Thesis (doctoral)--Université de Zurich. / "Appendice" (music): p. [123]-134. "Bibliographie": p. [117]-122.

Thesis (D.M.A.) -- University of Southern California, 1972. / Typescript (mimeographed) Includes bibliographical references and bibliography (leaves 417-427).

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This thesis examines the types of creation imagery used in the Psalms, looking at the historical and cultural influences that affected the Old Testament concepts encapsulated in this Psalmody, and at how traditional creation hymnody has incorporated and modified these concepts. The first chapter examines creation psalmody and argues that there is an overall inclusiveness to be found in such Psalms, where God is viewed as working through the whole of creation and that such Psalms are generally less anthropocentric than some other Biblical texts. This immanent approach is particularly evident through the Old Testament concept of Creator Spirit. Creation hymns are discussed in the three chapters that follow, focusing firstly on hymns of seed-time and harvest, secondly on hymns of the Holy Spirit, and thirdly on hymns with a christological perspective that deal with the main Christian Festivals around Christmas and Easter. In examining rogation-tide hymns and May Day carols, the seedtime and harvest chapter finds many similarities to the images used in creation psalmody, as well as imagery from the old traditional May Day festivals which pre-date Christianity in Britain but which contain a similar kind of natural spirituality to the Old Testament concepts of Creator Spirit. The Harvest Festival hymns, on the other hand, tend to take a more anthropocentric approach, but nevertheless do contain some of the immanent approaches from the Old Testament, in particular the Hebrew Harvest Festival. Chapter 3 examines hymns of the Holy Spirit, and I argue that it is in these hymns that we can find a more fully developed immanent type of theology. Chapter 4 looks at the christological perspectives to the natural world to be found in traditional hymnody, examining in more detail the areas of transcendence and immanence and the implications of the inevitable anthropocentric viewpoint to be found in these texts. I argue in this chapter that it is possible to take a wider and more contemporary theological interpretation of this type of hymnody, and that by doing this we find these hymns amenable to a more inclusive approach to creation as a whole. The thesis concludes by considering the implications of this analysis for worship in the twenty first century.

Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 129-131).

This study examines the figures of theיקדִּ צַ and עשָׁ רָ in psalms. Drawing on both semantics and poetics, this study argues that the contrast between the figures represented by these terms is part of the conventions of Hebrew psalmody and, as such, can serve various discursive functions within an individual psalm. Using insights from the field of lexical semantics, the study clarifies the possible uses of the words Justand עשָׁ רָ, emphasizing a wider range of uses than is typically offered within a broad behavioral domain for these terms. The study summarizes ways that various books in the Hebrew Bible use the contrast of these figures to develop a description of the literary features related to their presentations. The analysis of 18 psalms that include both figures utilizes insights from narratological theories of character to explore the functions of the contrast between קידִּ צַ and עשָׁ רָ as literary figures within the overall discourse of the psalm. Focusing on the setting of an individual psalm and embracing the possibility of variation reveals that קידִּ צַ and עשָׁ רָ are not only, or even usually, employed to describe the “prototypically good” or “prototypically bad” person in psalms. Rather, the עשָׁ רָ is often a designation for an antagonist, and the קידִּ צַ is often understood as one who is innocently wronged. As such, the literary pattern of their contrast does not focus on the moral character of these figures but on the fairness or justice of God to eventually elevate the position of the קידִּ צַ and destroy the עשָׁ רָ.

Includes bibliographical references / Pages not numbered / Music has formed a part of human life as far back as demonstrable. Music existed long before musical instruments made their appearance. The examination of textual evidence read in conjunction with the available archaeologic evidence from the time and area clearly demonstrates which musical instruments were available and the instances they were used at. It clearly points to the lyre as the primary proponent of the musical culture of the time with regards to melodic music. This is confirmed from what we learn from the ancient tuning tablets. There thus is a direct demonstrable connection between the instrument and the theory of the time. Work done on the musical elements of the cantillation marks of the Hebrew Bible comfortably fits into this framework and appears to be a direct influence on the manner in which the Psalms were sung and composed. A combination of literary, archaeological and musical sources can thus be used within a literary and historical approach to demonstrate the availability of musical instruments in AIP, the manner in which tonality was recorded and its influence on the development of the Psalms. / Old Testament and Ancient Near Eastern Studies / M.A. (Biblical Archaeology)

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This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.