No description available.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2000. / Abstract. Includes bibliographical references (leaves [68-70]).

Thesis (Ph.D.). / Written for the Faculty of Music. Vol. 2 is an edition of the Lerma ms. Bibliography: v.1, leaves 257-272.

The purpose of the study was to present and analyze the music in the Slovak Lutheran Divine Liturgy from three twentieth-century liturgical settings: (1) Liturgicky Zpev ("Sung Liturgy") attached to the Braxatoris Agenda, 1922, (2) Liturgicke napevy ("Liturgical chants") attached to the Chramova Agenda, 1933, and (3) the Slovenska' Liturgia (the new "Slovak Liturgy") prepared by the Commission on Worship at the Bratislava School of Theology, 1965. The study included the hymnody in the liturgy for Holy Week as it is applied to the Holy Passion book, the Svate Pagie.The study revealed that the Slovak Lutheran liturgy was influenced by Martin Luther's German Masses that were based on parts of the ordinary and Proper of the Roman Mass and Offices, and parts of the Byzantine-Slav Divine Liturgy. Music in the liturgy was derived from Slav, Latin, Czech, and German sources.The liturgy for Sundays and festival days included: three Introit-hymns, K ie and vernacular Kyrie-hymns, Glorias, Salutations, Antiphons based on Scripture texts, chanted Collects, chanted Epistle and Gospel Lessons, the optional use of Psalm tunes, and the Aaronic Benediction. The solemn Divine Liturgy for Holy Communion consisted of combinations of liturgical Items: Preface (Sursum corda), Sanctus, the Lord's Prayer, Words of Institution, Agnus Dei, and the Thanksgiving--the Post-Communion Canticle of Simeon. Music for the liturgical settings was fairly similar.The Eastern (Slavic) qualities in the music were based on the style of Byzantine ecclesiastical music and the construction of Byzantine melodies. Intervals of a minor third were prominent. Melodic progressions were often built upon tetrachordal and pentachordal-tonal units. The Lenten Passion hymns featured hymns by the Czech Brethren that consisted of folk style structures and the use of the tripartite Bar form. Eleven of-the twenty-one Passion hymns and tunes were adaptations and translations of German chorales. Latin hymns were also translated and incorporated in the liturgy.

For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999. The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors. Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.

Thesis (Ph. D.)--University of Exeter, 1988. / Appendix A (v. I, leaves 367-388) "presents information relating to William Finschear the elder, a burgess of Edinburgh and possibly scribe of the Dunkeld Partbooks." Vol. II contains editions with commentary of the following works: Robert Fayrfax, Ave Dei Patris filia; Philip van Wilder, Vidi civitatem; van Wilder, Aspice Domine; Robert Carvor [sic], Mass Dum sacrum mysterium; Carvor, Mass Sine nomine a 5; Johannes Lupi, Ad nutum Domini nostrum; Pierre Certon, Regina caeli; Claudin de Sermisy, O Maria stans sub cruce; Robert Johnson, Domine in virtute tua; Patrick Douglas, In convertendo Domini. Publisher's no.: DX 82363. Includes bibliographical references (v. I, leaves 448-456).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1989. / Bibliography: leaves 81-82.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Craig Timberlake. Dissertation Committee: Charles W. Walton. Includes bibliographical references.

Thesis (MA Teologie(Praktiese teologie)--Universiteit van Pretoria, 2004. / Includes bibliographical references (leaves 124-128)

Thesis (D. Min.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2004. / Abstract and vita. Includes bibliographical references (leaves 117-122).