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.

L'étude de la musique à l'église au XIXe siècle est une thématique de recherche en plein essor. Depuis quinze ans, lesrecherches menées ont permis d'appréhender ce large sujet et d'ouvrir les perspectives de recherche qui en découlent,mais une part de cette thématique reste encore à explorer. En effet, le mouvement de restauration de la musique d'égliseest à ce jour peu abordé de façon singulière.Notre objectif étant de mettre en évidence l'étendue du champ de recherche, musicologique et pluridisciplinaire liée àl'étude de ce mouvement, Félix Clément est apparu être une entrée appropriée. Bien que n'étant pas chef de file, Clémentsemblait s'engager dans toutes les voies qui s'ouvraient à lui pour aborder et développer la question de la restauration dela musique à l'église.Dépassant le domaine du religieux, Clément fait montre, dans son travail de restaurateur du chant liturgique et selon sesdifférentes approches, d'une réelle acuité d'esprit et prend bien en considération toute la complexité d'une telleentreprise. Surtout, il permet d'intégrer le mouvement auquel il appartient dans le flux historiographique, sociétal,politique et cultuel et d'en révéler toute la profondeur. li ouvre la voie de plusieurs axes de recherches liés à l'étude de larestauration du chant liturgique de sorte qu'un vaste paysage du mouvement se dépeint au seul regard de ses activités.Notre étude s'applique à replacer les démarches de Clément dans leur contexte afin d'en dégager le rapport àl'environnement politique et cultuel et de définir l'importance et les retombées de ses travaux. / 19th century church music is a research area that is greatly expanding. The last 15 years of research has Iead to a better understanding of this expansive subject, but much remains to be examined. ln particular, the 19th century French Church Music Restoration Movement has yet to be studied in its own right.Our goal was to demonstrate the breath of the musicological and multidisciplinary research opportunities related to this movement, and Félix Clément emerged as an ideal starting point. Although he was nota principle leader, he was involve in ail areas of the Church Music Restoration Movement that were open to him. Beyond the field of religion, Clément revealed a real insight, through his work as a Iiturgical chant restorer and his different methodological approaches, and understood the entire complexity of the field. Above all else, his experience allows for a deeper understanding of the societal, political, religious and historiographical currents involved in this kind of work. His work opens the door to many research possibilities relating to the study of the restoration of Iiturgical chant in such a way that an entire field is revealed by looking at his activities. Our study attempts to place the work of Clément in their context in order to extract the political and religious relationship and to define the importance and Iegacy of his work.

In the 1930s, Oregon State University received an impressive oversized manuscript, now known as "The Gradual," as part of a large donation of books. Not much was known about this manuscript. It does not have documentation attached from the time of its acquisition, nor had any methodical study been undertaken regarding the manuscript. This thesis examines the OSU Gradual, aiming to provide research tools for the identification of musical manuscripts of unknown or unclear provenance that could be useful to conservators, archivists, and librarians, irrespective of musical training. It is conceived as a "rough guide" for working situations where there is no dedicated manuscript specialist, in particular, a fulltime Latin paleographer or a chant scholar overseeing a massive collection. Instead, its "how-to" nature addresses curators and catalogers managing smaller manuscript collections as generalists, offering an interdisciplinary approach both beneficial and suitable to the aims of this study.

O canto e a música no contexto ritual da liturgia na Igreja Católica: desafios para a formação de agentes na Diocese de Vacaria/RS. Os sons da natureza, selecionados e combinados, originaram a arte musical. A música faz parte da cultura humana; é constitutiva de sua própria existência. Na abordagem desse assunto, o capítulo primeiro deste trabalho busca uma aproximação histórica da música; investiga a antropologia da música e sua relação ritual com o sagrado, fazendo parte, inclusive, dos ritos cristãos. O Concílio Vaticano II resgatou, na Igreja Católica, o valor da arte musical e ampliou suas possibilidades. A arte musical passa a se inscrever dentre os ritos sacramentais. Mais que cantar na liturgia se nos impõe a necessidade de cantar a própria liturgia. A música passa a ser entendida como veio de participação favorecendo que os fiéis expressem sua fé, seu agradecimento e suas necessidades. Na segunda parte se busca uma aproximação com a realidade litúrgico musical da Diocese de Vacaria/RS. Além da localização histórico-geográfica, apresentam-se significativos elementos obtidos através de uma pesquisa de campo. Tendo-se como ponto referencial o Curso de Canto Litúrgico e Pastoral (CCLP), em execução há três anos, procurase entender a compreensão que as pessoas têm de música e a forma que esta incide em suas vidas. Depois, a pesquisa procura captar a função que a música ritual tem na liturgia, na opinião dos entrevistados. De modo geral os entrevistados demonstram entender que uma celebração bem cantada anima a caminhada e torna viva a Igreja cristã. Há, portanto, a necessidade de preparar os agentes da arte musical para que contribuam na realização de celebrações vivas através de um adequado uso da música e do canto nas celebrações litúrgicas. O terceiro capítulo deste trabalho procura apontar indicativos práticos para a formação dos ministros do canto e da música bem como para a sua atuação nos ritos litúrgicos. Tais indicativos tomam em consideração os passos que já se tornaram realidade a partir da renovação conciliar e, especialmente, as reflexões e exigências que se impõem para a ação evangelizadora sob a ótica da Teologia da Libertação. Esse jeito de refletir e fazer teologia inspirou passos significativos na reinterpretação bíblica e continua a oferecer métodos de análise e reflexão pastoral, inclusive litúrgicos. Aos agentes do canto e da música ritual da Diocese de Vacaria/RS sugere-se agirem considerando-se os fiéis como sujeitos da ação litúrgica, proporcionando-lhes participação ativa e momentos de verdadeira comunicação com seu Criador, através de liturgias bem cantadas. Propõe-se a formação continuada e progressiva em diversos níveis, contando com a colaboração dos sujeitos desse processo, os próprios agentes. / Song and music in the ritual context of the liturgy in the Catholic Church: challenges for the formation of agents in the Diocese of Vacaria/RS. The sounds of nature, selected and combined, gave origin to the musical art. Music belongs to human culture; it is constitutive of its own existence. In the approach of this topic, the first chapter of this work looks for a historical approach to music. It investigates the anthropology of music and its ritual relation to the sacred, also as a part of Christian rites. The II Vatican Council has restored, in the Catholic Church, the value of musical art and increased its possibilities. The musical art begins to be inserted into the sacramental rites. More than singing in the liturgy, there is the need to sing liturgy itself. Music begins to be understood as a means of participation, helping the faithful to express their faith, their gratitude and their needs. In the second part, one looks for an approach to the liturgical-musical reality of the Diocese of Vacaria/RS. Besides the historical-geographical localization, there appear significant elements obtained through a field research. Having as a referencial point the Course of Liturgical and Pastoral Singing (Curso de Canto Litúrgico e Pastoral =CCLP), since three years in function, one tries to perceive what understanding persons have of music and the form by which it influences their lives. Afterwards, the research tries to capture the function of ritual music in liturgy in the opinion of the persons interviewed. In a general way, the persons interviewed show their understanding that a well-song celebration animates the journey and makes the Christian Church to be alive. There is, therefore, the need to prepare the agents of musical art, in order that they contribute to perform living celebrations through an appropriate use of music and song in the liturgical celebrations. The third chapter of the present work tries to point out practical indications for the formation of ministers of song and music, as well as for acting in liturgical rites. Such indications take into consideration the steps which already became reality since the conciliar renewal, especially the reflections and requirements necessary for the evangelizing action from the point of view of the Theology of Liberation. This way of reflecting and making theology has inspired significant steps in the biblical reinterpretation and continues to offer methods of pastoral analysis and reflection, including liturgical ones. To the agents of song and musical ritual of the Diocese of Vacaria/RS, it is suggested to act by taking into consideration the faithful as subjects of the liturgical action, offering them active participation and moments of true communication with their Creator, through wellsong liturgies. The suggestion is the continued and progressive formation on various levels, counting on the collaboration of the subjects of this process, namely, the agents themselves.

This work contains a narrative about a liturgical chant, its history and various genres and styles. A lot of attention is paid to explaining the theory and practice of various ancient chants. All this helps to understand better the meaning of the phrase "spiritual influence". The second part of the work deals with the practice of the choir directors' (regents') work, the choice of the repertoire and the relationship between the choir director, the choir and the priest. It is about the influence of various musical styles, the tempo and power of the sound of the performed works on the spiritual state of a person. Speaking about the liturgical basis of choir singing in the Orthodox Church, I reveal the concepts of theory and practice. I recall the early Christian practice of psalm chant, traditional singing in an Orthodox church and also modern liturgical singing. The Church Charter is of great importance for understanding the choir singing. The essence of church chant is to convey the meaning of the prayers performed by musical means as fully as possible and transmit them to all those participating in the service, as the choir is the mouth of the worshipers. The challenges facing the Orthodox Church at the present time are not less important than those that faced it a hundred years ago. The future...

Le gallicanisme et la poésie liturgique, quels sont les liens ? Le gallicanisme, produit des doctrines des « libertés de l’Église gallicane » et source de toute sorte de contestations qui atteignirent leur point culminant à l’époque, fut responsable du renouveau liturgique opéré en France à partir du dernier tiers du XVIIe et pendant le XVIIIe siècle. Son effet bouleversant des assises traditionnelles, politiques et religieuses, de la société française joua contradictoirement un rôle positif en tant qu’il avait poussé l’enthousiasme religieux et patriotique. A cette époque-là, l’Église en France devint le principal représentant des doctrines gallicanes prônant des valeurs historiques et nationales du passé. Le gallicanisme a trouvé sa réplique dans le « néo-gallicanisme », terme non défini, qui exprime naturellement une nostalgie du passé. Ainsi, le gallicanisme a provoqué un mouvement du retour aux rites, usages et fêtes anciens dans les pratiques liturgiques à l'époque, codifiées dans les livres liturgiques nommés « néo-gallicans ». L’indépendance en face de la tradition liturgique romaine professée par le gallicanisme et le jansénisme a autorisé l’entrée de nouvelles proses dans les liturgies en France. Un seul aspect du chant liturgique des proses modernes montre dans quelle mesure on a transgressé les règles traditionnelles propres à la liturgie romaine. Le caractère principal des proses modernes est leur aspect national manifesté par le sentiment de fierté pour la France. Les proses liturgiques composées à l’époque dans les diocèses et les monastères ont beaucoup contribué à la solennité et à l’importance de nouvelles liturgies en France. / The gallicanism and the liturgical poetry, what are the common points ? The gallicanism resulting of “les libertés de l’Église gallicane” was the reason of all the political and religious debates, attained their extreme points at the epoch. It was responsible for the liturgical revival in France that took place from the end of the XVIIth and during the XVIIIth century, including the chant. Its destructive impact on political and religious social foundations contradictorily played the positive role as it had spurred on the religious patriotic enthusiasm. At that time, the Church of France became the main agent to express the gallican doctrines advocating the historical and national past values. The gallicanism found its reply in the “néo-gallicanisme”, indefinite term, expressing naturally the nostalgia of the past. So, the gallicanism provoked the movement of return to the past rites, uses and feasts in the liturgical practice, codified at the time in the liturgical books named “néo-gallicans”. The independence regarding the roman Church tradition professed by the gallicanism and the jansenism authorized the entry of the new poetry in the diocesan liturgies in France. Only one aspect of the chant of modern proses shows to what extent the traditional rules of the roman liturgy were broken. The main character of the modern proses is their patriotic aspect demonstrating the feelings of pride for France. The modern liturgical proses had contributed to the solemn celebrations and, so, to more importance of the new liturgies in France.