Thesis (S.T.L.)--Catholic University of America, 2003. / Includes bibliographical references (leaves 165-170).

Project (D. Min.)--Iliff School of Theology, 2006. / Includes abstract. Includes bibliographical references (leaves 97-99).

Thesis (M.A.)--Catholic Theological Union, 1978. / Includes bibliographical references (leaves [109-111]).

abstract: This paper provides a comprehensive study of Italian liturgical organ works from the 15th to 17th centuries. This music was composed for the Catholic Mass, and it demonstrates the development of Italian keyboard style and the incorporation of new genres into the organ Mass, such as a Toccata before the Mass, music for the Offertory, and the Elevation Toccata. This often neglected corpus of music deserves greater scholarly attention. The Italian organ Mass begins with the Faenza Codex of c.1430, which contains the earliest surviving liturgical music for organ. Over a century would pass before Girolamo Cavazzoni published his three organ Masses in 1543: Mass IV (for feasts of apostles), Mass IX (for Marian feasts) and Mass XI (for typical Sundays of the year). The prevalence of publishing in Venice and the flourishing liturgical culture at San Marco led two notable organists, Andrea Gabrieli and Claudio Merulo, to publish their own Masses in 1563 and 1568. Both composers cultivated imitation and figurative lines which were often replete with ornamentation. Frescobaldi’s Fiori musicali, published in Venice in 1635, represents the pinnacle of the Italian organ Mass. Reflecting the type of music he performed liturgically at San Pietro in Rome, this publication includes several new genres: canzonas after the reading of the Epistle and after Communion; ricercars after the Credo; and toccatas to be played during the Elevation of the Host. Frescobaldi’s music shows unparalleled mastery of counterpoint and invention of figuration. His liturgical music casts a long shadow over the three composers who published organ Masses in the decade following Fiori musicali: Giovanni Salvatore, Fra Antonio Croci and Giovanni Battista Fasolo. This comprehensive look at Italian organ Masses from the 15th-17th centuries reveals the musical creativity inspired by the Catholic liturgy. Perhaps because of their practical use, these organ works are often neglected, mentioned merely as addenda to the other accomplishments of these composers. Hopefully insight into the contents of each organ Mass, along with the information about their style and aspects of performance practice, will make these musical gems more accessible to contemporary organists. / Dissertation/Thesis / Doctoral Dissertation Music 2015

In this study, the Eucharist as a liturgical ritual celebrated in the online space is explored. The study begins with an exploration of the terms worship, liturgy and ritual, settling on the term liturgical ritual. The methodology of practical theological interpretation is then considered, with the first step, the descriptive-empirical task being undertaken. The conceptual framework for the study is located within the postmodern discourse of liminality, using the metaphors of language, play, bricolage, embodiment, time and space to explore the intersection of liturgical ritual, network culture and liminality. A literature survey considers the research completed in the area of online ritual, and highlights two major themes, those of embodiment and community, which challenge the Eucharist online becoming a reality. / Dissertation (MPhil)--University of Pretoria, 2014. / tm2015 / Practical Theology / MPhil / Unrestricted

Thesis advisor: John Baldovin / Thesis advisor: Thomas M. Groome / This thesis proposes a connection between the theology of the assembly and the education offered by the Society of Jesus in its schools. For young people, the school should be a place where they learn that life in community is the fullest form of life. Sacramentality is a constitutive dimension of the Church and the Christian faith, and inspires us to live our faith in all situations and circumstances. As a result, liturgy has a significant impact on the formation and transformation of the Christian community. It is essential that the liturgy is adequate to allow members to express their faith in God and experience God's life through the love they receive for the world. Although not all students in Jesuit schools are Catholic, the Jesuit school is an assembly where all members must develop a sacramental look at reality. Liturgy can be a link between all these elements, for when it is "sacramenally adequate," it is a source of nourishment and continual conversation for the faith life of a Christian community. In summary, this thesis argues that assembly theology and Jesuit education must go together to form a sacramentally adequate Christian community where the liturgy is a source of ongoing transformation and conversion. / Thesis (STL) — Boston College, 2023. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Together, the "Landeskirchlichen Gemeinschaften" forms the largest free reform move-ment within the Evangelical Church in Germany. In recent decades a change in worship gatherings has taken place in many of these communities. Independent worship services developed from the complementary gatherings, which at first were meant to be extensions of the Church's Sunday worship services. These services, held in free form and without orders of worship, now have become a substitute for the 'normal' church service. The 'creative freedom' also brings disadvantages, as unreflective processes tend to foster rigid orders of service. Because of a conscious separation from the church services of the mainstream church, important liturgical actions as well as elements of the Church Year could be omitted. This dissertation aims to study from various perspectives the possibilities for enriching worship in the "Landeskirchliche Gemeinschaften". From literature in liturgical studies, in the first place from the sphere of the Evangelical Church in Germany, but also from the free churches in Germany, the fundamental Reformatory insights for worship and the litur-gy are discussed and evaluated. On the basis of these findings, well-founded suggestions for the design of services in Landeskirchlichen communities are made. Possibilities for enrichment through careful planning are identified for those responsible for the respective services. / Philosophy, Practical and Systematic Theology

Two challenges exist for learning Jewish Liturgical Chant: the fact that traditional modal chants are relatively inaccessible for those who do not read notated music, and the problem of how to indicate phrases within liturgical texts for those who do not know Classical Hebrew grammar. This presentation and analysis of Simanei Nusach, a new system of graphic symbols for Jewish Liturgical Chant, addresses both of these concerns. If an adult lay religious leader is learning to lead worship services, and he or she does not read notated music, the primary methodology for learning has been rote memorization of modal musical motifs. Sources of these traditional modal musical motifs have been an experienced teacher, recordings, teaching software, and Internet resources on Jewish Liturgical Chant. If a person who is leading Jewish worship services does not know Hebrew grammar, the only indications for phrasing liturgical texts have been commas in Jewish prayerbooks, and the musical lines of the modal musical motifs. Some modal motifs indicate that the chant begins a sentence or continues a thought, while other motifs indicate the end of a phrase or a sentence. During the 800's C.E. in Israel, a family of Biblical scholars addressed these concerns for chanting the Hebrew Bible. These Masoretes developed a system of graphic symbols indicating punctuation of Biblical phrases, accentuation of words, and the chant of the Bible texts. These Trope symbols in a printed Jewish Bible also serve as a teaching tool for Biblical Cantillation. At the turn of the 21st century, there was no widely-accepted set of graphic symbols that shows the phrasing and modal musical motifs of chanted Jewish liturgy. While preparing teaching materials for adult lay religious leaders who do not read notated music, this author developed a new set of graphical symbols, Simanei Nusach (Symbols of Prayer-chant), to indicate the modal musical motifs and the Hebrew text phrasing of Jewish Liturgical Chant.

Together, the "Landeskirchlichen Gemeinschaften" forms the largest free reform move-ment within the Evangelical Church in Germany. In recent decades a change in worship gatherings has taken place in many of these communities. Independent worship services developed from the complementary gatherings, which at first were meant to be extensions of the Church's Sunday worship services. These services, held in free form and without orders of worship, now have become a substitute for the 'normal' church service. The 'creative freedom' also brings disadvantages, as unreflective processes tend to foster rigid orders of service. Because of a conscious separation from the church services of the mainstream church, important liturgical actions as well as elements of the Church Year could be omitted. This dissertation aims to study from various perspectives the possibilities for enriching worship in the "Landeskirchliche Gemeinschaften". From literature in liturgical studies, in the first place from the sphere of the Evangelical Church in Germany, but also from the free churches in Germany, the fundamental Reformatory insights for worship and the litur-gy are discussed and evaluated. On the basis of these findings, well-founded suggestions for the design of services in Landeskirchlichen communities are made. Possibilities for enrichment through careful planning are identified for those responsible for the respective services. / Philosophy, Practical and Systematic Theology

Despite the authoritative and very explicit directions from the Vatican in 1903, the Catholic Archdiocese of Melbourne successfully resisted the demands for a major reform of liturgical Church music for 35 years. This thesis will examine the reasons for this strong and effective resistance to the demands of the Holy See and show that despite being complex and interrelated these reasons can be summarised under two fundamental headings. The thesis will examine the broad spectrum of music performed in the Melbourne Archdiocese, but because of the limited availability of information and the prime importance of the two principal churches of the Archdiocese, it shall concentrate on St. Patrick’s Cathedral and on St. Francis Church. The thesis shall also examine in detail the documents of the Holy See concerning liturgical music which were relevant to musical practice in Melbourne. Special attention is drawn to the influential Motu proprio Tra le sollecitudini (1903) issued by Pope Pius X. The time span of this thesis covers the 95 years from March 1843 when the first music was sung in Melbourne’s only Catholic church to 1938 when Archbishop Daniel Mannix ordered the reforms to liturgical music as demanded by the Vatican. The thesis shall demonstrate that the resistance to the reform of liturgical music in the Catholic Archdiocese of Melbourne was due to the two following influences: the fact that the new freedom and wealth that the immigrant Irish community of the Archdiocese of Melbourne experienced enabled them to establish churches and liturgies whose grandeur and artistic excellence symbolized their success in establishing a major new social and cultural status in their new home. Church music was one of the great manifestations of this and as an integral part of their new significance and sense of achievement, it was to be jealously guarded. the second was the matter of authority and the independence of the Catholic bishops from the dictates and interference of the Vatican authorities. These Irish-born bishops were trained in an historical milieu in Ireland and Europe which fostered a fierce pride in the value of autonomy from external and alien authority. In this they were given a great degree of protection by the isolation of Australia and its distance from outside authority. In this Archbishops Carr and Mannix both proved to be strongly independent leaders who proved to be most reluctant to automatically implement reforms imposed by the Vatican. It will be shown that only in the fourth decade of the twentieth century was Episcopal authority finally brought to bear to make reforms to liturgical music a reality in the Catholic Church in Melbourne.