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1
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 materialDoctor 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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Bray, Michael Robert. "The liturgical canticle settings for chorus and organ of Ralph Vaughan Williams". Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186253.
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Within the sacred choral music of composer Ralph Vaughan Williams, little is known regarding his subset of works intended for liturgical use. This study focuses on the canticle settings for choir and organ, written by Ralph Vaughan Williams for use in Anglican Worship. The compositions in this study include: Magnificat and Nunc dimittis (Village Service), Te Deum in G, Service in D Minor and Te Deum and Benedictus. This study provides a discussion of the structure and history of the Anglican service and a description of how canticle settings traditionally function in liturgical worship. Each work in this study is analyzed with particular attention given to form and structure, harmonic language, text derivation and declamation, melodic tendencies and the role of the organ accompaniment. Evidence gathered from this study demonstrates that, although the liturgical canticle settings for choir and organ are diverse in function and style, they contain many common characteristics in such compositional areas as: structural form, voicings, consistent use of thematic material, and the effective application of text to music. Suggestions for performance options of the settings are also included in the results of this study. It is hoped that, through differentiating between these works with regard to function and style, this study will help close the lacuna in the choral literature concerning Vaughan Williams' smaller liturgical works and serve as an introduction to modern choral conductors.
12
Holt, Kamia Walton. "The Sound of Utah: the Presence of Geographical Elements in Music Written About the State of Utah". Diss., CLICK HERE for online access, 1997. http://contentdm.lib.byu.edu/u?/MTGM,35377.
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Protopopov, Michael Alex, i res cand@acu edu au. "The Russian Orthodox Presence In Australia: The History of a Church told from recently opened archives and previously unpublished sources". Australian Catholic University. School of Philosophy and Theology, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp87.09042006.
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The Russian Orthodox community is a relatively small and little known group in Australian society, however, the history of the Russian presence in Australia goes back to 1809. As the Russian community includes a number of groups, both Christian and non-Christian, it would not be feasible to undertake a complete review of all aspects of the community and consequently, this work limits itself in scope to the Russian Orthodox community. The thesis broadly chronicles the development of the Russian community as it struggles to become a viable partner in Australia’s multicultural society. Many never before published documents have been researched and hitherto closed archives in Russia have been accessed. To facilitate this research the author travelled to Russia, the United States and a number of European centres to study the archives of pre-Soviet Russian communities. Furthermore, the archives and publications of the Australian and New Zealand Diocese of the Russian Orthodox Church have been used extensively. The thesis notes the development of Australian-Russian relations as contacts with Imperial Russian naval and scientific ships visiting the colonies increase during the 1800’s and traces this relationship into the twentieth century. With the appearance of a Russian community in the nineteenth century, attempts were made to establish the Russian Orthodox Church on Australian soil. However, this did not eventuate until the arrival of a number of groups of Russian refugees after the Revolution of 1917 and the Civil War (1918-1922). As a consequence of Australia’s “Populate or Perish” policy following the Second World War, the numbers of Russian and other Orthodox Slavic displaced persons arriving in this country grew to such an extent that the Russian Church was able to establish a diocese in Australia, and later in New Zealand. The thesis then divides the history of the Russian Orthodox presence into chapters dealing with the administrative epochs of each of the ruling bishops. This has proven to be a suitable matrix for study as each period has its own distinct personalities and issues. The successes, tribulations and challengers of the Church in Australia are chronicled up to the end of the twentieth century. However, a further chapter deals with the issue of the Church’s prospects in Australia and its relevance to future generations of Russian Orthodox people. As the history of the Russians in this country has received little attention in the past, this work gives a broad spectrum of the issues, people and events associated with the Russian community and society at large, whilst opening up new opportunities for further research.
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Raynes, Christopher David Harlow. "Robert White's "Lamentations of Jeremiah": A history of polyphonic settings of the Lamentations in sixteenth century England". Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185400.
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The Lamentations of Jeremiah inspired the development of a formal musical structure that is unique in music. Based on texts and forms used in the Roman Catholic Tenebrae service, settings of the Lamentations developed in continental Europe into a distinct form by the late fifteenth century. Early polyphonic composers of the Lamentations began the tradition of setting the opening Hebrew letters in a florid style, while maintaining a more restrained style for the verses of the text. In England, however, little apparent use was made of the Lamentations forms and texts until the middle of the sixteenth century, when a surprising number of settings appeared. The single extant earlier example by John Tuder has heretofore been considered a monodic piece, but appears to be one voice of a polyphonic work. English religious upheavals prevented liturgical use of Latin texts after 1549, but the Lamentations (and other works in Latin) continued to be written, possibly used as anthems, or for certain special occasions. The English polyphonic settings generally make use of the Lamentations forms established on the continent, but at least one example exists of an English formal model being adapted to the Lamentations texts. One of the least well-known major English composers of the period, Robert White, wrote two extensive settings of the Lamentations. These and his other works are often ignored by contemporary musicians, but provide an alternative repertoire to the more usually programmed Renaissance works.
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Hawkins, Cynthia Susan. "Aspects of the musical education of choristers in Church of England choir schools". Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63228.
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Kindley, Carolyn E. "Miriam's timbrel : a reflection of the music of Wesleyan Methodism in America, 1843-1899". Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/454809.
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The purpose of the study was to examine nineteenth century church music practices. This was done by 1) studying the attitudes displayed in the church periodical of The Wesleyan Methodist Connection (later, Church) of America; 2) locating and analyzing 44 tunes suggested in Miriam's Timbrel, a hymnal published for the Connection in 1853. This church was formed by people who seceded from a number of different denominations over the issue of slavery. It therefore represented the music practices of several American Protestant groups of the time.Findings1. Vocal music dominated music worship practices.2. Congregational singing was emphasized; every worshipper was urged to participate.3. Choirs were permitted but were often criticized and many thought their membership and music should be carefully regulated.4. There was much controversy over instrumental music; from 1845 to 1899 the church Discipline recommended that congregations dispense with its use.5. The history of each suggested tune was studied. Sources were discovered to be primarily European, either by actual composition or by influence.6. The tunes were grouped in categories according to origin: 1) the "better music" school of Lowell Mason and his coworkers, twelve tunes; 2) parlor songs by known composers, twelve; 3) folk song origin, nine; 4) European sacred sources, six; 5) European secular sources, four; 6) early American hymn tune, one.Similar characteristics were discovered among the tunes.The majority displayed:A 6- or 7-tone scaleMelodic range o f a 7th-9thFour or eight line stanzasConjunct melody linesSyllabic or slightly neumatic settings Common duple, triple, or quadruple meters Repetitive rhythmic patternsGenerally slow harmonic rhythm Simple harmonic structuresMajor keys with less than four sharps/flatsNon-traditional poetic meters.The tunes were relatively simple, easily learned, and in the popular styles, sacred and secular, of the nineteenth century.
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Purba, Mauly 1961. "Musical and functional change in the gondang sabangunan tradition of the Protestant Toba Batak 1860s-1990s, with particular reference to the 1980s-1990s". Monash University, Dept. of Music, 1998. http://arrow.monash.edu.au/hdl/1959.1/8596.
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Karnas-Haines, Colleen Jillian. "The Church of Jesus Christ of Latter-day Saints/Mormon children's music its history, transmission, and place in children's cognitive development /". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2916.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Jones, Todd R. "The Relationship Between Lowell Mason and the Boston Handel and Haydn Society, 1815-1827". UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/83.
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The relationship between Lowell Mason (1792–1872) and the Boston Handel and Haydn Society (est. 1815) has long been recognized as a crucial development in the history of American music. In 1821, Mason and the HHS contracted to publish a collection of church music that Mason had edited. While living in Savannah, GA, Mason had imported several recent British collections that adapted for church tunes works by Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Ignaz Pleyel. His study with German émigré Frederick L. Abel allowed him to harmonize older tunes in standard counterpoint. In the historiography of American music, the collection has ever since been named as one of the chief forces establishing standard counterpoint in the mainstream of American music. The collection’s profits also helped the HHS survive the next several years, and the prestige of eventually being known as the collection’s editor helped launch Mason’s influential career in church music, music education, and music publishing. In 1827, that career took a dramatic turn when Mason returned to Boston to assume the presidency of the HHS and the care of music in several churches.
This project shows that the social ties between Mason and the HHS begin earlier and are far more indebted to Calvinist orthodox Christianity than previous studies have shown. With special attention to Mason’s personal papers housed at Yale University, to the HHS records held at the Boston Public Library, and to newly indexed Savannah newspapers, it shows that Mason’s relationship with the Society grew from relationships begun before he left his native Massachusetts in 1812. The depth of the relationship grew steadily until 1827, marked at first by indirect contact and in 1821 by Mason’s trip to Boston. Mason’s 1827 return to Boston, often surprising to scholars, appears here as a logical consequence of the support given by the Society’s previous president, Amasa Winchester, for Mason’s work in church music. Mason’s departure from the Society seems to be based on his zeal, closely related to his evangelical goals, for universal music education.
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McCabe, Juhnke Austin. "Music and the Mennonite Ethnic Imagination". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523973344572562.
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Brady, Josephine Margaret, i res cand@acu edu au. "Sisters of St Joseph: the Tasmanian experience the foundation of the Sisters of St Joseph in Tasmania1887-1937". Australian Catholic University. School of Religious Education, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp73.09042006.
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This thesis reports on and analyses the first fifty years, 1887-1937, of the Sisters of Saint Joseph’s ministry in Tasmania. The design of the study is qualitative in nature, employing ethnographic techniques with a thematic approach to the narrative. Through a multifaceted approach the main figures of the Josephite story of the first fifty years are examined. The thesis attempts to redress the imbalance of the representation of women in Australian history and the Catholic Church in particular. The thesis is that as a uniquely Australian congregation the Tasmanian Sisters of St Joseph were focused on the preservation of the original spirit and tradition articulated at their foundation rather than on the development of a unique Tasmanian identity. The thesis argues that it was the formative period that impacted on their future development and the emerging myths contributed to their search for identity. Isolated from their foundations through separation and misunderstanding, they sought security and authenticity through their conservation of the original Rule. The intervention of cofounder Father Tenison Woods in the early months of their foundation served to consolidate a distinctive loyalty to him to the exclusion of Mary MacKillop. Coupled with the influence of Woods were the Irish and intercolonial influences of significant Sisters from other foundations which militated against the emergence of a distinctive Tasmanian leadership. As a Diocesan Congregation the Tasmanian Josephites achieved status as authentic religious within Tasmania and yet were constrained by their Diocesan character. The study identifies the factors that contributed to their development as a teaching Congregation through the impact of the Teacher and Schools’ Registration Act 1906, influence of government regulations on the Woods-MacKillop style of education, and the commitment of the Church to provide Catholic education in the remote areas of Tasmania. The thesis identifies two major formative periods as occurring at the instigation of Archbishops Delany and Simonds at both the foundation and then more significantly after the consolidation phase at the end of the period under examination.
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Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.
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This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.
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Porret-Dubreuil, Amélie. "Contribution à l'étude de la restauration de la musique à l'église au xixe siècle au prisme de l'expérience de Félix Clément (1822-1885)". Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES043/document.
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L'étude de la musique à l'église au XIXe siècle est une thématique de recherche en plein essor. Depuis quinze ans, lesrecherches menées ont permis d'appréhender ce large sujet et d'ouvrir les perspectives de recherche qui en découlent,mais une part de cette thématique reste encore à explorer. En effet, le mouvement de restauration de la musique d'égliseest à ce jour peu abordé de façon singulière.Notre objectif étant de mettre en évidence l'étendue du champ de recherche, musicologique et pluridisciplinaire liée àl'étude de ce mouvement, Félix Clément est apparu être une entrée appropriée. Bien que n'étant pas chef de file, Clémentsemblait s'engager dans toutes les voies qui s'ouvraient à lui pour aborder et développer la question de la restauration dela musique à l'église.Dépassant le domaine du religieux, Clément fait montre, dans son travail de restaurateur du chant liturgique et selon sesdifférentes approches, d'une réelle acuité d'esprit et prend bien en considération toute la complexité d'une telleentreprise. Surtout, il permet d'intégrer le mouvement auquel il appartient dans le flux historiographique, sociétal,politique et cultuel et d'en révéler toute la profondeur. li ouvre la voie de plusieurs axes de recherches liés à l'étude de larestauration du chant liturgique de sorte qu'un vaste paysage du mouvement se dépeint au seul regard de ses activités.Notre étude s'applique à replacer les démarches de Clément dans leur contexte afin d'en dégager le rapport àl'environnement politique et cultuel et de définir l'importance et les retombées de ses travaux19th century church music is a research area that is greatly expanding. The last 15 years of research has Iead to a better understanding of this expansive subject, but much remains to be examined. ln particular, the 19th century French Church Music Restoration Movement has yet to be studied in its own right.Our goal was to demonstrate the breath of the musicological and multidisciplinary research opportunities related to this movement, and Félix Clément emerged as an ideal starting point. Although he was nota principle leader, he was involve in ail areas of the Church Music Restoration Movement that were open to him. Beyond the field of religion, Clément revealed a real insight, through his work as a Iiturgical chant restorer and his different methodological approaches, and understood the entire complexity of the field. Above all else, his experience allows for a deeper understanding of the societal, political, religious and historiographical currents involved in this kind of work. His work opens the door to many research possibilities relating to the study of the restoration of Iiturgical chant in such a way that an entire field is revealed by looking at his activities. Our study attempts to place the work of Clément in their context in order to extract the political and religious relationship and to define the importance and Iegacy of his work
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Pinon-Farah, Marco A. "The Mexican Hydra: How Calderón's Pursuit of Peace Led to the Bloodiest War in Mexican History? Will the Mexican People Inherit a Failed State in 2012?" Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/200.
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THE MEXICAN HYDRA: HOW CALDERÓN’S PURSUIT OF PEACE LED TO THE BLOODIEST WAR IN MEXICAN HISTORY. WILL THE MEXICAN PEOPLE INHERIT A FAILED STATE IN 2012?
Abstract
Marco Antonio Pinon-Farah
The drug-war in Mexico (2006-present) has accelerated at a chilling rate, claiming the lives of 35,000 Mexican people. Since President Felipe Calderón assumed office, Mexico has been battling an internal beast unlike any it has known, the Mexican Hydra. Like the mythical creature, the Mexican cartels have proven capable of not only combating the government forces, but also of regenerating and strengthening themselves in the face of increasing government scrutiny and the loss of several prominent Mexican cartel leaders. Feuding between individual cartels and the Mexican government continue to maintain a significant portion of the country, particularly the states of Chihuahua and Sinaloa, in a paralytic state of fear.
Struggling to maintain the safety of all people in Mexico, the military must also contend with the reality that it is often outgunned by the increasingly powerful drug-trafficking organizations (DTOs). Given the historical accusations of corruption in Mexican judicial, military, and police authorities, this branch of the government is constantly fighting for the trust and support of the Mexican people in order to fulfill its duties and obligations. The moral guide of Mexican society since Spanish conquest, the Catholic Church, has been notably missing from the debate until recent years in which it has chosen to speak up more frequently on behalf of those who have suffered human rights violations. In recent months, the Church and the State have been working towards a partnership to publicly condemn the violence and fear that has become all too common in Mexico. This state of chaos has been further examined by the musical phenomenon, “el narcocorrido,” (drug song). Derived from the “corrido,” one of Mexico’s most valued methods of cultural expression and storytelling, this new take on the genre provides a controversial view and analysis of the Mexican drug-trafficker. Much like the American gangsta-rap genre, the narcocorrido glamorizes the lives of individuals who are considered criminals by society. With police being criticized and the government accused of corruption and abuse, the narcocorrido is a manifestation of the sentiments of many Mexican people past and present. This cultural force allows for a greater understanding of the complexity of the drug-war in Mexico, in that it is not simply a struggle between the people and the drug industry, but rather it exposes the nature of the war for what it truly is, a battle between one Mexican presidential administration and the drug trafficking industry.
President Calderón’s strategy has been successful in eliminating various important Mexican DTO leaders, however it also has been responsible for a rise in violence between the cartels and government. His strategy has left thousands dead and set a precedent for future Mexican presidents in that they are now all committed to this war, for a withdrawal from the conflict would be catastrophic for the Mexican state. Calderón is already struggling to maintain his government’s legitimacy, and it is becoming increasingly true that his state verges on failure due to its inability to guarantee and protect the rights afforded to its citizens by the Mexican Constitution.
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Treacy, Susan. "English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.
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Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).
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Baratz, Lewis Reece. "The concerted motets of Petrus Hercules Brehy (1673-1737), Zangmeester of the Brussels Collegiate Church of Saints Michael and Gudula". Case Western Reserve University School of Graduate Studies / OhioLINK, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=case1057180238.
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Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia". Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.
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Lindgren, Erika. "MUSIK TILL GUDS ÄRA - SYNDIGT ELLER GOTT? : En studie av kvinnors musicerande i den tidigkristna kyrkan". Thesis, Uppsala University, Department of Archaeology and Ancient History, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-124161.
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This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.
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Lochner, Fábián C. "La culture musicale de l'abbaye d'Echtnernach au Moyen Age". Doctoral thesis, Universite Libre de Bruxelles, 1988. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213380.
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Cichy, Andrew Stefan. "'How shall we sing the song of the Lord in a strange land?' : English Catholic music after the Reformation to 1700 : a study of institutions in Continental Europe". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0bdfe9b2-b5c6-48fe-a565-ddb699b72312.
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Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions have been selected to serve as case studies: 1. The Secular English College, Douai. 2. St Alban’s College, Valladolid. 3. The Benedictine Monastery of Our Lady of the Assumption, Brussels. 4. The Augustinian Monastery of Our Lady of Nazareth, Bruges. The music of these institutions is evaluated in two ways: firstly, as a means of constructing, reflecting and forming English Catholic identity, and secondly, in terms of the range of influences (both English and Continental) that shaped its stylistic development. The thesis concludes that as a result of the peculiarly domestic nature of religious practice among Catholics in England, and interactions with Continental Catholicism, the aesthetic and ideological bases for English Catholic music were markedly different from those of its Protestant counterpart. The marked influence of Italianate styles on the sacred music of English Catholic composers and institutions in exile demonstrates a simultaneous process of cultural alignment with the aesthetic and theological principles of the Counter-Reformation, and dissociation from those of English Protestantism. Finally, it is clear that music was an important formational tool in both the seminaries and convents, where it shaped both community and self-identity, and created affinities with the locales in which these institutions were situated – although it is also clear that these uses of music had the potential to conflict.
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Keym, Stefan. "Internationale Konferenz 'Stadtmusikgeschichte in Mittel- und Osteuropa: Die Musik der Religionsgemeinschaften um 1900': Leipzig, 5. und 6. November 2004". Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A16010.
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Schell, Sarah. "The Office of the Dead in England : image and music in the Book of Hours and related texts, c. 1250-c. 1500". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2107.
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This study examines the illustrations that appear at the Office of the Dead in English Books of Hours, and seeks to understand how text and image work together in this thriving culture of commemoration to say something about how the English understood and thought about death in the fourteenth and fifteenth centuries. The Office of the Dead would have been one of the most familiar liturgical rituals in the medieval period, and was recited almost without ceasing at family funerals, gild commemorations, yearly minds, and chantry chapel services. The Placebo and Dirige were texts that many people knew through this constant exposure, and would have been more widely known than other 'death' texts such as the Ars Moriendi. The images that are found in these books reflect wider trends in the piety and devotional practice of the time. The first half of the study discusses the images that appear in these horae, and the relationship between the text and image is explored. The funeral or vigil scene, as the most commonly occurring, is discussed with reference to contemporary funeral practices, and ways of reading a Book of Hours. Other iconographic themes that appear in the Office of the Dead, such as the Roman de Renart, the Pety Job, the Legend of the Three Living and the Three Dead, the story of Lazarus, and the life of Job, are also discussed. The second part of the thesis investigates the musical elaborations of the Office of the Dead as found in English prayer books. The Office of the Dead had a close relationship with music, which is demonstrated through an examination of the popularity of musical funerals and obits, as well as in the occurrence of musical notation for the Office in a book often used by the musically illiterate. The development of the Office of the Dead in conjunction with the development of the Books of Hours is also considered, and places the traditions and ideas that were part of the funeral process in medieval England in a larger historical context.
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Gilday, Patrick E. "Musical thought and the early German Reformation". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:0ac3d705-c00e-4fc9-b90c-4902f9b54f8f.
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German musicology has customarily situated a paradigm shift in musical aesthetics some time during the first half of the sixteenth century. This dissertation examines the suggestion that German Reformation theology inspired a modern musical aesthetic. In Part One, the existing narrative of relationship between theological and musical thought is tested and rejected. Chapter 1 analyses twentieth-century music historians' positive expectation of commensurability between Luther's theological ideas and the sixteenth-century concepts of the musical work and musical rhetoric, concluding that their positive expectation was dependent on a Germanocentric modernity narrative. Chapter 2 assesses Listenius' Musica (1537), the textbook in which the concepts of the musical work and musica poetica were expounded for the first time. I argue that, since Listenius' textbook was intended as a pedagogical tool, it is inappropriate to read his exposition of musica poetica and opus as if logical sentences on musical aesthetics. Part Two investigates the treatment of musica in the theology of early German Reformation disputants. Chapter 3 finds that Luther's early musical thought was borrowed from the late mediæval mystics, and resisted the influence of the Renaissance Platonists. Chapter 4 shows that, far from embracing humanist ideas of musical rhetoric, Luther's Reformed musical aesthetic became increasingly anti-rational and sceptical of music's relation to verbal meaning. Chapter 5 examines the discussions of music by the German Romanist polemicists. It finds that their music-aesthetic assertions were opportunistic attempts to situate the Lutherans outside the bounds of orthodoxy. The dissertation concludes that the discussions of music in early German Reformation texts ran counter to the general sixteenth-century trajectory towards a humanistic or modern aesthetic of music. It further argues that the aesthetic proposals of sixteenth-century German theologians should be taken seriously in the formation of our present-day picture of sixteenth-century musical thought.
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Coronado, Guel Luis Edgardo, i Guel Luis Edgardo Coronado. "Dios, Patria y mis Derechos: The Secularization of Patriotism and Popular Legal Culture in Revolutionary Mexico, 1917-1929". Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621436.
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Although secularization has early antecedents in Mexico's history, the generation who embodied the Constitutionalist faction of the 1910 Revolution undertook an unprecedented campaign to achieve it. Strong anticlerical provisions proclaimed in the 1917 Constitution were implemented and gradually escalated in intensity by the administrations of Presidents Álvaro Obregón and Plutarco Elias Calles. This ignited an armed uprising known as the Cristero Rebellion that arose in rural Mexico in 1926. Beyond the armed conflict, this dissertation analyzes the cultural effects caused by the implementation of such a legal and institutional agenda that reveal a substantial confrontation in the public sphere between two opposed concepts of society-religious and non-religious. As a result, society became highly polarized while the government pushed its secularization aims to the extreme as never before. New laws intervened more intensely on private rights, transforming people's everyday ideas about religion, nation, law, justice and citizenship. By looking at citizens' experiences with such law enforcement, this work elucidates how the state finally neutralized radical Catholicism by stigmatizing it as non-patriotic in the public sphere. This phenomenon that happened between 1917 and 1929 can be conceptualized as the secularization of patriotism and the transformation of people's notions of the legal system- defined as the legal popular culture- that was central to Mexico's social and cultural Revolution.
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Robb, Stuart James. "To begin, continue and complete : music in the wider context of artistic patronage by Pope Alexander VI (1492-1503) and the hymn cycle of CS 15". Thesis, University of Manchester, 2011. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:122374.
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This thesis takes as its area of exploration the papal chapel choir and its repertory, alongside the papacy and its patronage of the arts at the end of the fifteenth century. It draws on previous research concerning the singers, polyphonic manuscripts and artistic culture of the Vatican, but places Pope Alexander VI as the central figure of the thesis, showing schemes of patronage that shaped his reign. The research presents a transcription and analysis of the hymn cycle contained within the manuscript Cappella Sistina 15, alongside an assessment of the polyphonic music collection and places these against accounts of music making and evidence of music copying at the papal chapel during Alexander’s reign. The thesis also considers the environment of secular music making at Alexander’s court. In order to provide a context in which to understand this information, the life of Alexander VI is examined, tracing his artistic patronage and involvement with music both prior to his election and afterwards. Of particular note is the engagement of the artist Pintoricchio to decorate the papal apartments. Here, the artist’s representation of music as part of the seven liberal arts is analysed, providing a unique, contemporary and important insight into music practices in Alexander’s court. Three classifications of patronage are identified for Alexander’s reign, while also showing that these were strategies that he had used before he became pope. The music culture at the papal chapel is shown to be part of this strategy, through the consolidation of old music and the introduction of new music into the repertory, ending a task that had taken approximately 60 years. It shows that Alexander’s reign was an important period musically, that instituted new musical traditions and created an environment that prepared the way for the golden ages of patronage of Julius II and Leo X.
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Perina, Hugo. "L’orgue italien de la Renaissance (1400-1550). Commandes artistiques, savoirs pratiques et usages liturgiques". Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH054.
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Cette thèse propose une approche de l’orgue italien de la Renaissance qui croise les aspects sociaux, techniques et culturels de l’orgue afin de déterminer les spécificités des pratiques liées à l’orgue, des années 1430 jusqu’à la moitié du XVIe siècle. L’aménagement de deux tribunes d’orgues par Brunelleschi dans la cathédrale de Florence dans les années 1430 renouvelle radicalement la façon de concevoir la place de l’orgue au sens le plus concret (dans l’espace liturgique), mais aussi dans le champ symbolique. Ce changement de position demande aux facteurs d’adapter leurs techniques. Ces innovations sont autant de critères constitutifs de l’orgue dit a la moderna. Il est possible de suivre la diffusion des nouveaux canons esthétiques en Italie grâce aux déplacements des individus liés à l’orgue (artisans et commanditaires), à partir de trois centres principaux : la Toscane, la Vénétie et la Lombardie. La compilation de contrats de commande ou d’embauche prend la forme d’une base de données d’environ six cent cinquante entrées. En plus de fournir des informations techniques, ce corpus documentaire permet d’étudier le processus de professionnalisation des organistes et des facteurs, en rapport constant avec leurs employeurs et mécènes. L’aspect communautaire qui ressort des commandes est resitué dans le contexte plus large des relations économiques et diplomatiques entre les différents États italiens. La figure du commanditaire apparaît alors comme centrale dans la diffusion de l’orgue a la moderna et des pratiques professionnelles qui l’accompagnentThis thesis offers a social, technical and cultural study of the Renaissance Italian organ. It aims to determine the specificities of practices related to the organ from the 1430s to the mid XVIth century. Brunelleschi’s building of two organ galleries in the cathedral of Florence marks a profound shift in the conception of the organ’s place—a shift that is both spatial (it affects the space of the liturgy) and symbolic. Such a displacement made it necessary for organ builders to adapt their craft. Those innovations are essential characteristics of the organ a la moderna. The diffusion of new aesthetic criteria by craftsmen and their employers can be traced back to three main regions: Tuscany, Veneto and Lombardy. A compilation of buying and hiring agreements is structured as a database of around six hundred and fifty entries. In addition to providing technical data, this corpus makes it possible to study the progressive professionalization of organists and organ builders, in relation to their employers and patrons. The community involved in the process of building the organs is also put back in the broader context of the economic and diplomatic relations between Italian states. The employer therefore becomes a key figure in the diffusion of the organ a la moderna and the professional skills and habits that it involves
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Bogdan, Đaković. "Фунционални и стилско-естетски елементи у српској духовној хорској музици прве половине двадесетог века". Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2013. http://www.cris.uns.ac.rs/record.jsf?recordId=94803&source=NDLTD&language=en.
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Уводно поглавље садржи образложење наслова и предмета студије, као и критичку анализу досадашњих музиколошких радова о српској црквеној хорској музици између два светска рата. Следеће поглавље посвећено је Традиционалној црквеној уметности, њеним основним појмовима и тумачењима у 20. веку. У њему су теоријски разрађени теолошки аспекти аутентичногцрквеног уметничког стваралаштва, са посебним освртом на проблем уметничкогсимвола и његовог функционисања у литургијској перспективи, те месту музике убогослужењу као сложеној синтези више уметничких врста. Поглавље Црквено-уметничко стваралаштво и црквена хорска музика у српској култури између два светска рата доноси контекстуално сагледавање црквене хорске музике са црквеним сликарством и црквеном архитектуром тога времена, тумачећи достигнућа српских композитора као део укупног процеса развоја православне уметности под дејством традиционалних и модерних елемената. У четвртом поглављу Историја жанра кроз сагледавање богослужбених и концертних елемената – стилско-аналитички наратив као централном делу студије извршена је подела посматраних композиција према стваралачким принципима од наједноставнијих обрада и хармонизација напева до сложених и веома оригиналних поступака са и без сличности са црквеним мелодијама. Примарна анализа допуњена је сагледавањем жанровско-извођачких карактеристика (доминантно богослужбена или концертна пракса) које значајно доприносе одређивању односа између функционалних и уметничких елемената осматраних остварења. У последњем поглављу Закључак поред сумирања најзначајнијих релевантних чињеница из претходног тока студије, уз помоћ одређивања опште хијерархије односа између композиционих поступака (превласт западног или православног елемента), као и кроз препознавање типологије начина усвајања конвенција (спровођење композиционих решења) објективно се дефинишу достигнућа српских аутора црквене хорске музике међуратног периода.Успостављени критеријум третира оба својства ове музике: традиционалнувредност у домену литургијско-функционалне употребе, као и уметничкиквалитет по себи, у оквирима укупног развоја српске музике током прве половине 20. века.Uvodno poglavlje sadrži obrazloženje naslova i predmeta studije, kao i kritičku analizu dosadašnjih muzikoloških radova o srpskoj crkvenoj horskoj muzici između dva svetska rata. Sledeće poglavlje posvećeno je Tradicionalnoj crkvenoj umetnosti, njenim osnovnim pojmovima i tumačenjima u 20. veku. U njemu su teorijski razrađeni teološki aspekti autentičnogcrkvenog umetničkog stvaralaštva, sa posebnim osvrtom na problem umetničkogsimvola i njegovog funkcionisanja u liturgijskoj perspektivi, te mestu muzike ubogosluženju kao složenoj sintezi više umetničkih vrsta. Poglavlje Crkveno-umetničko stvaralaštvo i crkvena horska muzika u srpskoj kulturi između dva svetska rata donosi kontekstualno sagledavanje crkvene horske muzike sa crkvenim slikarstvom i crkvenom arhitekturom toga vremena, tumačeći dostignuća srpskih kompozitora kao deo ukupnog procesa razvoja pravoslavne umetnosti pod dejstvom tradicionalnih i modernih elemenata. U četvrtom poglavlju Istorija žanra kroz sagledavanje bogoslužbenih i koncertnih elemenata – stilsko-analitički narativ kao centralnom delu studije izvršena je podela posmatranih kompozicija prema stvaralačkim principima od najednostavnijih obrada i harmonizacija napeva do složenih i veoma originalnih postupaka sa i bez sličnosti sa crkvenim melodijama. Primarna analiza dopunjena je sagledavanjem žanrovsko-izvođačkih karakteristika (dominantno bogoslužbena ili koncertna praksa) koje značajno doprinose određivanju odnosa između funkcionalnih i umetničkih elemenata osmatranih ostvarenja. U poslednjem poglavlju Zaključak pored sumiranja najznačajnijih relevantnih činjenica iz prethodnog toka studije, uz pomoć određivanja opšte hijerarhije odnosa između kompozicionih postupaka (prevlast zapadnog ili pravoslavnog elementa), kao i kroz prepoznavanje tipologije načina usvajanja konvencija (sprovođenje kompozicionih rešenja) objektivno se definišu dostignuća srpskih autora crkvene horske muzike međuratnog perioda.Uspostavljeni kriterijum tretira oba svojstva ove muzike: tradicionalnuvrednost u domenu liturgijsko-funkcionalne upotrebe, kao i umetničkikvalitet po sebi, u okvirima ukupnog razvoja srpske muzike tokom prve polovine 20. veka.
The introductory chapter contains anexplanation of titles and subjects of the paper,critical analysis of previous musicologicalworks on Serbian Church Choral Music of theperiod between two World Wars. The followingchapter is devoted to the Traditional ChurchArt, its basic elements and interpretations from20th century. This part of the study brings thecrucial theological aspects of the authenticChurch аrt, with the special attention to theproblem of artistic symbol and its function inthe liturgical perspective, as well as the positionof music in the liturgical service as synthesis ofseveral disciplines of art. The chapter namedChurch-artistic practice and Church ChoralMusic in the Serbian culture between the twoWorld Wars brings contextual view over theChurch Choral Music together with the Churchvisual art and Church architecture of the periodunderstanding the composers efforts as part ofthe whole artistic evolution of the Orthodox artunder traditional and modern influences. Thefourth chapter The history of the genre throughthe balance of the liturgical and concertelements as a central part of the study offerssegmentation of the composed music on thebasis of compositional approach from thesimple harmonisations to the original andcomplex attitudes with or without the usage ofthe chant. This kind of basic analyse is followedby the division of the performing characteristics(the dominant liturgical or concert practice)which can help in understanding the relationbetween functional and artistic elements of thischoral genre. The final chapter Conclusionbeside summaries of the most important factsfrom the previous parts of the study, through thedefinition of hierarchy of the relations betweencompositional approaches (the domination ofWestern or Orthodox elements) and recognitionthe typology of the usage of conventions (theguidance of compositional solutions) bringsobjective evaluation of the Church ChoralMusic composed by the Serbian authors of thisperiod. The final reached criteria offers theevaluation of both meanings of this music: itstraditional level of liturgical and functional roleand its artistic value as part of the generaldevelopment of the Serbian music of first partof 20th century.
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Reusch, Kathryn. ""That which was missing" : the archaeology of castration". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:b8118fe7-67cb-4610-9823-b0242dfe900a.
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Castration has a long temporal and geographical span. Its origins are unclear, but likely lie in the Ancient Near East around the time of the Secondary Products Revolution and the increase in social complexity of proto-urban societies. Due to the unique social and gender roles created by castrates’ ambiguous sexual state, human castrates were used heavily in strongly hierarchical social structures such as imperial and religious institutions, and were often close to the ruler of an imperial society. This privileged position, though often occupied by slaves, gave castrates enormous power to affect governmental decisions. This often aroused the jealousy and hatred of intact elite males, who were not afforded as open access to the ruler and virulently condemned castrates in historical documents. These attitudes were passed down to the scholars and doctors who began to study castration in the late 19th and early 20th centuries, affecting the manner in which castration was studied. Osteometric and anthropometric examinations of castrates were carried out during this period, but the two World Wars and a shift in focus meant that castrate bodies were not studied for nearly eighty years. Recent interest in gender and sexuality in the past has revived interest in castration as a topic, but few studies of castrate remains have occurred. As large numbers of castrates are referenced in historical documents, the lack of castrate skeletons may be due to a lack of recognition of the physical effects of castration on the skeleton. The synthesis and generation of methods for more accurate identification of castrate skeletons was undertaken and the results are presented here to improve the ability to identify castrate skeletons within the archaeological record.
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Owen, Ceri. "Vaughan Williams, song, and the idea of 'Englishness'". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117f2c64-3b63-43aa-9dd3-15a7ce2f9339.
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It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.
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Yatskaya, Svetlana. "Music and liturgy in early Christianity". Diss., 2001. http://hdl.handle.net/10500/1119.
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The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all
from Judaism, and later on, as it was extended to the entire Roman Empire, it was influenced by Hellenism as well. Consequently, there was not a united form of worship in early Christian church, and from the very
beginning the music of different communities could vary depending on their cultural backgrounds.Thus, music life of Jewish Christianity differed from the churches consisting mainly of Christians from the Gentiles.Cristian Spirituality, Church History and Missiology
M. Th. (New Testament)
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Moses, Roland Hansel. "Pentecostal church music praxis : Indians in the Durban region, 1994-2011". Thesis, 2015. http://hdl.handle.net/10500/22677.
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The first indentured Indians arrived in South Africa in 1860. Their importation was a consequence of the British, who wanted cheap labour from their colony, India, to serve the Empire’s needs in South Africa. Several of these Indians, upon completion of their term of their indenture, chose South Africa as their new ‘motherland’. They settled in Durban and its surroundings with some migrating inland. Consequently, the largest community of Indians in South Africa is still located in the Durban area.
Indian communities globally show clear socio-economic development coupled with a strong association to religion and worship. The South African Indian diaspora is no different. Religion is deeply embedded in the fabric of this community. Rooted within most Indian religious practices are strong ties with music.
The immigrants who arrived in South Africa shared common religious associations with India, the major religions being Hinduism, Islam and Christianity. Christianity in South Africa includes established and mainline church denominations such as Roman Catholic, Anglican, Methodist, Baptist, Presbyterian, Lutheran and Pentecostal movement. The Pentecostal movement includes the Full Gospel Church of God, Assemblies of God and Apostolic Faith Missions. Music, a subsidiary to worship within the Pentecostal church movement, provides certain unique dimensions to the religious service as opposed to the traditional repertoire and instrumentation (hymns being sung with organ accompaniment) of the mainline churches. To date, little is known about the music education, performance practice and music praxis in these churches. The lack of data on the latter provides the basis for this current investigation into Church Music praxis within the Pentecostal movement.
A mixed method research approach which integrates both the qualitative as well as quantitative is adopted for this study. This approach allows for greater insight into the target population and their phenomena. The qualitative phase which consisted of informal structured interviews and a review of literature, provided in-depth knowledge and thematic data that informed the quantitative phase. The sample population used in the
quantitative phase draws on six of the largest churches in the predominantly Indian areas of Durban. A questionnaire was developed specifically for this study, submitted for review to an expert, and administered to the sampled population. The results were coded and entered into a statistics database (SPSS) for analysis. Findings suggest that there is a unique stylistic development and performance tradition within these churches.
Results reveal that the majority of Pentecostal church musicians in the Durban area have no formal training in music, yet are able to function as musicians within their congregations. Many musicians indicated their inability to read music as their greatest challenge. Consequently, this led to a great deal of time being spent on learning music. In almost all of the latter cases this occurred either autodidactally, communally and/or simply aurally. Musicians also indicated that financial difficulties were a setback, in that several were unable to purchase instruments and the necessary equipment to engage with their core music functions within the church. Many relied heavily on church support to assist with this need. These musicians possess an ability to perform technically and musically challenging music repertoire that demands advanced music skills and knowledge. This phenomenon attests to the power of informal music education. Many of these musicians go on to pursue successful careers as musicians and music educators.Art History, Visual Arts and Musicology
D. Litt. et Phil.
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"The indigenization of Gregorian Chant in early twentieth-century China: the case of Vincent Lebbe and his religious congregations". 2007. http://library.cuhk.edu.hk/record=b5893078.
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Ng, Ka Chai.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 199-216).
Abstracts in English and Chinese.
Abstract --- p.i-iii
Acknowledgements --- p.iv-v
List of Plates --- p.vii
List of Examples --- p.viii-x
List of Tables --- p.xi
List of Abbreviations --- p.xii-xvi
Chapter Chapter One --- "Introduction: Mission, Liturgy, Music, and the Study of Catholic Church in China" --- p.1-14
Chapter Chapter Two --- Overview of the History of Chinese Catholic Church: Evangelization and Indigenization --- p.15-28
Chapter Chapter Three --- Catholic Liturgy and Music in China: Between Orthodoxy and Participation --- p.29-57
Chapter Chapter Four --- "Vincent Lebbe's Experiences, and the Formation of his Ideas towards Liturgy, Music and Monasticism" --- p.58-75
Chapter Chapter Five --- "The Chant Books of Lebbe: Sources, Structures and Liturgical Practices" --- p.76-110
Chapter Chapter Six --- Stylistic Features of Lebbe's Arrangements of Gregorian Chant for Chinese Language --- p.111-154
Chapter Chapter Seven --- Conclusion: Receptions and Cultural Representation of Vincent Lebbe's Chinese Gregorian Chant --- p.155-170
Appendices
Notes to the Appendices --- p.171
Appendix A - Contents of Lebbe's Chant Book for the Divine Office --- p.172-192
Appendix B - Contents of Lebbe's Chant Book for Benediction --- p.193-195
Appendix C - Contents of Lebbe's Chant Book for the Mass --- p.196-198
Bibliography --- p.199-216
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Sanga, Iman. "Muziki wa Injili : the temporal and spatial aesthetics of popular church music in Dar es Salaam, Tanzania (1980s-2005)". Thesis, 2006. http://hdl.handle.net/10413/5177.
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This study is concerned with popular church music in Dar es Salaam and with changes in this
music in relation to the concepts of temporality and spatiality. In part one, I argue that
temporal change is experienced by human beings in relation to events or "stamps". Using
selected stamps in the history of Tanzania from the 1980s to 2005, I discuss, on the one hand,
how temporal events shaped various aspects of the music and people's experiences of the
music and, on the other hand, how the music influenced people's experiences of various
events and temporal rhythms. Various processes in the making ofpopular church music and
various people involved in the creation of this music are considered to serve as stamps that
mark the metamorphosis of the music. Likewise, the structural organization of the music and
various musical elements imprint musical works and give them their identities thus causing
them to be associated with other works that are organized in more or less similar ways.
In part two, I use the theory of spatial trialectics to examine how popular church music is
related to religious, national and gendered spaces. First, I discuss how the use of this music in
religious spaces and the changes that have taken place in aspects of the music have been
controversial, and I argue that the changes in the music led to changes in people's inner
experiences of Christian spirituality. Second, I point out that the practice of African
nationalism in this music has been aiming at liberating the national mental space through the
use of traditional music materials and by addressing various national issues. The dynamics in
this space involve the interaction between local and global music aesthetics. Third, I discuss
the prominence ofwomen musicians in popular church music in recent years and the way in
which this prominence has increased the focus on women's issues in the music. A close
reading of selected songs reveals that individuals' experiences of gender problems are shaped
by gendered mental space, which is informed by religious and other cultural norms.Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2006.
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"The Organ in “A Secular Age”: Secularization and the Organ in the United States". Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.56978.
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abstract: The pipe organ, a musical instrument historically, culturally, and conceptually associated with Christian worship, is being negatively affected in terms of condition and continued use in the United States by rising rates of secularity, declining mainline Protestant and Catholic adherents, declining worship attendance, and, most directly, the closure of church buildings. No scholarly research addresses the relationship of secularization and the organ, and no professionals in the field acknowledge its seriousness or have presented plans to counter it.
This paper lays the groundwork for future research while exploring the landscape of the organ’s possible secular uses. The organ’s relationship to secularization is defined through the interdisciplinary lens of secular studies, bolstered through an exploration of its past. This thesis analyzes the use of the organ in secularized churches in the United States through case studies of fourteen organs in thirteen former churches. While these examples reveal some promising adaptive reuses of church buildings and their organs, the prevailing conclusion is that the instrument’s future is severely endangered. There are few paid secular positions and insignificant educational opportunities that stem from secularized churches. The public lacks exposure to the instrument because of the infrequency of organ-related events.
Yet because the organ’s principal aesthetic is not Christian but communal, the instrument has the potential to thrive in secular contexts. This reframing and often literal repositioning requires stronger leadership: organizations and individuals promoting the organ must be proactive in working with the new owners of secularized churches to help them incorporate the instrument in new, revitalized contexts. A dynamic future for the organ requires the creative work of many.Dissertation/Thesis
Doctoral Dissertation Music 2020
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Irwin, Kathy Sue. "Christ ist erstanden: study of a German chorale tradition". 1986. http://hdl.handle.net/2097/22087.
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"Organ Culture in Post-War Poland: 1945 - 2012". Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14691.
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abstract: Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.Dissertation/Thesis
D.M.A. Music 2012
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Tuiasosopo, Kuki M. "Pese ma vīʻiga i le Atua : the sacred music of the Congregational Church of Jesus in Sāmoa : ʻO le ʻEkālēsia Faʻapotopotoga a Iēsū i Sāmoa". Thesis, 2005. http://hdl.handle.net/10125/11756.
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Dědečková, Viktorie. "Antonín Celestýn Mentzel a hudba v Broumově v 18. století". Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338208.
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In the first instance the work is concerned with the historical background of Broumov. It also focuses on the operation of both Broumov schools in the 18th century (the monastic school and the municipal schools) with an emphasis on local music education and activities. Further, the work deals with two Broumov collections of music, monastery and church ones. They provide valuable information about local music service in the 18th century, regarding both spiritual figural music and choral practice. Product sheet music of monastic collection from the 17th and 18th centuries, is one of the attachments. A description of the sources, with which study works, is provided. These are five manuscripts by Anthony Celestýna Mentzel (1684? -1740) containing a total of thirteen of his compositions, which are in this work analyzed from the music and text point of view. Their editions are also attached to the work. In conclusion, the study focuses on the rare occurrence of the viola d'amore in some of Mentzel's compositions.
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Waters, Melville. "The Lutheran orthodoxy of J.S. Bach's Clavierübung III". 1988. http://web4.library.adelaide.edu.au/theses/09MUM/09mumw331.pdf.
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Papenfus, Anna Francina. "'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV". Diss., 1994. http://hdl.handle.net/10500/15739.
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This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audienceThe reformed churches have theological and musicological criteria for their hymns, which, however, are not always unambiguous. After the introduction of the Jeugsangbundel (1984) an informal song, with informal accompaniment, entered the worship and forms a prominent part of the singing in Dutch Reformed Churches today. Some congregations compile their own volumes of songs. This study set out to identify these congregations by means of a questionnaire and evaluate the songs. Other relevant information was also required from congregations. 21 % of the respondent congregations sing unapproved songs. They have a larger percentage of young people than those singing official songs. Congregations prefer a balance of formal and informal hymns and both are sung with equal enthusiasm. The melody is the strongest characteristic of the informal song and edification the strongest of the formal hymn. The evaluation, however, shows that a considerable number of songs do not meet the required standard
Art History, Visual Arts & Musicology
M.A. (Musicology)