Inaug.-diss.--Freiburg i. B. / Lebenslauf. "Quellennachweis": p. [209]-213.

Inaug.-dis.--Upsala. / "Källor i egentlig bemärkelse" p. [xii]-xv.

No description available.

Inaug.-diss.--Freiburg i. B. / Lebenslauf. "Quellennachweis": p. [209]-213.

Thesis (D. Min.)--Covenant Theological Seminary, 1987. / Includes bibliographical references (leaves 137-138).

The purpose of the study was to present and analyze the music in the Slovak Lutheran Divine Liturgy from three twentieth-century liturgical settings: (1) Liturgicky Zpev ("Sung Liturgy") attached to the Braxatoris Agenda, 1922, (2) Liturgicke napevy ("Liturgical chants") attached to the Chramova Agenda, 1933, and (3) the Slovenska' Liturgia (the new "Slovak Liturgy") prepared by the Commission on Worship at the Bratislava School of Theology, 1965. The study included the hymnody in the liturgy for Holy Week as it is applied to the Holy Passion book, the Svate Pagie.The study revealed that the Slovak Lutheran liturgy was influenced by Martin Luther's German Masses that were based on parts of the ordinary and Proper of the Roman Mass and Offices, and parts of the Byzantine-Slav Divine Liturgy. Music in the liturgy was derived from Slav, Latin, Czech, and German sources.The liturgy for Sundays and festival days included: three Introit-hymns, K ie and vernacular Kyrie-hymns, Glorias, Salutations, Antiphons based on Scripture texts, chanted Collects, chanted Epistle and Gospel Lessons, the optional use of Psalm tunes, and the Aaronic Benediction. The solemn Divine Liturgy for Holy Communion consisted of combinations of liturgical Items: Preface (Sursum corda), Sanctus, the Lord's Prayer, Words of Institution, Agnus Dei, and the Thanksgiving--the Post-Communion Canticle of Simeon. Music for the liturgical settings was fairly similar.The Eastern (Slavic) qualities in the music were based on the style of Byzantine ecclesiastical music and the construction of Byzantine melodies. Intervals of a minor third were prominent. Melodic progressions were often built upon tetrachordal and pentachordal-tonal units. The Lenten Passion hymns featured hymns by the Czech Brethren that consisted of folk style structures and the use of the tripartite Bar form. Eleven of-the twenty-one Passion hymns and tunes were adaptations and translations of German chorales. Latin hymns were also translated and incorporated in the liturgy.

Thesis (S.T.M.)--Yale Divinity School, 1985. / Includes bibliographical references (leaves 59-61).

Inaug.-Diss.--Halle. / Includes bibliographical references. Also available on the Internet.

Inaug.-Diss.--Halle. / Includes bibliographical references.

Thesis (MA Teologie(Praktiese teologie)--Universiteit van Pretoria, 2004. / Includes bibliographical references (leaves 124-128)