Segui questo link per vedere altri tipi di pubblicazioni sul tema: Sacred songs.
Tesi sul tema "Sacred songs"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-34 saggi (tesi di laurea o di dottorato) per l'attività di ricerca sul tema "Sacred songs".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi le tesi di molte aree scientifiche e compila una bibliografia corretta.
1
Ballinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf". Kansas State University, 2012. http://hdl.handle.net/2097/13747.
Testo completoAbstract (sommario):
Master of MusicDepartment of Music
Amy Rosine
This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.
2
Dahlenburg, Jane Elizabeth. "The motet c.1580-1630 : sacred music based on the Song of Songs /". Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.
Testo completo
3
Holland, Amanda L. "Wandayarra a-yabala = Following the road : searching for indigenous perspectives of sacred song /". St Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17854.pdf.
Testo completo
4
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.
Testo completo
5
Forbes, Anne-Marie H., e Johann Sebastian 1685-1750 Vergnügte Ruh beliebte Seelenlust Vergnügte Ruh beliebte Seelenlust Bach. "A master's recital and analytical programme notes". Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9839.
Testo completoAbstract (sommario):
Title from accompanying document.A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator.
Digitized by Kansas Correctional Industries
6
Jeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /". Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.
Testo completo
7
Reagan, Mark C. "John Cosyn's Musike in six and fiue partes newly notated and completed". Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/m_reagan_1030410.pdf.
Testo completo
8
Monroe, Deborah Jean. "Prayers of adoration, confession, thanksgiving and supplication a composition for soprano and chamber ensemble /". connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/monroe%5Fdeborah%5Fjean/index.htm.
Testo completoAbstract (sommario):
Thesis (M.M.)--University of North Texas, 2004.For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).
9
Ramsey, Michael W. Shakespeare William Shakespeare William Shakespeare William Mobberley James. "In praise of fathers three pictures from Shakespeare /". Diss., UMK access, 2008.
Cerca il testo completoAbstract (sommario):
Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.A three movement work for orchestra and bass-baritone soloist using texts from three Shakespeare plays: Hamlet, Titus Andronicus and King Lear. "A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Aug. 07, 2009. Online version of the print edition.
10
Eglite, Sarma A. "The sacred songs of the followers of the lamb an examination of Latvian Brudergemeine hymns from 1739 /". Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
Testo completo
11
Porchak, Aynsley. "“If I Could Only Win Your Love”: Lyrical Analysis of the Sacred and Secular Songs of the Louvin Brothers". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3687.
Testo completoAbstract (sommario):
In this thesis, I demonstrate how analysis through literary criticism can provide a commentary on Appalachian song. While literary analysis of both sacred and secular song lyrics is an approach that is largely overlooked in this region’s traditional music, it nonetheless provides insightful perspective on the art form itself. As I argue, one particular duo of Appalachian musicians, the Louvin Brothers, are uniquely suited to this inquiry. I propose that themes that are found in many of the Louvin Brothers’ songs, such as love, acceptance, and rejection, create a bridge between the historically documented theoretical gap between bluegrass and country music’s sacred and secular songs. I document how the Louvins successfully navigated these traditionally separate subgenres using these common subjects while offering a commentary on musical history, their own upbringing, and religion.
12
Monroe, Deborah J. "Prayers of Adoration, Confession, Thanksgiving and Supplication: A Composition for Soprano and Chamber Ensemble". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4584/.
Testo completoAbstract (sommario):
This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.
13
Smoak, Alfred M. "Identifying contemporary praise & worship songs for use during the church year at Trinity Baptist Church, Livermore, California". Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
Testo completo
14
McBride, Melissa Lyn. "For Unto Us…". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501092/.
Testo completoAbstract (sommario):
For Unto Us is a one movement work for soprano and orchestra. The text, by the composer, describes the thoughts and feelings of Mary, the mother of Jesus, as she watches the crucifixion. Mary's process of faith is traced through the sequence of dramatic events which proceed and follow the crucifixion. The work explores symbolic instrumentation, juxtaposition of harmonic languages, and extended techniques for performance and notation. The setting of the text combines traditional operatic idioms with new elements in the music. The duration of this dramatic, quasi-operatic scene is approximately nine minutes.
15
Collingridge, Lorna Marie, e 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.
Testo completoAbstract (sommario):
Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
16
Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.
Testo completoAbstract (sommario):
Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
Full Text
17
吳俊凱 e Chun Hoi Daniel Ng. "Original compositions for young musicians". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.
Testo completo
18
Au, Siu-ming Stefan. "Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277770/.
Testo completoAbstract (sommario):
Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.
19
Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
Testo completoAbstract (sommario):
This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
20
Smith, Mary Carroll. "The warrior code of India's sacred song /". New York ; London : Garland, 1992. http://catalogue.bnf.fr/ark:/12148/cb35698369p.
Testo completo
21
Moore, Gerety Finnian McKean. "This Whole World Is OM: Song, Soteriology, and the Emergence of the Sacred Syllable". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467527.
Testo completoAbstract (sommario):
This study explores the emergence of OM, the Sanskrit mantra and critically ubiquitous "sacred syllable" of South Asian religions. Although OM has remained in active practice in recitation, ritual, and meditation for the last three thousand years, and its importance in Hindu, Buddhist, and Jain traditions is widely acknowledged, the syllable's early development has received little attention from scholars. Drawing on the oldest textual corpus in South Asia, the Vedas, I survey one thousand years of OM's history, from 1000 BCE up through the start of the Common Era. By reconstructing ancient models of recitation and performance, I show that the signal characteristic of OM in the Vedas is its multiformity: with more than twenty archetypal uses in different liturgical contexts and a range of forms (oṃ, om̐, om, o), the syllable pervades the soundscape of sacrifice. I argue that music is integral to this history: more than any other group of specialists, Brahmin singers of liturgical song (sāmaveda) fostered OM's emergence by reflecting on the syllable's many and varied uses in Vedic ritual. Incorporating the syllable as the central feature of an innovative soteriology of song, these singer-theologians constructed OM as the apotheosis of sound and salvation. My study concludes that OM plays a crucial role in the development of South Asian religions during this period. As the foundations of South Asian religiosity shift, from the ritually oriented traditions of Vedism to the contemplative and renunciatory traditions of Classical Hinduism, OM serves as a sonic realization of the divine, a touchstone of Vedic authority, and a central feature of soteriological doctrines and practices.South Asian Studies
22
Oliveira, Jefferson Rodrigues de. "A manifestação da fé em Cachoeira Paulista: o espaço sagrado da comunidade Canção Nova 1978-2011". Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4124.
Testo completoAbstract (sommario):
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorA geografia da religião no Brasil pós 1990, vem apresentando temas que auxiliam os geógrafos no entendimento do espaço. Para o geógrafo da religião, os estudos têm por análise a dimensão espacial da fé, no tempo e no espaço, trata-se da análise de duas categorias: o sagrado e o profano. Esta pesquisa visa como objetivo, o estudo da comunidade católica, a Canção Nova, inserida em um movimento renovador na Igreja Católica Apostólica Romana denominada Renovação Carismática Católica (RCC) em seu espaço e no tempo de fé. Torna-se necessário desenvolver a importância do sagrado no Vale do Paraíba Paulista em seus sucessivos (re) arranjos espaciais na hierópolis de Cachoeira Paulista. A interpretação dessas organizações espaciais ocorreu ao analisar os possíveis agentes modeladores no espaço: peregrinos, turistas, visitantes, comerciantes e moradores. O Espaço Sagrado e seus respectivos espaços vinculados representaram a contribuição geográfica dessa dissertação e facilitou a compreensão do homem com o divino e sua relação na dimensão econômica, a dimensão política e a dimensão do lugar.
The geography of religion in Brazil after 1990 has been presenting themes that assist geographers in the understanding of space. The geographer of religion studies by analyzing the spatial dimension of faith, in time and space. It is the analysis of two categories: the sacred and the profane. This researchs objective is the study of the catholic community, New Song, set in a renewal movement in the Roman Catholic Church called the Catholic Charismatic Renewal (CCR) in its space and time of faith. It is necessary to develop the importance of the sacred in the Vale do Paraiba Paulista at its subsequent (re) spatial arrangements in Hierópolis of Cachoeira Paulista. The interpretation of these organizations is to analyze the spatial potential modeling agents in space: pilgrims, tourists, visitors, merchants and residents. The Sacred Space and their respective spaces linked, geographically, represented the contribution of this dissertation and facilitated the understanding of man with the divine and its relation in the economic dimension, the political dimension and the dimension of the place.
23
Mendonça, élcio Valmiro Sales de. "MONTE SIÃO EXTREMIDADE DO SAFON: Estudo da influência da mitologia cananéia na Teologia de Sião a partir da análise exegética do Salmo 48". Universidade Metodista de São Paulo, 2012. http://tede.metodista.br/jspui/handle/tede/209.
Testo completoAbstract (sommario):
Made available in DSpace on 2016-08-03T12:18:59Z (GMT). No. of bitstreams: 1
Elcio V S Mendonca.pdf: 938537 bytes, checksum: 5c2862b0c25ee6bf58d1c47c44fb8074 (MD5)
Previous issue date: 2012-02-29Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The Theology of Zion by the tradition of sons of Korah is somewhat curious. Tease is entertaining the idea of a canaanite influence in the Theology of Zion. There isn t denying that fact, because Psalm 48 seems to really have this influence. It is a canaanite influence and also the traditions of South Judahite. This research aims analyze the existing Theology of Zion in Jerusalem and presented in Psalm 48. This is to arrive at an answer about the influence that the sons of Korah may been the canaanite religion, using elements of canaanite myths in the composition of Psalm 48 and other psalms of this collection. Terms like Saphon, sea, death and Mount Zion, and concepts like mythology, sacred mountain, end of the world, Olympus, etc., make us think that really wanted to override the canaanite myths presenting a new reading from the faith in Yahweh. The sons of Korah had were North Israelite traditions, the cities where they lived were located in Ephraim, Manasseh and Dã. Some cities of Manasseh and Ephraim were canaanites cities. The kings of North were mostly promoter of the canaanite Religion. This was the environment where the sons of Korah lived and served your levitical minitstry.
A Teologia de Sião expressa pela tradição dos filhos de Corá é de certa forma curiosa. É implicante admitir a idéia de uma influência cananeia na Teologia de Sião. Não há como negar esse fato, pois o Salmo 48 parece realmente possuir esta influência. É uma influência cananeia e também das tradições do Sul judaíta. Esta pesquisa tem por objetivo analisar tal teologia de Sião existente em Jerusalém e apresentada no Salmo 48. Isto para chegar a uma resposta acerca da influência que os filhos de Corá podem ter sofrido da religião cananeia, ao utilizar elementos dos mitos cananeus na composição do Salmo 48 e de outros salmos de sua coleção. Termos como Safon, mar, morte, Monte Sião e outros, e conceitos como mitologia, montanha sagrada, extremidade do mundo, Olimpo, etc, fazem pensar que eles de fato queriam sobrepor os mitos cananeus apresentando uma nova leitura, a partir da fé em Javé. Os filhos de Corá possuíam tradição do Norte israelita. As cidades onde eles habitaram estavam situadas em Efraim, Manassés e Dã. Algumas cidades de Manassés e Efraim eram cananeias. Os reis do Norte eram em sua maioria promotores da religião cananeia. Este era o ambiente onde os filhos de Corá habitaram e cumpriram seu ministério levítico.
24
Hughes, Timothy Stephen. "An Argument for the Reassessment of Stravinsky's Early Serial Compositions". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278325/.
Testo completoAbstract (sommario):
Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements.
Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period.
25
Beckman, Gary D. 1961. "The sacred lute: intabulated chorales from Luther's age to the beginnings of pietism". Thesis, 2007. http://hdl.handle.net/2152/3773.
Testo completoAbstract (sommario):
Chorale and psalm intabulations were an integral part of the German repertory for lute, both in print and in manuscript, from the beginnings of the Reformation through the seventeenth century. While these works are regularly present, if in modest proportion, in extant sources through the period, the study of these intabulations remains a lacuna in the scholarly literature. The repertory, however, is an important topic for study as it reflects key aspects of Early Modern life for devout Lutheran households: debates over orthodox and Pietist theology, private devotion and the use of domestic space, conservatism versus progressive musical approaches, and the intersection between instrumental practices and traditions of Protestant sacred song. In an effort to address this lacuna, this study catalogs chorale and psalm intabulations for lute in both print and manuscript from the early sixteenth century to the emergence of Pietism. Most importantly, it attempts to provide a context for the performance of this repertory, arguing for an assessment of lute chorales and psalms as a crucial part of domestic devotional practice.
26
Yi, Yong-sik. "Music and symbolism of the Hwanghae provincial shaman ritual in Korea". 2002. http://proquest.umi.com/pqdweb?index=0&did=727403041&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1179197071&clientId=23440.
Testo completo
27
Knapp, Brady Keith. "Charles Villiers Stanford's sacred repertoire for solo voice, choir, and organ: An analysis of "Six Bible Songs and Hymns", Opus 113". Thesis, 2003. http://hdl.handle.net/1911/18546.
Testo completoAbstract (sommario):
This paper explores aspects of Sir Charles Villiers Stanford's life and music, with an emphasis on his sacred works for solo voice, choir, and organ, and an analysis of the Six Bible Songs and Hymns or Chorales (to follow the Bible songs), Opus 113 for baritone solo, SATB choir, and organ. The second chapter is a brief biography of significant events and major accomplishments in Stanford's life. The third chapter provides an overview of his compositional style, with an emphasis on the defining characteristics of his vocal music. The fourth chapter focuses on Stanford's sacred vocal music, particularly his contribution to the liturgy and service of the Anglican Church. In chapter four, a discussion of Stanford's works for solo voice, choir, and organ will include: (1) the Evening Service in G, Opus 81, for soprano and baritone soloists, choir, and organ, (2) the virtually unknown cantata Awake my heart, Opus 16, for baritone, choir, and organ, and (3) an introduction to Stanford's Six Bible Songs and Hymns, Opus 113, discussing the genesis of the work, and its unique position within the repertoire of the Anglican Church. The fifth chapter is a detailed analysis of the Six Bible Songs and Hymns that investigates musical aspects of Stanford's score, but also the history of the cycle's texts and hymn tunes, as well as performance and other extra musical considerations. A concluding sixth chapter will discuss the publication history and performance practices of the Six Bible Songs and Hymns , Opus 113.
28
Branthomme, Mathilde. "Figures de l'esprit : le soi et l'autre dans l'écriture de la séduction". Thèse, 2010. http://hdl.handle.net/1866/4288.
Testo completoAbstract (sommario):
Cette thèse pense la place des figures littéraires (le Cantique des cantiques, Kierkegaard, Hofmannsthal) et cinématographiques (Matador d'Almodóvar) de la séduction dans la relation entre le soi et l'autre. Elle interroge le rapport au sacré et à la transcendance que pose l'écriture de la séduction.
Dans le premier chapitre, les frontières établies entre littérature et philosophie (personnage conceptuel, figure esthétique) sont interrogées à travers les figures de la séduction. À ces figures sont associées les figures de matadors, qui permettent de penser la violence extrême de la séduction et l'instant au cours duquel la conscience ne peut plus se dédoubler.
Le deuxième chapitre est une réflexion, à partir des figures du maître et de l'esclave, sur le désir et la conscience de soi et de l'autre dans la séduction. Les figures tauromachiques exposent le sacrifice à l'œuvre dans la séduction. Le dialogue est ici pensé au sein de la séduction, pour saisir la place de celle-ci dans la formation de la pensée.
Le troisième chapitre développe le rapport entre le soi, l'autre et le monde qu'établit la séduction. Le dandysme permet d'approcher la tension entre la matière et l'esprit que posent la séduction et son écriture. Le dialogue à l'œuvre dans la séduction est présenté comme un espace de formation. La séduction est envisagée comme séduction éthique, quête de la bonne distance, exercice spirituel. La syncope, le duende, l'extase sont décrits comme des états de conscience où la distance entre le soi et le monde, le soi et l'autre, l'esprit et la matière s'abolit. À partir de ces états, l'ouverture vers l'infini et vers la transcendance que peut poser la séduction est exposée.
Dans le quatrième chapitre, la séduction est pensée comme le parfum du sacré, à travers une lecture du Cantique des cantiques. Par la séduction, l'importance du corps dans le sacré est soulignée. La place du secret et de la foi dans la séduction, dans le sacré et dans le littéraire est étudiée. La séduction permet une plongée érotique dans le monde et dans le réel, par les figures et par les images qu'elle déploie. Le savoir de la séduction est un parcours, savoir du corps et de l'esprit.This thesis reflects on the place of literary (Kierkegaard, Hofmannsthal, The Song of Songs) and cinematic (Matador d'Almodóvar) figures of seduction in the relation between the self and the other. It explores the connection to transcendence and the sacred inscribed in writings on seduction. In the first chapter, the figures of seduction help us put into question the boundaries between literature and philosophy (conceptual persona and aesthetic figure). The figures of bullfighters, associated with the figures of seducers, present the extreme violence of seduction and the instant when consciousness can no longer be split in two. The second chapter is a reflexion, through the figures of the master and the slave, on desire, consciousness of the self and the other in the relationship of seduction. The figures of bullfighters manifest the sacrifice in seduction. Dialogue, considered at the heart of seduction itself, reveals the importance of seduction in the process of thinking. The third chapter develops the bond established by seduction between the self, the other and the world. In the writings of seduction, dandyism shows the tension between mind and matter. The dialogue at work in seduction opens a space of education. Seduction is viewed as an ethical process, the search for an appropriate distance, a spiritual exercise. Loss of consciousness, duende and ecstasy are described as states of consciousness that abolish the distance between self and world, self and other, and mind and matter. Through these states, seduction brings about an opening to the infinite and transcendence. Finally, seduction is defined as the perfume of the sacred through a reading of The Song of Songs. Through seduction, the importance of the body in the sacred is underscored. The place of secrecy and faith in seduction, the sacred and literature is examined. Seduction enables an erotic immersion in the world, in the real, through the figures and images of seduction. The knowledge of seduction is a process, a knowledge of body and mind.
29
King, Rosanne Cecilia. "The Canciones y villanescas espirituales of Francisco Guerrero and the tradition of sacred song in Renaissance Spain". 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94578&T=F.
Testo completo
30
Hsu, Li-Chiu, e 許麗秋. "The Origin and Development of Taiwanese Sacred Song in Taiwan Catholic Church ─ A Case Study in Pingtung Wan-Chin Basilica". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/63893868546696135388.
Testo completoAbstract (sommario):
碩士中國文化大學
音樂研究所
92
Abstract Catholic music has long been deemed a crucial part of the creation of western music. The most well known is Gregorian Chant, remaining as the major song in the rites of the Roman Catholic Church. When Catholicism was first introduced to Taiwan in 1859, it was documented that some sacred music started to experience the process of localization. The earliest localized sacred songs were those in the language of Taiwanese. As time and space changed, Catholic sacred music had gone over major transformations. In 1963, the Constitutio de Sacra Liturgia from The Documents of Vatican II marked a vital phase of the localization of sacred music. Nevertheless, Taiwanese sacred songs did not rise and flourish under this localization. Therefore, this thesis uses materials from Wan-Chin Basilica as subjects and collect and sort existing music scores from this church. It also examines the historical origin of Catholicism in Taiwan, investigating the starting point and development of Catholic sacred songs in Taiwanese. There are six chapters in the thesis. Chapter 1 Introduction: explains research motive, purpose, scope and contents of the research, research methods and steps, and their limitations. Chapter 2 Preachment and Development of Catholicism in Taiwan: illustrates the first preaching period (1626), the second preaching period (1859), the Japanese rule, and the restoration of Taiwan (1945). Chapter 3 The Establishment and Development of Wan-Chin Basilica: details the history of Wan-Chin Basilica, including its initial stage, reconstruction stage, stage as a basilica under the decree of the Roman Catholic Church, and its current organization structure. Chapter 4 The History of Taiwanese Sacred Songs of Wan-Chin Basilica: compares existing sacred songs with historical versions to describe the developmental process of Taiwanese sacred songs. Chapter 5 Melody Analysis of Taiwanese Sacred Songs of Wan-Chin Basilica: analyzes the characteristics of Taiwanese sacred songs from different periods of time. Chapter 6 Conclusion: sums up observations and results of analyses. Keywords: Catholic Taiwanese sacred songs in Taiwan, Taiwanese sacred songs of Wan-Chin Basilica, localized sacred songs, Péh-Oē-Bûn ê Ko-Kieng .
31
Loewen, Paul Dennis Thielmann. "Du Wohnst unter den Lobgesangen Israels: eine Untersuchung der charismatischen Lobpreiskultur im Hinblick auf das implizierte Gottesdienstverstandnis". Diss., 2018. http://hdl.handle.net/10500/25700.
Testo completoAbstract (sommario):
Abstracts in German and EnglishDiese Studie befasst sich mit einer Untersuchung und Einordnung einiger theologischer Aspekte der charismatischen Lobpreispraxis im deutschsprachigen Raum. Dies erfolgt mittels Analyse einschlägiger Literatur sowie repräsentativer Liedtexte der charismatisch geprägten Lobpreismusik der letzten Jahre. Insbesondere durch die Untersuchung des Tempelmotivs und seine Bedeutung in der charismatischen Lobpreispraxis, werden Charakteristika eines zugrundeliegenden Gottesdienstverständnisses und sich daraus ergebende weltanschauliche Implikationen herausgearbeitet. Der Befund zeigt, dass den untersuchten Lobpreisliedern ein Narrativ der Begegnung des Menschen mit Gott und seiner Gegenwart (in „heiliger Atmosphäre“) als Grundmotiv zugrunde liegt. Dieses Narrativ folgt der Logik und dem Vorbild des alttestamentlichen Tempelkults. Wie der Eintritt des Priesters ins „Allerheiligste“, soll das gottesdienstliche Lobpreiserlebnis als eine transzendente Begegnung mit dem „Heiligen“ verstanden werden, wodurch sich Tendenzen zu einem sakral-kultischen Gottesdienstverständnis und Hinweise eines Dualismus zwischen „profanen“ und „sakralen“ wirklichkeitsdimensionen des zugrundeliegenden Weltbildes aufzeigen lassen.
This study evaluates some theological aspects of the charismatic praise and worship practice in the German-speaking area by analyzing relevant literature and representative lyrics of the charismatically influenced worship songs of recent years. In particular, by examining the temple theme and its significance in charismatic worship, the characteristics of the underlying conception of worship and the resulting worldview implications are worked out. The results show that the studied praise and worship songs are based on an underlying narrative of man's encounter with God and his presence (in a "holy atmosphere") through the singing. This narrative follows the logic and model of the Old Testament temple cult. Like the priest's entry into the "holy of holies", the worship experience is to be understood as a transcendent encounter with the "holy", whereby tendencies towards a sacral-cultic understanding of worship and a dualism between a "profane" and a "sacred" dimension of the underlying worldview can be shown.
Practical Theology
M. Th. (Practical Theology)
32
Chen, Shih-Hsuan, e 陳世軒. "From Sacred to Secular -- An Analysis of “Taai’s Teaching” and “A Rising Wind and Scudding Cloud -- Centennial Anniversary Performance of the Cikasuan Incident” by Formosa Aboriginal Song and Dance Troupe". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/44850534213946996072.
Testo completoAbstract (sommario):
碩士國立臺灣藝術大學
戲劇學系
100
Formosa Aboriginal Song and Dance Troupe is one of the longest active aboriginal performance groups in Taiwan. In their twenty years of participation, they had created numerous plays, also preserved many precious Taiwanese aboriginal music and dance material. The creative theme and ways of interpretation have had great change during the past years, from the ritual approach towards a performative, adapted approach. There is also a swap of the theme from the ritual itself, to more secular elements such as sketches of historical figures and historical events. This thesis compares the two representational plays from the early and late era of Formosa Aboriginal Song and Dance Troupe: Taai’s Teaching and A Rising Wind and Scudding Cloud. Many aspects of the two plays, include the field research, performance training and performance presentation, will be studied and compared. A theory of Richard Schechner will also be introduced to analyze the aspects of both plays to view whether their approach is toward ritual or performance. I sincerely hope this thesis can pay a contribution to Formosa Aboriginal Song and Dance Troupe in the area of the group’s history, and served as a reference for future researchers.
33
Johnson, Julie. "A woman's work a music composition portfolio : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Composition in the University of Canterbury /". 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080310.014500.
Testo completo
34
Dunlop, Roslyn Ann. "The indigenous music of East Timor and its relationship to the social and cultural mores and lulik worldview of its autochthonous people". Thesis, 2016. http://hdl.handle.net/1959.13/1313493.
Testo completoAbstract (sommario):
Research Doctorate - Doctor of Philosophy (PhD)This thesis defines the indigenous music of East Timor and the range and variety of its musical instruments and investigates their place within the societal and cultural mores of its autochthonous people. The island of Timor is a convergence of two major cultural groups, Austronesian and Melanesian, and as a consequence East Timor comprises many ethnolinguistic groups. My empirical research revealed diversity in the indigenous music across these groups, a reflection perhaps of the heterogeneous origins of the peoples who migrated to its shores. The indigenous cultures throughout East Timor, including musical are passed on by oral transmission and have been subjected to many influences and changes over the course of time. East Timor was on a trading network and influences from these other nations affected indigenous cultures. Centuries of invasion and occupation have also impacted the island culture. The widespread destruction by the departing Indonesian armed forces in 1999 affected the indigenous music to the extent that much of it is now regarded as endangered. Prior to this current investigation little had been written about East Timor’s indigenous music, nor has its relationship to lulik, the society and the cultures of its autochthonous people been considered in any detail. Empirical field research has shown that indigenous music is part of East Timorese society and culture rather than a separate entity. Therefore this thesis examines the society and culture of its autochthonous people as part of the investigation and looks at relationships between the indigenous music and these other aspects. East Timorese society is structured through a powerful system of extended marital alliance creating complex relationships between clans and its underlying indigenous belief system is based on ancestral worship. At its core is lulik, considered the spiritual root of all life. Lulik is a complex concept, with many layers, and the governance of lulik’s sacred rules and regulations shapes most relationships in East Timorese society. As well as exploring the relationship between lulik and the indigenous music and societal and cultural mores of East Timor, this thesis proposes a scheme of classification which represents this relationship.