The women¡¦s chorus has been a minor category in the bulk of western music history. It was not until the nineteenth century that a female chorus had the opportunity to perform as the same way that a male or mixed chorus had. Only then, did composers start to compose part-songs for female chorus, and Schubert is one of the pioneers. He composed nine pieces for female chorus. Two of them were done as assignments while a student when he was young (1812). Three short pieces were finished in 1815-16. Even in these early pieces his sensitivity to German text and gift for setting the text to music are clearly shown. In 1820-27, Schubert finished four female choral works. Three of them were four-part-- ¡§Psalm 23¡¨, ¡§Gott in der Natur¡¨, ¡§Stänchen¡¨. These three pieces are the best in all Schubert¡¦s female choral works. The tonality is more fully developed, and the length is almost four times longer than before. More imitation is used, composed with homophonic texture than is used in the first five pieces. Schubert had demonstrated a strong desire to express the text freely with all types of musical techniques from the early Romantic Period. This master¡¦s thesis consists of five chapters. The first chapter is an introduction. The second chapter offers some historical background and can be divided into three sections. First is a concise report about female chorus¡¦s development in western music history. The second part discusses the definition of 19th century style and how the contemporary background influenced the part-songs. The third section gives a general review of Schubert¡¦s female choral works. Chapter Three is a detailed analysis of the final three four-part female works. Derived from Chapter Three (i. e. based on the analysis), Chapter four proposes a teaching procedure when a director or a school teacher wants to perform any of these three numbers. Some performance considerations and conducting suggestions are also included. The final Chapter is conclusion for the entire research. Two appendixes are included: one is the translations and IPA phonetics for the German texts; the other is a list of the publishers for Schubert female chorus works.

The aim of the diploma thesis "The Shepherd as the Anthropomorphism of God" is to clarify the role of the shepherd in antiquity and today and to present this knowledge in the use of the shepherd's anthropomorphism in biblical texts by means of literary research and comparison of texts, exegesis and reflection of own experience. In the introductory chapters we focus on the person of the shepherd, his characteristics, where special attention is paid to the shepherd's staff, as it also has an abundant biblical metaphorical use. The role of the shepherd in antiquity, in biblical texts and today is also discussed. Attention is also paid to the metaphor of the shepherd in ancient mythology, the use of this metaphor in various religious cults and its content. From a similar point of view, grazing animals are viewed, especially sheep, and special attention is paid to the role of the lamb in biblical texts. But we also talk about pigs and goats as pastoral animals. The following chapters first deal with anthropomorphisms in general, followed by chapters from specific biblical books where anthropomorphism is used. The texts are divided according to their inclusion in the Bible - first, Tanach texts are discussed, where the most common occurrence of anthropomorphisms is in the prophetic books. The next...

Made available in DSpace on 2016-08-03T12:20:30Z (GMT). No. of bitstreams: 1 Santa Angela Cabrera.pdf: 405823 bytes, checksum: 839b3afec519db242d7ef380052c9cda (MD5) Previous issue date: 2007-11-21 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / In Latin America we have little bibliography on Psalm 23. Nevertheless, we have a few researchers who are able to dialogue academically with European scholars about our object of study. In spite of the great attractiveness of this text in the pastoral world in our continent, exigetically we have come up short with this Psalm, which has become our justification for making a study of this Psalm. Psalm 23 in enwrapped in the Psalter. It is Hebrew poetry, which is characterized by the repetition of the meaning of its phrases. Its content is between the lines, thanks to the frequent use of images, symbols, and figures. For these and for other reasons, it is difficult to point to its date of origin, but it must be pre-exilic. Our text reveals, as a vital place, a liturgical community. This community is located in the Jerusalem temple. There are there, each in turn, priests, levites, organic intellectuals, in sum, persons who have witnessed up close the controversy of a person who has sought refuge in the temple and who has found a supportive place in the sanctuary. From this we deduce that Psalm 23 was written by someone with poetic sensibility, inspired by the life of the person sheltered. The Psalmist has experience Yahweh s care. There in the temple, in the area of the kingdom of Yahweh, those who threaten him cannot capture him. The reasons for persecution may suggest debt matters and at the same time matters of justice.. Once in the sanctuary, he is lacking for nothing, because his shepherd/ king provides him with what he needs, that is, food, drink, protection, security, dignity and fraternity. The agressors are witnesses of the happy state of their enemy, but they can do nothing to him. For this reason the Psalmist has no fear and, in the presence of Yahweh, finds comfort. Yahweh as shepherd/ king is host to the one he protects. From the innocence of the refugee is born the air of celebration, because the liturgical community celebrates the salvation which has been received. The graces received have for the Psalmist a communitarian repercussion, the good and the solidatiry which he has experienced will come back to those who surround him, not by obligation but as gratitude. For reasons fo security and gratitude the Psalmist wishes to remain in the house of Yahweh.(AU) / Na América Latina temos pouca bibliografia sobre o Salmo 23. No entanto, contamos com alguns pesquisadores que podem dialogar academicamente com cientistas europeus sobre nosso objeto de estudo. Apesar do grande atrativo deste texto no mundo pastoral de nosso continente, o aporte exegético deste Salmo estava em dívida, o que se tem convertido numa de nossa justificação científica para o estudo do Salmo 23. O Salmo 23 se incrusta dentro do saltério. É poesia hebraica, a que se caracteriza pela repetição do sentido de suas frases. Seu conteúdo está nas entrelinhas pelo uso freqüente de imagens, símbolos e figuras. Por estas e outras razões é difícil assinalar sua data de origem, mas deve ser pré-exílico. Nosso texto revela, como lugar vital, uma comunidade litúrgica. Essa comunidade está localizada no templo de Jerusalém. Ali se encontram, por sua vez, sacerdotes, levitas, intelectuais orgânicos; enfim, pessoas que têm testemunhado de perto a controvérsia de uma pessoa refugiada no templo, a que tem achado no santuário um lugar de amparo. Desde aqui deduzimos que o Salmo 23 foi escrito por alguém de sensibilidade poética, inspirado na vida do asilado. O salmista tem experimentado os cuidados de Javé. Ali, no templo, na área do reino de Javé, seus ameaçadores não podem capturá-lo. Os motivos de perseguição podem sugerir assuntos de dívidas e, ao mesmo tempo, assuntos de justiça. Uma vez no santuário, não carece de nada, porque seu pastor/rei lhe fornece o que precisa, isto é, comida, bebida, proteção, segurança, dignidade e fraternidade. Os agressores são testemunhas do estado de felicidade de seu inimigo, mas não podem fazer-lhe nada. Por isso o salmista, não teme e, na presença de Javé, encontra seu consolo. Javé, como pastor/rei, hospeda a seu protegido. Pela inocência reconhecida do refugiado, nasce o ambiente de festa, porque a comunidade litúrgica celebra a salvação alcançada. As graças recebidas têm para o salmista uma repercussão comunitária, o bem e a solidariedade que experimentou voltarão aos que o circundam, não por obrigação e sim por gratidão. Por assuntos de segurança e agradecimento o salmista deseja permanecer na casa de Javé.(AU)

The full text of this thesis/dissertation is not available online. Please <a href="mailto:upetd@up.ac.za">contact us</a> if you need access. Read the abstract in the section 00front of this document. / Dissertation (MA (Semitic Languages))--University of Pretoria, 2006. / Ancient Languages / unrestricted

This study explores text and music relations in Canadian composer Violet Archer’s “The Twenty-Third Psalm” by analysing the text of Psalm 23, Fibonacci numbers, melodic contours, motives, and the role of the accompaniment. The text focuses on David’s faith in God and his acceptance of God as his shepherd on earth. The four other approaches allow us to examine the work on three different structural levels: background through Fibonacci numbers, middleground through melodic contour analysis, and foreground through motivic analysis and the role of the accompaniment. The measure numbers that align with Fibonacci numbers overlap with some of the melodic contour phrases, which are demarcated by rests, as well as with the most important moments at the surface level, such as the emphasis on the word “death” through recurring and symbolic motives. The piano accompaniment further supports these moments in the text.

This study explores text and music relations in Canadian composer Violet Archer’s “The Twenty-Third Psalm” by analysing the text of Psalm 23, Fibonacci numbers, melodic contours, motives, and the role of the accompaniment. The text focuses on David’s faith in God and his acceptance of God as his shepherd on earth. The four other approaches allow us to examine the work on three different structural levels: background through Fibonacci numbers, middleground through melodic contour analysis, and foreground through motivic analysis and the role of the accompaniment. The measure numbers that align with Fibonacci numbers overlap with some of the melodic contour phrases, which are demarcated by rests, as well as with the most important moments at the surface level, such as the emphasis on the word “death” through recurring and symbolic motives. The piano accompaniment further supports these moments in the text.

This study explores text and music relations in Canadian composer Violet Archer’s “The Twenty-Third Psalm” by analysing the text of Psalm 23, Fibonacci numbers, melodic contours, motives, and the role of the accompaniment. The text focuses on David’s faith in God and his acceptance of God as his shepherd on earth. The four other approaches allow us to examine the work on three different structural levels: background through Fibonacci numbers, middleground through melodic contour analysis, and foreground through motivic analysis and the role of the accompaniment. The measure numbers that align with Fibonacci numbers overlap with some of the melodic contour phrases, which are demarcated by rests, as well as with the most important moments at the surface level, such as the emphasis on the word “death” through recurring and symbolic motives. The piano accompaniment further supports these moments in the text.