This study aims to show all known knowledge of singing in the earliest days of the biblical New Testament. The practices of the early Christian church in respect to singing are traced during the period directly following that covered by the New Testament and carried forward to around the year 500 A.D. The study aims to learn, insofar as available sources permit, all that we may know today of singing in the earliest days of the New Testament Church. Both Old and New Testaments will be searched for all references to song, and particular attention will be directed to the meaning of St. Paul's reference to "psalms, hymns, and spiritual songs" in an effort to determine the meaning of these three items.

Benjamin Keach (1640-1704) was a seventeenth-century preacher and hymn writer. He is considered responsible for the introduction and continued use of hymns, as distinct from psalms and paraphrases, in the English Nonconformist churches in the late seventeenth century, and is remembered as the provider of a well-rounded body of hymns for congregational worship. This thesis reviews the historical climate of seventeenth-century England, and discusses Keach's life in terms of that background. Keach's influence on congregational hymn singing, hymn writers, preaching, and education is also examined. Keach's writings and contributions to hymn singing are little known today. This thesis points out the significance of these writings and hymns to seventeenth-century religious life.

Este estudo, incluindo a tradução dos textos gregos para o português, dedica-se aos Hinos Homéricos. Apresenta, de início, um panorama dos poemas; entende serem eles continuidade da Teogonia hesiódica; analisa-os em suas unidades e temas; investiga-lhes as teofanias; levanta suas fórmulas de abertura e fechamento; e versa sobre outras questões estruturais da espécie hínica. Discorre, em seguida, acerca das bases do poder de Zeus, firmadas nas seis obras que realizou para criar uma nova visão de mundo. Tais ações, narradas na Teogonia e nos Trabalhos de Hesíodo, encontram eco no canto de Hermes e nas demais referências a elas espalhadas nos hinos. Em seguida, após a identificação e exame dos traços da personalidade de Zeus, sua liderança passa a ser focalizada. Constata-se ali que Zeus, ainda que seja em sua essência delegador, utiliza-se de outros estilos de liderança quando a situação requer, a fim de influenciar seus seguidores quanto à missão que lhes cabe no universo. Finalmente, este estudo se detém nos motivos pelos quais os deuses obedecem a Zeus, e por que este obtém o empenho e o compromisso deles, e mostramos que a razão deste comportamento não se deve propriamente ao posto que ele ocupa, mas, à sua maneira de ser, firmeza de propósitos e princípios como liberdade, igualdade, confiança, respeito e reconhecimento, valores compartilhados pelos deuses. Fica, pois, então garantida a canalização da energia de todos para a missão da ordem e de justiça no mundo, condição essa essencial para a existência humana e para a vida em geral. Guiada por valores que priorizam o pensamento crítico, única forma capaz de tornar seus seguidores sujeitos de seus atos, a organização olímpia, liderada por Zeus, coloca-se distante da organização feudal, com seus vassalos submissos, passivos, dependentes, massa informe - como se vê - mais condizente com os deuses indistintos inseridos no ventre de Crono, de modo que, ao se tratar da liderança de Zeus e da razão por que os deuses se comprometem com ele, salta à vista a impropriedade de chamá-lo feudal. / This study, including the translation of Greek texts to Portuguese, honors the Homeric Hymns. An overview of the poems is presented at first; they are understood as the continuity of the Hesiodic Theogony; the unities and themes are analyzed; the teophanies are investigated; opening and closure formulas are raised; and some other structural issues of the hinic species are considered. The basis of Zeus power, stated in the six pieces of work for a new view of the world, are discussed later. Such actions, narrated in the Theogony and Hesiod Works, are echoed in Hermes chants and in other references throughout the hymns. Then, after the identification and traits exam of Zeus personality, his leadership starts to be focused. It is observed that, despite being essentially delegating, Zeus uses other leadership styles when required, to influence his followers as to their mission in the universe. Finally, this study highlights the reasons why the gods obey Zeus and why he obtains their involvement and compromise, showing that the reason of their behavior is not due exactly to his position but to his manners, firm purposes and principles such as liberty, equality, confidence, respect and acknowledgement, values shared by the gods. This guarantees the direction of the whole energy for the mission of order and justice in the world, essential condition for human existence and life in general. Guided by values prioritizing the critical thought, the only way to make his followers subjects of their acts, the Olympic organization, created by Zeus, is distant from the feudal organization, with its submissive servants, passive, dependent, shapeless mass – as it is seen - much more in accordance with the indistinct gods inserted in Krono belly, so that, when dealing with Zeus leadership and the reason why the gods where compromised with him, it is very clear the it is not appropriated to call him feudal.

Este estudo, incluindo a tradução dos textos gregos para o português, dedica-se aos Hinos Homéricos. Apresenta, de início, um panorama dos poemas; entende serem eles continuidade da Teogonia hesiódica; analisa-os em suas unidades e temas; investiga-lhes as teofanias; levanta suas fórmulas de abertura e fechamento; e versa sobre outras questões estruturais da espécie hínica. Discorre, em seguida, acerca das bases do poder de Zeus, firmadas nas seis obras que realizou para criar uma nova visão de mundo. Tais ações, narradas na Teogonia e nos Trabalhos de Hesíodo, encontram eco no canto de Hermes e nas demais referências a elas espalhadas nos hinos. Em seguida, após a identificação e exame dos traços da personalidade de Zeus, sua liderança passa a ser focalizada. Constata-se ali que Zeus, ainda que seja em sua essência delegador, utiliza-se de outros estilos de liderança quando a situação requer, a fim de influenciar seus seguidores quanto à missão que lhes cabe no universo. Finalmente, este estudo se detém nos motivos pelos quais os deuses obedecem a Zeus, e por que este obtém o empenho e o compromisso deles, e mostramos que a razão deste comportamento não se deve propriamente ao posto que ele ocupa, mas, à sua maneira de ser, firmeza de propósitos e princípios como liberdade, igualdade, confiança, respeito e reconhecimento, valores compartilhados pelos deuses. Fica, pois, então garantida a canalização da energia de todos para a missão da ordem e de justiça no mundo, condição essa essencial para a existência humana e para a vida em geral. Guiada por valores que priorizam o pensamento crítico, única forma capaz de tornar seus seguidores sujeitos de seus atos, a organização olímpia, liderada por Zeus, coloca-se distante da organização feudal, com seus vassalos submissos, passivos, dependentes, massa informe - como se vê - mais condizente com os deuses indistintos inseridos no ventre de Crono, de modo que, ao se tratar da liderança de Zeus e da razão por que os deuses se comprometem com ele, salta à vista a impropriedade de chamá-lo feudal. / This study, including the translation of Greek texts to Portuguese, honors the Homeric Hymns. An overview of the poems is presented at first; they are understood as the continuity of the Hesiodic Theogony; the unities and themes are analyzed; the teophanies are investigated; opening and closure formulas are raised; and some other structural issues of the hinic species are considered. The basis of Zeus power, stated in the six pieces of work for a new view of the world, are discussed later. Such actions, narrated in the Theogony and Hesiod Works, are echoed in Hermes chants and in other references throughout the hymns. Then, after the identification and traits exam of Zeus personality, his leadership starts to be focused. It is observed that, despite being essentially delegating, Zeus uses other leadership styles when required, to influence his followers as to their mission in the universe. Finally, this study highlights the reasons why the gods obey Zeus and why he obtains their involvement and compromise, showing that the reason of their behavior is not due exactly to his position but to his manners, firm purposes and principles such as liberty, equality, confidence, respect and acknowledgement, values shared by the gods. This guarantees the direction of the whole energy for the mission of order and justice in the world, essential condition for human existence and life in general. Guided by values prioritizing the critical thought, the only way to make his followers subjects of their acts, the Olympic organization, created by Zeus, is distant from the feudal organization, with its submissive servants, passive, dependent, shapeless mass – as it is seen - much more in accordance with the indistinct gods inserted in Krono belly, so that, when dealing with Zeus leadership and the reason why the gods where compromised with him, it is very clear the it is not appropriated to call him feudal.

Submitted by Natália Fernanda da Silva Trigo null (ntrigo@ymail.com) on 2017-03-12T22:09:09Z No. of bitstreams: 1 DISSERTACAO.pdf: 2622143 bytes, checksum: 4ae65c0ffcd4ae74cfdf9533a570c462 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-03-17T14:32:13Z (GMT) No. of bitstreams: 1 trigo_nfs_me_sjrp.pdf: 2622143 bytes, checksum: 4ae65c0ffcd4ae74cfdf9533a570c462 (MD5) / Made available in DSpace on 2017-03-17T14:32:13Z (GMT). No. of bitstreams: 1 trigo_nfs_me_sjrp.pdf: 2622143 bytes, checksum: 4ae65c0ffcd4ae74cfdf9533a570c462 (MD5) Previous issue date: 2017-02-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho analisa de que maneira as reflexões teórica sobre a criação poética de Novalis, que se materializam nos fragmentos de Pólen, relacionam-se com os poemas que compõem os Hinos à Noite. Procuramos analisar a relação dialética que as duas obras estabelecem que consiste no fato dos fragmentos possuírem características da poesia e de suas ideias estarem presente nos poemas. Analisamos os fragmentos que refletem sobre as teorias românticas acerca da poesia e do poético, compreendendo como se constitui nessa obra o pensamento crítico de Novalis sobre poesia e linguagem, estabelecendo, depois, ligações com os poemas, associando a reflexão crítica presente em Pólen com alguns elementos poéticos marcantes nos Hinos como o misticismo, a ideia de conhecimento, o símbolo, a valorização da Noite, da Morte e do Amor. Compreendemos que as duas obras estabelecem uma conexão de ideias, pois, entendemos os Hinos como uma poesia transcendental, sobre a qual Novalis teorizou em seus fragmentos, além disso, analisamos que os símbolos do Amor e da Morte estão presentes em ambas as obras e são construídos a partir de características em comum. Refletimos ainda que as duas obras se aproximam também no aspecto formal, uma vez que em ambas Novalis faz experimentações formais: em Pólen temos o desenvolvimento do fragmento como gênero, enquanto nos Hinos temos o poema em prosa e em verso. Verificamos, então, que Novalis dissolve as fronteiras entre poesia, teoria e crítica, tanto em relação as reflexões propostas e a linguagem utilizada quanto a composição formal, criando, com isso, uma maneira original de se pensar e se produzir as obras literárias, suas teorias e suas críticas. / The present work studies the way the theoretical reflection about the poetic creation of Novalis, that are present in the fragments of Pollen, have a relation with the poems of the Hymns to the Night. We analyze the dialectics relation that the two works have, which is the fragment having characteristics of poetry and the ideas of the fragments being present in the poems. We analyze the fragments that reflect the romantic theories about poetry and poetic, understanding how the critical thoughts by Novalis about poetry and language are made, establishing, after that, connections with the poems, and linking the critical reflection that’s in Pollen with some important poetic elements of the Hymns, as the mysticism, the idea of knowledge, the symbol, the valorization of Night, Death and Love. We recognize that the two works have a connection of ideas, because we understand the Hymns as the transcendental poetry, that Novalis theorized in his fragments. Furthermore, we analyze that the symbols of Love and Death are in both works and made with sharing characteristics. We also reflect that both works have similarities in the formal aspect, once that in both Novalis make formal experimentations: in Pollen we have the development of the fragment as a genre, and in the Hymns the poem in prose and verse. We also verified that Novalis dissolves the frontiers among poetry, theory and criticism, in relation to the proposed reflections and the language used as well as the formal composition, creating, with this, a new way of thinking and producing the literary compositions, their theory and their criticism.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O trabalho se propÃe a analisar os hinos da doutrina do Santo Daime. A hipÃtese central à que eles sÃo, ao mesmo tempo, o conhecimento em si e o veÃculo de transmissÃo desse conhecimento. SÃo analisados hinos que acompanham a evoluÃÃo do Santo Daime destacando trÃs momentos de sua histÃria: a fundaÃÃo por Raimundo Irineu Serra, na dÃcada de 30 do sÃculo passado; a consolidaÃÃo por SebastiÃo Mota de Melo, a partir de 1971, e a expansÃo levada à frente por Alfredo GregÃrio de Melo atualmente. A partir dos conceitos de memÃria social e performance, analiso os diversos tipos de rituais que constituem o corpus da religiÃo em questÃo e destaco a relaÃÃo entre ensino e aprendizagem a partir dos hinos, do transe e da performance. / The work analyzes the hymns of the doctrine of the Saint Daime. The central hypothesis is that they are at the same time the knowledge in itself and the vehicle of transmission of this knowledge. This text tries to understand though the hymns the evolution of the Saint Daime detaching three moments of its history: the foundation for Raymond Irineu Serra, in the decade of 30 of the last century; the consolidation for SebastiÃo Mota de Melo, from 1971 and the currently expansion taken to the front for Alfredo Gregorio de Melo. With the concepts of social memory and performance the text analyzes the diverse types of rituals that constitute the corpus of the religion in question and it detaches the relation between education and learning with the hymns, and trance and the performance.

本研究旨在關注中國神學家趙紫宸（1888-1979）與美國傳教士、音樂家范天祥（Bliss Wiant，1895-1975）於1920年代至1930年代在推動中國聖樂處境化方面的合作。中國讚美詩處境化已成為一個重要的研究領域。然而，相關研究則較少關注對於特定時間內由中國基督徒與傳教士合作的處境化讚美詩（包括讚美詩翻譯及創作）。這一個案研究則將聚焦趙紫宸與范天祥在1930年代初所編撰的兩本讚美詩集《團契聖歌集》（1931）與《民眾聖歌集》（1931），並與20世紀初其他讚美詩（集）作簡要比較。 / 第一章旨在考察19世紀西方新教傳教士對中國讚美詩處境化所作之努力，其後則是對20世紀，特別是20年代晚期至30年代早期，中國基督徒對中國讚美詩處境化所作的追尋。第二章則旨在聚焦《團契聖歌集》的編撰，考察趙紫宸的處境化翻譯，以及其與傳統文化價值及社會圖景內在與外在的互動及對話。第三章則將對由趙紫宸作詞、范天祥配樂的《民眾聖歌集》作出分析。在此，將考量趙的讚美詩作詞原則，以及分析他的讚美詩創作與其早期神學思想之關聯。第四章則將視角轉移至范天祥及《民眾聖歌集》的處境化音樂創作。范為該詩集所選擇的中國曲調將幫助我們窺看它們如何參與進處境化讚美詩的進程。在此，後殖民文化批評的視角將幫助我們從新的解讀框架中理解中國處境化讚美詩編撰。 / 在第五章，我們將把這兩本讚美詩與六公會聯合編撰的《普天頌讚》（1936）作比較，該詩本被視為20世紀前四十年中國讚美詩處境化的最高成就。與此同時，兩個本土小宗派：聚會處及耶穌家庭的讚美詩也在比較範圍之內。同時，我們將運用"全球地域化"的視角就全球化與地域化互動層面進一步解讀20，30年代的中國處境化讚美詩。 / 處境化音樂，從神學上來看，是一種道成肉身的表述。在此，道轉為肉身，肉身轉為歌。這在我們對趙紫宸與范天祥的讚美詩集研究中能得到例證。他們在中國處境化讚美詩上創造性的合作──從歌詞到音樂──都對中國讚美詩處境化作出長久而又獨特的貢獻。對於基督教史的研究及未來的中國教會而言，都是至關重要的。 / This dissertation is concerned with the contextualization of Chinese hymns in the 1920s and 1930s in the collaboration between T. C. Chao (1888-1979), a renowned Chinese theologian, and Bliss Wiant (1895-1975), an American missionary and musicologist. The contextualization of Chinese Christian hymns has become an important area of study, but relatively little attention has been paid to the concrete interpretation of translations and hymns produced in a particular time by Chinese Christians and missionary collaborators. In this case study, the focus is on two hymnals produced by Chao and Wiant, Christian Fellowship Hymns and Hymns for the People, published in the early 1930s, with brief comparisons with other hymnals from the early decades of the twentieth century. / Chapter one surveys the contextualization of Chinese hymns made by Western protestant missionaries in the nineteenth century, followed by an exploration on the contextualization of Chinese hymnology by Chinese Christians themselves, especially in the late 1920s and early 1930s. The subject of Chapter two is the origin and writing of Christian Fellowship Hymns, focusing on T. C. Chao’s contextualized translations and his implicit and explicit interaction and dialogue with traditional cultural values and the contemporary social scene. In Chapter three we consider the second hymnal, Hymns for the People, which contains hymns written by Chao and set to Chinese music by Wiant. Here we consider Chao’s principles for hymn writing, and see how his hymns reflect his early theological thinking. In Chapter four, attention shifts to Bliss Wiant and the music in Hymns for the People. The Chinese tunes Wiant selected for this hymnal are analyzed to see how they were part of the contextualization process. Here, we employ post-colonial criticism to develop the beginnings of a new interpretative framework that can be applied to the process of the contextualization of Chinese hymnology. / Our final Chapter five compares the two Chao/Wiant hymnals with Hymns of Universal Praise, a joint effort by six denominations, which may be seen as the highpoint of the contextualization of Chinese hymnology in the fourth decade of the 20th century. These two hymnals are further compared with the hymnals of two independent/indigenous traditions: the Little Flock and the Jesus Family. Finally, we use the theory of "Glocalization" to further develop the study of Chinese hymnody in the 1920s and 1930s, emphasizing the mutually interactive process between the global and the local in contextualized Chinese Christian hymns. / Contextualized music is, theologically, an expression of the Incarnation, the Word become flesh, the flesh become song. This is evident in our study of the hymnals of T. C. Chao and Bliss Wiant. Their creative collaboration on contextualized Chinese hymns, the words and the music, has made a lasting and in some ways unique contribution to Chinese hymnody. It is important both for the study of the history of Christianity and the future of the Chinese Church. [end] / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chen, Ruiwen. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 267-298). / Abstracts also in Chinese; includes Chinese.

Project (D. Min.)--Perkins School of Theology, Southern Methodist University, 1989. / Abstract. Includes bibliographical references.

Thesis (M.A.)--York University, 2007. Graduate Programme in Music. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29575

The editor's thesis (Ph.D.)--University of North Carolina at Chapel Hill, 1967. / Typescript (v. 1) Hymns, psalms, sacred and secular part-songs. For cantus, altus, tenor, and bassus. German words; editor's commentary in English. "Simler ... wrote many of the poems set to music and some of the music, but in the first edition ... he names Andreas Schwilge as the composer and arranger of the melodies." -- Leaf 30. eContent provider-neutral record in process. Description based on print version record. Bibliography: v. 1, leaves [281]-285.