Thèses sur le sujet « 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.
Texte intégralWalker, 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.
Texte intégralBachelors
Arts and Humanities
Humanities
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.
Texte intégralDalzell, 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.
Texte intégralThe 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.
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.
Texte intégralAdvisor: 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.
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.
Texte intégralNovo, 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.
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.
Texte intégralTese (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
McCabe, Juhnke Austin. « Music and the Mennonite Ethnic Imagination ». The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523973344572562.
Texte intégralWise, 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.
Texte intégralBrandon, 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.
Texte intégralIn 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.
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.
Texte intégralMoss, 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.
Texte intégralSaidel, 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.
Texte intégralNadadur, Kannan Rajalakshmi. « Performing 'religious' music : interrogating Karnatic Music within a postcolonial setting ». Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/18272.
Texte intégralFallahzadeh, 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.
Texte intégralSILVA, 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.
Texte intégralEste 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.
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.
Texte intégralIt 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]
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.
Texte intégralCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
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
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.
Texte intégralTitle 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.
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.
Texte intégralSpatz, 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.
Texte intégralStewart, 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.
Texte intégralSiqueira-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.
Texte intégralDolghie, 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.
Texte intégralThe 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)
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.
Texte intégralFitzpatrick, Edmound Lee. « An examination of Thomas Pasatieri's religious music drama Calvary / ». Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
Texte intégralMarsh, 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.
Texte intégralDavhula, Mudzunga Junniah. « Malombo Musical Art in VhaVenda Indigenous Healing Practices ». Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/64353.
Texte intégralThesis (DMus)--University of Pretoria, 2017.
SAMRO
Music
DMus
Unrestricted
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.
Texte intégralJennings, 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/.
Texte intégralJennings, 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.
Texte intégralLaMontagne, 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.
Texte intégralJütte, 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/.
Texte intégralOtt, 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/.
Texte intégralWatt, 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.
Texte intégralMarshall, 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.
Texte intégralBachelors
Arts and Sciences
Liberal Studies
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.
Texte intégralCooper, Clyde T. « The importance of music in the religious life of ancient Israel ». Theological Research Exchange Network (TREN), 1987. http://www.tren.com.
Texte intégralClavere, 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.
Texte intégralHäger, 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.
Texte intégralOssorio-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.
Texte intégralAndersson, 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.
Texte intégralJamieson, Andrew. « Beyond your circumstances| Enriching experimental music with black Pentecostalism ». Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1551687.
Texte intégralI (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.
Mickey, Samuel Robert. « Sounding sacred : Interpreting musical and poetic trances ». Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5261/.
Texte intégralBigler, 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.
Texte intégralHymn 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.
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.
Texte intégralChen, 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.
Texte intégralThomas, 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.
Texte intégralHayes, ‘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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