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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 (D. Min.)--Erskine Theological Seminary, 1995. / Abstract. Includes bibliographical references (leaves 145-151).

Thesis (M.S.)--Brigham Young University. Dept. of Geography. / Includes bibliographical references (leaves 90-93).

Inaug.-Diss.--Cologne. / Vita. "Notenbeispiele": p. [227]-[264]. Bibliography: [221-225].

Inaugural Dissertation--Universität zu Tübingen. / Cover title. Vita. Includes bibliographical references (p. 149-152).

Bibliography: leaves [152]-165.

Thesis (D. Min.)--Erskine Theological Seminary, 2000. / Abstract. Includes bibliographical references (leaves 208-211).

This study links patriarchal Catholic Church culture and feminist studies in musicology to reveal the multi-faceted opus and career of Rolande Falcinelli, 1920-2006. Organist, composer, and pedagogue Rolande Falcinelli was the first woman to be named titular over a prestigious organ console in Paris, that of the Sacré-Coeur Basilica, in 1945; she was also a renowned organ pedagogue at the Paris Conservatory for over thirty years. Yet her rich legacy of compositions remains largely unknown. This paper explores the significance of her entrance into liturgical creative work in the Catholic Church by showing the enormous force of historical repression against women in this context. Through examples ranging from Hildegard in the 11th century to Jeanne Demessieux in the 20th, it shows how the model and persona of the nun-organist has been a tacit lifestyle requirement of women organists in the Catholic Church, and how Falcinelli’s failure to adhere to that model affected her liturgical career. Next, it presents Falcinelli’s impressive body of compositions and shows examples of feminine coded material which appear throughout her opus, both subtly and overtly. Invoking studies by McClary, Citron, Epstein, Cusick, and others, this study includes a short history of gender studies in musicology, then places Falcinelli’s opus in the context of current thought on the feminine aesthetic in music. / text

Thesis (M Mus)--Australian Catholic University, 2005. / Submitted in partial fulfillment of the requirements for the degree of Master of Music. Includes bibliographical references (p. 229-237). Also available in an electronic format via the internet.