblé queto como um conjunto de elementos significativos que se articulam em discurso no fluxo da performance, incorporando sonoridades múltiplas de forma integrada à totalidade ritual e mítica. Dessa maneira, busco contribuir para demonstração da existência de uma linguagem de sonoridades, através da descrição de algumas formas em que ela se efetua em discurso ritual, com base na proposta de Cardoso (2006) de estudar a música ritual como linguagem
Abstract: By means of this study, I intent to bring to discussion some elements found in the interaction between music and ritual in the afro-Brazilian religion called candomblé queto. The study was carried focusing forms of such religiosity in cult places in the region of São Paulo state called Baixada Santista, mainly in the religious house Ilè Asè Alaketú Omo Oyá Asè Osun, in the city of São Vicente. The approach to the relations of music and religiosity was mainly carried on the way they appear in the public ceremonies of a long cycle of "parties" that make part of the religion, whose theology is based on the concepts of "orixá" - their deities - and of "axé" - the fundamental and dynamic principle that structures the religion. For this, one of the basic theoretical lines is ethnomusicology. Unfolding the relation between Anthropology and Ethnography with the musicological approach, we propose an articulation of this basis with Clifford Geertz Interpretative Anthropology in such a way we go for an Interpretative Ethnomusicology, whose basis is the thick transcription. One more support to study these cultural manifestations was found in the Anthropology of Performance, for their traces in which ritual, sound and musical expressions are articulated with mythical narratives, showing vivid contents whose meanings are lived religiously by the believers, called "povo-de-santo". Based on these approaches we can conclude that sounds are used in the candomblé queto as a set of meaning elements that articulate themselves in the flow of discourse during performances, embodying multiple sonorities in an integrated way to the ritual and mythic totality. This is an attempt to contribute for the demonstration of the existence of an articulate language of multiple sounds in that form of religion, by the description of forms of realizations of a "musical grammar" in ritual discourse, based on the proposals of Cardoso (2006) when studding ritual music as a language
Doutorado
Doutor em Música

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McCabe, Juhnke Austin. "Music and the Mennonite Ethnic Imagination". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523973344572562.

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Wise, Raymond. "Defining African American gospel music by tracing its historical and musical development from 1900 to 2000". Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243519734.

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Brandon, Gregg Lewis. "Mendelssohn's Public Statement of Faith| Lobgesang as Christian Witness". Thesis, The University of Arizona, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10686904.

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In a letter from July 21, 1840, Felix Mendelssohn Bartholdy (1809–1847) shared with his friend Karl Klingemann that in his Symphony No. 2 in B-flat Major, the Lobgesang, “all the movements, vocal and instrumental, are composed to the words ‘Everything that breathes, praise the Lord’; you understand that the instruments first praise in their own way, and then the chorus and the individual voices.” This tantalizing passage is not a direct profession of faith, but the language of praising God through music does raise questions about Mendelssohn’s personal religious philosophy. The topic of Mendelssohn’s faith has been the subject of much speculation; some have assumed as the grandson of eighteenth-century Jewish philosopher Moses Mendelssohn, he ought to be considered Jewish, while others, such as R. Larry Todd, have posited that “despite a willingness to compose sacred music for different faiths, in his personal convictions Mendelssohn adhered to the Protestant creed.”

Mendelssohn’s Lobgesang contains evidence of his deeply-held Protestant identity. Its “motto” theme appears at the beginning, middle, and end of Lobgesang. The first time with instruments alone; the second time sung with the text, “Alles, was odem hat, lobe den Herrn” (“Everything that breathes, praise the Lord,” Psalm 150:6), and lastly, at the end of the work, by the instruments alone, suggesting the associated text even though it is not uttered aloud. Combining this cyclical quality with the appearance of self-quotations and the Christo-centric thrust of the rest of Lobgesang’s text, we are invited to view Lobgesang as a lens through which to view other works as having been composed for the glory of God—specifically, the God Mendelssohn knew from a Protestant perspective.

This paper contributes to the ongoing discussion about the relationship between music and identity, with a focus also placed on the continuing conversation about musical quotation and reference.

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MASSOL, JAMES. "READING RELIGION: A MUSIC AND TEXT APPROACH TO RELIGIOUS THEMES IN TOSCAAND SUOR ANGELICA". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1196129960.

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Moss, Phyllis Anita. "The role of the praise and worship leader: a model for preparing the singer for leadership in contemporary worship". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2001. http://digitalcommons.auctr.edu/dissertations/AAIDP14652.

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This dissertation proposes an educational model for use by praise and worship leaders and those who endeavor to guide them in becoming skillful musicians and spiritually mature leaders of contemporary praise and worship. Primarily aimed toward the singer as praise and worship leader, the model centers on dimensions of instruction that help singers to know the meaning and purposes of worship and principles of leading worship, the nature of spirituality and vocal leadership in worship, and context-specific applications of vocal leadership in worship. The model is interdisciplinary in orientation and builds on foundational biblical, theological, historical, and ethical ideas and principles contained in normative literature; socio-psychological material found in empirical literature, and practice of ministry guides appearing in operational literature. The final diagram of a holistic instructional model results from the development, implementation and evaluation of a course at Beulah Heights Bible College, from interviews with selected Atlanta area praise and worship leaders representing six denominations, and from reflections on the roles of the praise and worship leader as observed in the praise and worship ministry of Babbie Mason. The diagrammatic representation of the educational model identifies the important relational worship environment about which the praise and worship leader must be aware. The model is inclusive of prophetic, priestly, and revivalist roles of praise and worship leaders and specific activities of guiding and mediating a congregation's experience of and closer relationship with God. It also includes the ethicist role with the specific activity of perpetuating biblical principles, values, and images of justice, inclusivity, and non-violence; the role of the change agent with the specific activity of drawing attention to a vision and activity toward societal transformation; the role of pastoral agent who brings the healing qualities of music to bear on a congregation; the role of the clear communicator of the messages of God; the role of administrator; the role of the worshipper who is familiar with the nature of worship; and the cultural leader who is familiar with the culture of the setting and ensures that the music and style of worship is relevant to the worshippers. And finally, the diagrammatic representation highlights important qualities which the praise and worship leader must develop and exhibit in the conduct of worship including pastoral sensitivities to the congregation's cognitive, affective, psychomotor, and kinesthetic needs, involvement in the spiritual disciplines, and cultural understanding and receptivity.

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Saidel, Deborah J. "Women in Music: Letting a Long Story Be Long Contemplating Women’s Sonic, Musical, and Spiritual Experiences in Prehistory". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5635.

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Situated within deep history, this study explores the auditory and spiritual lives of Paleolithic women. It considers their personal agency in mediating the spiritual power of sound and how doing so contributes to a multifaceted musicality. The theoretical framework involves a wide spectrum of topics, from ways of rethinking the writing of history and reckoning with time, to sound studies and the study of acoustics in ancient sites, to a critical examination through a feminist lens of normative disciplinary scholarship in anthropology and archaeology, religious studies, and musicology. I explore potential audio-visual-lithic relationships for their implications for deepening an understanding of the spiritual aspects of Paleolithic life. Drawing from this interdisciplinary literature, integrative discussions are constructed which when considered collectively, not only provide different types of role models and different criteria pertaining to women's experiences of music-making, but also facilitate the emergence of a more nuanced understanding of Paleolithic spiritual practices. In this women-centric narrative innumerable generations of women's participation as spiritual healers within the shamanic musical paradigm are acknowledged and valued, broadening the parameters of women's cultural heritage and spiritual experience. This expansion can help women today turn away from a compensatory music history perspective that is oriented toward figuring out how to fit into a prescribed androcentric narrative of Western art music and turn towards a more holistic narrative in which women can better consider their lineage(s) on their own terms. It fosters re-conceptualizations of women's musical and spiritual identities by reorienting the timeline, contexts, and definition of women's experiences of music-making as sound-producers and sound-interpreters. This project is intended to provide one possible starting point for new conversations about women in music regardless of one's positionality. From a more inclusive gynocentric vantage point, the toxic self-perpetuating loop which has affected how musicology has thus far been shaped, namely through the undervaluing of women’s musical experiences and the ways that they think and feel about music, is being contested. Ultimately, it is a matter of ownership.

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Nadadur, Kannan Rajalakshmi. "Performing 'religious' music : interrogating Karnatic Music within a postcolonial setting". Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/18272.

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This research looks at contemporary understandings of performance arts in India, specifically Karnatic Music and Bharatnatyam as ‘religious’ arts. Historically, music and dance were performed and patronized in royal courts and temples. In the early 20th century, increased nationalist activities led to various forms of self-scrutiny about what represented ‘true’ Indian culture. By appropriating colonial discourses based on the religious/secular dichotomy, Karnatic Music was carefully constructed to represent a ‘pure’ Indian, specifically ‘Hindu’ culture that was superior to the ‘materialistic’ Western culture. Importantly, the category called divine was re-constructed and distinguished from the erotic: the divine was represented as a category that was sacred whilst the erotic represented ‘sexual impropriety.’ In so doing, performance arts in the public sphere became explicitly gendered. Feminity and masculinity were re-defined: the female body was re-imagined as ‘sexual impropriety’ when in the public sphere, but when disembodied in the private sphere could be deified as a guardian of spirituality. Traditional performing communities were marginalized while the newly defined music and dance was appropriated by the Brahmin community, who assumed the role of guardians of the newly constructed Indian-Hindu identity, resulting in caste-based ‘ownership’ of performance arts. Mechanical reproduction of Karnatic Music has created a disconnect in contemporary Indian society, in which Karnatic Music is disembodied from its contexts in order to be commodified as an individual’s artistic expression of creativity. This move marks a shift from substantive economics (music was performed and experienced within a specific context, be it royal patronage or Indian nationalist movements) to formal economics (music as a performer’s creative property). I question the understanding of Karnatic Music as ‘religious’ music that is distinguished from the ‘secular’ and seek to understand the colonial patriarchal mystification of the female body in the private sphere by deconstructing the definition of the ‘divine.’ In doing so, I also question the contemporary understanding of Karnatic Music as an item of property that disembodies the music from its historical context.

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Fallahzadeh, Mehrdad. "Persian Writing on Music : A study of Persian musical literature from 1000 to 1500 AD". Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Uppsala universitetsbibliotek [distributör], 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-5864.

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SILVA, Bianca Almeida e. "Aprendizado musical e referenciais doutrinários: a construção da performance em um coro religioso". Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2709.

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Este estudo enfoca o aprendizado musical em corais religiosos como fruto da conjugação das vivências artística e ideológica, contribuindo para o aprofundamento da experiência humana e estética do grupo. Utilizando o método pesquisa-ação, essetrabalhodescreve ametodologia aplicada em um grupo religioso de Goiânia, o Coral Vida e Luz, da Irradiação Espírita Cristã, que possibilitou o desenvolvimento de um amplo fazer artístico e musical, avaliando a sua contribuição para a (trans) formação educativa e humanitária dos envolvidos. Uma parte substancial das informações recolhidas foifruto da observaçãodiretados resultados obtidos em ensaios e apresentações, bem como de entrevistas gravadas e de questionários aplicados, estruturados e semi-estruturados. Foi possível comprovar que, com um trabalho planejado, focado no conteúdo doutrinário e musical do repertório, a conexão com o público se torna muito mais sólida, possibilitando ao grupo cumprir sua tarefa transformadora na sociedade.

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Minkevičiūtė, Jūratė. "Kolektyvinės religinės muzikos veiklos poveikis paauglių muzikinei kultūrai". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_161442-69089.

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Temos pasirinkimą lėmė vis labiau įsigalintis pragmatinis visuomenės požiūris į muziką. Ypač tai pasakytina apie religinę muziką ir jos sklaidos galimybes, nes paprastai tai apsiriboja arba klasikiniais tapusių muzikos kūrinių sukurtų prieš kelis šimtmečius atlikimu scenoje, arba religinių kūriniu atlikimu per mišias. Darbo autorė, remdamasi praktinio darbo su jaunimo religiniu choru patirtimi, bei atliktu konstatuojamuoju tyrimu, siekia išsiaiškinti veiksnius skatinančius domėtis religine muzika bei su ja susijusia veikla. Į giedojimą darbe žiūrima kaip į muzikinio bei meninio lavinimo būdą bei muziknio ugdymo probelmų sprendimo būdą. Tyrimo objektas – kolektyvinės religinės muzikinės veiklos įtaka jaunimo nuostatai į muziką kaip į vieną iš muzikinės kultūros sudedamųjų dalių. Tyrimo tikslas: išanalizuoti religinės muzikos poveikio asmenybės formavimuisi specifiką. Tyrimo hipotezė: tikėtina, kad religinė muzika teigiamai veikia jaunimo pasaulėžiūrą. Tyrimo uždaviniai: 1. Išanalizuoti mokslinę ir metodinę literatūrą apie paauglių psichologines ir fiziologines savybes, muzikinę kultūrą ir teologiją. 2. Parengti tyrimo instrumentą, padėsiantį suprasti religinės muzikos įtaką jaunimo muzikinei kultūrai. 3. Atlikti konstatuojamąjį tyrimą. 4. Atlikti tyrimo rezultatų analizę. 5. Parengti mokslines išvadas. Tyrimo metodai : teorinė literatūros šaltinių analizė, mokinių anketinė apklausa raštu; konstatuojamasis tyrimas, aprašomoji statistika. Išvados:... [toliau žr. visą tekstą]
It was predetermined by the pragmatic attitude of the society towards music, getting deeper and deeper. This is especially so with the religious music and its dissemination opportunities, because usually it is limited with performance of classical musical pieces, created several centuries ago or performance of religious creations during mass. Author of the paper, basing upon the practical experience of work with youth religious choir and declarative research performed, is seeking to find out the factors, stimulating interest in the religious music and related activities. Paper deems chant a musical and artistic development way as well as the musical education problem solution way. Subject of the research: influence of collective religious musical activities upon the youth’s attitude towards music like one of the components of musical culture. Aim of the research: to analyse possible specificity of religious music impact upon musical culture. Hypothesis of the research: possibly, religious music positively affects the youth’s musical culture. Tasks for the research: 1. To analyse scientific and methodical literature. 2. To prepare the research instrument. 3. To execute a declarative survey. 4. To execute analysis of the survey results. 5. To prepare scientific conclusions. Methods of the research: theoretical analysis of written sources, written questioning survey of the pupils; declarative research, descriptive statistics. Conclusions: Analysis of the scientific... [to full text]

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19

Moschella, Fernanda Tresinari Bertinato. ""O Deus, eu quero cantar e tocar" : a musica e os instrumentos musicais no salterio davidico". Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/1997.

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The purpose of this work is to study the characteristics of the Psalm music made by the levites, the ones responsable for the celebration of the cult at the Second Jerusalem Temple; to show which musical instruments they used, their characteristics and origins; and also the musical notation developed in that community and its music function
Este trabalho tem como objetivo mostrar como a música dos salmos era realizada pelos levitas, responsáveis pela celebração do culto no Segundo Templo de Jerusalém; mostrar quais eram os instrumentos musicais utilizados por eles, bem como suas características e origens; a escrita musical desenvolvida e a função que a música exercia naquela comunidade

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20

Breckling, Molly M. MacNeil Anne. "Religious melancholy in the music of John Dowland". Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,923.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music." Discipline: Music; Department/School: Music.

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21

Rowe, Charles Edward. "The role of music in Omoto, a Japanese new religion". Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312918.

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22

Spatz, Garrett M. "Born (Again) This Way: Popular Music, GLBTQ Identity, and Religion". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351359017.

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23

Stewart, Francis Elizabeth. ""Punk rock is my religion" : an exploration of straight edge punk as a surrogate of religion". Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3441.

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Using a distinctly and deliberately interdisciplinary approach to the subject of religion and spirituality as it presents itself within modern Western Societies today, this thesis argues that Straight Edge hardcore punk is a surrogate for religion. The term surrogate is used to denote the notion of a successor and a protector and provider of nourishment. It has been re-interpreted from Theodore Ziolkowski’s work on the same term in ‘Modes of Faith’, in which he examines surrogates for religion which emerged during the early part of the 20th century. An in-depth study, both theoretical and ethnographic in nature and presentation, of Straight Edge hardcore punk is provided to demonstrate that traditionally held categories of religion, secular, sacred and profane are being dismantled and re-built around ideas of authenticity, community, integrity, d.i.y and spirituality. Through the syncretic practices of the Straight Edge adherents they are de-essentialising religion and thus enabling us to re-consider the question of what religion is or could be. This thesis relies on theoretical ideas, interview quotes, informant quotes, researcher taken photographs, and interviewee created or utilised images, tattoos, graffiti and flyers. All of these are interspersed with song lyrics from various bands relevant to the time period under discussion and the themes being drawn out. Much like the adherents themselves, this thesis exists very much within the space of the ‘in-between’, which creates and reacts to necessary tensions throughout.

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24

Siqueira-Koo, Paolina Marielle. "How Can We Explore the Connection of Sound with the Experience of Religion?" Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1009.

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This thesis approaches the connection of the experience of sound/music and the experience of religion. The investigation applies a methodology of lens analysis, using the religious and mystical theories of Rudolf Otto and William James, to the case-study of Mantric chanting in a contemporary diasporic, orthopractic tradition of Sikh mysticism--3HO Kundalini Yoga. It is concluded that the experiences of sound/music and of religion are connected insofar as they are intrinsically corporeal experiences that exhibit a paradoxical immersive transcendence; Immersive because of how inescapably corporeally based they are, and yet transcendent because of how they can transport one’s consciousness to states of knowing, feeling, and understanding that are camouflaged from ordinary (non-musical, non-religious) mundane corporeal experiences.

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25

Dolghie, Jacqueline Ziroldo. "Por uma sociologia da produção e reprodução musical do presbiterianismo brasileiro: a tendência gospel e sua influência no culto". Universidade Metodista de São Paulo, 2007. http://tede.metodista.br/jspui/handle/tede/427.

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The Brazilian Presbyterian service has assumed a fixed and peculiar form referring to its liturgical style. The exclusion of more ritualistic elements, as well as the conditions for their insertion, gave a very particular outline to the religious service in Brazil. Its shape can be reduced to two pillars: sermon and music. The music has also been developed in a peculiar manner within the denomination. Nevertheless, from the early 1990s, traditional music has been shaken with the fast-growing and consolidation of the gospel music market. Then, a new format of musical production related to congregational praise emerged in Brazil, which counteracting with the traditional productions due to its emotional and performatic aspect. This new model of congregational praise was totally accepted by young people and new converted ones because it was promoted by the specialized media and the gospel market and was in harmony with current cultural trends, somehow complicating the idea of preserving religious tradition. This fact occurred for many reasons, and among them, we can mention the appeal exerted by the musical market upon Presbyterian youth and the liturgica l role music played in this service, which has always created an atmosphere of religious frustration for some laic subgroups. Therefore, musical production and reproduction of Presbyterian service suffered modifications that can contribute directly to one of the biggest modifications which the Presbyterian service has suffered since its insertion in Brazil. This new model of congregational praise facilitated the rupture with the traditional hymnody, which has ever been weakened long ago. The present study deals with the modifications that occurred in Presbyterian liturgical music production and reproduction and the direct results on the religious service profile, as well as the motives that support those modifications on micro and macro social perspectives.(AU)
O culto presbiteriano brasileiro se cristalizou de forma peculiar em relação ao seu estilo litúrgico. A exclusão de elementos mais ritualísticos somados ás condições de inserção deram um contorno bem específico a esse culto no Brasil. A sua forma pode ser reduzida a dois pilares de sustentação: a prédica e a música. A música também se desenvolveu de um modo peculiar dentro da denominação. Porém, desde início dos anos 90 essa musica tradicional tem sido abalada com a consolidação do mercado de música gospel. Surgiu então no Brasil um novo tipo de produção musical, relacionada com o louvor congregacional, que pelo aspecto emocional e performático, contraria a produção tradicional. Esse novo modelo de louvor, fomentado pela mídia especializada, pelo mercado gospel e em acordo com as tendências culturais atuais, tem plena aceitação do público jovem e dos novos conversos, dificultando a manutenção da tradição. Muitos são os motivos para tal fato, entre eles a atração que o mercado exerce sobre o jovem presbiteriano e o papel litúrgico da música nesse culto, que sempre gerou um grande clima de insatisfação religiosa de alguns sub grupos do laicato. Assim, a produção e reprodução musical do culto presbiteriano têm sofrido modificações que podem contribuir diretamente para uma das maiores mutações cúlticas que o presbiterianismo já sofreu desde a sua inserção entre nós. Esse novo modelo de louvor propiciou uma ruptura com a hinódia tradicional, que há muito já estava se enfraquecendo. Esta tese discute as mudanças ocorridas na produção e reprodução da música litúrgica do presbiterianismo e a sua conseqüência direta no perfil desse culto, bem como os motivos que sustentam tais mudanças, tanto em uma perspectiva micro como macro social.(AU)

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26

Low, Sor Ching. "Religion and the invention(s) of John Cage". Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1375506251&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

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27

Fitzpatrick, Edmound Lee. "An examination of Thomas Pasatieri's religious music drama Calvary /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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28

Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation". Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.

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29

Davhula, Mudzunga Junniah. "Malombo Musical Art in VhaVenda Indigenous Healing Practices". Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/64353.

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The traditional healing practices of the Vhavenda people include one very important component, the malombo ritual healing practice. This healing practice has been conducted for centuries. It involves the use of music (including singing and the use of drums and shakers for rhythm), dance and elements of theatre performed by the person to be healed, the healer, invited malombe (community members who have been through the same ritual), as well as family members and supporters. The importance of this ritual as a healing process has long been acknowledged. Of interest in this study, however, is the role-played by the music itself in facilitating the healing process. The ritual cannot take place without the music; neither is the music used outside this specific ritual. Seven representative malombo songs have been partially notated by John Blacking and N. J. van Warmelo also as recorded texts. However, since this ritual is closed and seldom open to strangers, their research was, of necessity, limited. Through long-term fieldwork, and from an insider perspective, this thesis is based on participation in more than fifteen malombo rituals during the field research period (2005-2014). Songs and performances were recorded as possible and some are included on the accompanying CD. In addition, transcription was utilized as a tool to demonstrate the core melody of selected songs, with the acknowledgement that transcription in Western notation limits the demonstration of the creative mato1 process that is fundamental to the malombo ritual. This thesis argues that that music plays a vital role in this healing ceremony, and it is through the mato process that the ancestors are called to heal. The texts of the songs at times include words of the Tshikalanga language that is spoken by the Vhakalanga of Zimbabwe. Most significantly, music is seen as the bridge between the ancestral spirits and the patient and participants in the ceremony, thus underscoring its fundamental importance in Vhavenda culture.
Thesis (DMus)--University of Pretoria, 2017.
SAMRO
Music
DMus
Unrestricted

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30

Rowland, Michael L. "Adult learning through religious music in an African American church /". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951907959578.

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31

Jennings, Mark. "Realms: A Phenomenological, Socio-Cultural and Theological-Religious Studies exploration of Musical Space". Thesis, Jennings, Mark (2009) Realms: A Phenomenological, Socio-Cultural and Theological-Religious Studies exploration of Musical Space. PhD thesis, Murdoch University, 2009. https://researchrepository.murdoch.edu.au/id/eprint/1675/.

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This thesis sets out to explore the ways people use and interpret experience of music, the divine and interaction with other people within discrete musical spaces. This exploration takes place in two sites: a Pentecostal church in suburban Perth, Western Australia, and the West Coast Blues & Roots festival, a well known music festival held annually in Fremantle, Western Australia. I have nominated these two sites as “realms” because they are spaces set up for the performance and experience of music. My primary questions about these sites relate to how people interact with music, each other and the divine within these realms. This study combines socio-cultural and theological-religious studies theories to illuminate the processes, experiences and interpretations occurring within these musical realms. This has important implications for understanding how people use and interpret music in relation to the world outside the musical realm. People use these experiences to dream and imagine the shape of ideal relationships and communities with each other and the divine presence, and to escape and transform the world outside the musical realm. In this thesis I compile data from participant observation and in-depth interviews at both sites, as well as published interviews with performers. I construct two case studies of the sites, portraying a “day in the life” of a participant in both realms. For each case study I outline ten different interpretive paradigms, five from socio-cultural theorists and five from theology and religious studies. I analyse the data using the phenomenological method, taking a component of data from the fieldwork and comparing and contrasting it with theory. At the end of each chapter I summarise the process and make some remarks relating to the implications of the study. The resulting work makes important contributions to understanding how socio-cultural studies and theological-religious studies can work together in an interdisciplinary fashion to illuminate phenomena. The study sheds light on the nature of musical “realms”, as well as “proto-religious phenomena” and “methodological agnosticism”. Further, this work presents useful contributions into the ways churches may understand and interact with spiritual experience that occurs outside of religious settings. Finally, performers and artists and community workers will benefit from the conclusions of this study on the ways in which people use music and realms to escape, transform and imagine community and society.

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32

Jennings, Mark. "Realms : a phenomenological, socio-cultural and theological-religious studies exploration of musical spaces /". Murdoch University Digital Theses Program, 2009. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100421.135501.

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33

LaMontagne, Landon R. "Religious Music in Public School Choir: Attitudes, Practices, and Experiences". Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1560359050058863.

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34

Jütte, Robert. "“I Will Sing and Make Music”: Jewish music and musicianst Throughout the ages. - (The Nineteenth Annual Klutznick-Harris Symposium. - Creighton University, Omaha. Nebraska, 29.10-30.10.2006)". Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/2255/.

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35

Ott, Janelle (Bassoonist). "The Concerto for Bassoon by Andrzej Panufnik: Religion, Liberation, and Postmodernism". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849689/.

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The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik's understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popieluszko in 1984. Panufnik's relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik's compositional approach and the expressive qualities inherent in the Concerto for Bassoon. The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. context of the commission and premiere is also examined. Additionally, the original manuscript and subsequent piano reduction are compared. Although the Concerto for Bassoon has been subject to formal analysis by several scholars, discussion of the piece is generally contained within a larger discussion of several other compositions, and a comprehensive analysis of the piece has not yet been presented. This document contains a thorough formal analysis of all movements, as well as analysis of Panufnik's compositional style within the context of serialism, postmodernism, and the new Polish school of composition. The Concerto fro Bassoon features several devices common to Panufnik's larger opus, including the se of a common three-note cell, strong contrasts between section and movements, and symmetrical patterns of transposition, metric alteration, dynamic alteration, and registral expansion.

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36

Watt, Tessa Stephanie. "Cheap print and religion c.1550 to 1640". Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236134.

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This study examines the presentation of religion in the cheapest printed wares produced in London c.1550-1640: broadside ballads, woodcut pictures, text-dominated broadsides, and octavo chapbooks. During the first quarter of the seventeenth century, the trade in this 'cheap print' became increasingly specialized. The 'ballad partners' collected a stock of titles, increased the use of illustrations, and organized themselves for more efficient distribution. They published large folio woodcut pictures, and began to develop a new line of chapbooks. The thesis investigates, not only the spread of readership, but the interweaving of the printed word with existing cultural practices, both oral and visual. Part 1 deals with the broadside ballad as song, disseminated by a network of travelling performers and pedlars. Part 2 looks at the broadside picture as an image for the wall, placed against the background of domestic wall painting and painted cloth. Only in Part 3 do I follow the development of 'cheap print' intended primarily for reading, in particular the 24-page octavo format which became the standard 'small book' after the Restoration. I have dated the beginnings of this trade to the second decade of the seventeenth century, and have traced some three dozen extant 'penny merriments', 'miscellanies' and 'godlinesses' published before 1640. Just as 'cheap print' was shaped by existing non-literate traditions, Protestant ideas and images were modified by older beliefs. Reformers wrote hundreds of ballads in the first half of Elizabeth's reign, of which some fifty showed enduring commercial success. By comparing the original output of the Protestant publicists with this seventeenth-century 'stock', I show the partial success of the reformers' goals, as the doctrine of salvation by faith, Protestant martyrs, and Old Testament episodes infiltrated the ballads. In the woodcuts and other visual art, the gap between Protestant 'iconophobia' and the continued demand for religious pictures was bridged by 'stories' for walls, chosen from the lower rungs of the 'ladder of sanctity'. Texts themselves became a common form of decoration: broadside 'tables', bearing pithy aphorisms and excerpts from Scripture, sanctified the walls of the good householder. Finally, the octavo repentance tract replaced the broadside ballad as a medium for the evangelical message, but the moralistic 'penny miscellanies' reflected the conservative religion of many ordinary parishioners. The study of these cheap forms of print shows their manifold uses, during a period of transition to widespread literacy. At the same time, it reveals some aspects of the process by which a new, post-Reformation, religious culture was created.

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37

Marshall, Debra J. "A rereading of religion and rock and roll". Honors in the Major Thesis, University of Central Florida, 2002. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/286.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Liberal Studies

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38

Thompson, Pamela J. "Rock and roll and the counterculture : the search for alternative values and a new spirituality". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59237.

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Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.

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39

Cooper, Clyde T. "The importance of music in the religious life of ancient Israel". Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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40

Clavere, Javier. "Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.

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41

Häger, Andreas. "Religion, rock och pluralism : En religionssociologisk studie av kristen diskurs om rockmusik". Doctoral thesis, Uppsala universitet, Teologiska institutionen, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-84.

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Rock music has during all of its almost 50 years of existence been the subject of criticism and debate. Much of this criticism has risen from religious circles. But also in these circles, rock music has its advocates. This thesis studies the reactions to rock music by spokespersons for institutional Christianity. Most of the material studied is written and published material. The material dates from 1983-1998 and originates from Sweden, Finland and the United States. The material is studied qualitatively. The purpose is to study the Christian discourse on rock music as an example of how institutional religion defends itself against competition. A theoretical perspective and conceptual apparatus is developed. The Christian discourse on rock is viewed as the defence of a monopolistic symbolic universe - institutional Christianity - against an outside threat - rock. This defence is described by two concepts, devaluation and incorporation. Devaluation involves giving rock an inferior status, for example defining it as demonic. Incorporation is an attempt to make rock part of the Christian symbolic universe. The result of devaluation and incorporation is the same: the denial of any reality outside the Christian symbolic universe. Several different techniques for devaluating and incorporating for example rock music can be used. Two such techniques are studied in the thesis: symbol interpretation, and the defence of boundaries. The main contribution of the thesis is the development and application of a theoretical perspective on how institutional religion defends itself against competition. The discussion on how established religion reacts to "secular" media adds an important dimension to the academic discussion on media, religion and culture.

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42

Ossorio-Bermudez, Julissa. "Unveiling popular music? : a study of how Muslim girls in Belfast negotiate gender and religion through popular music listening". Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558177.

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Music within Islam has been a subject of dispute for centuries. Some believe that music is haram, or totally prohibited. Others believe that depending on its context and lyrics, it may be halal, or allowed. Gender plays an important role in this discussion, as sometimes concepts of femininity transmitted through Western popular music may go against particular Muslim ideals. Inspired by this debate, this thesis is an ethnographic analysis of a sixteen-month fieldwork experience that took place in Belfast, Northern Ireland, in which I explored how young Muslim females living in this city constructed and embodied their gender identity and religious identities through popular music. This research revolves around two key issues: the ways in which popular music mediated concepts of sexuality and femininity amongst Muslim teenagers and young women; and the extent to which their music listening choices affected and reflected who they were or were expected to be. The sample for this research included females between 13 and 47 years old, who were either born Muslims or converts. At a time when the number of young Muslims in Europe is constantly increasing and when more and more British nationals are converting to Islam, this research sheds light on the multiple negotiation processes young Muslim females in Belfast experience to make sense of their religious and gendered identities through their engagement with popular music.

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43

Andersson, Robert. "I det glimrande mörkrets djup : om religiöst gränsöverskridande, identitetssökande och meningsskapande i svensk extrem metal-lyrik". Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-6849.

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This study is an attempt to investigate religious perceptions and its development, function and connection to religious practise within the Swedish extreme metal scene. This is performed mainly by a qualitative method of investigation, studying lyrical content published on a number of extreme metal albums, thereafter relating the lyrical progression to the progession of the scene as a whole and also to the development of individual religious belief and practise. The lyrically expressed manifestations of religiosity within the extreme metal scene prove to be related to religious practise in some cases, most visibly in the Christian parts of the scene.The study also indicates that development of religious expression often is evident regardless of religious preference. This development also regularly relates to an increase in musical evolution and prowess often achieved with increased age and maturity. Musically and lyrically, the extreme metal scene displays transgressive attributes which assist both individual and group in the process of creating identity, meaning and individuality.Experiencing extreme metal, in concert or in the privacy of one´s own home, can be one way of perceiving spirituality in this modern age.

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44

Jamieson, Andrew. "Beyond your circumstances| Enriching experimental music with black Pentecostalism". Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1551687.

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I (Andrew Jamieson) discuss my creative process, centered around the transcendence of structures, or the dialogue between them. I define structures broadly, from musical meter and texture to political structures and life circumstances. My core inspiration is black Pentecostal worship. I illustrate black Pentecostalism with examples from City of Refuge United Church of Christ in San Francisco. Visiting this church, I experienced music and communal interaction with a clear structure that facilitated presence of the Holy Spirit and even the ability challenge oppressive circumstances. In a similar way, experimental musicians, such as Sun Ra and John Oswald, present and challenge established structures, from jazz grooves to preexisting recorded music and the institutional structure it represents.

My own work, Where Perhaps It's Worse, presents structures from preexisting musical material against which musicians perform their own material and express my own ideas. The primary structural backdrop is the third movement of Luciano Berio's Sinfonia, itself a quote collage. I explore the various ways my work challenges both musical and extramusical structures.

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45

Mickey, Samuel Robert. "Sounding sacred: Interpreting musical and poetic trances". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5261/.

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This essay investigates the relationship between trance and various musical and poetic expressions that accompany trance when it is interpreted as sacred. In other words, the aim of this investigation is to interpret how experiences of the entrancing power of the sacred come to expression with the sounds of music and poetry. I articulate such an interpretation through the following four sections: I) a discussion of the basic phenomenological and hermeneutic problems of interpreting what other people experience as sacred phenomena, II) an account of the hermeneutic context within which modern Western discourse interprets trance as madness that perverts the rational limits of the self, III) an interpretation of the expressions of trance that appear in the poetry of William Blake, and IV) an interpretation of expressions of trance that appear in the music of Afro-Atlantic religions (including Vodu in West Africa, Santería in Cuba, and Candomblé in Brazil).

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46

Bigler, Nathan Robert. "Musical Form in Hymns of the Church of Jesus Christ of Latter-Day Saints". Thesis, Northern Arizona University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10817691.

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Hymn singing is an integral part of both congregational and private worship for millions across the globe. While hymns have been the subject of research regarding history, origins, and cultural influence, there has been very little research regarding musical forms and harmonic structures found in nineteenth- and twentieth-century Protestant hymns. In discussing form, many theory texts describe the bulk of modern hymn music as “strophic.”

Using William Caplin’s text Classical Form (1998) as a model of analytical techniques and principles, this thesis examines the Mormon collection Hymns of the Church of Jesus Christ of Latter-day Saints (1985) and reveals that “strophic” is too narrow a label for an entire hymnal. Four formal models and one harmonic structure emerge. Each is identified by specific musical characteristics (illustrated using hymn examples), and together these five structures encompass a majority of the 341 hymns in the hymnal. Chapter 1 gives a brief historical review of Protestant hymn development and of the LDS hymnal. Chapter 2 discusses the analytical methods used in this study. Chapter 3 introduces the two smaller multi-phrase models: the “small-scale model” that manifests as any of several variations of an aaba phrase structure; and the “two-phrase model” that manifests as an extremely compact binary structure. Chapter 3 also introduces the “standard harmonic structure” that circumscribes expository, transitional, developmental, and closing/cadential harmonic functions across a single hymn. Chapter 4 introduces the two larger sectional models (made up of phrase groups): the “verse-chorus model” that manifests as a sectional binary form with distinctive musical characteristics in each half; and the “large-scale model” that encompasses all other sectional hymns. There are dozens of ways individual hymns can manifest the characteristics of one model or another, and much of the interest of studying hymns is found in discovering that within these five structures the hymns exhibit an abundance of structural variety, creativity, and interest. Chapter 5 examines ways that many hymns stretch the model boundaries, exhibit formal trends outside the model boundaries, or largely defy formal categorization based on the four models and the standard harmonic structure outlined in this study.

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47

Bergin, Patrick Michael Jr. "M.-A. Charpentier’s In honorem Sancti Ludovici Regis Galliae Canticum (H. 365): A Case Study in Chronology and Rhetoric". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339872776.

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48

Chen, Chiung-Chi. "From the sublime to the obscene the performativity of popular religion in Taiwan /". Diss., Restricted to subscribing institutions, 2006. http://proquest.umi.com/pqdweb?did=1280132891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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49

Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia". Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.

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50

Hayes, ‘Will De’Angeleo III. "Using the arts (music, mime, dace, and drama) to enhance the spirituality of the youth". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2012. http://digitalcommons.auctr.edu/dissertations/338.

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The purpose of this project was to examine carefully how the arts (music, mime, dance, and drama) could potentially enhance the spirituality of youth between the ages of 13 and 19. The researcher’s aim was to use the arts to make the stories and messages of the Bible come “alive” in a creative and innovative manner. Afler meeting with a select group of leaders on August 27, 2009, regarding the needs of the youth, the researcher moved forward with the assurance of membership support regarding the proposed Doctor of Ministry of Project based on the arts. Throughout the process, the researcher used every opportunity available to capture and evaluate dramatic presentations at the Greater Solid Rock Baptist Church. The span of the Doctor of Ministry Project lasted seven months (April-October 2011), with six activities in the form of dramatic presentationsbeing conducted over that period of time. In this document, the author gives the reader detailed information regarding the process used to reach the researcher’s final destination. Below are brief highlights from each chapter in order to give the reader a general sense of the process used to compile and complete information relative to the Doctor of Ministry Project. Chapter I gives the reader a general introduction to each succeeding chapter in this document. Although the information in the introductory chapter is not presented in detail, the author provides key points regarding material appearing subsequently. Chapter II focuses on the Ministry Context/Issue, primarily on the demographics of the Greater Solid Rock Baptist Church and related social statistics. Chapter III explores the Biblical literature that informs the Doctor of Ministry project, identifying key scriptures that relate to youth and how youth are able to overcome obstacles in life. Chapter IV shines the light of research on theological literature, mainly focusing on how Biblical characters such as Goliath can be re-imagined as social influences such as drugs, sex, and alcohol. Key statistics are given regarding the use of these elements by our youth (ages 13-19) before marriage and how this use is impacting their education and spiritual development. Chapter V provides empirical and theoretical information to support the researcher’s position regarding using the arts to enhance the spirituality of the youth, along with professional statements from artists and teachers in the arts espousing this position. Chapter VI focuses on the actual Doctor of Ministry Project and all that went into making this project a success, offering a “How To” listing for coordinating, producing, and directing an arts program/play in the local ministry setting. Finally, in Chapter VII the researcher reflects on the entire process and shares final statistics from evaluation of the surveys submitted to the congregation during each dramatic presentation or activity connected with the Doctor of Ministry Project.

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Tesis sobre el tema "Musica e Religione"

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