Though perhaps we shall never know the music to which these religious lyrics were written, the poems have never ceased to be the source of inspiration for the spirits of men since they were first sung. Each psalm seems to have an underlying purpose with a personal message for each reader. In the Book one can find a reply to every sort of question, for the Psalms are filled with expressions of emotion brought about by all human experience. The collection of these 150 songs or psalms makes up what is known as the Hebrew hymn-book or the Book of Psalms.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-08-08T12:08:02Z No. of bitstreams: 1 Waldir Pereira da Silva.pdf: 2301983 bytes, checksum: e13d2f0f4afc295a806a3212d15baf88 (MD5) / Made available in DSpace on 2016-08-08T12:08:02Z (GMT). No. of bitstreams: 1 Waldir Pereira da Silva.pdf: 2301983 bytes, checksum: e13d2f0f4afc295a806a3212d15baf88 (MD5) Previous issue date: 2016-03-16 / Fundação de Amparo à Pesquisa do Estado de Minas Gerais / The present work investigates aspects related to the use of sacred music in the liturgy of the cults of historic Baptist and Presbyterian churches in the city of Montes Claros - MG. The specific objective is to check the current reality of musical activities in these churches, identifying the conceptions and practices that underpin their cultic musical activities. This is an emerging theme that needs of more systematic studies that allow understand the musical activities in the referred churches, from the action of pastors, and "praise ministries" and where are founded their cultic musical practices. It is relevant cast a critical eye on the reality of musical activities of these churches, and that allows knowing the reality of other historic churches in the field of cultic music. It is understood that this proposed of study suits the prospects of scientific production at present and covers problems and specific situations of socio-cultural and political contexts of the studied churches. The working hypothesis was: the process of musical Pentecostalization disliturgied the sacred music used in cults of the historical Protestant churches by influence of gospel musical market. The research universe consists of two historic Baptist churches and two Presbyterian churches, and the research was divided into two phases: on the first, it was held an initial survey of how many Baptist and Presbyterian historic churches exist in Montes Claros, and made up the choose of four of them to carry out the fieldwork research. In the second phase, priority was given to the particular reality of each church selected, with respect to their musical activities. The work was developed from bibliographical research, documentary research, semi-structured interviews, questionnaires, participant observation, photographic records and in audio and video of the cultic musical activities in each one of the four selected churches. The obtained results point to a supremacy of using of the called gospel music in relation to official hymnody of each denomination, the print media being replaced by electronic media and significant changes in cultic liturgy of each church / O presente trabalho se propõe a investigar aspectos relacionados à utilização da música sacra na liturgia dos cultos das igrejas batistas e presbiterianas históricas na cidade de Montes Claros – MG. O objetivo específico é verificar a atual realidade das atividades musicais nessas igrejas, identificando as concepções e as práticas que alicerçam suas atividades musicais cúlticas. Esse é um tema emergente que carece de mais estudos sistemáticos, os quais possibilitem compreendê-lo para se discutir as perspectivas acerca das atividades musicais nas referidas igrejas, a partir da atuação dos pastores, e dos “ministérios de louvor” para se entender em qual ponto se alicerça e se constitui na base de suas práticas musicais cúlticas. Compreende-se que será de grande relevância, nesse sentido, lançar um olhar crítico sobre a realidade das atividades musicais dessas igrejas, o que também possibilitará se conhecer a realidade das atividades musicais das demais igrejas históricas. Assim, entende-se que esta proposta de estudo adéqua-se às perspectivas da produção científica na atualidade, sendo capaz de abranger problemas e situações específicas dos contextos sociocultural e político nos quais se está inserido. Nesse contexto, a hipótese levantada foi: o processo de pentecostalização musical des-liturgizou a música sacra utilizada nos cultos das igrejas históricas em função do mercado musical gospel. O universo da pesquisa é constituído de duas igrejas batistas históricas e de duas igrejas presbiterianas históricas, e a pesquisa será dividida em duas fases: Na primeira, o trabalho constará de um levantamento inicial de quantas igrejas batistas e presbiterianas históricas existem em Montes Claros, com a escolha de quatro igrejas para a realização da pesquisa de campo. Na segunda fase, dar-se-á enfoque qualitativo à realidade particular de cada igreja, no que diz respeito às suas atividades musicais, selecionando uma amostragem que, delimitada quantitativamente, contemple igrejas centrais e de diferentes bairros, apontados a partir do levantamento inicial. O trabalho será desenvolvido a partir da pesquisa bibliográfica, pesquisa documental, entrevistas semiestruturadas, aplicação de questionários, observação participante, registros fotográficos e em áudio e vídeo das atividades musicais cúlticas em cada igreja. Os resultados obtidos apontam para uma supremacia da utilização da música gospel em relação a hinódia oficial de cada denominação, a mídia impressa sendo substituída pela mídia eletrônica e modificações significativas na liturgia cúltica de cada igreja, entre a tradição e a inovação

Melodram für Sprecher und Orgel. Text: Dietrich Mendt, Musik: Matthias Drude

Melodram für Sprecher und Orgel; Musik: Matthias Drude (2005); Text: Dietrich Mendt

Melodram für Sprecher und Orgel, Musik: Matthias Drude (2005), Text: Dietrich Mendt; Informationen zum Komponisten: www.drude.info

Thesis (D.W.S.)--Institute for Worship Studies, 2002. / Abstract. Includes bibliographical references (leaves 189-192).

This thesis aims to uncover music’s important role in shaping and defining the selfidentity of ancient Israel. Functional music was integrated into Israel’s daily life, accompanying activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to formulate and deliver messages, convey and heighten emotions, assert and strengthen communal bonds, and establish and intensify human-divine contact. The intricate and multi-faceted nature of this music will be demonstrated through a detailed look into four main episodes and genres: the Song of the Sea (Exod. 15), King Saul and David’s harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. Specifically, it will be argued that Israel’s birth as a free nation was marked by the Song of the Sea, its monarchic system was defined by the archetypical musician-king David, it depended on God’s word delivered through the often musical messages of prophecy, and its appointed institution for mediating worship was designed and officiated by a class of priestly musicians. Moreover, three of these four areas involve the main leadership categories of Old Testament society—king, prophet and priest—giving added support to the view that music held a prominent place and played a defining role within that civilization. The conception of music as a central element of biblical society will be developed using an interdisciplinary approach, wherein pertinent information from an array of specializations and sources is put into conversation and Old Testament passages are analyzed through a modern-scientific lens. Rather than relying on a single methodology, this study is rooted in the premise that by applying a variety of contemporary theoretical tools to selected Old Testament passages, essential functions of music in biblical life can be illuminated. Such an endeavour requires tools from a number of fields, including but not limited to theology, sociology, anthropology, musicology, cognitive science and music therapy, as well as the classification of musical references into four primary functions: cohesive, therapeutic, emotive/spiritual and didactic. The result is a thesis that identifies reasons for—and not just the existence of—music in biblical life, and, most centrally, shows significant ways music informed Israel’s understanding of itself. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2012.

This thesis aims to uncover music’s important role in shaping and defining the selfidentity of ancient Israel. Functional music was integrated into Israel’s daily life, accompanying activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to formulate and deliver messages, convey and heighten emotions, assert and strengthen communal bonds, and establish and intensify human-divine contact. The intricate and multi-faceted nature of this music will be demonstrated through a detailed look into four main episodes and genres: the Song of the Sea (Exod. 15), King Saul and David’s harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. Specifically, it will be argued that Israel’s birth as a free nation was marked by the Song of the Sea, its monarchic system was defined by the archetypical musician-king David, it depended on God’s word delivered through the often musical messages of prophecy, and its appointed institution for mediating worship was designed and officiated by a class of priestly musicians. Moreover, three of these four areas involve the main leadership categories of Old Testament society—king, prophet and priest—giving added support to the view that music held a prominent place and played a defining role within that civilization. The conception of music as a central element of biblical society will be developed using an interdisciplinary approach, wherein pertinent information from an array of specializations and sources is put into conversation and Old Testament passages are analyzed through a modern-scientific lens. Rather than relying on a single methodology, this study is rooted in the premise that by applying a variety of contemporary theoretical tools to selected Old Testament passages, essential functions of music in biblical life can be illuminated. Such an endeavour requires tools from a number of fields, including but not limited to theology, sociology, anthropology, musicology, cognitive science and music therapy, as well as the classification of musical references into four primary functions: cohesive, therapeutic, emotive/spiritual and didactic. The result is a thesis that identifies reasons for—and not just the existence of—music in biblical life, and, most centrally, shows significant ways music informed Israel’s understanding of itself. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2012.

Thesis (D.W.S.)--Institute for Worship Studies, 2002. / Abstract. Includes bibliographical references (leaves 189-192).

189 p. / Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.