Gotowe bibliografie tematyczne / Australian church music history

Gotowa bibliografia na temat „Australian church music history”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 lutego 2022

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Artykuły w czasopismach na temat "Australian church music history"

Rickard, John. "Writing Music into Australian History". Musicology Australia 37, nr 2 (3.07.2015): 269–79. http://dx.doi.org/10.1080/08145857.2015.1064556.

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O'brien, Anne. "‘A church full of men’: Masculinism and the church in Australian history∗". Australian Historical Studies 25, nr 100 (kwiecień 1993): 437–57. http://dx.doi.org/10.1080/10314619308595925.

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Marcus, Kenneth H., i Paul Westermeyer. "Te Deum: The Church and Music." Sixteenth Century Journal 30, nr 3 (1999): 843. http://dx.doi.org/10.2307/2544847.

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Moufarrej, Guilnard. "Maronite Music: History, Transmission, and Performance Practice". Review of Middle East Studies 44, nr 2 (2010): 196–215. http://dx.doi.org/10.1017/s2151348100001518.

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This essay discusses the music of the Maronite Church, a Christian church based in Lebanon. It provides an overview of the chants used in religious services and examines their transmission and performance practice. The Maronites have always faced challenges to maintain their identity and preserve their heritage while adapting to their cultural milieu. Their religious music reflects the dichotomy between safeguarding tradition and accepting contemporary trends. Since the late nineteenth century, Maronites looking for better opportunities and political freedom have increasingly immigrated to the New World, where they face new challenges to preserving their religious identity while assimilating to the culture of their new homeland. Therefore, this essay reaches beyond the traditional geographic boundaries of the Maronite Church in Lebanon to examine issues in the transmission of Maronite music in the diaspora.

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Yulianti Farid, Lily. "Representing Australian Aboriginal Music and Dance 1930–1970". Australian Historical Studies 52, nr 3 (3.07.2021): 456–57. http://dx.doi.org/10.1080/1031461x.2021.1944292.

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Bannister, Roland. "Singing Australian: A History of Folk and Country Music". Musicology Australia 28, nr 1 (styczeń 2005): 131–35. http://dx.doi.org/10.1080/08145857.2005.10415283.

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Conway, Paul. "John Tavener round-up". Tempo 59, nr 234 (21.09.2005): 55–56. http://dx.doi.org/10.1017/s004029820521032x.

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JOHN TAVENER: The Veil of the Temple. Choir of the Temple Church, Holst Singers, Patricia Rozaro (sop) c. Stephen Layton. RCA 82876661542.TAVENER: Lament for Jerusalem. Patricia Rozario (sop), Christopher Joey (counter-ten), Sydney Philharmonic Chorus, Australian Youth Orchestra c. Thomas Woods. ABC Classics 476 160–5.TAVENER: Birthday Sleep; Butterfly Dreams; The Second Coming; Schuon Hymen; As one who has slept; The Bridal Chamber; Exhortation and Kohima; Shunya. Polyphony c. Stephen Layton. Hyperion CDA67475.

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Cronshaw, Darren. "Reenvisioning Theological Education, Mission and the Local Church". Mission Studies 28, nr 1 (2011): 91–115. http://dx.doi.org/10.1163/016897811x572203.

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AbstractThere is a fresh wave of interest in local churches reshaping themselves around mission, but what does this mean for theological education? This article draws on the author’s experience as a student and teacher, and innovative approaches at Australian College of Ministries and Whitley College, two Australian theological colleges. It discusses six principles for reshaping theological education around mission and the local church. Theological courses and classes and informal processes for developing leaders will be at their best if they are communal in the classroom, assessment and shared mission; conversational between students and with other sources; contextual and engaged with contemporary needs in society; cross-cultural and engaged with global issues; character forming as part of the curriculum; contemplative both for prayer and space for reflection; and congregationally connected for faculty, students and their research.

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Wood, Michael. "Ancient Worship Wars: An Investigation of Conflict in Church Music History". Musical Offerings 5, nr 2 (4.11.2014): 119–30. http://dx.doi.org/10.15385/jmo.2014.5.2.3.

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Clark, Jennifer. "The Impact of Church Closure on Australian Popular Culture". Journal of Popular Culture 30, nr 1 (czerwiec 1996): 147–62. http://dx.doi.org/10.1111/j.0022-3840.1996.00147.x.

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Rozprawy doktorskie na temat "Australian church music history"

Moore, Laurence James, i res cand@acu edu au. "Sing to the Lord a New Song: a Study of changing musical practices in the Presbyterian Church of Victoria, 1861-1901". Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp49.29082005.

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The latter half of the 19th century was a time of immense change in Presbyterianism worldwide in respect of the role of music in worship. Within this period the long tradition of unaccompanied congregational psalmody gave way to the introduction of hymnody, instrumental music (initially provided by harmoniums and later by pipe organs) and choral music in the form of anthems. The Presbyterian Church of Victoria, formed in 1859 as a union of the Church of Scotland and the majority of the Free Presbyterian and the United Presbyterian churches and numerically the strongest branch of Presbyterianism in Australia, was to the forefront in embracing this tide of change. Beginning in 1861with the proposal for the compilation of a colonial hymnbook, issues associated with musical repertoire and practice occupied a prominent place in discussions and decision making over the next 30 years. Between 1861 and 1901 hymnody was successfully introduced into church worship with the adoption of three hymnals in 1867, 1883 and 1898. Programs of music education were devised for the teaching of the new repertoire and for improving the standard of congregational singing. A hallmark tradition of Presbyterianism was overturned with the introduction of instruments into worship, initially as a support for congregational singing but in time as providers of purely instrumental music also. The profile of the choir changed dramatically. Making extensive use of primary sources, this study aims to document the process of change in Victoria between 1861 and 1901, exploring the rationales underlying decisions taken and historical factors facilitating change. Musical developments in Victoria are viewed in the context of those elsewhere, especially Scotland and of general changes in aesthetic taste. The study concludes that the process of musical change shows the Presbyterian Church of Victoria to have been a forwardlooking and well-endowed institution with the confidence to take initiatives independent of Scottish control. It is also concluded that changes in musical practice within the worship of the Presbyterian Church of Victoria reflect developments taking place in other denominations and the changing aesthetic tastes of the Victorian era.

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

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Philp, Robert Henry Haldon, i randj@cqnet com au. "Steel all Through The Church of England in Central Queensland Transplantation and Adaptation 1892-1942". Central Queensland University. School of Humanities, 2002. http://library-resources.cqu.edu.au./thesis/adt-QCQU/public/adt-QCQU20031117.164918.

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The thesis is concerned with the establishment of the Anglican presence in Central Queensland and the history of the first fifty years of the Diocese of Rockhampton. The historical method employed examined the attitudes and mentalities of the Anglicans during that fifty years and attempted to determine how the process of transplantation and adaptation of the English social institution was, or was not, achieved in the new physical and social environment. Various aspects of Anglican Diocesan administration such as recruitment of clergy, financial shortages, cultural isolation, racial issues, episcopal appointments and ecumenical relationships, are taken as units and analysed in the overall context of transplantation and adaptation. It is argued that Australianisation came gradually and without conscious manipulation. Where change from the English model was attempted, it was often initiated by the English clergy rather than the Australian laity.

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Gleeson, Damian John School of History UNSW. "The professionalisation of Australian catholic social welfare, 1920-1985". Awarded by:University of New South Wales. School of History, 2006. http://handle.unsw.edu.au/1959.4/26952.

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This thesis explores the neglected history of Australian Catholic social welfare, focusing on the period, 1920-85. Central to this study is a comparative analysis of diocesan welfare bureaux (Centacare), especially the Sydney, Melbourne and Adelaide agencies. Starting with the origins of professional welfare at local levels, this thesis shows the growth in Catholic welfare services across Australia. The significant transition from voluntary to professional Catholic welfare in Australia is a key theme. Lay trained women inspired the transformation in the church???s welfare services. Prepared predominantly by their American training, these women devoted their lives to fostering social work in the Church and within the broader community. The women demonstrated vision and tenacity in introducing new policies and practices across the disparate and unco-ordinated Australian Catholic welfare sector. Their determination challenged the status quo, especially the church???s preference for institutionalisation of children, though they packaged their reforms with compassion and pragmatism. Trained social workers offered specialised guidance though such efforts were often not appreciated before the 1960s. New approaches to welfare and the co-ordination of services attracted varying degrees of resistance and opposition from traditional Catholic charity providers: religious orders and the voluntary-based St Vincent de Paul Society (SVdP). For much of the period under review diocesan bureaux experienced close scrutiny from their ordinaries (bishops), regular financial difficulties, and competition from other church-based charities for status and funding. Following the lead of lay women, clerics such as Bishop Algy Thomas, Monsignor Frank McCosker and Fr Peter Phibbs (Sydney); Bishop Eric Perkins (Melbourne), Frs Terry Holland and Luke Roberts (Adelaide), consolidated Catholic social welfare. For four decades an unprecedented Sydney-Melbourne partnership between McCosker and Perkins had a major impact on Catholic social policy, through peak bodies such as the National Catholic Welfare Committee and its successor the Australian Catholic Social Welfare Commission. The intersection between church and state is examined in terms of welfare policies and state aid for service delivery. Peak bodies secured state aid for the church???s welfare agencies, which, given insufficient church funding proved crucial by the mid 1980s.

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Curtis, Paul Raymond, i res cand@acu edu au. "The Music of Dom Stephen Moreno, OSB: A study of its sources, chronology and context". Australian Catholic University. School of Arts and Sciences, 2006. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp162.11062008.

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Dom Stephen Moreno OSB (1889-1953) was one of Australia’s most respected and prolific composers of church music in the early twentieth century. He lived for almost fifty years in the Benedictine Community at New Norcia, WA, and composed 210 works, comprising over 1100 individual compositions and over 200 accompaniments to Gregorian chant. The majority of his output was in liturgical sacred music, including Masses, motets and Litanies, but it also included a significant quantity of secular vocal and instrumental music. Much of Moreno’s music was written for the Benedictine Community of New Norcia but he also composed liturgical music for the broader Australian church and secular music for the wider Australian community. Less than a quarter of Moreno’s music was published, and the vast majority of his output survives in manuscript at New Norcia. The purpose of the present study is to define the extent of Moreno’s output, to establish its chronology, and to examine the contexts and purposes for which he composed. This study has significantly added to and revised the findings of previous studies of Moreno’s music undertaken by Ros (1980) and Revell (1990) and supplies a revised biography. Approximately thirty-five percent of the works included in this study are identified and discussed here for the first time. Of the previously known works, Ros specifically dated less than one quarter and the present study refutes some seventy-four percent of Revell’s dates. Through the investigation of important primary sources, including the composer’s surviving correspondence and the Chronicle of the Benedictine Community, this study provides for the first time a complete chronology and contextual account of Moreno’s entire oeuvre. This has involved the cataloguing and indexing of over ten thousand pages of Moreno’s manuscripts and more than five thousand pages of his personal correspondence. This study has also identified a number of compositions unique to collections outside of New Norcia. While the primary purpose of this study has been to establish an accurate chronology and historical context for each work, the opportunity has also been taken to provide a preliminary assessment and discussion of Moreno’s musical style and compositional methods. Note: “Due to the inclusion of third party copyrighted material we are unable to mount the entire thesis. It can however be viewed at St Patrick’s Campus Library by prior arrangement.”

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Rooney, David, i n/a. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)". Griffith University. School of Arts, 1996. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.154417.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941 /". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051109.114852/index.html.

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Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.
A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.

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Webster, Peter Jonathan. "The relationship between religious thought and the theory and practice of church music in England, 1603-c.1640". Thesis, University of Sheffield, 2001. http://sas-space.sas.ac.uk/3208/.

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This thesis explores the ways in which people in early Stuart England understood the place of music in worship, its effect on the auditor, and the task of determining what was appropriate music for the task. Central to this is the task of exploring the validity of the trend in current historiography to assign to the ‘Laudian’ movement a polemically and practically distinctive view of music in worship. Part One deals with the published and manuscript discussions of the nature and role of music. It contends that in the 1630s music became associated with one of the two rival conspiracy theories of Popish tyranny and Puritan profanity and subversion (chapters 1 and 2). In subsequent chapters (3-7), it examines the common language in which music was discussed; the use of Biblical, patristic and continental authorities; and continental and broader philosophical understandings of music. It is concluded that no clear theologies of church music can be attributed to church parties as identified in the historiography to date. In Part Two, the thesis considers the surviving musicological evidence of practice in cathedral and collegiate churches from 1603 onwards, to attempt to discern any patterns of distinctive usage in ‘Laudian’ institutions. It examines the use of musical instruments (ch.9), the incidence of various anthem texts (ch. 11), the singing of parts of the liturgy, and the incidence of compositions in various styles (ch. 12). It is argued that much ‘Laudian’ practice was indistinguishable from that in non-Laudian cathedrals, and that the habit of the scholars to extrapolate a ‘Laudian’ style from the work of John Cosin is a misleading one. Overall, it is then concluded that the necessary place that church music has been given in the Laudian experiment is not a tenable one, either in theory or practice. There was no necessary relationship between Laudian churchmanship and elaborate church music.

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Lees, Jennifer Anne, University of Western Sydney, of Arts Education and Social Sciences College i School of Humanities. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941". THESIS_CAESS_HUM_Lees_J.xml, 2003. http://handle.uws.edu.au:8081/1959.7/714.

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This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material
Doctor of Philosophy (PhD)

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Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)". Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.

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Książki na temat "Australian church music history"

Fletcher, Brian H. Sing a new song: Australian hymnody and the renewal of the Church since the 1960s. Canberra, Australia: Barton Books, 2011.

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Sitsky, Larry. Australian Chamber Music with Piano. Canberra: ANU Press, 2011.

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Australian catholics. Ringwood, Vic., Australia: Viking, 1987.

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Hogan, Michael. Australian Catholics: The social justice tradition. North Blackburn, Vic: CollinsDove, 1993.

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O'Callaghan, Judith. Treasures from Australian churches. Redaktor National Gallery of Victoria. Melbourne: National Gallery of Victoria, 1985.

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A chronological history of Australian composers and their compositions. [Bloomington, IN]: Xlibris, 2012.

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Ryan, George E.. former owner., red. The Catholic Church and community: An Australian history. Kensington, NSW, Australia: New South Wales University Press, 1985.

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John, Davis. Australian Anglicans and their constitution. Canberra: Acorn Press, 1993.

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Boothroyd, John L. Australian bluegrass recordings: [a history and discography]. Eltham, Australia: J.L. Boothroyd, 1999.

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Walker, Clinton. Stranded: The secret history of Australian music 1977-1991. Chippendale, N.S.W: Sun, 1996.

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Części książek na temat "Australian church music history"

Evans, Mark. "Creating the Hillsong Sound: How One Church Changed Australian Christian Music". W The Hillsong Movement Examined, 63–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59656-3_4.

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Rose, Stephen. "Lutheran church music". W The Cambridge History of Eighteenth-Century Music, 127–67. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521663199.006.

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"THE POLYPHONIC CHURCH MUSIC OF THE SIXTEENTH CENTURY". W History Of Music, 82–95. Routledge, 2013. http://dx.doi.org/10.4324/9780203040027-10.

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Burslem, Megan, i Cat Hope. "Music History Education in Australian Universities". W ANKLAENGE 2018, 111–20. Hollitzer Verlag, 2020. http://dx.doi.org/10.2307/j.ctvwh8cps.8.

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Montagnier, Jean-Paul C. "Catholic church music in France". W The Cambridge History of Eighteenth-Century Music, 113–26. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521663199.005.

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Crawford, Eric. "Church Music in Black and White". W The Routledge History of the American South, 127–39. Routledge, 2017. http://dx.doi.org/10.4324/9781315768076-10.

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O’Regan, Noel. "The Church Triumphant: music in the liturgy". W The Cambridge History of Seventeenth-Century Music, 283–323. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521792738.011.

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Brewer, Charles E. "Protestant church music in England and America". W The Cambridge History of Eighteenth-Century Music, 168–80. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521663199.007.

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"Church And State In The History Of Australian Welfare". W Church and State in Old and New Worlds, 261–85. BRILL, 2011. http://dx.doi.org/10.1163/ej.9789004192003.i-342.63.

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Ottosson, Åse. "Rethinking Indigenous popular music heritage as Australian heritage". W The Routledge Companion to Popular Music History and Heritage, 317–25. Routledge, 2018. http://dx.doi.org/10.4324/9781315299310-31.

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