Thesis--Catholic University of America, 1933. / At head of title: The Catholic university of America. Includes bibliographical references (p. 173-186) and index.

Thesis (doctoral)--Ludwig-Maximilians-Universitat zu München, 1935. / Vita. Includes bibliographical references (p. [2-5]).

Thesis (D. Min.)--Northern Baptist Theological Seminary, 2000. / Abstract. Includes bibliographical references (leaves 203-210).

Thesis (D.W.S.)--Institute for Worship Studies, 2002. / Abstract. Includes bibliographical references (leaves 177-179).

Temat mojej pracy magisterskiej to Obrazy eschatologiczne we współczesnych pieśniach pogrzebowych na Wileńszczyźnie. Powstał on z założenia, że pieśń pogrzebowa jest pewnym odzwierciedleniem tradycyjnej kultury narodowej oraz ludowej, ma stare korzenie i przez ich pryzmat możemy dopatrzeć się różnych wyobrażeń dotyczących podstawowych zagadnień egzystencjalnych, a przede wszystkich wizji zaświatów i życia pozagrobowego.. Materiał do pracy został wyekscerpowany ze śpiewnika pani Ireny Tarejlis, z domu Czaplińskiej (ur. 1932 r., zam. we wsi Stakińce, rej. wileński), zawierającego 42 pieśni. Praca została podzielona na trzy bloki tematyczne: problematyka śmierci w ujęciu ogólnokulturowym, współczesna sytuacja pieśni pogrzebowej na Wileńszczyźnie oraz koncepcja nieba, czyśćca i piekła w pieśniach pogrzebowych. Analizowany repertuar tworów pieśniowych odzwierciedla wizje zaświatów w bardzo zróżnicowany sposób. O ile współczesna eschatologia skupia się raczej na myśli o niebie, zaś takie przerażające wizje, jak piekło czy czyściec znikają ze świadomości społecznej - to repertuar pieśni pogrzebowych, na który składają się pieśni powstałe w różnych epokach historycznych, odwierciedlają najczęściej tradycyjne modele miejsc pośmiertnych lub stanów: piekło, niebo oraz czyściec. Pełnią one w pieśniach funkcję dydaktyczną i zmuszają człowieka do pewnych rozważań i przemyśleń na temat życia i śmierci. / Mano magistrinio darbo tema yra Pomirtinio gyvenimo vaizdai šiuolaikinėse Vilniaus krašto lenkų laidotuvių giesmėse. Šios giesmės yra tradicinės bei liaudies kultūros atspindys. Jų raida siekia seniausius laikus, todėl tai duoda galimybę geriau pažinti mūsų protėvių pasaulėžiūrą, o ypač pomirtinio gyvenimo vaizdus. Medžiaga darbui buvo paimta iš Irenos Tareilis (gimusios 1932 m., gyvenančios Stakėnų kaime, Vilniaus r.) giesmyno, kuriame yra 42 dainos. Darbas yra padalintas į tris teminius blokus: mirties tematika tarpkultūriniame kontekste, dabartinė Vilniaus krašto laidotuvių giesmių situacija ir dangaus, skaistyklos bei pragaro koncepcija šiose giesmėse. Tyrimas parodė, kad pomirtinio gyvenimo vaizdavimas giesmėse yra labai įvairus. Dabartinė eschatologija labiau pabrėžia dangaus svarbą žmogaus sielai ir mažiau dėmesio kreipia į baisią pragaro bei skaistyklos viziją. Atvirkščiai yra įvairių laikų laidotuvių giesmėse, kuriose vaizduojami tradiciniai pomirtinio gyvenimo modeliai ir pragare, ir skaistykloje, ir danguje. Šis vaizdavimas atlieka didaktinę funkciją, priverčia žmones susimąstyti apie gyvenimą ir mirtį. / The title of my master's thesis is AN AFTERLIFE IMAGES IN MODERN POLISH FUNERAL HYMNS OF THE VILNIUS REGION. This is a reflection of these traditional songs and folk culture. Their development comes from the ancient times, so it gives us an opportunity to get some knowledge about our ancestors’ worldview, especially afterlife images. The material was taken from the hymn book of Irena Tareilis (born in 1932., living in Stakėnas village, Vilnius distr.), containing 42 songs. The work is divided into three thematic sections: the theme of death in an intercultural context, the current situation of the Vilnius region funeral songs and heaven, purgatory and hell concept in these hymns. The study showed that the afterlife portrayal of hymns is very diverse. The current eschatology more emphasis on the importance of the human soul, heaven, and pay less attention to the terrible vision of hell and purgatory. On the other hand, there are different times of the funeral hymns, depicting the traditional patterns of life after death in hell and purgatory, and heaven. This representation plays a didactic function, forces people to think about life and death.

The purpose of the study was to examine nineteenth century church music practices. This was done by 1) studying the attitudes displayed in the church periodical of The Wesleyan Methodist Connection (later, Church) of America; 2) locating and analyzing 44 tunes suggested in Miriam's Timbrel, a hymnal published for the Connection in 1853. This church was formed by people who seceded from a number of different denominations over the issue of slavery. It therefore represented the music practices of several American Protestant groups of the time.Findings1. Vocal music dominated music worship practices.2. Congregational singing was emphasized; every worshipper was urged to participate.3. Choirs were permitted but were often criticized and many thought their membership and music should be carefully regulated.4. There was much controversy over instrumental music; from 1845 to 1899 the church Discipline recommended that congregations dispense with its use.5. The history of each suggested tune was studied. Sources were discovered to be primarily European, either by actual composition or by influence.6. The tunes were grouped in categories according to origin: 1) the "better music" school of Lowell Mason and his coworkers, twelve tunes; 2) parlor songs by known composers, twelve; 3) folk song origin, nine; 4) European sacred sources, six; 5) European secular sources, four; 6) early American hymn tune, one.Similar characteristics were discovered among the tunes.The majority displayed:A 6- or 7-tone scaleMelodic range o f a 7th-9thFour or eight line stanzasConjunct melody linesSyllabic or slightly neumatic settings Common duple, triple, or quadruple meters Repetitive rhythmic patternsGenerally slow harmonic rhythm Simple harmonic structuresMajor keys with less than four sharps/flatsNon-traditional poetic meters.The tunes were relatively simple, easily learned, and in the popular styles, sacred and secular, of the nineteenth century.

The purpose of this study is to present an example of a Shaker teacher-musician whose thinking and activities exemplified those Shakers living in the "western" Shaker societies of Ohio and-Kentucky. Oliver C. Hampton is that person. Hampton was a teacher, musician, composer, poet, writer of prose, elder, and trustee of the Union Village, Whitewater, and North Union, Ohio societies. Historians do not rank Hampton and his several teacher-musician friends as highly as other, better-known Shaker leaders. Nevertheless, Hampton and his colleagues contributed much to the betterment of their fellow Shakers' lives through their considerable efforts.Chapter Two gives the reader a brief historical background to enable him better to understand the beginnings of this unique religious movement.Chapter.Three deals with Shaker attitudes on religion, education, and music. The philosophy of these facets of Shaker life are explored because these attitudes affected everything the Shakers did.Chapter Four gives details of the life of Oliver C. Hampton. His personality is set forth. His responsibilities as elder, teacher, and musician are discussed. Thirty examples of Oliver Hampton's hymns and laboring songs are briefly analyzed from the singer's perspective.Chapter Five discusses Susanna M. Brady, the Rupes, and other musicians and teachers of the Ohio and Kentucky societies.Chapter Six gives a brief summary of the contributions of Oliver Hampton and his friends in the Ohio and Kentucky Shaker societies.Appendices further illustrate the musical, poetic, and prose efforts of Hampton, the Rupes, Brady, and others. Appendix A lists all Shaker teachers and musicians found by the writer. Appendix B is an article by Hampton as published in The Shaker. Appendix C contains the thirty musical examples of Hampton as copied from the originals and then transcribed by the author. Appendix D lists the musical examples contained in the paper and where they may be found. Appendix E contains music attributed to the Rupes and Brady. Appendix F is a set of three photographs, including one of Hampton.

This study examines the relationship between the first major religious revival in the New England colonies and the change from psalmody to hymnody in the mid-eighteenth century through an approach which integrates the two fields of theology and church music. The termination date is 1770, and the focus is Protestant congregational song in the three groups most influenced by Puritan thought: the Congregationalists, the Presbyterians, and the Baptists.While much has been written separately about the change in eighteenth-century sacred song and the Great Awakening itself, there has been little research that attempts to place the psalmody/hymnody issue within the larger context of the changing theological milieu. This study first examines the theological and ecclesiastical structures which provided the context for Reformed worship, and then explores how fundamental changes in those structures and thought systems impacted congregational song. In order to comprehend the major changes which occurred in the mid-eighteenth century in colonial America, chapters on the Reformed Church and the beginning and spread of psalmody, the New England colonies to 1700, and the beginning of English hymnody are included.Conclusions1. The primary conclusion of this study is that the Great Awakening is the single most important factor in the change from psalmody to hymnody in the New England colonies. It is not a peripheral factor as indicated in much of the research. Rather, it provides both the rationale and the means for the transition in church song. The Great Awakening represented a basic theological change from a theocentric to an anthropocentric viewpoint that subsequently required alterations in sacred song. The revival movement, through its evangelistic spirit, also provided the vehicle by which this change in psalmody was effected.2. The agitation of the 1720s as evidenced in the tracts and treatises did not affect the transition directly. However, it is indicative of the increasing discontent with traditional Calvinist theology.3. The Psalms and Hymns of Isaac Watts were not a primary reason for the change, but met the needs of the new anthropocentric theology of the Great Awakening that required a new language of praise. / School of Music

Disertacijos objektas yra XIX amžiaus pirmosios pusės Mažosios Lietuvos surinkimininkų giesmynų ir jų giesmių istorija tekstologiniu, lingvistiniu požiūriu. Tyrimo šaltiniai – giesmynai: „Visokios naujos giesmės arba evangeliški Psalmai“ (1817, Tilžė), „Mažos giesmių knygelės“ (1819, Tilžė), manoma parengti Kristijono Endrikio Mertikaičio. Šioje disertacijoje pirmą kartą išsamiai analizuojama giesmynų ir jų dalių sandara, kalba ir šaltiniai, apžvelgiami XVIII amžiaus Karaliaučiaus vokiški giesmynai, atskleidžiamas Halės pietizmo vaidmuo, sudarant vokiškų ir lietuviškų giesmynų repertuarą. Ištyrus lietuviškus giesmynus buvo prieita prie tokių išvadų: Mertikaitis, sudarydamas surinkimininkų reikmėms skirtą giesmyną „Visokios naujos giesmės arba evangeliški Psalmai“ (1817, Tilžė), iš principo laikėsi oficialiųjų bažnytinių giesmynų formavimo principų. Dalis verstų ir originalių giesmių (iš viso 52) tiesiog perimta iš lietuviškų šaltinių. Giesmyno „Visokios naujos giesmės arba evangeliški Psalmai“ (1817, Tilžė) giesmės kalbos požiūriu skirtinos į dvi grupes – pasauliečių ir dvasininkų giesmes. Kalbos tyrimai patvirtino istoriografų spėjimą, kad Mažos giesmių knygelės parengtos to paties asmens Mertikaičio. Nustatyta, kad vokiškieji giemynų šaltiniai yra Karaliaučiaus teologijos profesoriaus, pietisto Frantzo Alberto Schultzo 1752 metų giesmynas Kern Alter und Neuer geiſtreicher Lieder, Als der Ʒweyte Theil, jaunosios kartos Halės pietisto Ernsto Gottliebo Woltersdorfo sudarytas... [toliau žr. visą tekstą] / The subject of the dissertation is the history of the hymn books and hymns of the first half of 19th century Fellowship Movement in Lithuania Minor in textual and linguistic approach. The sources of the research are the hymn books „Visokios naujos giesmės arba evangeliški Psalmai“ (1817) and „Mažos giesmių knygelės“ (1819), supposedly composed by Kristijonas Endrikis Mertikaitis. For the first time, the detailed analysis of the structure, language and sources of the hymn books and their parts, the overview of the 19th century German hymn books from Königsberg, and the explanation of the role of Halle Pietism in composing the repertoire of the German and Lithuanian hymn books are provided in this dissertation. The examination of Lithuanian hymn books has led to the following conclusions: when composing the hymn book „Visokios naujos giesmės arba evangeliški Psalmai“ for the needs of Fellowship Movement, Mertikaitis essentially followed the official line for the formation of church hymn books. The portion of translated and original songs (52 in total) is simply taken from Lithuanian sources. The hymnal „Visokios naujos giesmės arba evangeliški Psalmai“ have to be divided linguistically into two groups - the hymns for laity and the hymns for clergy. Linguistic research confirmed the presumption of historians that hymn book „Mažos giesmių knygelės“ is composed by the same person, i. e. Mertikaitis. It was established that German sources of the hymn books are the hymn book „Kern... [to full text]

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Charles Brewer, Florida State University, College of Arts and Sciences, Program in the Humanities. Title and description from dissertation home page (viewed June 19, 2006). Includes bibliographical references.