This project is a Catholic church located in downtown Blacksburg, VA. Whereas many religious buildings seem to rely heavily on iconography in order to designate the building as sacred, this project explicitly seeks an architectural expression of the liturgy that exists independently, but not necessarily to the exclusion of, iconography. Also present in this investigation is the idea of distilling the architectural ideas from traditional elements of church design and applying them in a more modern context. / Master of Architecture

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / "This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).

It is necessary for me to do three things In this thesis: (1) Spell out the meaning of fellowship in relationship to an understanding of the nature of the church In its origin and in contemporary thinking. (2) Find out what our own traditions are regarding the nature of the church. (3) Evaluate our traditional understanding of the concept of the church as Disciples of Christ.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / "This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / "This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).

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No description available.

The central concept in this thesis is the Encaenia, particularly the Jerusalem Encaenia of the Martyrium Basilica and the anniversary feast of the same name, but also other, lesser known, inaugurations of churches which occurred in the fourth century. The thesis commences with a review of the recent scholarship on early Christian buildings, the Holy Land, and the Jerusalem Encaenia feast. Chapter two discusses the appearance of "εγκαίυια" in the Septuagint and early Christian literature before considering the first documented occasion of an encaenia feast, the inauguration of the basilica in Tyre. Chapter three is a detailed study of Constantine’s 'New Jerusalem' from the finding of the Cross to the inauguration of the Martyrium basilica in 335. A distinction is drawn between the work of Constantine and the interpretation of Eusebius. The subsequent chapter draws attention to the growth and uniform pattern of imperial involvement in the inauguration of churches under Constantius, paying particular attention to the alleged Encaenia of an Alexandrian basilica by Athanasius without imperial consent. The study of the Jerusalem Encaenia, the anniversary of the Martyrium inauguration, commences in chapter five with an analysis of the feast m the Journal of Egeria and the brief account recorded by Sozomen. Both writers portray the Encaenia as a pilgrim feast. Chapter six examines the liturgical content of the feast reconstructed from the earliest Jerusalem lectionaries and calendar. The theology of the feast is discerned from the biblical texts prescribed for the liturgy. Many of the observations made in previous chapters are drawn together in chapter eight which proposes the Encaenia as a Christian interpretation of the Jewish feast of Tabernacles. The conclusion to the thesis discusses the prominence of the Jerusalem Encaenia in the liturgical calendar, and locates the rite and feast of the Encaenia within the wider context of the dedication of churches in the east and western liturgy. Further avenues of research are outlined regarding the rites and surviving homilies for the dedication of a church.

Thesis (Ph.D.)--Boston University

Charles Tournemire’s (1870–1939) L’Orgue Mystique is a cycle of solo organ pieces composed for use in the Roman Catholic liturgy. It is subtitled: “51 Offices de L'année liturgique inspirés du chant grégorien et librement paraphrasés” (“51 Offices of the liturgical year inspired by Gregorian chant and freely paraphrased”). Each office is approximately fifteen minutes in length and consists of five pieces based on the Gregorian Propers for the day: Prélude a l’ Introït, Offertoire, Élévation, Communion, and Pièce terminale, using nearly three hundred chants. This essay provides historical background for L’Orgue Mystique, including a short biography of Tournemire and the place of L’Orgue Mystique in it, a brief history of liturgical music in France, an overview of the Solesmes method and Tournemire’s adaptation of it for use in L’Orgue Mystique, and a description of the Cavaillé-Coll organs that Tournemire had in mind when composing L’Orgue Mystique. It also provides a guide for performers of the work, including copies of all the chants Tournemire used, their English and French translations, and descriptions of Tournemire’s use of each chant, for performers’ reference, in order that they may make informed decisions in playing L’Orgue Mystique.