Thesis (S.T.M.)--Trinity Lutheran Seminary, Columbus, Ohio, 2007. / Includes bibliographical references (leaves 118-122).

Thesis (S.T.M.)--Trinity Lutheran Seminary, Columbus, Ohio, 2007. / Includes bibliographical references (leaves 118-122).

Thesis (Ph.D.)--Boston University. PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The stature of Samuel Wesley, liturgical composer, organist, editor, lecturer and man of letters, has been obscured by the prominence of his son, Samuel Sebastian Wesley. The father's contributions have been reflected dimly in his recognition as an organist-improvisator and Bach enthusiast, and by the fleeting notoriety accorded him as another religious eccentric named Wesley. The composer's hitherto unacknowledged sacred choral compositions reflect his genius and Romantic dedication to his religious ethos in an unstable environment. Twenty-three English anthems and thirty-one Latin motets have been analyzed. The anthems are less impressive than the motets; they reflect the conservative verse anthem forms which prevailed in English sacred music after 1700. The Latin works constitute a significant contribution which marks the resurgence of English full choral traditions [TRUNCATED]. / 2999-01-01

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Many scholars have recognized the communicative and emotive power of singing as a ritual performance, and some have argued that hymn singing has played a significant role as a medium of cultural and religious communication and exchange. To better understand how and why singing might facilitate such exchange, this essay explores as a case study, the role of hymn singing in the cultural contact between the Cherokees and the missionaries at Brainerd, near Chattanooga, TN. By examining accounts of ritual singing recorded by both missionaries and Cherokees, the project illuminates how these communities, respectively, may have understood the role of singing in ritual practice. From these different perceptions of ritual singing, one can better understand how the Cherokees may have experienced resonances with the missionaries’ practices, which would encourage cultural assimilation and exchange. In turn, this study contributes to a larger conversation about music and religious expression.

This dissertation provides the first full-scale musicological study of Stuttgart 95, a thirteenth-century song book, formerly thought to be from the abbey of Weingarten. Upon further examination, it is clear that rather than a single unified corpus of Latin songs, the musical portions are composed of three separate layers. Furthermore, I argue that these layers were best understood as separate entities. This delineation between writing campaigns indicates that the original musical project likely constitutes a mostly intact collection, with only one or two folios missing from the beginning of the codex. Moreover, the song repertoire in the first layer is partially comprised of addenda entered into other Engelberg liturgical manuscripts, mainly at the close of the twelfth and beginning of the thirteenth century, shortly before the manufacture of Stuttgart 95. I focus, in particular, on the first layer of its musical corpora, arguing that the earliest stratum in this composite manuscript points to the double cloister of Engelberg as a likely provenance. As a collection of addenda, it demonstrates that musicians in Engelberg actively collected pieces that addressed Mary, the community’s patrona. I first discuss the consistent use of majuscule and rubrication to visually highlight the name of Mary amidst its surrounding text. Furthermore, I demonstrate that Mary along with each of these additional saints had liturgical ties to the double house of Engelberg; Mary was the monastery’s patrona, and the additional figures were either especially venerated at Engelberg or were the namesakes for dedicated altars or chapels in joint community’s churches.

Die folgenden Ausführungen dienen dazu, zunächst unabhängig von dem von Bach hinterlassenen Oeuvre die Regelungen zur hamburgischen Kirchenmusik zu skizzieren. Ausgangspunkt der Darstellung bilden neu aufgefundene Zeitungsdokumente. Ferner soll geschildert werden, mit welchem Repertoire und auf welche Weise Bach die Gottesdienstmusik bestritt, bevor ein vorläufiger Aufführungskalender für die Jahre 1775 und 1788 abschließend diskutiert wird.

This research looks at contemporary understandings of performance arts in India, specifically Karnatic Music and Bharatnatyam as ‘religious’ arts. Historically, music and dance were performed and patronized in royal courts and temples. In the early 20th century, increased nationalist activities led to various forms of self-scrutiny about what represented ‘true’ Indian culture. By appropriating colonial discourses based on the religious/secular dichotomy, Karnatic Music was carefully constructed to represent a ‘pure’ Indian, specifically ‘Hindu’ culture that was superior to the ‘materialistic’ Western culture. Importantly, the category called divine was re-constructed and distinguished from the erotic: the divine was represented as a category that was sacred whilst the erotic represented ‘sexual impropriety.’ In so doing, performance arts in the public sphere became explicitly gendered. Feminity and masculinity were re-defined: the female body was re-imagined as ‘sexual impropriety’ when in the public sphere, but when disembodied in the private sphere could be deified as a guardian of spirituality. Traditional performing communities were marginalized while the newly defined music and dance was appropriated by the Brahmin community, who assumed the role of guardians of the newly constructed Indian-Hindu identity, resulting in caste-based ‘ownership’ of performance arts. Mechanical reproduction of Karnatic Music has created a disconnect in contemporary Indian society, in which Karnatic Music is disembodied from its contexts in order to be commodified as an individual’s artistic expression of creativity. This move marks a shift from substantive economics (music was performed and experienced within a specific context, be it royal patronage or Indian nationalist movements) to formal economics (music as a performer’s creative property). I question the understanding of Karnatic Music as ‘religious’ music that is distinguished from the ‘secular’ and seek to understand the colonial patriarchal mystification of the female body in the private sphere by deconstructing the definition of the ‘divine.’ In doing so, I also question the contemporary understanding of Karnatic Music as an item of property that disembodies the music from its historical context.

The dissertation concerns the use of modern music during liturgy. The first chapter is devoted to a music mentioned in the Bible. Church documents about the music in liturgy are investigated in the second and third chapter. Fourth chapter describes musical instruments and their use. Fifth chapter brings knowledge about modern scared music in Czech countries from beginning till today. Sixth chapter describes particular genres of modern sacred music. The specification of genres begins with spirituals and gospel music. These songs are traditional sacred music from Africa and America. The chapter continues with church jazz and rock. These genres originate from traditional sacred music. The next is church folk and songs from Taizé. Sixth chapter ends with music with electronic instruments. Seventh chapter describes hymn-books from totalitarianism till the present. The dissertation closes with eighth chapter with the tittle Prognosis in the future which is about modern sacred music in future.

This dissertation examines the Fes Festival of World Sacred Music and the historical and cultural milieu of which it is a part. Held annually since 1994 in the city of Fes, Morocco, this festival was first launched in the wake of the first Gulf War as an interfaith initiative and was conceived with a European and American audience in mind. It was later housed under the aegis of FES-SAISS, an NGO based in the medina of Fes, Morocco. Over time, the festival became both more local and more global, with local residents using the global rhetoric of western democratic ideals and human rights discourses as a way to shape the festival’s local programming. After 9/11 and the May 16, 2003 suicide bombings in Casablanca, the festival took on a new significance as Moroccans began to think of the festival as an event that would counter its own domestic extremism. This dissertation looks at the role of sound and music and its place in This dissertation examines the Fes Festival of World Sacred Music and the historical and cultural milieu of which it is a part. Held annually since 1994 in the city of Fes, Morocco, this festival was first launched in the wake of the first Gulf War as an interfaith initiative and was conceived with a European and American audience in mind. It was later housed under the aegis of FES-SAISS, an NGO based in the medina of Fes, Morocco. Over time, the festival became both more local and more global, with local residents using the global rhetoric of western democratic ideals and human rights discourses as a way to shape the festival’s local programming. After 9/11 and the May 16, 2003 suicide bombings in Casablanca, the festival took on a new significance as Moroccans began to think of the festival as an event that would counter its own domestic extremism. This dissertation looks at the role of sound and music and its place in This dissertation examines the Fes Festival of World Sacred Music and the historical and cultural milieu of which it is a part. Held annually since 1994 in the city of Fes, Morocco, this festival was first launched in the wake of the first Gulf War as an interfaith initiative and was conceived with a European and American audience in mind. It was later housed under the aegis of FES-SAISS, an NGO based in the medina of Fes, Morocco. Over time, the festival became both more local and more global, with local residents using the global rhetoric of western democratic ideals and human rights discourses as a way to shape the festival’s local programming. After 9/11 and the May 16, 2003 suicide bombings in Casablanca, the festival took on a new significance as Moroccans began to think of the festival as an event that would counter its own domestic extremism. This dissertation looks at the role of sound and music and its place in viii Moroccan spiritual traditions and questions how a local religious musical aesthetic produced by the festival impacts interfaith efforts beyond Morocco’s borders as well as local Moroccan conceptions of spirituality. Important components in the shaping of conceptions of spirituality are interactions in the sphere of tourism, and local and international efforts at historic preservation, and in the history of how local musics became world music. Perhaps more than ever before, the preservation of local histories and traditions are co-constructed at a global rather than a local level, where global spheres are new grounds for creating local meaning. In conclusion, this dissertation considers the nature and scope of the impact this festival has as it travels around the globe. / text