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The Global ETD Search service is a free service for researchers
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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 71 to 75 of 75 (0.054 seconds)Spelling suggestions: "subject:"sacred music"" "subject:"tacred music""
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Les cantates de Nicolaus Bruhns (1665-1697) / The cantatas of Nicolaus Bruhns (1665-1697)Fructus, Michel 03 December 2009 (has links)
Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing.
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Sacred Sound at the Symphony: A Conductor's Guide to Faith Traditions in Choral-Orchestral RepertoireBott, Robert (Conductor) 05 1900 (has links)
Since most historical composers of Western art music were European Christians (or resided in areas that were primarily populated by Christians), a vast majority of the sacred choral-orchestral repertoire is based on major figures and themes from the most prominent denominations, including Catholicism, Lutheranism, and Anglicanism. As a corollary this is also the case for analytical, pedagogical, and exegetical literature related to the topic. However, in the late nineteenth century some composers began to look to other faith traditions for inspiration, which resulted in compositions based on texts that are less-familiar to Western audience members and performers. Despite the fact that many of these pieces are innovative and well-written, few, if any, have entered the standard repertoire. Because of this they are under-represented in both performance and extant music literature. The purpose of this study is to examine three compositions from this marginalized category in order to produce a guide that provides salient information on the religious/cultural background and musical aspects of each work. This guide will serve as a resource for conductors to facilitate an understanding of and connection with the text, allow informed programming decisions, and promote approaches that are appropriate and respectful to the religious source material. The pieces selected for investigation are Gustav Holst's Choral Hymns from the Rig Veda, Op. 26: First Group, Lili Boulanger's Vielle Prière Bouddhique (Old Buddhist Prayer), and Robert Cundick's The Redeemer.
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Seven Movements from "Missa Festiva" (1817) of Marcos Portugal (1762–1830): A Vocal Score with Critical CommentaryBrites Pereira David Coelho, Júlia 05 1900 (has links)
Marcos António da Fonseca Portugal (1762–1830) is considered by several Luso-Brazilian musicologists to be the most prolific and influential Portuguese composer in history, having impacted the Portuguese and Brazilian music scene significantly during his lifetime. Marcos Portugal achieved international fame for his large-scale works, which include sacred compositions, Italian opera seria, as well as farsas and opera buffa in Portuguese. Despite the reputation he achieved during his lifetime, today his works are understudied and underperformed, even in Lusophone countries. Such an oversight is noticeable particularly as regards his sacred music corpus. For this reason, I have chosen Missa Festiva (1817) as the subject of this dissertation. Creating a vocal score of the solo, duo and trio movements of Missa Festiva will be helpful not only for performers, but also for scholars and conductors who wish study this work. A vocal score makes accessible the performance of individual movements when only piano, organ, or another keyboard instrument is available. By facilitating the performance and analysis of Missa Festiva, this document will contribute to the work's dissemination and to a better understanding of the value of early nineteenth-century Luso-Brazilian virtuosic vocal sacred music. The manuscript used for the transcription and orchestral reduction into a vocal score of movements III-IX is BR-Rcm MS CRI-SM59 from the Acervo Musical do Cabido Metropolitano do Rio de Janeiro, from 1818 (images included in the dissertation).
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Du Wohnst unter den Lobgesangen Israels: eine Untersuchung der charismatischen Lobpreiskultur im Hinblick auf das implizierte Gottesdienstverstandnis / Thou inhabitest the praises of Israel: a study of the charismatic praise culture with regard to the implicit understanding of worshipLoewen, Paul Dennis Thielmann 11 1900 (has links)
Abstracts in German and English / Diese Studie befasst sich mit einer Untersuchung und Einordnung einiger theologischer Aspekte der charismatischen Lobpreispraxis im deutschsprachigen Raum. Dies erfolgt mittels Analyse einschlägiger Literatur sowie repräsentativer Liedtexte der charismatisch geprägten Lobpreismusik der letzten Jahre.
Insbesondere durch die Untersuchung des Tempelmotivs und seine Bedeutung in der charismatischen Lobpreispraxis, werden Charakteristika eines zugrundeliegenden Gottesdienstverständnisses und sich daraus ergebende weltanschauliche Implikationen herausgearbeitet.
Der Befund zeigt, dass den untersuchten Lobpreisliedern ein Narrativ der Begegnung des Menschen mit Gott und seiner Gegenwart (in „heiliger Atmosphäre“) als Grundmotiv zugrunde liegt. Dieses Narrativ folgt der Logik und dem Vorbild des alttestamentlichen Tempelkults. Wie der Eintritt des Priesters ins „Allerheiligste“, soll das gottesdienstliche Lobpreiserlebnis als eine transzendente Begegnung mit dem „Heiligen“ verstanden werden, wodurch sich Tendenzen zu einem sakral-kultischen Gottesdienstverständnis und Hinweise eines Dualismus zwischen „profanen“ und „sakralen“ wirklichkeitsdimensionen des zugrundeliegenden Weltbildes aufzeigen
lassen. / This study evaluates some theological aspects of the charismatic praise and worship practice in the German-speaking area by analyzing relevant literature and representative lyrics of the charismatically influenced worship songs of recent years.
In particular, by examining the temple theme and its significance in charismatic worship, the characteristics of the underlying conception of worship and the resulting worldview implications are worked out.
The results show that the studied praise and worship songs are based on an underlying narrative of man's encounter with God and his presence (in a "holy atmosphere") through the singing. This narrative follows the logic and model of the Old Testament temple cult. Like the priest's entry into the "holy of holies", the worship experience is to be understood as a transcendent encounter with the "holy", whereby
tendencies towards a sacral-cultic understanding of worship and a dualism between a "profane" and a "sacred" dimension of the underlying worldview can be shown. / Practical Theology / M. Th. (Practical Theology)
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Hudební kultura v konventu alžbětinek na Novém Městě Pražském / Music Culture of the Elisabethan Convent in PragueMichl, Jakub January 2018 (has links)
Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...
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