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Centered in the Diocese of NWPA, this thesis proposes a diocesan-level curriculum that will help struggling, timeworn Episcopal parishes grow into thriving, contextual Episcopal communities based in methods of transformative learning, particularly strategies that engage spirituality (Tisdell and Tolliver), undo oppressive frameworks (Freire), and teach organizations to learn (Senge). The desired outcome is shifted mindsets around church and the Episcopal tradition so that these parishes live into their unique callings to proclaim the gospel. This paper reflects on the demographic and ecclesial challenges, setting the context for the work to be done, before exploring the characteristics of vibrant parishes in this region. The middle part of the thesis develops the curriculum, particularly exploring its scholarly grounding, before concluding with effective tools for measuring the success of the program in shifting mindsets.

Two challenges exist for learning Jewish Liturgical Chant: the fact that traditional modal chants are relatively inaccessible for those who do not read notated music, and the problem of how to indicate phrases within liturgical texts for those who do not know Classical Hebrew grammar. This presentation and analysis of Simanei Nusach, a new system of graphic symbols for Jewish Liturgical Chant, addresses both of these concerns. If an adult lay religious leader is learning to lead worship services, and he or she does not read notated music, the primary methodology for learning has been rote memorization of modal musical motifs. Sources of these traditional modal musical motifs have been an experienced teacher, recordings, teaching software, and Internet resources on Jewish Liturgical Chant. If a person who is leading Jewish worship services does not know Hebrew grammar, the only indications for phrasing liturgical texts have been commas in Jewish prayerbooks, and the musical lines of the modal musical motifs. Some modal motifs indicate that the chant begins a sentence or continues a thought, while other motifs indicate the end of a phrase or a sentence. During the 800's C.E. in Israel, a family of Biblical scholars addressed these concerns for chanting the Hebrew Bible. These Masoretes developed a system of graphic symbols indicating punctuation of Biblical phrases, accentuation of words, and the chant of the Bible texts. These Trope symbols in a printed Jewish Bible also serve as a teaching tool for Biblical Cantillation. At the turn of the 21st century, there was no widely-accepted set of graphic symbols that shows the phrasing and modal musical motifs of chanted Jewish liturgy. While preparing teaching materials for adult lay religious leaders who do not read notated music, this author developed a new set of graphical symbols, Simanei Nusach (Symbols of Prayer-chant), to indicate the modal musical motifs and the Hebrew text phrasing of Jewish Liturgical Chant.

Thesis (J.C.L.)--Catholic University of America, 2008. / Description based on Microfiche version record. Includes bibliographical references (leaves 45-47).

This thesis examines Sephardic melodies that were adopted into the liturgy of the Ashkenazic Jews in London during the early twentieth century. The work begins by presenting a history of Sephardic and Ashkenazic Jews from the time they settled in England to the end of the nineteenth century. Through an analysis of social and religious changes taking place among English Jews of the nineteenth century, this thesis explicates reforms in the synagogue service that led to the inclusion of polyphonic music into the synagogue and eventually, to the incorporation of Sephardic melodies into Ashkenazic synagogue practice. The attempt to canonize the music of Ashkenazic Jews in England was manifested in the widely successful Handbook of Synagogue Music (1889, revised 1899). The second edition is the focus of this thesis. Edited by Francis Lyon Cohen and David M. Davis under the auspices of the United Synagogue and the Chief Rabbi, this volume included Ashkenazic pieces by English as well as non-English Jewish composers. Fifteen melodies of Sephardic origin from the Sephardic compilation The Ancient Melodies, compiled by David de Sola and Emanuel Aguilar in 1857, as well as from The Music Used in the service of the West London Synagogue of British Jews, compiled by Charles Verrinder in 1880 were included in the 1899 edition of the Handbook. This thesis examines the reasons these Sephardic melodies were chosen for inclusion by the editors of the Ashkenazic Handbook during a period of reform.

Visitatio, however, is driven by the same forces that drive equally dramatic liturgical commemorations year-round, climaxing in but not exclusive to the period around Easter. Beginning with an account of late Anglo-Saxon baptism, I examine the liturgy for the high festivals from Christmas to Ascension Day. For each chapter, I describe the liturgical forms for the day and their intended relationships with the participants, focussing on the establishment of dramatic associations between the celebrants and certain figures in the commemorated events. I then compare the liturgical forms with vernacular treatments of a particular festival, looking both for overt instruction and more subtle influence of the liturgy on the preaching texts. Anglo-Saxon preachers and homilists openly assumed the themes and symbolic images of the dramatic ritual in their attempts to make their congregations understand and take on Christian imperatives. Recursively, vernacular preaching helped solidify the meanings of the symbolic elements of the dramatic ritual and their significance to the lives of Christians. Anglo-Saxon appreciation of the dramatic potential of the liturgy was realized both in creative expansion of the liturgy and in the vernacular preaching texts that identified and enhanced this dramatic dynamic.

Thesis (Ph. D.)--Concordia Seminary, St. Louis, 2005. / Includes abstract and vita. Includes bibliographical references (leaves 345-377).

Thesis (J.C.L.)--Catholic University of America, 2008. / Includes bibliographical references (leaves 45-47).

Thesis (Ph. D.)--Concordia Seminary, St. Louis, 2005. / Abstract and vita. Includes bibliographical references (leaves 345-377).

The thesis deals with the questions, how the Christians in the Liturgy of Saint John Chrysostom remind themselves the history of salvation and how they make the history of salvation present (i. e. anamnesis of the history of salvation) trough the symbols followed by the word. In the first part the author deals with the Christians symbolic acts in the liturgy as the symbolic acts express their relation to God. In the next part he pays attention to the process of the celebration of the liturgy of Saint John Chrisostom. These themes that describe symbolic acts of celebration are followed by the chapter that deals with the spiritual aspects of the liturgy. For a better orientation in the next text he closes the introductory part with the theological conception of the selected authors of the liturgical commentaries. In the main part of the thesis the author focuses on the history of the liturgy and on the liturgical commentaries of the selected authors of the Orthodox Christianity, who influenced the development of the Byzantine liturgy. Further, he focuses on the analysis of the present text of the liturgy of Saint John Chrysostom, where he searches for the ways the anamnesis of the history of salvation is reached. In the final part of the work he presents the results of the analysis and concludes that the Jesus life is really reminded and made present in the particular parts of the Byzantine liturgy.