Tesis sobre el tema "Sacred vocal music"
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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.
Texto completoSteed, Janna T. "Duke Ellington's jazz testament the sacred concerts /". Theological Research Exchange Network (TREN), 1993. http://www.tren.com.
Texto completoHafar, Matthew Alan. "The psalmody of Monteverdi : choral settings of the vesper psalms CX and CXI". Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/6031.
Texto completoZiegler, Reinald. "Die Musikaliensammlung der Stadtkirche St. Nikolai in Schmölln/Thüringen repertoiregeschichtliche Studien und Katalog : ein Beitrag zur Musiküberlieferung im 16. und 17. Jahrhundert in Mitteldeutschland /". Tutzing : Schneider, 2003. http://catalog.hathitrust.org/api/volumes/oclc/51654880.html.
Texto completoBoard, Ryan Everett William A. "Dietrich Buxtehude's Membra Jesu nostri a study in baroque affections and rhetoric /". Diss., UMK access, 2006.
Buscar texto completo"A dissertation in conducting." Advisor: William Everett. Typescript. Vita. Description based on contents viewed Oct. 30, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 100-102). Online version of the print edition.
Bunnell, John H. "An open-ended database guide to assist ministers of music and vocal soloists to select solos that will match and enhance the lectionary readings during the Easter cycle (year "A")". Theological Research Exchange Network (TREN), access this title online, 2006. http://dx.doi.org/10.2986/tren.089-0073.
Texto completoGreene, Charles F. "There came Jesus a choral depiction of Messiah's last days of earthly ministry /". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
Texto completoGardner, David B. "Filled with the fullness of God a choral concert expressing God's design for mankind /". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
Texto completoSoga, Hector Ian. "The sacred vocal works of Gottfried August Homilius (1714-1785) with particular reference to his St. Mark Passion". Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/3961/.
Texto completoJeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /". Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.
Texto completoEaly, Gregory. "Medieval Russian chant and the contemporary church". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0469.
Texto completoAbdel-Malek, Kamal. "The sīra of the prophet Muḥammad in the repertoire of the contemporary Egyptian Maddāḥin". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39333.
Texto completoIn order to understand the process which marks the making of the people's Muhammad, the study deals with the sources and the contents of the repertoire of the Egyptian maddahin. The performance of these singers as well as their interaction with the audience are also considered. The "legendary" material in this repertoire is attested as historical by many authoritative and well-recognized "orthodox" authors of the past. Classical Arabic, classical poetic forms, philosophical notions, long believed to be the exclusive possessions of the learned, are freely utilized in the ballads and popular songs under study. The people's Muhammad appears as both a commanding figure, empowered by the supernatural, and a touchingly vulnerable human being; God's ascetic messenger and a man who savours life's lawful pleasures; an eloquent speaker who utters Qur'an-like terse Arabic and a lovingly familiar figure who also uses local patois. Bipolarity, beloved of many scholars, is seriously challenged by the art of the Egyptian maddahin. A renewed effort has to be made to discover more valid categories which will take into account the intermediary combinations (Mischbildungen) characteristic of that art.
Clay, William Rudy Paul. "Incarnation for soprano duo and chamber ensemble /". Diss., UMK access, 2008.
Buscar texto completo"A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
Palionis, Solveiga. "Formation of pastoral musicians in Lithuania pastoral project : intensive one week summer course /". Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.
Texto completoRushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)". Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
Texto completoSullivan, Ryan W. "A Performance Edition of the Vespers Settings in Sacri E Festivi Concenti, Opera Nona by Giovanni Legrenzi". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505211/.
Texto completoYang, Chuan-Tsing. "The Crucifixion". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.
Texto completoNapier, Dione J. "A STUDY OF J.S. BACH’S SACRED AND SECULAR VOCAL WORKS INFLUENCED BY POPULAR STYLIZED DANCE OF THE FRENCH BAROQUE COURT: A PERFORMER’S GUIDE". UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/23.
Texto completoKirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1". Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.
Texto completoPlusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr
Collingridge, Lorna Marie y n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
Texto completoCollingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.
Texto completoThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
Full Text
Eyzaguirre, Roberto. "Melchor Tapia and music in the Lima cathedral /". Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121815d.
Texto completoCunha, Alcingstone de Oliveira. "The Portuguese royal court and the patronage of sacred music in Rio de Janeiro, 1808-1821 /". Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122091j.
Texto completoListe des musiciens (compositeurs et instrumentistes) de la Chapelle royale de Rio de Janeiro. Bibliogr. p. 151-165.
Simon, Laurent. "L’œuvre vocale sacrée de Henry Purcell : à la recherche d’un équilibre". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040238.
Texto completoThe development of Henry Purcell’s sacred music in the second half of the seventeenth century originates in a fruitful compromise between the political and religious constraints of Restoration England and the contribution of the continental baroque. The stylistic evolution of his religious compositions reflects the political and religious developments which took place during the successive reigns of Charles II, James II and William of Orange. As a baroque musician and a native of an anti-papist country, Purcell showed considerable skill in the art of setting words to music and managed to blend in the Reformers’ emphasis on the intelligibility of the text and Counter-Reformation aesthetics
Fructus, Michel. "Les cantates de Nicolaus Bruhns (1665-1697)". Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20067/document.
Texto completoNicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing
Tramonte, Marcella 1989. "O Coro Santa Cecília, uma análise documental : o papel da mulher como educadora musical na primeira metade do século XX em São João da Boa Vista /". São Paulo, 2017. http://hdl.handle.net/11449/151758.
Texto completoBanca: Lutero Rodrigues da Silva
Banca: Hélio Sales Rios
Resumo: Este trabalho tem como foco o Coro Santa Cecília, coro feminino pertencente à associação católica Pia União das Filhas de Maria na cidade de São João da Boa Vista, na primeira metade do século XX. O grupo vocal, "moderno" para sua época, chegou a obter considerável projeção regional e desempenhou importante papel na transmissão de conhecimento na cidade e contexto em questão. Visto que os estudos direcionadas à educação feminina e à participação de mulheres na educação musical ainda se encontra em processo de crescimento, se comparado aos demais estudos sobre história da música e educação musical em geral, este trabalho propõe um estudo da função socioeducacional do Coro Santa Cecília associado à Pia União das Filhas de Maria a partir de fontes documentais primárias presentes no Acervo do Museu de Arte Sacra da Diocese de São João da Boa Vista - partituras, atas de reunião, listas de chamada, cartas, artesanato, fotografias, entre outros - e entrevistas realizadas com ex-integrantes do coro e da associação que o abrigava. Assim, a partir da análise desses documentos buscou-se investigar uma possível contribuição dessas mulheres para a formação de uma elite intelectual na cidade de São João da Boa Vista, e que perdura até os dias atuais.
This work focuses on the Santa Cecilia Choir, a female choir belonging to the Catholic Association Pia União das Filhas de Maria in the city of São João da Boa Vista, in the first half of the twentieth century. The vocal group, "modern" for its time, came to obtain considerable regional projection and played an important role in the transmission of knowledge in the city and context referred. Since studies on female education and on the participation of women in music education are still in the process of growth, if compared to other studies on the history of music and music education in general, this work proposes a study of the social and educational function of the Santa Cecilia Choir associated with Pia União das Filhas de Maria, from primary documentary sources present in the collection of the Museu de Arte Sacra da Diocese de São João da Boa Vista - music sheets, meeting minutes, attendance lists, letters, craft items, among others - and interviews with former members of the choir and the association which sheltered it. Thus, the analysis of these documents sought to investigate a possible contribution of these women to the formation of an intellectual elite in the city of São João da Boa Vista, which continues to this present day.
Mestre
López, Morillo Luis. "Les Bourbons sacrés : musica sacra y liturgia de Estado en las cortes de Roma, Madrid y Versalles (1745-1789)". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL174.
Texto completoThis thesis attempts, for the first time, to address a comparative analysis of the role that liturgical music played in the process of building the sacred image of the sovereigns of the Bourbon House of France and Spain as part of the religious ceremonies celebrated in Madrid and Versailles during the last decades of the Ancien Régime, as well as the role that the example of the Pontifical Chapel played in this process. The main purpose of this study was to provide a conceptual framework and analytical model that would allow a global study of sacred music for these ceremonies to be approached from a perspective closer to cultural history than traditional musicology, but always starting from the analysis of the performative aspects that revealed the reciprocal interaction between music and the ceremonial, political and historical context of which it was a part. Along six chapters, we examine the elements that shaped the ceremonies of the State liturgy, conceived at that time as sacred representations: the different scenes in which they took place, the actors, the ceremonial, as well as the functioning of the different styles of singing used to solemnize both the ordinary and extraordinary ceremonies celebrated in Rome, Madrid and Versailles between 1745 and 1789. This included not only sacred music works produced ad hoc by the choirmasters, but also other music, such as plainchant, counterpoint or faux-bourdon, which were sometimes performed by improvisation or memorization as part of this same system of representation
Esteves, Claudio Antonio. "A obra vocal "de capella" de padre Jose Mauricio Nunes Garcia : seis edições e seus elementos de escrita". [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284225.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-27T00:26:48Z (GMT). No. of bitstreams: 1 Esteves_ClaudioAntonio_M.pdf: 10002260 bytes, checksum: c92a190f687f190dda5ade9b48cf3e06 (MD5) Previous issue date: 2000
Resumo: O conhecimento teórico de Padre José MauricioNunes Garcia, referência maior do Período Colonial Brasileiro, é ainda subestimado apesar de sua grande produção. Contribui para isto a pouca quantidade de obras editadas disponíveis para análise. O presente trabalho tem como objetivo o estudo dos elementos mais relevantes de escrita em seis obras vocais do gênero de capella do compositor. Cada uma destas seis obras são para como SATB com baixo cifrado para o órgão, estão datadas e subsistem como manuscrito original ou cópia da época. Estas foram editadas a partir dos microfilmes da Biblioteca Nacional e submetidas à análise harmônica e formal, de modo a constituir um panorama de sua técnica composicional. Compostas de 1797 a 1809, marcam fases importantes na vida do compositor e na produção de sua obra musical, considerando-se que em 1798 foi registrado como Mestre de Capela da Sé e em 1808 a Corte Portuguesa chegou ao Brasil. Os recursos empregados por Padre José Mauricio nestas poucas obras, revelam um quadro divergente da evidência simplista sobre sua realidade: um composito rexperiente,que dominavao meio para o qual produzia e procurava seu aprimoramento ao longo de sua tarefa composicional freqüente
Abstract: The theoretical knowledge of Father José Maurício Nunes Garcia, the greatest reference of Brazilian Colonial Period, is still underestimated, in spite of the amount of his production. The edited works available to analysis are scarce, contributing to this view. The aim of this research is the study of the most relevant elements of writing in six vocal works of de capella type of the composer. Each of these six works are intended to SATB chorus with figured bass to the organ, are dated and subsist as original manuscript or copy from the period. They were edited from the Biblioteca Nacional's microfilms and submitted to harmonic and formal analysis, to constitute a compositional outlook. Composed from 1797 to 1809, these pieces mark important stages in composer's life and musical production considering that in 1798 he was registered as Mestre de Capela of Catedral da Sé and in 1808 arrived the Portuguese Court to Brazil. The resources employed by Father José Maurício in these few works, reveal a divergent picture of the simplistic evidence about the reality: a skilled composer, dominating the medium to which he produced and looked for improve himself throughout his frequent compositional task
Mestrado
Mestre em Artes
Woetmann, Christoffersen Peter Manley James. "French music in the early sixteenth century : studies in the music collection of a copyist of Lyons : the manuscript Ny kgl. Samling 1848 2 ° in the Royal Library, Copenhagen /". Copenhagen : Museum Tusculanum Press, 1994. http://catalogue.bnf.fr/ark:/12148/cb36959192q.
Texto completoTenne, Pierre. "L’harmonie du Prince. Musique, sacré, pouvoirs dans les cours de Paris et Florence (vers 1560-vers 1610)". Electronic Thesis or Diss., Sorbonne université, 2020. http://www.theses.fr/2020SORUL155.
Texto completoFollowing an interdisciplinary approach, particularly between History and Musicology, this work deals with the political use of sacred music in the Florentine and Parisian courts from 1560 to 1610. Using the angle of the musical spectacle, we aim to emphasize the apparition of new spectacular forms at these courts in the period, as the humanist writings and the ecclesiastical reforms (particularly provincial synods) testify. These musical spectacles give to the Princes an efficient answer to the political and religious crisis they face, in particular the French kings: it allows them to represent their power without being tied to sacramental constraints inherent in Christian liturgy. Then, we intend to describe how these Princes have taken control over the means of production of such musical spectacles. By the reorganization of chapels and of court music, they set up a secularization of sacred music at the service of princely ceremonies. Such a secularization dwells particularly on the process of professionalization of musicians, at the expense of the clerical magister over sacred music inherited from Middle Ages. Finally, these musical spectacles establish an audience submitted to a new order, breaking away from the one of the assembly of faithfuls still existing in liturgical services. We show how such an audience has been established during the period, with an emphasis on the disciplinary functions of such a musical spectacle and of the aesthetics that goes with it
Bolin, Joseph. "Doctoral thesis recital (lecture) conducting". Thesis, 2013. http://hdl.handle.net/2152/23468.
Texto completoKeyser, Amy Von Glahn Denise Stravinsky Igor Stravinsky Igor Stravinsky Igor. "A question of religion Igor Stravinsky's early sacred works /". Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08282003-161809/.
Texto completoAdvisor: Denise Von Glahn, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-18-03). Document formatted into pages; contains 63 pages. Includes biographical sketch. Includes bibliographical references.
Ethier, Glen Edward. "A methodology for the analysis of melodic accent in Renaissance sacred polyphony". Thesis, 1996. http://hdl.handle.net/2429/4836.
Texto completoBuijs-Dragusin, Cornelia. "Liturgical music in a new Japanese religion : the formation, survival and repositioning of tenrikyo through music". Phd thesis, 2013. http://hdl.handle.net/1885/151126.
Texto completo"Sacred vocal music by Ignacio Jerusalem found in the archives of the National Cathedral in Mexico City". Thesis, 2009. http://hdl.handle.net/1911/61817.
Texto completoO'Connor, Michael Brian Kite-Powell Jeffery T. "The polyphonic compositions on Marian texts by Juan de Esquivel Barahona : a study of institutional Marian devotion in late Renaissance Spain /". Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-08282006-160857/.
Texto completoAdvisor: Jeffrery Kite-Powell, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-10-07). Document formatted into pages; contains 246 pages. Includes biographical sketch. Includes bibliographical references.
Dean, Michael Noel Zumaya Manuel de. "Renaissance and Baroque characteristics in four choral villancicos of Manuel de Sumaya analysis and performance editions /". 2002. http://catalog.hathitrust.org/api/volumes/oclc/52941754.html.
Texto completoMoshugi, Kgomotso Samuel. "Between the church and the marketplace: how professional gospel musicians negotiate the tension between sacred and market contexts, with reference to the case of No Limits, a vocal music group from Soweto". Thesis, 2016. http://hdl.handle.net/10539/19387.
Texto completoThe music industry as a sector of cultural industries provides an environment for musicians to engage with the business of music. Churches, as religious and social environments, provide a platform for musical activity and development for musicians. While the church has provided musical development, the music industry has been looked to for sustaining musical careers. Using the adaptation of the Landry value chain model, this research highlights difficulties and successes that No Limits, a South African music group, has encountered in pursuing a professional career in sacred and marketplace contexts. In turn, this has revealed management and general administrative issues that independent musicians commonly face in their pursuit of a professional career. The study observes how professional gospel musicians handle the tension between the sacred and market contexts based on the assumption that these contexts have varying operating systems and thus present a difficulty for professional musicians seeking to operate in both contexts. The introductory chapter and the literature review provide the background and context for the study, the relevant historical information and the Seventh-day Adventist church context. A detailed narrative of the development of No Limits is provided in the fourth chapter leading to the analysis presented in the fifth chapter, which expands on specific moments and issues discussed in the narrative within Charles Landry’s framework of a value chain. His model suggests an integration of all the activities in the value chain in order to succeed in cultural pursuits. These entail beginnings, production, circulation, delivery mechanisms and audience reception (with feedback). No Limits was, therefore, analysed in terms of this model. Key findings point to the difficulty associated with the professionalisation of the music occupation, of seeking to be altruistic and sustainable at the same time. Also, that social and cultural value of devotional content from the sacred context and the material economic demands from the marketplace characterise the fundamental tensions for musicians pursuing existence in these contexts. The Seventh-day Adventist church, in which No Limits was incubated, provided the immediate context for this study and the data was collected through an analysis of archives, discography and interviews with different individuals in the No Limits value chain. Key words: marketplace,
Odewole, Israel Oluwagbemiga Omoniyi. "Missional character of music in worship : a study of select churches in the metropolitan city of Abeokuta, Nigeria". Thesis, 2016. http://hdl.handle.net/10500/22012.
Texto completoChristian Spirituality, Church History and Missiology
D. Th. (Missiology)