Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 72-74).

Thesis (M.A.)--Lancaster Bible College, 2002. / Includes bibliographical references (leaves 65-66).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Description based on microfiche version record. Includes bibliographical references (leaves [41]-42).

Thesis (M.A.)--Boston University / From the thirteenth century on, the antiphons to the propers of the Mass and to certain canticles of the Offices in the Roman Rite were sung to polyphonic motet settings. After the English Reformation in 1534, antiphons eventually disappeared from the services of the Book of Common Prayer and with them the motets. Because they had been a popular feature of the services, it was not long before a need was felt for an equivalent and the English anthem came into being. (The word "anthem" is but a corruption of the earlier terms for "antiphon".) The reformers desired that the complex additions of medieval pietism to the Roman Rite be either omitted or simplified and the attitude applied also to church music as did the ruling that all of the services be in a "tongue understanded of the people". The first Full Anthems of Tye, Tallis, Shepherd, Farrant, and others were in the simple, familiar style but with brief imitative "points" at the beginning of each phrase of the English text. The wish that the Archbishop of Canterbury, Thomas Cranmer, had expressed to Henry VIII that "the song...should not be full of notes but, as near as may be, for every syllable a note" was at first meticulously followed." [TRUNCATED]

Die vorliegende Schrift von Borys Kudryk ist die erste umfassende wissenschaftliche und systematische Darstellung über die Geschichte der ukrainischen Kirchenmusik.

In this project, I have explored how one can musically shape and compose wordless music within the jazz genre with inspiration from the liturgy of the Church of Sweden. Inspiration was taken from various parts of the Mass, previously set liturgy, as well as my own references to the various parts. Each liturgical part was then assigned a keyword based on the gathered information and personal thoughts associated with each part.   I discuss the role of vocal performance as a wordless form of expression both in the context of the church and for me as a musician. I also discuss the connection between the compositions and the liturgy, and how I have chosen to align the work to the traditional order of the Mass.   In conclusion, I explain how this work has affected me as a musician and a person and how I wish it to be received. / <p><strong>Reperstoar:</strong></p><p>Kyrie Eleison</p><p>Sanctus/Gloria</p><p>Credo</p><p>Pax </p><p>Agnus Dei </p><p>Benedictus </p><p>Samtliga kompositioner skrivna av Ella Cronberg</p><p>Extranummer: Blott en dag - Lina Sandell</p><p><strong>Medverkande musiker:</strong></p><p>Sång - Ella Cronberg</p><p>Gitarr - Jim Base</p><p>Piano - Isak Åberg</p><p>Kontrabas - Olle Lannér Risenfors</p><p>Trummor - Filip Öhman</p>

In this project, I have explored how one can musically shape and compose wordless music within the jazz genre with inspiration from the liturgy of the Church of Sweden. Inspiration was taken from various parts of the Mass, previously set liturgy, as well as my own references to the various parts. Each liturgical part was then assigned a keyword based on the gathered information and personal thoughts associated with each part.   I discuss the role of vocal performance as a wordless form of expression both in the context of the church and for me as a musician. I also discuss the connection between the compositions and the liturgy, and how I have chosen to align the work to the traditional order of the Mass.   In conclusion, I explain how this work has affected me as a musician and a person and how I wish it to be received. / <p><strong>Repertoar</strong></p><p>Kyrie Eleison</p><p>Sanctus/Gloria</p><p>Credo</p><p>Pax</p><p>Agnus dei</p><p>Benedictus</p><p>Samtliga kompositioner skrivna av Ella Cronberg.</p><p>(Extranummer: Blott en dag - Lina Sandell)</p><p><strong>Medverkande</strong></p><p>Ella Cronberg - sång</p><p>Jim Base - gitarr</p><p>Isak Åberg - piano</p><p>Olle Lannér Risenfors - kontrabas</p><p>Filip Öhman - trummor</p>

This dissertation examines the attitudes of people regarding the worship music that is being used in South African Protestant churches during the last decade of the twentieth century. The research is aimed at the man-in-the-pew to identify general trends across a variety of denominations. 4920 questionnaires were sent to 980 churches countrywide and completed anonymously. Questions are divided into three categories: personal information, church related, personal opinions. Every question has space for comments. Chapter one is a general discussion on people's opinions and attitudes and the aim and method used. Chapter two is an historical synopsis. Chapter three is an analysis of the questionnaire including hypotheses, graphs, results and comments. Chapter four, the conclusion, identifies general trends regarding formality and informality, choirs and music groups, background music, traditional versus contemporary, education and influence of leaders, the need for policies, use of media and instruments. Proposals are suggested. / Art History, Visual Arts & Musicology / M. Mus.

The purpose of this research is to program cycles or units of study which may be used with the Cyclo-Teacher Learning Aid, a commercial teaching machine produced by the Field Enterprises Educational Corporation of Chicago. The program will consist of the mechanics of music and will be designed for use with the seven- and eight-year-old child in primary choirs of the graded choir program of Southern Baptist churches.