Thesis (M.M.)--Bowling Green State University, 2008. / Document formatted into pages; contains vii, 101 p. : music. Includes bibliographical references.

Thesis (Ph. D.)--UCLA, 2010. / Vita. Includes bibliographical references (leaves 296-303).

Thesis (M.S.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaves 53-56).

This paper examines and provides the best model, degrees of preparation, and various steps the Diocese of Manchester can provide and encourage in order to resuscitate parish sacred music programs. In Chapter One, I provide the contextual framework needed in which to fully understand sacred music by first defining liturgy. I also examine the ancient/modern axiom of Lex orandi-Lex credendi-Lex vivendi by discussing the ways which worship shapes our beliefs and, in turn, how we live our lives. Since worship involves codified words, I discuss how the church safeguards her ritual texts and how the process of translations occurs from Latin into various vernacular languages, taking a moment to examine a few texts and compare translations. Because liturgy requires assembly participation, I conclude the chapter by detailing what active participation means and what it does not. Dedicated to sacred music, Chapter Two begins by defining sacred music and its associative qualities. I then move to discuss the attributes and polarity of Apollonian and Dionysian music. Next, I pivot to examine how sacred music serves as an important tool for evangelization. The chapter is concluded by rethinking the musician’s role as vocation versus employment and dissecting the role and function of the position Director of Music. Acknowledging the Church has a particular culture associated with it, Chapter Three traces the affect popular culture has on society and the widespread cultural deficit of attention to beauty. I trace the concept and components of the “culture of mediocrity” gripping the church and how best to reverse the trend. I then speak of the importance of richness found within liturgical texts and how human beings respond to beauty itself. Finally, I propose that parishes must establish a clear cultus Dei within their community in order to undertake authentic evangelization by providing an alternative to secular culture. Highlighting the reality that the path to resuscitate parish music programs, such as attaining both musically and liturgically competent musicians, is a complex situation involving multiple layers, Chapter Four begins with outlining various Diocesan responsibilities beginning with the Bishop, the Cathedral, Diocesan Office for Worship and Liturgical Commission, Diocesan Director of Music and the necessity for the Diocesan Office for Worship to collaborate with the Catholic Schools Office to cultivate a new generation of church musicians. The chapter ends with discussing the importance of continuing education and surveying both national and local structures, programs and initiatives for ministerial formation. Although our present time is complex and full of various seemingly insurmountable challenges, Chapter Five speaks of the unending hope for continued restoration within the liturgical and sacred music apostolate. Recapping some of the major themes found in the paper, I remind the reader that the journey towards total parish renewal is possibly for everyone and not just for a select few. The paper culminates in Chapter Six where I offer a strategic plan that supplies a model for the resuscitation of church music programs in the Roman Catholic Diocese of Manchester, New Hampshire. The paper concludes with several appendixes. Appendix A details various chant resources, Appendix B lists various choral resources applicable for smaller and medium-sized choirs, a comparison/contrast of the 1970 and 2010 English translations of the Latin text of the Exsultet are in Appendix C, and Appendix D offers a model course focused on the history of sacred music and of liturgical theology. / 2026-09-30

The latter half of the 19th century was a time of immense change in Presbyterianism worldwide in respect of the role of music in worship. Within this period the long tradition of unaccompanied congregational psalmody gave way to the introduction of hymnody, instrumental music (initially provided by harmoniums and later by pipe organs) and choral music in the form of anthems. The Presbyterian Church of Victoria, formed in 1859 as a union of the Church of Scotland and the majority of the Free Presbyterian and the United Presbyterian churches and numerically the strongest branch of Presbyterianism in Australia, was to the forefront in embracing this tide of change. Beginning in 1861with the proposal for the compilation of a colonial hymnbook, issues associated with musical repertoire and practice occupied a prominent place in discussions and decision making over the next 30 years. Between 1861 and 1901 hymnody was successfully introduced into church worship with the adoption of three hymnals in 1867, 1883 and 1898. Programs of music education were devised for the teaching of the new repertoire and for improving the standard of congregational singing. A hallmark tradition of Presbyterianism was overturned with the introduction of instruments into worship, initially as a support for congregational singing but in time as providers of purely instrumental music also. The profile of the choir changed dramatically. Making extensive use of primary sources, this study aims to document the process of change in Victoria between 1861 and 1901, exploring the rationales underlying decisions taken and historical factors facilitating change. Musical developments in Victoria are viewed in the context of those elsewhere, especially Scotland and of general changes in aesthetic taste. The study concludes that the process of musical change shows the Presbyterian Church of Victoria to have been a forwardlooking and well-endowed institution with the confidence to take initiatives independent of Scottish control. It is also concluded that changes in musical practice within the worship of the Presbyterian Church of Victoria reflect developments taking place in other denominations and the changing aesthetic tastes of the Victorian era.

The main subject of my thesis is to investigate the importance of music as a leisure time activity among the high school students in South Bohemia. In the theoretical part my primary attention has been paid on music functions, the influence of music on the body and psyche, history of musical styles, music division and music subcultures. Subsequently I defined the term "adolescent" and clarified evolution specifics of this period in terms of physical and psychological changes. Then I described the concept of leisure time and characterized function, history and attitude of young people to leisure time activities. Based on the results of former researches I described the relationship of teen agers with music, role that music plays in the lives of adolescents and what are general attitudes of today's young people towards music. In the practical part I analyzed the results of my questionnaire survey, when I contacted high school students in South Bohemia and examined their relationship with music, listening frequency, musical tastes, periodicity of listening, etc.

Currently, little evidence has been gathered on the impact of listening to preferred music on the healing experiences of cancer patients, justifying the need for qualitative inquiry. Three disease-free women that survived breast cancer were invited to share their stories about how listening to preferred music assisted in decreasing their symptoms of depression, fatigue, and pain during their recovery. Data analysis followed a multiple case study methodology. Findings reveal the importance of listening to music and its affect on the emotional and physiological state of cancer patients, as well as their ability to cope with their illness. Four major themes emerged from the transcripts of participants: Music as Vibration, Music as Getaway, Music as Emotion Regulation, and Music as Spiritual Validation.

Forman's Amadeus and the Role of Music in Film Narrative Vedoucí diplomové práce (supervisor): Zpracoval (author): Mgr. Tereza Havelková, Ph.D. Tomáš Bazika studijní obor (program): Praha, July 2020 Obecná teorie a dějiny umění a kultury Abstract The subject of this thesis is a study of the ways of using the music of Wolfgang Amadeus Mozart in Miloš Forman's motion picture Amadeus. In my thesis, I focus on how Amadeus employs pre-existing classical compositions to create a new, largely fictional narrative based on the life and music of Mozart. I argue that instead of applying pre-existing pieces as film music, Amadeus conceives individual scenes as well as its overall filmic structure to accommodate the music's expressive qualities and biographical associations. I engage in a conversation with relevant existing scholarship to establish a theoretical framework for a systematic interpretation of the meaning-making roles of music in Amadeus. Drawing on Claudia Gorbman's concept of diegetic, non-diegetic and metadiegetic sound categories, I apply her taxonomy to Amadeus in order to show how not only the selection and placement of music but also its relation to the diegesis determine its impact on the narrative. I propose that in its treatment of Mozart's music, Amadeus reverses the traditional hierarchy of the...