This dissertation argues that a definable and distinct genre of death story does exist in the Old Testament and that form critical analyses of these stories can yield significant theological insights. Chapter 1 establishes the methodology and principles that govern the study. Chapter 2 presents an overview of death in the ancient Near East and Israel. The information in this chapter introduces the reader to the topic of death in the ancient world, and it provides a basis for comparison with the thanatology derived from the death stories. Chapter 3 surveys death accounts in the ancient Near East and in the Old Testament and classifies the various death accounts in the Hebrew Scriptures as notices, reports, or stories. In addition, this chapter justifies the classification of some accounts as stories instead of reports, and it establishes and describes the typical "death story." Chapter 4 engages in a form critical exegesis of the death stories in the Old Testament. Nine stories are analyzed. These include the death stories of Sarah (Gen 23:1-20), Abraham (Gen 24:1-25:11), Jacob (Gen 47:28-50:14), Joseph (Gen 50:22-26), Aaron (Num 20:22-29), Moses (Deut 31:1-34:12), Joshua (Josh 23:1-24:30), David (1 Kgs 1:1-2:12; 1 Chr 23:1-29:20), and Hezekiah (2 Kgs 20:1-21). The method of analysis follows the generally accepted form critical process--which involves an investigation of the form/structure, genre, setting, and intention of the text. To this list of four, this study adds an introduction to the literary and historical context of the texts. Each story investigated includes a section detailing some initial theological conclusions. Chapter 5 serves as the conclusion of the dissertation. It determines the success of the study in achieving its stated aims. In addition, it summarizes and synthesizes the various theological and thanatological conclusions based on the form critical analyses of chapter 4. Finally, it offers some concluding thoughts on the significance of the study for biblical form critical exegesis. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

This document facilitates the study of the bass roles, including the bass arias and recitatives that are in the Old Testament English oratorios of George Frideric Handel. This study is largely dependent upon the Chrysander editions of the oratorios, however both the Bärenreiter and Novello editions are consulted where available. This work may serve as a reference for bass soloists, or vocal pedagogues in selecting bass oratorio arias and recitatives, and in study for preparation of a bass role in one or more of the selected oratorios. Ten oratorios were selected for this study, based on their dramatic emphasis, Handel's more mature compositional style, and the use of the English language. While all arias are discussed, recitatives were selected on the basis that they stand-alone and are not in dialogue with another character. The study is limited to ten of Handel's Old Testament English oratorios: Esther (1718-20 version and 1732 revision), Deborah (1733), Athalia (1733), Saul (1738), Samson (1741), Joseph and His Brethren (1743), Belshazzar (1744), Joshua (1747), Solomon (1748), and Jephtha (1751). The study in concerned with the dramatic function of each aria and recitative within the plot of the oratorio, as well as the range, tessitura, literary rhyme scheme (if applicable), and tonal structure of each aria and recitative. Compositional devices that are used in melodic construction, level of difficulty, and maturity of voice needed for performance will be also be discussed for each aria and recitative. Chapter 1 of the study is the introduction to the dissertation, including objectives, delimitations, need for study, basic assumptions, and related literature. Chapter 2 discusses Handel's compositional development from Germany, while in Italy, and finally in England. Chapter 3 is concerned with a historical overview of the genre of oratorio. Chapter 4 focuses on the bass roles and the arias and recitatives within the selected oratorios. Chapter 5 concludes the dissertation, makes observations and directs for further study. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.