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Thesis (J.C.L.)--Catholic University of America, 1996. / Includes bibliographical references (leaves 85-90).

The repertory of music known as Milanese chant: has only recently attracted the attention of musicologists. In the early part of this century scholars concerned themselves with such aspects of the Milanese rite as its origins, the structure of the liturgy, and paleographic difficulties. The music itself, however, continued to be discussed merely in general terms or in relation to Gregorian melodies. It is only within the last few decades that stylistic analyses of the music have begun to penetrate this relatively unexplored field. This study is principally concerned with the lesser antiphons of the Milanese office. The Introduction summarizes the results of past research into the Milanese rite and presents general information concerning the antiphons. Part I of the thesis presents the Thematic Classification and a discussion of the method employed; the three chapters of Part II deal with the analysis of the melodies. It has been suggested that many of the Milanese antiphons can be grouped together on the basis of common melodic material. Such a classification of the Gregorian antiphons had appeared at the beginning of this century, but no attempt has been made to apply a similar procedure to the Milanese repertory, even though the more stable Milanese tradition would appear to be better suited for such an anlysis than the Gregorian with its numerous and often conflicting sources. The psalter antiphons, the simplest and most numerous of the Milanese office antiphons, have responded readily to a Thematic Classification. The great majority of over seven hundred chants can be reduced to thirty common melodies or "Themes." Many of these Themes can be shown to be related, and the implication is that there were originally only a very few melodies from which other chants were developed. In fact, there would appear to be evidence to show that the antiphons developed, through a process of gradual elaboration from simple reciting-tones. It can be demonstrated that the melodies of the antiphons with longer texts were expanded by the use of a limited number of compositional devices. An examination of the cadences and finals reveals an economy and simplicity which would seem to speak for the antiquity of the Milanese repertory. / Arts, Faculty of / Music, School of / Graduate

To date, there has been no detailed or comparative analysis of the repertory known as the Old-Roman Chant. Although the historical and liturgical problems created by the recent discovery of this repertory may be found in scattered writings, no one has published a detailed study of the music itself. Those that have written on the Old-Roman melodies have confined their attention to isolated examples. This study is concerned with the Introits, Offertories, and Communions of MS Vat. lat. 5319, an Old-Roman Graduale which dates from the late eleventh century. Whenever possible, a comparison has been made with their Gregorian counterparts. The introduction summarizes the basic, historical study of the Old-Roman repertory; the three main chapters treat each antiphon cycle in turn; and the final chapter places the work of this thesis in an overall context. That we are dealing with an early repertory is indicated by such features as the close relationship between the Communion antiphons and their verses and the striking uniformity in cadential patterns. Although the Old-Roman version bear a close musical relationship to the Gregorian, certain evidence indicates that they are earlier. The basic form of all the Old-Roman Mass antiphons is clearly a recurring psalm-tone formula which usually appears in an ornamented form throughout the chant. This feature is not as evident in the Gregorian melodies and may well be a link to an earlier oral tradition. An example is offered for the difference in melodic style between the Old-Roman Introits, Offertories, and Communions. The Offertories and Communions can be seen as elaborations of earlier simpler forms still represented by the Introits. In short, the ornate antiphons of MS Vat. lat. 5319 are shown to be, basically, redactions prior to their Gregorian counterparts. / Arts, Faculty of / Music, School of / Graduate

It is a well established fact that the practice of the eucharistic prayer in the roman, rite is seriously underdeveloped. This survey of complete or partially through -composed settings of the eucharistic prayer attempts to shed some light on why and how composers have responded to the wide-spread opinion that the eucharistic prayer is rarely experienced as the high point of the eucharistic celebration as it was intended. Divided into two parts, the study initially considers the official aims and norms of the post-conciliar liturgy, both in general and as they pertain to the eucharistic prayer, noting some tension between the aims and their realisation. Three broad themes are identified for the entire work: ritual structure, the role of music and participation. The texts of the eucharistic prayers are then discussed to see how the official expectations are realised. A survey of the theoretical writings on rnusic and the eucharistic prayer concludes the first part. The second part focuses on over 100 musical settings, both published and unpublished d the eucharistic prayer. After offering a general chronological overview of the music, noting its forces and general characteristics, the music is scrutinised to see whether its various parts are celebrated or submerged by music, the broader shape of the compositions is examined and then a discussion concerning participation issues follows. The use of tabulated data aids the discussion. While acknowledging that there are many ways to evaluate the usefulness of such compositions and that this study does not touch on their actual reception and performance, it is hoped the current work will offer some insights into the variety of existing responses to the challenge of the setting the eucharistic prayer and offer some suggestions as to how this important work may continue.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / "This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 1998. / Abstract and vita. Includes bibliographical references (leaves 235-249).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / "This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / "This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).