The author's Habilitationsschrift--Bern. / Includes bibliographical references and index.

Thesis--Munich. / Includes bibliographical references (p. 26-29).

The author's Habilitationsschrift--Bern. / Includes bibliographical references and index.

Reprint of author's thesis, University of California, Berkeley, 1975. / Includes bibliographical references (leaves [384]-395).

Inaug.-Diss.--Berlin. / Vita. Includes bibliographical references.

abstract: A poster advertising two 1966 performances of Duke Ellington’s First Sacred Concert at Trinity Cathedral catalyzed research into several storylines that stem from the jazz great’s time in Phoenix, Arizona. Ellington’s arrival on the weekend of November 10th, 1966, was surrounded by controversy within Trinity Cathedral, the Diocese of Arizona, and the diocesan relationship to the national Episcopal Church. Because Phoenix had recently passed civil rights legislation, race relations remained on unstable footing when Ellington’s sacred jazz music—performed by Ellington’s black band members—filled the nave of the historic cathedral. This concert stimulated research into Duke Ellington’s connection to the Episcopal Church; from Ellington’s influential reading of the Episcopal publication Forward Day by Day (1935 – current) to his lifelong friendships with Episcopal clergy, his connection to the Episcopal Church illuminates a spirituality that was influenced by a denomination in constant transformation. Rather than homing in on a single topic throughout this work, this study brings together the distinct, but interrelated, spheres of church, artist, jazz, and locale in a politically and socially charged moment in recent history. Informed by documents not before examined, this research adds a new spiritual dimension to the existing Ellington biography and contributes to the local history of Phoenix and Trinity Cathedral in the 1960s. / Dissertation/Thesis / Doctoral Dissertation Music 2017

Calvary is a 3D fictional cathedral that is based around Christian beliefs. It is a new way to experience spiritual landmarks, fictional or nonfictional, using virtual reality. The goal is to allow the viewer to experience this space wherever they are located and to create a dialogue about who God is to them. / Master of Fine Arts

This project has been about delving into forms of drawn architectural discovery and inquiry. The cathedral became a vehicle for approaching this from different angles. It tries to understand how a design achieves that distinctive quality which subconsciously divulges the type of environment you have entered. The exploration of this led me to start attempting to work in various non-traditional media and how it could begin to uncover the power each had in communicating the quality of space trying to be attained. / Master of Architecture

A cathedral of the Church of England is the seat of the bishop and a centre of worship and mission. The history of this institution is followed from the English Reformation, which it survived, through to the Commonwealth, which it did not. Restored on the return of the monarchy, it then survived with little further trouble until the nineteenth century, when a lot of its income was diverted to the provision of churches and ministers for the populous urban and industrialised areas, which the Church could not fund in any other way. It was the subject of investigation by two Royal Commissions in the nineteenth century and three church-inspired commissions in the twentieth. These commissions stressed the links that should exist between cathedral, bishop and diocese, which the nineteenth century diocesan revival also encouraged, and suggested changes in instruments of governance to achieve this. Some proposals came to nothing, but others were brought into law. Unlike the Roman Catholic cathedral, the Anglican one never lost its autonomy. The religious situation in Britain today is considered in the light of some contemporary sociology and psychology, and it is recognised that the continued decline in the fortunes of the Church is tied up with the massive subjective turn which characterises contemporary culture. The cathedral has not shared the mistrust which faces the Church, and its various roles are discussed in the light of its continued hold on public affection. The conclusions reached are that, although the cathedral now has strong links with bishop and diocese, it should retain its independence within relationships of interdependence with them, to enable it to harness the popularity which it enjoys to remain a centre of worship, but primarily to concentrate on being a centre of mission. Appropriate ways of achieving that are discussed.

This thesis examines the Great West Window at Exeter Cathedral designed by William Peckitt of York (1731-95). Peckitt was arguably the most important glass designer of the eighteenth century and undertook prestigious commissions at York, Oxford and elsewhere. In 1764 he was contracted by the Dean of Exeter, Jeremiah Milles, to supply glass to complete the restoration of the Cathedral’s glazing and to make the new window, which has often been considered to be his masterpiece. Peckitt’s Great West Window is no longer extant (although portions of it have been salvaged), having been replaced in 1904 with a window, designed by Messrs Burlison and Grylls, which was itself destroyed by enemy action in 1942. The Burlison and Grylls window was more in keeping with the Gothic revival aesthetic typical of the later nineteenth century and its proponents had argued forcefully that Peckitt’s Great West Window was an aberration that needed to be removed. The thesis provides initially an account of the debate that raged in the national press and beyond about the propriety of replacing Peckitt’s window. This documentary evidence gives a valuable insight into attitudes towards the adornment of churches at the turn of the century: should respect for the extant fabric include Peckitt’s one-hundred-and-fifty year-old contribution or should the building be renovated with a modern medieval-revival window. Until recent times it was largely the case that eighteenth-century glass was regarded as wholly inferior to the medieval glass that preceded it and it is widely accepted that glass making in Britain only recovered with the nineteenth-century Gothic revival and the modern glass that followed it. In this thesis it is suggested that the denigration of eighteenth-century glass and in particular that of William Peckitt at Exeter, ignores its qualities, practical and intellectual, and the Great West Window is used to reveal the seriousness of such endeavours. Peckitt’s work is positioned within the context of the particular circumstances of the restoration of Exeter Cathedral in the mid-eighteenth century under two successive Deans, Charles Lyttelton and the aforementioned Jeremiah Milles, both of whom were nationally significant antiquarian scholars. Peckitt was knowledgeable about medieval glass techniques, worked sensitively in restoring medieval glass and when designing a completely new window for the Cathedral worked closely with Milles to provide an iconographical scheme that was appropriate for the Cathedral, its history and its patrons. The evidence brought forward suggests that it is wrong to presume that glass designers like Peckitt had little understanding of medieval glass manufacture nor any interest in using the medium of glass appropriately in the context of a medieval building.