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Showing 61 to 70 of 70 (0.027 seconds)Spelling suggestions: "subject:"[een] SACRED MUSIC"" "subject:"[enn] SACRED MUSIC""
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CANTAI E MULTIPLICAI-VOS... : ESTUDO DA HARPA CRISTÃ COMO INSTRUMENTO DE EXPANSÃO DA MISSÃO NO PENTECOSTALISMO NO BRASIL (1910-1970) / CANTAI E MULTIPLICAI-VOS... : ESTUDO DA HARPA CRISTÃ COMO INSTRUMENTO DE EXPANSÃO DA MISSÃO NO PENTECOSTALISMO NO BRASIL (1910-1970) / Sing and multiply...: study of the Christian Harp as instrument of expansion in the Pentecostalism mission in Brazil (1910-1970) / Sing and multiply...: study of the Christian Harp as instrument of expansion in the Pentecostalism mission in Brazil (1910-1970)Souza Junior, Milton Rodrigues de 23 August 2011 (has links)
Made available in DSpace on 2016-08-03T12:18:48Z (GMT). No. of bitstreams: 1
Milton Rodigues de Souza1-145.pdf: 733021 bytes, checksum: 27d635c39633626d7dbd7acbcdbe7456 (MD5)
Previous issue date: 2011-08-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation intends to study the Christian Harp, one of the main national protestant
hymnals, looking to identify it as instrument of expansion in Brazil s Pentecostalism
mission in the period between 1910 and 1970, while appreciating the history and the
creation of this liturgical book, intending to comprehend its usage as motivational element
in the missionary practice of the Brazilian Pentecostal churches. It also consists of knowing
the characteristics of construction of this compendium, passing through the presentation of
its hymnists profiles and through the assiduous study of its musical structure and literary
composition, while being aware of some important constitutive characteristics that are used,
such as the theological concepts. Looking for a missiology concept that shows to be more
correlated with the theological content of this hymnal and the referral of various examples
of incitement to the evangelist practice found within its songs, which leads to the
comprehension of the relevancy of the Christian Harp in the liturgical life of confessional
pentecostal churches in Brazil, and its bold presence as an efficient developer of missionary
practice of these faith communities. / Esta dissertação pretende estudar a Harpa Cristã, um dos principais hinários protestantes
nacionais, buscando identificá-la como instrumento de expansão da missão no
pentecostalismo do Brasil, no período comprendido entre os anos 1910 e 1970, apreciando a
história e a formação deste livro litúrgico na pretensão de compreender sua utilização como
elemento motivador para a prática missionária das igrejas pentecostais brasileiras. Consiste
também em conhecer as características da construção deste compêndio, passando pela
apresentação do perfil de seus hinistas e pelo estudo aplicado da sua estrutura musical e sua
composição literária, conhecendo, ainda, algumas de suas importantes características
constitutivas, como os conceitos teológicos de que faz uso em seu discurso. A procura por
uma conceituação missiológica que se mostre mais identificada ao conteúdo teológico deste
hinário e a indicação de vários exemplos de incentivo à prática evangelística encontrados
em suas canções conduzem à compreensão da relevante importância da Harpa Cristã na vida
litúrgica das igrejas de confissão pentecostal no Brasil e da sua marcante presença como
eficiente agente fomentador do exercício missionário dessas comunidades de fé.
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The Full Anthems and Services of John Blow and the Question of an English Stile AnticoKing, Deborah Simpkin 08 1900 (has links)
John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style.
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Jan František Novák (?-1771) a jeho mešní tvorba / Jan František Novák (?-1771) and his Mass CompositionsPolášek, Vojtěch January 2015 (has links)
This master's thesis concerns the extant masses of Jan František Novák (died 1771), kapellmeister of the cathedral of St. Vitus in Prague from 1737-1758. These masses and their copies are critically examined and subsequently analyzed by focusing on particular types of arrangement as well as in summary. Aspects of musical practice and of the collection of notated music of the metropolitan chapter during Novak's era are also discussed in this thesis.
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Alfredo Ildefonso Schuster a Roma (1880 - 1929) / Alfredo Ildefonso Schuster in Rome (1880-1929)NOBILI, ELENA 20 April 2011 (has links)
Alfredo Ildefonso Schuster (1880-1954), abate di San Paolo fuori le Mura e, successivamente, arcivescovo di Milano dal 1929 al 1954, ricoprì, durante il periodo romano, importanti incarichi sia all’interno dell’Ordine benedettino che della curia romana per volontà di Pio X, Benedetto XV e Pio XI. Egli diede un contributo decisivo in svariati ambiti: insegnò presso la Scuola di Musica sacra, fu consultore della Congregazione dei Riti, preside del Pontificio Istituto Orientale e presidente della Pontificia Commissione di arte sacra. Personalità particolarmente sensibile, fu in contatto con il mondo benedettino europeo, sostenne il movimento liturgico e si mostrò aperto verso la Chiesa ortodossa e gli ebrei. Dal punto di vista politico, infine, Schuster affermò con chiarezza la necessità che lo Stato riconoscesse l’importante azione sociale della Chiesa, denunciando le ingerenze e i soprusi commessi sia dal governo liberale che da quello fascista. / Alfredo Ildefonso Schuster (1880-1954) was a Benedictine monk at the Basilica of Saint-Paul-Outside-the-Walls in Rome and Archbishop of Milan from 1929 to 1954. During his stay in Rome he held high offices for both the Benedictine order and the Roman Curia thanks to Popes Pius X, Benedict XV and Pius XI. He provided decisive contributions to various fields: teacher at the Institute of Sacred Music, Consultor to the Sacred Congregation of Rites, President of the Pontifical Oriental Institute and President of the Commission for Sacred Art. Man with a highly sensitive personality, Cardinal Schuster got in touch with the European Benedictine community, promoted the Liturgical Movement and showed his openness to the Orthodox Church and the Jewish people.
In the political field Schuster clearly stated the necessity of the State to admit the important social action carried on by the Church, while blaming interferences and abuses of both the Liberal and Fascist Government.
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Psalms, Hymns, and Commercial Songs: Tradition and Innovation in James Lyon's "Urania"La Spata, Adam 08 1900 (has links)
This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.
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Les cantates de Nicolaus Bruhns (1665-1697) / The cantatas of Nicolaus Bruhns (1665-1697)Fructus, Michel 03 December 2009 (has links)
Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing.
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Sacred Sound at the Symphony: A Conductor's Guide to Faith Traditions in Choral-Orchestral RepertoireBott, Robert (Conductor) 05 1900 (has links)
Since most historical composers of Western art music were European Christians (or resided in areas that were primarily populated by Christians), a vast majority of the sacred choral-orchestral repertoire is based on major figures and themes from the most prominent denominations, including Catholicism, Lutheranism, and Anglicanism. As a corollary this is also the case for analytical, pedagogical, and exegetical literature related to the topic. However, in the late nineteenth century some composers began to look to other faith traditions for inspiration, which resulted in compositions based on texts that are less-familiar to Western audience members and performers. Despite the fact that many of these pieces are innovative and well-written, few, if any, have entered the standard repertoire. Because of this they are under-represented in both performance and extant music literature. The purpose of this study is to examine three compositions from this marginalized category in order to produce a guide that provides salient information on the religious/cultural background and musical aspects of each work. This guide will serve as a resource for conductors to facilitate an understanding of and connection with the text, allow informed programming decisions, and promote approaches that are appropriate and respectful to the religious source material. The pieces selected for investigation are Gustav Holst's Choral Hymns from the Rig Veda, Op. 26: First Group, Lili Boulanger's Vielle Prière Bouddhique (Old Buddhist Prayer), and Robert Cundick's The Redeemer.
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Seven Movements from "Missa Festiva" (1817) of Marcos Portugal (1762–1830): A Vocal Score with Critical CommentaryBrites Pereira David Coelho, Júlia 05 1900 (has links)
Marcos António da Fonseca Portugal (1762–1830) is considered by several Luso-Brazilian musicologists to be the most prolific and influential Portuguese composer in history, having impacted the Portuguese and Brazilian music scene significantly during his lifetime. Marcos Portugal achieved international fame for his large-scale works, which include sacred compositions, Italian opera seria, as well as farsas and opera buffa in Portuguese. Despite the reputation he achieved during his lifetime, today his works are understudied and underperformed, even in Lusophone countries. Such an oversight is noticeable particularly as regards his sacred music corpus. For this reason, I have chosen Missa Festiva (1817) as the subject of this dissertation. Creating a vocal score of the solo, duo and trio movements of Missa Festiva will be helpful not only for performers, but also for scholars and conductors who wish study this work. A vocal score makes accessible the performance of individual movements when only piano, organ, or another keyboard instrument is available. By facilitating the performance and analysis of Missa Festiva, this document will contribute to the work's dissemination and to a better understanding of the value of early nineteenth-century Luso-Brazilian virtuosic vocal sacred music. The manuscript used for the transcription and orchestral reduction into a vocal score of movements III-IX is BR-Rcm MS CRI-SM59 from the Acervo Musical do Cabido Metropolitano do Rio de Janeiro, from 1818 (images included in the dissertation).
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Du Wohnst unter den Lobgesangen Israels: eine Untersuchung der charismatischen Lobpreiskultur im Hinblick auf das implizierte Gottesdienstverstandnis / Thou inhabitest the praises of Israel: a study of the charismatic praise culture with regard to the implicit understanding of worshipLoewen, Paul Dennis Thielmann 11 1900 (has links)
Abstracts in German and English / Diese Studie befasst sich mit einer Untersuchung und Einordnung einiger theologischer Aspekte der charismatischen Lobpreispraxis im deutschsprachigen Raum. Dies erfolgt mittels Analyse einschlägiger Literatur sowie repräsentativer Liedtexte der charismatisch geprägten Lobpreismusik der letzten Jahre.
Insbesondere durch die Untersuchung des Tempelmotivs und seine Bedeutung in der charismatischen Lobpreispraxis, werden Charakteristika eines zugrundeliegenden Gottesdienstverständnisses und sich daraus ergebende weltanschauliche Implikationen herausgearbeitet.
Der Befund zeigt, dass den untersuchten Lobpreisliedern ein Narrativ der Begegnung des Menschen mit Gott und seiner Gegenwart (in „heiliger Atmosphäre“) als Grundmotiv zugrunde liegt. Dieses Narrativ folgt der Logik und dem Vorbild des alttestamentlichen Tempelkults. Wie der Eintritt des Priesters ins „Allerheiligste“, soll das gottesdienstliche Lobpreiserlebnis als eine transzendente Begegnung mit dem „Heiligen“ verstanden werden, wodurch sich Tendenzen zu einem sakral-kultischen Gottesdienstverständnis und Hinweise eines Dualismus zwischen „profanen“ und „sakralen“ wirklichkeitsdimensionen des zugrundeliegenden Weltbildes aufzeigen
lassen. / This study evaluates some theological aspects of the charismatic praise and worship practice in the German-speaking area by analyzing relevant literature and representative lyrics of the charismatically influenced worship songs of recent years.
In particular, by examining the temple theme and its significance in charismatic worship, the characteristics of the underlying conception of worship and the resulting worldview implications are worked out.
The results show that the studied praise and worship songs are based on an underlying narrative of man's encounter with God and his presence (in a "holy atmosphere") through the singing. This narrative follows the logic and model of the Old Testament temple cult. Like the priest's entry into the "holy of holies", the worship experience is to be understood as a transcendent encounter with the "holy", whereby
tendencies towards a sacral-cultic understanding of worship and a dualism between a "profane" and a "sacred" dimension of the underlying worldview can be shown. / Practical Theology / M. Th. (Practical Theology)
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Hudební kultura v konventu alžbětinek na Novém Městě Pražském / Music Culture of the Elisabethan Convent in PragueMichl, Jakub January 2018 (has links)
Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...
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