Habilitationsschrift--Vienna. / Bibliography: p. ix-xiv.

Diss.--Fribourg. / Also issued in series Veröffentlichungen der Gregorianischen Akademie zu Freiburg (Schweiz) as Heft 4. Includes bibliographical references.

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Though perhaps we shall never know the music to which these religious lyrics were written, the poems have never ceased to be the source of inspiration for the spirits of men since they were first sung. Each psalm seems to have an underlying purpose with a personal message for each reader. In the Book one can find a reply to every sort of question, for the Psalms are filled with expressions of emotion brought about by all human experience. The collection of these 150 songs or psalms makes up what is known as the Hebrew hymn-book or the Book of Psalms.

The restoration of Gregorian chant throughout the nineteenth century culminated in the publication of new official Vatican chant books, particularly the Graduale Romanum of 1908. Major contributions were made by the monks at the abbey of Solesmes, who focused on the oldest available medieval manuscripts, and by scholars in the Cecilian movement, who favored sources compiled after the Middle Ages. These two viewpoints were fused into the Graduale Romanum to create a comprehensive historical perspective. To support this position, this thesis traces historical events and conflicts leading up to the publication of the Graduale Romanum. It also compares the Graduale Romanum with its most immediate source, the 1895 Liber Gradualis by Solesmes, focusing on the Propers of the four Sundays of Advent. Analysis of the differences between the two reveals that the Graduale Romanum closely resembles medieval manuscripts and reflects Renaissance and nineteenth-century sources to a limited degree. / The graduale romanum of 1908 : an exposition -- Toward a new edition of chant -- Graduale romanum and Liber gradualis compared -- Conclusions and proposals for further study. / School of Music

Thesis (Ph.D.)--Faculty of Music, University of Melbourne, 2000. / Typescript. Includes bibliographical references (p. 257-280).

Thesis (Ph.D.)--Ohio University, November, 2004. / Includes bibliographical references (leaves 229-242)

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

A central focus of this thesis is the word-music relationship in the devotional-song-repertory of Hildegard of Bingen (1098-1179). Surrounding this focus is an examination of aspects of her life and work that relate to the production of her seventy-seven monophonic songs. This examination commences with a review of biographical sources, collation and discussion of parchment sources of her music, and identification of her music scribes. The theme of Hildegard’s music scribes is then developed, including their influence upon the liturgical genres in which her songs are cast and the melodic behaviour of her music. It is argued that, as a result of the rendering of her melodies on the medieval gamut, the surviving sources of her songs represent corruptions of orally produced chant. / The word-music relationship in Hildegard’s songs is then introduced. Her views on the role of music and her own role as monastic preacher form the basis of an examination of the relationship between rhetoric and her songs. This examination draws on contemporary modes of rhetorical criticism, and an approach which treats her songs as musically articulated rhetorical discourse is developed. A selection of her songs is then examined through this approach, and particular attention is given to songs which preserve unusual melodic behaviours. It is argued that her songs represent iubilatio responses to both the grammatical and rhetorical syntagms of her song texts, and melodic characteristics which suggest traces of her pre-redacted melodies are identified. / As a codicil to this study, a critique of ‘new’ and ‘unusual’ monastic practices in Germany by Anselm of Havelberg (c.1100-1158) forms a point of departure for discussion of a small number of surviving songs which surrounded the production of Hildegard’s music - the five monophonic songs comprising the Epithalamia to the Speculum virginum (c.1140), and a twelfth-century canticle setting emanating from the monastic home of her music scribes. This examination points towards a tradition of ‘new’ and ‘unusual’ musical practices in Southern Germany during the twelfth century and provides one possible context for Hildegard’s devotional-song repertory.

Thesis (Ph.D.)--Yale University, 1999. / Includes bibliographical references (leaves [390]-406).