Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

Thesis (Th. M.)--Westminster Theological Seminary (Philadelphia, Pa.), 2008. / Includes vita. Includes bibliographical references (leaves 227-241).

Thesis (M. Div.)--Emmanuel School of Religion, 1994. / Vita. Includes bibliographical references (leaves 136-144).

The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.

My thesis offers a comparison of the Minor Prophets commentaries of Theodore of Mopsuestia and Cyril of Alexandria, isolating the role each assigns (1) the Twelve Prophets in their ministry to Old Testament Israel and (2) the texts of the Twelve as Christian scripture. While the two produce radically different commentaries in terms of quantity and detail of christological interpretation, the source of their divergence cannot be reduced to Cyril's admitting messianic prophecy whereas Theodore does not. Rather, I argue that Theodore does acknowledge christological prophecies, as distinct from both retrospective accommodation and typology. Further, a careful reading of Cyril's Commentary on the Twelve limits the prospective christological revelation he ascribes to the prophets and reveals the positive role he grants the Mosaic law prior to Christ's advent. My thesis secondly explores the Christian significance both Theodore and Cyril assign to Israel's exile and restoration, the pivotal event to which the Twelve bear witness. I here argue that Theodore's reading of the Twelve Prophets, while not attempting to be christocentric, is nevertheless self-consciously Christian. Cyril, unsurprisingly, offers a robust Christian reading of the Twelve, yet this too must be expanded by his focus on the church and concern to equip the church through the ethical paideusis provided by the plain sense of the prophetic text. Revised descriptions of each interpreter lead to the claim that the label “christocentric” obscures more than it clarifies and polarizes no less than earlier accounts of Antiochene/Alexandrian exegesis. I advocate rather for an approach that takes seriously Theodore's positive account of the unity and telos of the divine economy and the full range of Cyril's interpretation, in order to move beyond a zero-sum assessment and offer instead a positive account that appreciates the strengths of each Christian reading of the Twelve.

World War I (1914-1918) brought with it unimaginable disaster and destruction, reshaping the world and its culture forever. Out of the ashes of this unparalleled conflict came numerous triumphs of art, fueled by the surrounding conditions and personal expressions of their artists. English composer, Dr. Cyril Bradley Rootham (1875-1938) set a powerful and haunting poem from the poet Laurence Binyon (1869-1943) titled "For the Fallen” from a larger collection of his poetry called The Winnowing Fan. The poem was published in The Times on September 21, 1914, just seven weeks after the war began. This monograph seeks to bring to light this glorious and overlooked choral/orchestral work at a time of a centennial anniversary for World War I, bringing even more relevance to the subject matter. Another focus of this document is to highlight the musical accessibility of this work and provide resources that function as a platform for performance. A brief background of the composition, the poem, and the poet will assist in giving context to the setting. This document will also cover specific details regarding musical analysis, textual interpretations, and performance practice concepts.

Thesis (Ph. D.)--University of Sydney, 2007. / Title from title screen (viewed 27 February 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Bibliography: leaves 250-256. Also issued in print.

The diploma thesis The Prison Experience (1914-1918). Cyril Dušek's correspondence from prison deals with the correspondence which theoretically and metodically considers to be a historical source and a mean of communication between prisoners and their families. It focuses on the political prisoner's correspondence during the World War I. Correspondence from prison was the only way to connect prisoners with their friends and families, thus it is very significant in research. It provides an interesting insight into the everyday life in prison, further it reveals the various individual perception manners and development of human thinking in the tense situations. The main aim of the thesis is to analyze a prison correspondence of Cyril Dušek (1881-1924) who was a responsible redactor of the magazine Čas and a member of the resistance movement, further to present its importance in the context of the other preserved correspondence, the censorship aspects of correspondence from prison and also to desribe the everyday life of the political prisoners.

This thesis deals with the position and everydayness of Valašsko region teachers at primary schools in the first half of 20th century. Firstly the thesis discusses the range of the Valašsko region and a diversity of its definition, then it deals with the characteristics of Valašsko education system in comparison to other regions. The situation illustrates with the example of one - class school Na Soláni. It describes Valašsko pupil, his living conditions and food. The teacher is characterized not only as an educator but also as a person with his personal interests. The last two chapters provide a probe into the fates of two teachers - Metoděj Jahn (a teacher, a writer, a folklorist) and Cyril Mach (a teacher, an organizer of social life, a promoter of tourism and a progressives). Powered by TCPDF (www.tcpdf.org)

Lutherská větev reformace do Sedmihradska pronikala v šestnáctém století prostřednictvím saského obyvatelstva, kalvínská prostřednictím maďarského. V roce 1566 bylo v Sedmihradsku založeno tzv. rumunské kalvinistické biskupství, jehož cílem bylo šířit reformovanou víru mezi místní rumunské obyvatelstvo, a to dosažením vysluhování mší v rumunštině (místo církevní slovanštiny), podporou tisku rumunskojazyčných náboženských knih, zvyšováním vzdělanostní úrovně kněží a administrativní reorganizací církve. Po období vlády knížat z rodu Báthoryů se reformace v Sedmihradsku opět prosazuje zhruba od třicátých let sedmnáctého století, v letech čtyřicátých získává pod vedením kalvinistického superintendenta Istvána Gelejiho Katony značně netolerantní charakter. Metropolita sedmihradské pravoslavné církve musí před svým zvolením podepsat body tzv. kalvinizačního programu. Z doktrinárního hlediska však reformace, jejíž šíření mezi sedmihradskými Rumuny definitivně končí se vznikem řeckokatolické církve (r. 1700), nezanechala v rumunském prostředí žádné stopy kromě prosazení rumunštiny jako liturgického jazyka - to se v Sedmihradsku podařilo zhruba s náskokem půldruhého století oproti Valašsku a Moldavsku. Pozoruhodné je soužití reformované a pravoslavné dogmatiky v rumunských dílech připisovaných vlivu...