Thesis advisor: John F. Baldovin / Thesis advisor: Liam Bergin / This thesis is founded on the ecclesiological premise that the way in which the chair of the priest celebrant, the ambo, and the altar, are shaped and placed in a church greatly informs sacred worship and can either hinder or promote active participation or separation between ordained ministers and laity. What is the the ideal arrangement of the sacred space? This work aims to uncover the history and theology of each axis of the liturgy (chair, ambo, altar), and link them to the munera received in Baptism and Holy Orders in order to present a liturgically inspired arrangement of the sacred space. Finally, a case study of a recently built church will be presented to support the conclusion. / Thesis (STL) — Boston College, 2023. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Thesis (M.A.R.)--Emmanuel School of Religion, 2002. / Vita. Includes bibliographical references (leaves 46-47).

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Thesis advisor: Mark Massa / Thesis advisor: John Baldovin / Thesis (STL) — Boston College, 2013. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

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Thesis (MA Teologie(Praktiese Teologie)--Universiteit van Pretoria, 2004. / Includes bibliographical references (leaves 100-103)

This dissertation examines how changes in the understanding of Christian time developed in the Congregational Church in the United States, and in particular considers the processes and influences that led to the adoption and wide sharing of the broadly ecumenical Christian liturgical calendar in local Congregational churches. Internal and external factors from the late nineteenth and early twentieth century that may have inspired these shifts are investigated, including: the emerging ecumenical movement, and in the United States the work of the Federal and National Council of Churches; the international and ecumenical liturgical movement; the writings of influential Congregationalists such as Von Ogden Vogt and Willard Sperry; and new approaches regarding church architecture and other ecclesiastical arts, including hymnody. While developments from the seventeenth century to the middle of the nineteenth century are not neglected in this study, focus is given primarily to the period from 1886, when the National Council of the Congregational Church issued its first survey of local congregations concerning worship practices, to 1957, when the Congregational Church, having already merged with the Christian Church, joined the Evangelical and Reformed Church to form the United Church of Christ. Church-related periodicals, denominational hymnals, annual reports, writings of various Congregational clergy, and minutes of national Congregational meetings serve as primary texts in this investigation. A vital component of the study is the examination and interpretation of a variety of worship resources produced by the Commission on Worship and Evangelism of the Congregational Church and the National Council of Congregational Churches, as well as worship-related letters, editorials, and services found within various Congregational publications. While external factors were important in the reception of the ecumenical liturgical year into the annual calendars of Congregational churches, this research shows that it is the writings of various Congregational clergy, published as pamphlets, articles, and books, that have had the greatest influence. The results of this work fill a lacuna in scholarship related to the worship of the Congregational churches from the late nineteenth to mid-twentieth centuries, and contribute more generally to studies of the transitions in mainline American Protestant theology and practice in the late modern period.

Orientador: Prof. Dr. Paulo Augusto Castagna / Banca: Profa. Dra. Raquel Glezer / Banca: Prof. Dr. José Leonardo do Nascimento / Resumo: Este trabalho tem como objeto seis missas compostas por Furio Franceschini (1880-1976), compositor, regente e organista que atuou como mestre-de-capela na Sé de São Paulo por aproximadamente sessenta anos contados a partir de 1908. Seu objetivo é investigar possíveis significados às opções de Franceschini na composição das missas. Tais significados serão investigados levando em consideração o posicionamento estético do compositor, o período em que as obras foram escritas, a legislação eclesiástica sobre a música sacra e a prática musical litúrgica do período. Questiona-se também no que o conhecimento adquirido nesta pesquisa pode ajudar na compreensão da música litúrgica do presente. A busca pelos significados se deu com o auxílio dos seguintes conceitos explicadores: a teoria dos sistemas autopoiéticos de Niklas Luhmann e as noções de tradição inventada e mito de origem, ambos oriundos da História. O primeiro capítulo traz uma rápida biografia do compositor, seu posicionamento sobre questões artísticas de seu tempo e sobre técnicas de composição. O capítulo seguinte é dedicado à compreensão dos movimentos de restauração musical - Cecilianismo - e institucional - Ultramontanismo - que aconteceram na Igreja Católica Romana, no século XIX. Passa-se, então, ao passado considerado ideal, em termos de música, a polifonia de Palestrina, para então se chegar, no quarto capítulo, ao estudo do Motu Proprio (1903), que determinava este gênero musical e o canto gregoriano como modelos de música sacra. Por fim, são estudas as principais características das missas para que se possa responder às questões centrais formuladas neste trabalho. / Abstract: This paper has as goal six masses composed by Furio Franceschini (1880-1976), composer, conductor and organist who acted as chapel master at Sé in São Paulo for approximately sixty years having started in 1908. Its goal is to investigated possible meanings to the options of Franceschini in the composition of masses. Such meanings shall be investigated taking in consideration the esthetic positioning of the composer, the period in which the songs were written, the ecclesiastic legislation on sacred music and liturgical music practice at the time. It is also questioned in what way the knowledge acquired in this research can help understand liturgical music of the present. The search for significance happened with the help of the following explainers: the autopoietic systems theory of Niklas Luhmann and the notions of invented traditions and myth of origin, both coming from History. The first chapter brings a quick biography of the composer, his opinion about artistic matters of his time and about composing techniques. The following chapter is dedicated to the understanding of musical restoration movements - Cecilian Movement - and institutional - Ultramontanism - that took place in the Roman Catholic Church in the 19th century. It then goes on to the past considered ideal, in musical terms, the polyphony of Palestrina, to finally arrive at chapter four, at the study of Motu Proprio(1903), which determined this musical genre and the Gregorian chant as models of sacred music. Finally the main characteristics of the masses are studied to be able to answer the central questions formulated in this paper. / Mestre

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