A New Song is a sacred contata in four parts written for mixed chorus, soloists, narrator, congregation, and chamber ensemble consisting of organ, brass ensemble, and percussion. It is designed to be performed within the limitations of a church sanctuary. The text is taken from the New American Standard Version of the Bible. The four parts are based on prophecies found in the book of Isaiah and the fulfillment of these prophecies as found in the New Testament books of Matthew, Luke, and John. The texture and orchestration throughout the contata change according to the mood of the text. For practical performance purposes, vocal parts are based on traditional harmonic, melodic, and rhythmic patterns, leaving the more complex patterns to the instrumental parts.

Call number: LD2668 .T4 1986 I78 / Master of Music / Music, Theatre, and Dance

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in fulfilment of the requirements of the degree of Masters in Arts, Culture and Heritage Management / The music industry as a sector of cultural industries provides an environment for musicians to engage with the business of music. Churches, as religious and social environments, provide a platform for musical activity and development for musicians. While the church has provided musical development, the music industry has been looked to for sustaining musical careers. Using the adaptation of the Landry value chain model, this research highlights difficulties and successes that No Limits, a South African music group, has encountered in pursuing a professional career in sacred and marketplace contexts. In turn, this has revealed management and general administrative issues that independent musicians commonly face in their pursuit of a professional career. The study observes how professional gospel musicians handle the tension between the sacred and market contexts based on the assumption that these contexts have varying operating systems and thus present a difficulty for professional musicians seeking to operate in both contexts. The introductory chapter and the literature review provide the background and context for the study, the relevant historical information and the Seventh-day Adventist church context. A detailed narrative of the development of No Limits is provided in the fourth chapter leading to the analysis presented in the fifth chapter, which expands on specific moments and issues discussed in the narrative within Charles Landry’s framework of a value chain. His model suggests an integration of all the activities in the value chain in order to succeed in cultural pursuits. These entail beginnings, production, circulation, delivery mechanisms and audience reception (with feedback). No Limits was, therefore, analysed in terms of this model. Key findings point to the difficulty associated with the professionalisation of the music occupation, of seeking to be altruistic and sustainable at the same time. Also, that social and cultural value of devotional content from the sacred context and the material economic demands from the marketplace characterise the fundamental tensions for musicians pursuing existence in these contexts. The Seventh-day Adventist church, in which No Limits was incubated, provided the immediate context for this study and the data was collected through an analysis of archives, discography and interviews with different individuals in the No Limits value chain. Key words: marketplace,

Jenny Liu Ng Mui. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 123-128). / INTRODUCTION --- p.1 / PART I LISZT'S RELIGIOUS DEVELOPMENT AND HIS POSITION IN 19TH-CENTURY CHURCH MUSIC REFORM / Chapter Chapter 1 --- Liszt's religious development --- p.5 / The influence of Adam Liszt / The first religious outburst / The influence of the Saint-Simonians / The influence of the Abbe de Lammenais / The influence of Princess Wittgenstein / The Abbe Liszt / Chapter Chapter 2 --- Liszt's position in 19th-century church music reform --- p.13 / The Cecilian Movement / Liszt's ideal of church music / Liszt's sacred choral works / The evolution of Liszt's church music reform / The reception of Liszt's sacred choral works / "PART II LISZT'S VIA CRUCIS: COMPOSITIONAL BACKGROUND, RECEPTION AND TEXT" / Chapter Chapter 3 --- The compositional background and reception of Via Crucis --- p.26 / Liszt's late years / Date and place of composition / The influence of artworks on the composition / The reception of Via Crucis / Chapter Chapter 4 --- The text of Via Crucis --- p.32 / Biblical excerpts / Verses from Latin hymns / The German chorales / The text of Via Crucis as compared with traditional Passions / PART III UNITY AND CONTRAST IN VIA CRUCIS / Chapter Chapter 5 --- Thematic design in Via Crucis --- p.42 / Thematic cross-reference / The Cross motif / Jesus' theme / Veronica's theme / Large-scale repetition / The Prelude and Station XIV / The theme of the procession / Stations III， VII and IX / Stations IV and XIII / Chapter Chapter 6 --- Harmonic design in Via Crucis --- p.54 / The structural importance of the tritone / Station V / Station XI / The six monologues / The broad layout / The emphasis on the use of symmetric structures / Station II / Station IV / Station VIII / Station X / Station XII / Chapter Chapter 7 --- Stylistic contrast in Via Crucis --- p.67 / The adoption of Palestrina style / Texture / Rhythmic design / Melodic design / Harmonic design / Text setting / The adopt ion of Bach chorale style / O Haupt voll Blut und Wunden / O Traurigkeit / The coexistence of German chorales and Latin hymns / CONCLUSION --- p.78 / EXAMPLES --- p.80 / BIBLIOGRAPHY --- p.123

Ng, Ka Chai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 199-216). / Abstracts in English and Chinese. / Abstract --- p.i-iii / Acknowledgements --- p.iv-v / List of Plates --- p.vii / List of Examples --- p.viii-x / List of Tables --- p.xi / List of Abbreviations --- p.xii-xvi / Chapter Chapter One --- "Introduction: Mission, Liturgy, Music, and the Study of Catholic Church in China" --- p.1-14 / Chapter Chapter Two --- Overview of the History of Chinese Catholic Church: Evangelization and Indigenization --- p.15-28 / Chapter Chapter Three --- Catholic Liturgy and Music in China: Between Orthodoxy and Participation --- p.29-57 / Chapter Chapter Four --- "Vincent Lebbe's Experiences, and the Formation of his Ideas towards Liturgy, Music and Monasticism" --- p.58-75 / Chapter Chapter Five --- "The Chant Books of Lebbe: Sources, Structures and Liturgical Practices" --- p.76-110 / Chapter Chapter Six --- Stylistic Features of Lebbe's Arrangements of Gregorian Chant for Chinese Language --- p.111-154 / Chapter Chapter Seven --- Conclusion: Receptions and Cultural Representation of Vincent Lebbe's Chinese Gregorian Chant --- p.155-170 / Appendices / Notes to the Appendices --- p.171 / Appendix A - Contents of Lebbe's Chant Book for the Divine Office --- p.172-192 / Appendix B - Contents of Lebbe's Chant Book for Benediction --- p.193-195 / Appendix C - Contents of Lebbe's Chant Book for the Mass --- p.196-198 / Bibliography --- p.199-216

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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 (doctoral)--Rheinische Friedrich-Wilhelms-Universität, Bonn. / Includes Greek and Latin texts with English translations. Includes indexes. Includes bibliographical references (p. 11-15).

Thesis (D. Min.)--Erskine Theological Seminary, 2000. / Abstract. Includes bibliographical references (leaves 208-211).

Thesis (D. Min.)--Concordia Seminary, 2000. / Abstract. Includes bibliographical references (leaves 142-144).