TO THESIS "THE ORGAN ACCOMPANIMENT OF MASSLITURGY AND NEW LITURGICAL SONGS" Vít Náměstek PedF UK This thesis is going to pursue a task of the right modes of organ accompaniment of massliturgy. It describes the desirable style and character of accompaniment component parts of ceremony to make the organ play not to be for itself only, but to let it become the thing, that it schould be: The organ play has to create an organic complex with the liturgy. The work makes the direction of the play concrete and accent the sensitivity not only for pure substance of the holy mass, but also depending on liturgical day and season. It is focus on the main prelude and main postlude, on perticular preludes, postludes and interludes during the ceremony, and on accompaniments of the responses, acclamations and also solo celebrant's singing - that means on the parts, which aren't mostly mentioned in publications of organ accompaniment. The creative part of the work includes 3 new songs for worship: their tunes and lyrics , harmonization and music-theological analysis.

This thesis is focused on the spiritual folk songs in the Czech environment, especially from a theological point of view. The first chapter puts the topic in historical, geographical and spiritual context and generally attempts to describe what a spiritual folk song is and from which sources and in which contexts it has been created. The second chapter reflects several theological themes or areas that generally apply to the genre of spiritual folk songs. A separate sub-chapter also reflects biblical songs. The lectures are supplemented by specific examples of songs. The third and largest chapter attempts to map out which areas and situations of human life is spiritual folk song concerned. The chapter is subdivided into three time cycles: day, year, life. This chapter contains numerous examples of songs related to the discussed areas. The last chapter aims to interpret and use the songs in the context of today. It examines how the genre of folk songs generally enters into contemporary culture and deals with the possibilities of practical implementation of this genre in the church hymnology practice. Powered by TCPDF (www.tcpdf.org)

The People’s Poets of Texas: Literature Born Within the Singer/Songwriter Tradition of the Last Forty Years is a creative nonfiction exploration of the poetry found within the songs of multiple generations of modern Texas singer/songwriters and a case for the consideration of their work as a genuine regional literature. Studying the roots of Texas music, the musicality of Texan manners of speech and storytelling, and re-examining the Austin, Texas music scene of the 1970s that brought a national focus to the organic, reciprocal manner in which Texas music is traditionally experienced, radically altered the ways in which the songs were written, recorded, and marketed. An examination of this phenomenon allows us to understand that, first, a proliferation of Texas singer/songwriters of unprecedented quality has emerged in recent decades and that, second, a legitimate people's literature is emerging from their song-craft.

Thesis advisor: Stephen F. Brown / Among the varied representations of mystical ascent in the Middle Ages, perhaps none was as original as that of Thomas Gallus (d.1246), an abbot of the Canons Regular at St. Andrea in Vercelli and the so-called "last of the great Victorines." Drawing on the highly-esteemed works of Dionysius the Areopagite, Thomas exegeted the Song of Songs in terms of the soul's ascent to God through both knowledge and love. His differs from earlier Song commentaries because of its Dionysius-inspired contention that the human soul reflects the nine orders of the angelic hierarchy. Through apophatic contemplation and desire for God, the soul ascends through these orders until its intellectual knowledge fails, and it is granted a union of love with through its Seraphic order. However, Thomas, following Gregory the Great and Hugh of St. Victor, argues that love itself is a kind of knowledge, indeed, the highest kind of knowledge, the very "wisdom of Christians." To bridge the gap between the grades of knowledge and of love, and between the intellect and affect, Thomas introduces the notion of the simplification of the soul, an idea that has its roots in the Neoplatonism of Dionysius. Simplification may be defined as the principle by which multiplicity and compositeness are anagogically abandoned in favor of greater unity and simplicity through mystical ascent. It forms the guiding principle of Gallus's mystical thought, and is described in three highly interrelated ways. First, the intellect leaves behind its knowledge of God through sensibilia, sensible knowledge gained through the senses and imagination, in favor of purely invisible contemplative objects or theoriae, which it contemplates first in its own reason and intellect, and then ecstatically and unitively in themselves. Each progressively higher level of contemplation is simpler and contains those below it. Secondly, the affect abandons its lesser desires for temporal and spiritual goods, and instead focuses its desire on the Good, which is the wellspring of all lower goods. Finally, and foundationally, simplification describes the movements of the powers of the soul, which unite as they ascend, increasingly reflecting the divine simplicity. This culminates with the affect's union with God, which undividedly contains within itself all lower forms of knowledge and love. When this fleeting union with God ends, the soul descends, becoming multiplex again, but it carries with it an inflow of graces, both intellectual and affectual, which are distributed to each order of its hierarchy "according to the capacity of each". This refreshment allows for future ascent. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

O trabalho propõe uma leitura da obra de Paulinho da Viola à luz da tradição da lírica ocidental, da Filosofia e da Literatura. / This dissertation is about the relation between the songs of Paulinho da Viola and the tradition occidental, the philosophy and literature.

O presente texto trata do pensamento de Mário de Andrade a respeito das relações poético-melódicas. Para isso, foi usada a hipótese dos torneios melódicos: o conjunto de tendências e constâncias que dão caráter a uma música. A partir dos torneios é possível analisar objetivamente uma composição, observar sua origem, suas influências e seu processo criativo. Porém, essa análise musical é indissociável de uma dimensão poética. Mário de Andrade era um músico que se expressava pela poesia e, em seus estudos técnicos, sempre privilegiou a unidade melódico-poética como objeto indissolúvel. A pesquisa baseou-se num manuscrito inédito do autor, que está separado em três partes intituladas Melódica, Rítmica e Poética. O documento, que se encontra no Arquivo do Instituto de Estudos Brasileiros da USP, é extremamente fragmentado e complexo, pois é constituído por numerosas anotações que o autor fez ao longo da vida. / The present research is about the importance of Mário de Andrade\'s thoughts concerning the study of poetical-melodic relations. We worked on the hypothesis of the so called \"melodic turns\": The combination of trends or features that give to a certain music its distinguishing character. The \"torneios melódicos\" make it possible to analyse a composition objectively, observing its origin, it influences and its creative process. Nevertheless, this kind of analysis is nevertheless not dissociable from a poetical dimension. Mário de Andrade was himself a musician, who expressed himself through poetry. In his technical studies and articles he is always stressed the insolubility of a melodical-poetical unity. This research was based on an unpublished manuscript from the author divided in three parts named: Melodics, Rhythmics and Poetics. The document can be found at the Arquivo do Instituto de Estudos Brasileiros - USP (University of São Paulo) and it is extremely fragmentary and complex, as it is formed by numerous notes made by the author throughout his life.

A questão da identidade é um dos temas mais estudados e debatidos no mundo globalizado. Neste cenário, a discussão em torno da identidade nacional ocupa lugar de destaque. Na pesquisa de doutorado intitulada \"A Questão Identitária Alemã Refletida Em Canções\", partimos da constatação empírica de que o tema identitário é algo recorrente nas letras de canções alemãs. Com base nesta observação, elaboramos a tese de que a presença da relação \"identidade x alteridade\" na canção alemã é reflexo de uma problemática identitária manifestada na própria sociedade daquele país, em decorrência das inúmeras transformações observadas em dois séculos de sua história. Para investigar o fenômeno, montamos um corpus constituído de 100 canções alemãs, compostas no período entre 1810 e 2010. A análise do corpus foi dividida em quatro grupos, cada um deles fazendo referência a um espaço de tempo específico da História alemã, a saber: a Alemanha entre 1810 e 1933, a Alemanha durante do regime nazista (1933-1945), a Alemanha do pós-guerra e, por fim, a Alemanha reunificada. Iniciamos a análise de nosso corpus detectando o modo como a relação identidade x alteridade era abordada nos textos das canções, de modo a que viéssemos a detectar padrões identitários característicos. De posse dos dados obtidos pela análise do corpus do estudo, estabelecemos a comparação com a narrativa histórica alemã do mesmo período. A comparação nos mostrou haver correlações entre os padrões manifestados nos textos das canções e ocorrências históricas, de modo a concluirmos que eles possuem origem em aspectos políticos, culturais e sociais da Alemanha. O resultado de nossas análises foi a constatação de que a presença do tema nas canções se deve ao fato de que o discurso identitário alemão precisar ser constantemente reforçado e comunicado aos sujeitos, uma vez que, ao longo do espaço de tempo analisado, a própria ideia de nação alemã sofreu inúmeras transformações. Como base teórica da pesquisa, adotamos os modelos e as ferramentas de análise da Semiótica, em especial a Semiótica do Discurso, assim como elementos da musicologia, como o conceito de paisagem sonora (Murray Schafer) / The question of identity is one of the most studied and debated issues in the globalized world . In this sense, the discussion about national identities occupies a prominent place. In the research entitled \"A Questão Identitária Alemã Refletida Em Canções\" (The Question of German Identity Reflected In Songs \" we start from the empirical observation that the identity is a recurring theme in the lyrics of German songs . Based on this observation, we developed the thesis that the presence of the relationship \"identity x otherness\" in German song reflects an identity problem manifested itself in the society of that country, due to the many changes observed in two centuries of its history . To investigate this phenomenon, we set up a corpus of 100 German songs , composed in the period between 1810 and 2010. The analysis of the corpus was divided into four groups, each one referring to a specific time of the German history, namely Germany between 1810 and 1933, Germany during the Nazi Regime (1933-1945), Germany postwar and, finally, the reunited Germany. We begin the analysis of our corpus detecting how the relationship \" identity x otherness \" was addressed in the texts of the songs , so that we were to detect patterns characteristic of identity . Having the data obtained by analysis of the corpus, we establish a comparison with the German historical narrative of the same period. The comparison showed us that there are correlations between the patterns manifested in the texts of the songs and historical events, in order to conclude that they have origin in political , cultural and social aspects of Germany. The result of our analysis was the finding that the presence of the theme in songs is due to the fact that German identity discourse needs to be constantly reinforced and communicated, because German nation has undergone numerous transformations . As theoretical basis of the research , we adopt the models and analysis tools of semiotics, in particular of the Discourse Semiotics, as well as elements of musicology, as the concept of soundscape ( Murray Schafer )

Lançado no Brasil em 1973, o LP Araçá Azul é considerado a mais radical experiência tropicalista já realizada. Ela é obra do cantor e compositor baiano Caetano Veloso, um dos maiores e mais fecundos pensadores da cultura brasileira, que na época do lançamento deste LP já gozava de enorme prestígio junto ao público local, principalmente devido ao enorme sucesso da canção “Alegria, alegria". Este disco é o primeiro a ser lançado depois do retorno do exílio do compositor em Londres imposto pela ditadura militar. Essa combinação de fatores faz do Araçá Azul uma obra sui generis na história da música popular. No entanto, não havia até agora nenhum estudo concentrado neste LP. O objetivo desta dissertação é analisar minuciosamente todos os elementos presentes no álbum, não só as canções e faixas experimentais mas também todo o projeto visual, que inclui capa, contracapa e encartes, evidenciando assim as estratégias utilizadas para a construção do sentido na obra. O método descritivo escolhido foi a teoria semiótica, iniciada por Greimas e ampliada por Fontanille e Zilberberg, e seu desdobramento no campo da canção popular na acepção de Luiz Tatit. Além de resgatar um importante acontecimento na história da música brasileira, este trabalho também contribui para a discussão do modelo descritivo adotado, apontando suas limitações atuais e sugerindo novas frentes de pesquisa para a ampliação de seu horizonte teórico. / Edited in Brazil in 1973, the LP Araçá Azul is considered to be the most radical tropicalist experience ever produced. It was created by Caetano Veloso, a composer, singer and one of the most prolific Brazilian thinkers. At that time, he was already recognized as a Pop-Star by the local public, due to the great success of his song \"Alegria, Alegria\". This was the first record edited by the composer after returning from his political exile in London, which was imposed by the military regime. This combination of events makes Araçá Azul a \"sui generis\" piece in the history of popular music. Nevertheless, up to the present time no study of this LP has appeared in the literature. The objective of this dissertation is to analyze in detail all the elements of the album, not only the songs and experimental tracks, but also the visual project as a whole, including the front, back and inner covers. The purpose is to show all the strategies used to construct the signification of the album. The descriptive method adopted is the Semiotic Theory, initiated by Greimas, and further developed by Fontanille and Zilberberg, and extended to the field of popular music, as postulated by Luiz Tatit. The present work not only unveils an important event in Brazilian musical history, but also contributes to the discussion of the descriptive model adopted, pointing out its limitations and suggesting new lines of research to broaden its theoretical horizons.

Esta pesquisa trata de analisar parte da obra humorística do compositor Noel Rosa, considerada um dos paradigmas do gênero canção no Brasil. Além de contribuir, juntamente com compositores contemporâneos, para criar o formato da canção popular tal como é conhecido até hoje, Noel Rosa inaugurou um paradigma poético construído em sua singularidade, sobretudo, pelo humor, pela ironia e por traços do discurso coloquial - em que a voz lírica do compositor popular se apresenta invariavelmente em oposição aos valores dominantes, no que concerne ao mundo do trabalho formal, e em conjunção com alguns símbolos do universo do samba. Sob uma perspectiva enunciativa de viés bakhtiniano, que mapeia ideológica e estilisticamente a construção dessa voz, analisam-se as composições cuja temática gira em torno da conduta do sambista. Discursivamente, objetiva-se provar que a obra de Noel Rosa filia-se a um tipo de literatura, produzida na Europa, caracterizada pelo que Luigi Pirandello chamou de humorismo - uma categoria discursiva que soma traços do discurso coloquial a um tipo de humor mais crítico e a um tipo de ironia, inaugurada pelo romantismo europeu, que confronta sistematicamente os valores burgueses. Conclui-se que ao construir esteticamente uma voz na canção, que fala da conduta do compositor popular em oposição a determinados valores dominantes por intermédio do humor e da ironia, a enunciação na obra noelina apontou para um lugar social que começava a surgir naquele momento a profissionalização das pessoas envolvidas na produção da música popular urbana - visto, em geral, com relativo preconceito de classe pela sociedade mais conservadora. / Brazilian songwriter Noel Rosa, besides having contributed, along with other contemporary songwriters, to establish the format of popular song, as it is known today, also inaugurated a poetic paradigm constructed on its uniqueness; especially, by means of humor, irony and traits of the colloquial discourse in which the lyric voice of the popular songwriter is invariably manifested in opposition to dominant values, as regards to the world of formal labor, and in conjunction with some symbols of the samba universe. This dissertation analyzes part of the humorous work produced by Noel Rosa. This collection of works is considered to be one of the paradigms of the genre song in Brazil. From a Bakhtinian enunciative perspective, which ideologically and aesthetically maps the construction of that voice, we analyze songs the thematic of which is related to the samba songwriters attitude. From the discursive point of view, we intend to prove that Noel Rosa is affiliated to a type of literature produced in Europe, characterized by what Luigi Pirandello referred to as humorism - a discursive category that adds traits of the colloquial discourse to a type of more critical humor and to a type of irony, inaugurated by the European Romanticism, which systematically reacted against bourgeois values. We conclude that, by aesthetically constructing a voice in the song, which reflects the popular songwriters attitude in opposition to certain dominant values by means of humor and irony, the enunciation in the Noelian work focused on a social event that was starting to take place at that moment the professionalization of people involved in producing urban popular music who, in general, suffered relative class prejudice from the more conservative society.

A partir do conceito de formação do romantismo alemão, este trabalho pretende discutir as relações da música com a formação do indivíduo, levando em consideração fenômenos sociais e técnicos, como a mediação pelos meios de comunicação e a situação da música dentro da sociedade. Quatro ensaios escritos de modo independente e constelatório, em forma de pequenos livros separados, porém interligados pelo tema central, analisam alguns momentos em que os dois elementos principais, música e formação, podem ser relacionados. O ensaio Formação procura entender o conceito de Bildung e como este pode ser relacionado com a música. Escuta e Educação musical discutem como esses dois fenômenos fazem a mediação entre a música e o indivíduo. Já Canção brasileira tenta articular como as configurações formais desse gênero podem contribuir com a formação mesmo que as origens e tradições de ambos sejam tão distantes. / Based on the German Romanticism concept of formation, this work intends to discuss the relations between music and formation of the individual, considering social and technical phenomena, as the mediation of media and the situation of music inside society. Four independent essays written in a constellatory mode, in form of small separated books, although interconnected by the central theme, analyze some moments when the two main elements, music and formation, may be connected. The essay Formation pursues to understand the concept of Bildung and how it may be related to music. Hearing and Musical education discuss how these two phenomena make the mediation between music and the individual. Brazilian song tries to articulate how the formal configurations of this genre may contribute to the formation even with different origins and traditions.