The thesis deals the question of the last things of man, so the theme of the death, dying and imagines about the world and the other world, especially in the first and the second third of the 18th century in the South Bohemian town of Písek. The themes of the last things of man are studied on the example of two possible contemporary discourses, namely the semipopular and popular discours. The contemporary popular discours was constructed by the analysis of testaments of town people of Písek from the thirties of the 18th century, as the resources of the semipopular discours books ars moriendi and hymn-books were used. The world and the other world diffused especially in the time of the funeral; the almighty God was usually coming into the world through the death and the ritual of the funeral and manifested his fairness and grace. In the view of the popular discours the reality of baroque world was still confirmed and accepted by the funeral ceremonies again.

[pt] Filipenses 2,6-11 é texto fundamental na cristologia do cristianismo primitivo e neotestamentária. Inserido na parênese da carta de Paulo aos Filipenses, a passagem desenvolve uma narrativa cristológica que começa na preexistência, passa pela encarnação e culmina na exaltação de Jesus. No contexto da carta funciona como um chamado ético aos que estão em Cristo à obediência ao Senhor exaltado. Literariamente o texto é um hino composto de duas partes: 2,6-8 e 2,9-11, e a leitura proposta é ver nesta segunda seção o clímax do hino, que justamente trata da exaltação de Jesus. O tema da exaltação é apresentado dentro de uma perspectiva escatológica, pois o início do senhorio de Jesus é o cumprimento da esperança israelita no triunfo de Deus, é a virada escatológica que traz o tempo de salvação. Através da exaltação Deus compartilhou com seu Filho a soberania sobre o universo, implicando que todos os seres precisam agora dobrar os joelhos diante de Jesus e reconhecê-lo como Senhor. Aqueles que já fazem isso voluntariamente vivenciam antecipadamente o que será a realidade escatológica final. Esse novo papel de Jesus é descrito pelo título kurios, que combinado com outros elementos do texto atribui a ele contornos divinos e de igualdade com YHWH, além de uma oposição às ideologias romanas. A exaltação de Jesus também está ligada com a revolução cristológica que aconteceu no culto cristão primitivo, quando os cristãos judeus adoraram Jesus ao lado de Deus Pai, sem renunciar ao seu monoteísmo. O final do hino enfatiza exatamente que a exaltação de Jesus foi conduzida por Deus e resulta em sua própria glória. / [en] Philippians 2,6-11 is a fundamental text in the Christology of early Christianity and the New Testament. Inserted in the parenesis of Paul s letter to the Philippians, the passage develops a Christological narrative that begins in the preexistence, passes through the incarnation and culminates in the exaltation of Jesus. In the context of the letter functions as an ethical call to those who are in Christ in obedience to the exalted Lord. Literarily, the text is a hymn composed of two parts: 2,6-8 and 2,9-11; and the proposed reading is to see in this second section the climax of the hymn, which precisely deals with the exaltation of Jesus. The theme of exaltation is displayed within an eschatological perspective, since the beginning of the lordship of Jesus is the fulfillment of the Israelite hope in the triumph of God, it is the eschatological turn that brings the fulfillment of salvation. Through exaltation, God shared with His Son the sovereignty over the universe, implying that all beings must now bend to his knees before Jesus and acknowledge him as Lord. Those who already do so voluntarily experience in advance what will be the reality of the eschatological end. This new role of Jesus is described by the title kurios, which combined with the other elements of the text gives it contours to the divine and equality with YHWH, in addition to opposition to Roman ideologies. The exaltation of Jesus is also connected to the Christological revolution that happened in the worship of the early Christian, when the Jewish Christians worshipped Jesus alongside God the Father, without giving up their monotheism. The end of the hymn emphasizes exactly that the exaltation of Jesus was led by God and results in his own glory.

The thesis deals with the Czech Christmas spiritual music, wants to point out and pick up her beauty, popularity and popularity across the public and in the circles of the Church and in the wider public. The method is the research the available literature and handouts for this topic, which is evident in the Division of the individual chapters. The introduction will include music and history of music. In the next part we will spend Christmas spiritual music, we close its emergence, history, Christian context, familiar carols and songs and their lyrics with a spiritual focus, some of the selected authors and their works both from the past and from the present. We also in our surroundings, to learn more about the Christmas music of our neighbors, or some European countries. In the next part of the main chapters refer to the positive influence of the Christmas music on the evangelization of pastoration and also on Ecumenism - attitude to Christmas music in some churches, and on its place in the broader public. The conclusion should answer the question of why is Christmas music and in particular the Czech Christmas music so much popular and popular among both artists and in the Christian churches and the public, with an interference fit and why it appears almost as a phenomenon. Keywords Christmas,...

The American composer Charles Ives is well known for musical quotation/borrowing: composing music with or from pre-existing musical sources, such as folk tunes, hymns, chants, or other composers' works. His Third Violin Sonata is one of few works that used his unique technique of cumulative setting with only hymn tunes. For analysis of his instrumental music, the text of the hymn tunes is generally disregarded, as the compositions are for instruments. Ives' Third Violin Sonata is challenging to understand in comparison with other violin sonatas, because it lacks information such as titles and subtitles. Even though Ives never mentioned the piece's meanings or extramusical meanings, almost all the elements of the piece indicate hope as a common theme. This dissertation examines which hymn tunes were quoted in the piece, gives the meanings of the hymn tunes, and discusses how Ives uses these tunes as themes with textual meanings. The study includes a brief life of Ives and his historical circumstances and presents a brief musical analysis. The research should give a better understanding of the piece to performers and others curious about it.

The following thesis comprises a systematic, synchronic study of the term בְּרִית (berîṯ, covenant) in the book of Daniel, the Damascus Document, the Community Rule (Serekhha- Yaḥad), the Hymn Scroll (Hodayot) and the War Scroll (Milḥamah). The basic text used for Daniel is the BHS, and for the Dead Sea Scrolls the Dead Sea Scrolls Electronic Library, supplemented by other editions. Apart from an introduction (chapter 1), the work is divided into two sections. The second chapter begins with a discussion of some introductory matters, such as the dating and purpose of the book of Daniel. The remainder of the chapter comprises two subsections, consisting firstly of an exegesis of Daniel 9 and secondly an exposition of Daniel 10-12 with particular reference to covenant terminology. The prayer in Daniel 9 is given much space since it is replete with covenant language, though the word בְּרִית only occurs at Daniel 9:4. The main focus of the second subsection is the vision report in Daniel 11, with particular emphasis on Daniel 11:20-45 where the word בְּרִית occurs. The third chapter contains four subsections, each giving an exegesis of those parts of the Damascus Document, Community Rule, Hymn Scroll and War Scroll where the term בְּרִית occurs. Each subsection is preceded by a brief introduction to the scroll concerned, looking at such issues as the provenance and dating of the scroll without going into too much detail, and followed by a conclusion, summarising the findings in each section. While such issues as the nature of the community represented by each scroll are mentioned where appropriate, they do not form a major emphasis in this study. Throughout, particular prominence is given to specific terminology used in order to determine the authors’ theological emphases. A few terms that are related to ,בְּרִית ‘covenant’, such as חֶסֶד (ḥeseḏ ‘mercy, lovingkindness’), אָהָב (’āhāḇ; [covenant] love), אָלָה (’ālāh; ‘curse, oath’), are also included in this study at the relevant places. The conclusion (chapter 4) draws together the findings of all sections and seeks to compare the terminology used in Daniel with that of the Dead Sea Scrolls. / Old Testament & Ancient Near Eastern Studies / D. Th. (Old Testament)

This master's thesis named Seven Sacraments Reflection in Tobias Zavorka Lipensky's Liturgical Work, deals with the transcription and analysis of liturgical acts which reflect seven sacraments of the Catholic Church. The appropriate texts were taken from Zavorka's agenda The Rule of Church Service, the hymn-book The Songs of Divine Praise and the song-book Funeral Chanting. The master thesis begins with brief Zavorka's curriculum vitae of Zavorka, who was the neo-utraquistic priest and Dean of the region of Doubravnik, and a description of his works. The main focus of the thesis is to describe the specifics of the special or sacramental liturgical acts that demonstrate the character of Zavorka's theological and liturgical work.

The following thesis comprises a systematic, synchronic study of the term בְּרִית (berîṯ, covenant) in the book of Daniel, the Damascus Document, the Community Rule (Serekhha- Yaḥad), the Hymn Scroll (Hodayot) and the War Scroll (Milḥamah). The basic text used for Daniel is the BHS, and for the Dead Sea Scrolls the Dead Sea Scrolls Electronic Library, supplemented by other editions. Apart from an introduction (chapter 1), the work is divided into two sections. The second chapter begins with a discussion of some introductory matters, such as the dating and purpose of the book of Daniel. The remainder of the chapter comprises two subsections, consisting firstly of an exegesis of Daniel 9 and secondly an exposition of Daniel 10-12 with particular reference to covenant terminology. The prayer in Daniel 9 is given much space since it is replete with covenant language, though the word בְּרִית only occurs at Daniel 9:4. The main focus of the second subsection is the vision report in Daniel 11, with particular emphasis on Daniel 11:20-45 where the word בְּרִית occurs. The third chapter contains four subsections, each giving an exegesis of those parts of the Damascus Document, Community Rule, Hymn Scroll and War Scroll where the term בְּרִית occurs. Each subsection is preceded by a brief introduction to the scroll concerned, looking at such issues as the provenance and dating of the scroll without going into too much detail, and followed by a conclusion, summarising the findings in each section. While such issues as the nature of the community represented by each scroll are mentioned where appropriate, they do not form a major emphasis in this study. Throughout, particular prominence is given to specific terminology used in order to determine the authors’ theological emphases. A few terms that are related to ,בְּרִית ‘covenant’, such as חֶסֶד (ḥeseḏ ‘mercy, lovingkindness’), אָהָב (’āhāḇ; [covenant] love), אָלָה (’ālāh; ‘curse, oath’), are also included in this study at the relevant places. The conclusion (chapter 4) draws together the findings of all sections and seeks to compare the terminology used in Daniel with that of the Dead Sea Scrolls. / Biblical and Ancient Studies / D. Th. (Old Testament)

This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.

The dissertation focuses on the decoration of 16th century choral manuscripts. The first part is devoted to the person of Jan Táborský of Klokotská Hora (1499-1572) who was a scribe and an owner of a scribe manufactory, and to the most significant illuminators of the the 16th century who contributed to the decoration of songbooks in the Lands of the Bohemian Crown. Attention is given not only to the illuminators to whom Jan Táborský of Klokotská Hora assigned the work and whose contribution can be inferred from the documents or stylistic analysis of their illuminations, but also to their contemporaries. Besides the frequently mentioned Fabián Puléř, we can assume that Jan Taborský also collaborated with Matouš Ornys of Lindperk, Matyáš Hutský of Křivoklát, Ambrož Ledecký and, presumably, others. In this context, one part of the thesis is focused on engravings by Martin Schongauer, Albrecht Dürer, Bernard Salomon and on the domestic prints by George Melantrich the Elder, as these engravings, mostly woodcuts, served as patterns and inspiration for almost every Bohemian illuminator. Themes found in this type of manuscript are mostly based on Biblical stories, corresponding to the feasts of the liturgical year. In addition to these themes, the graduals contain many miniatures associated with various...

AFRIKAANS : Hendrik (“Henk”) Temmingh word vandag gereken as een van Suid-Afrika se mees toonaangewende orrelkomponiste. Hy het sy veelsydigheid bewys en veral gevestig geraak as ’n noemenswaardige figuur op die gebied van musiekwetenskap, improvisasiekuns en orrelmusiek. Die doel van die studie is om aan te toon dat Temmingh se oeuvre ’n volledige katalogus van die orrelwerke regverdig en om so ’n dokument saam te stel. Om ’n volledige en juiste biografie van die komponis op te stel, word ’n verdere leemte gevul. ’n Oorsig van Suid-Afrikaanse orrelmusiek en komponiste gee ’n blik oor hoe, waar en in watter mate Temmingh funksioneer as ’n ware Suid-Afrikaanse komponis, alhoewel hy in Nederland gebore is. Addisionele inligting, veral nuwe data oor Suid- Afrikaanse orrelkomponiste soos geboorte- en sterfdatums, word in die dokument genoem. Suid-Afrikaanse komponiste word volgens herkoms en nasionaliteit in drie groepe ingedeel. Eie terminologie word hieraan toegeken. Min bronne oor Temmingh is beskikbaar. Daarom is hierdie mini-verhandeling grootliks met die hulp van die komponis saamgestel. Die gebrek aan genoeg literatuur oor Suid-Afrikaanse orrelmusiek en -komponiste het ’n uitdaging gebied vir die skrywer. Met behulp van die chronologiese katalogus van Temmingh se orrelwerke kan ’n onmiddellike oorsig van sy bydrae as orrelkomponis verkry word. Dit behoort musiekbiblioteke en orreliste te help om hulle onvolledige versamelings aan te vul. Hierbenewens sal die nuut-toegekende katalogusnommers ’n aanduiding gee van waar die betrokke orrelwerke chronologies by Temmingh se oeuvre inpas. ENGLISH : Hendrik (“Henk”) Temmingh can be regarded as one of South Africa’s leading organ composers. He showed versatility and established himself as a significant figure in the field of musicology, improvisation and organ music. The aim of the mini-dissertation is to show how Temmingh’s oeuvre justifies a complete catalogue of the organ works, and to compile such a document. Putting together an accurate biography of the composer, will fill another gap. A survey of South African organ music and composers indicate how, where and to what extent Temmingh functions as a true South African composer, although he was born in the Netherlands. Additional information, especially new data regarding South African organ composers such as dates of birth and death, is mentioned in the document. South African composers are divided into three groups according to origin and nationality. Own terminology is allocated to these. Few sources concerning Temmingh are available. Therefore this mini-dissertation was mainly compiled with the help of the composer. The scarcity of enough literature on South African organ music and composers was a challenge for the writer. An immediate summary of Temmingh’s contribution as an organ composer can be obtained with the help of the chronological catalogue of Temmingh’s organ works. This will help music libraries and organists to supplement their incomplete collections. Apart from this, newly allocated catalogue numbers will give an indication of where the works concerned fit in chronologically in Temmingh’s oeuvre. / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted