Thesis--University of Michigan. / Vol. 2 contains the author's transcription of 9 compositions by Giovanni Legrenzi into modern score. Includes bibliographical references.

Thesis (Ph. D.)--Indiana University, 1975. / Includes vita. Vol. II contains author's transcriptions of the 39 works in the codex into modern notation in score. Includes bibliographical references (v. 1, leaves 154-158).

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references(leaves [121]-123).

Thesis (Ph. D.)--Indiana University, 1975. / Includes vita. Vol. II contains author's transcriptions of the 39 works in the codex into modern notation in score. Includes bibliographical references (v. 1, leaves 154-158).

Thesis--University of Michigan. / Vol. 2 contains a selection of Hoyoul's works in modern edition. Index of incipits: v. 1, leaves 196-220. Includes bibliographical references (v. 1, leaves 221-225).

Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006. / "A dissertation in conducting." Advisor: William Everett. Typescript. Vita. Description based on contents viewed Oct. 30, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 100-102). Online version of the print edition.

Orientador: Percival Tirapeli / Banca: José Leonardo / Banca: José E. Gama Martins / Resumo: A produção de imagens sacras no Brasil teve uma importante função didática para difusão do evangelho, uma ação educativa realizada pelas ordens religiosas que foram se instalando em várias partes do país. Em virtude disto, o sucesso da missão propiciou a edificação de muitas igrejas que continham em seus altares belas imagens sacras de cunho erudito para o culto coletivo, envoltas em um contexto místico, nas quais o fiel buscava conforto espiritual, por meio da contemplação. Aliadas aos sucessivos ciclos econômicos, passaram, ao longo da história, por adequações de material, estilo e dimensão, que acabaram por levá-las para o interior das casas e lá permaneceram fazendo parte do cotidiano. Posta assim a questão, no estado de São Paulo, em meados do século XIX, na região que hoje chamamos de Vale do Paraíba, houve uma grande demanda de imagens para o culto doméstico, que possuem vários pontos de tangência com as eruditas barrocas, encontradas nas igrejas locais. Denominadas Paulistinhas, estas imagens foram produzidas, exclusivamente no estado de São Paulo, para suprir as necessidades devocionais de um número significativo de pessoas que migraram para o vale, motivadas pelo cultivo do café, o então chamado ouro-verde. Imagens de devoção confeccionadas, por mais de um século por muitos santeiros, sendo na sua maioria anônimos, os quais, por meio da criatividade, fizeram surgir uma simplificação formal demasiada e muito singular para estas imagens que representavam os santos católicos e que, atualmente, se revelam preciosas não só pela devoção que elas suscitavam, mas também por marcar uma distinta escola de imagem sacra, imbuída do espírito barroco. / Abstract: The manufacturing of sacred statues had an important educational role in the spreading of the Gospels in Brazil. Such confection was conduced by the religious orders which settled down in various regions of the country. The successful mission led to the construction of many churches whose altars had beautiful baroque statues surrounded by a mystic context, which the churchgoers sought for spiritual comfort through contemplation. Attached to the successive economic cycle, these baroque statues suffered, through history, many adaptations of material, style and dimension, taking them to the follower houses, where they stayed composing the daily life. In São Paulo State, by the middle of the 19th century, in the region called Vale do Paraíba (Paraíba Valey) there was a great search of such statues intended for domestic praying. These domestic versions had much in common with the original ones from the local churches. Such statues, dubbed Paulistinhas, were exclusively made in São Paulo State, responding to a demand for the devotional necessity of a significant number of people who migrated to the area, drawn by the coffee growing, then called "Green-gold". Devotional statues manufactured, for more than a century, by anonymous sculptors who by means of creativity made a particular and exaggerated formal simplification for the statues which represented the Catholics saints which are, currently, not only important for their devotional values, but also for indicating a different school of sacred statues which are plenty of the baroque spirit. / Mestre

Religion (and misunderstanding of religion) plays a large role in the current state of global social unrest. In parcitular, tension between practitioners of Islam, Judaism, and Christianity seems to be unavoidably high. Not only that, but populations declaring themselves as followers of these three organized religions are expected to increase significantly over the next 50 years. This thesis aims to address the underlying tensions between Islam, Judaism, and Christianity through the use of architecture. It is an experimentation with architectural forms, spaces, and elements that can be seen as potentially relatable and understandable to all three religions. At the same time, the thesis also searches for the sublime (as tends to be the case with religious architecture). It is an experimentation with ineffable space, space that communicates deeply with human emotion and aspiration. The design is meant to provide a 'window to the sacred.' In this way, contemporary religious architecture can act as a catalyst for education and unification in the hopes of the banishment of ignorance and hatred and the prosperity of peace and understanding. / Master of Architecture

Thesis (D.M.A.)--Boston University / Francesco Cavalli was the most renowned composer of opera in seventeenth-century Venice. Though Cavalli's operas have enjoyed a surge in popularity and interest in recent years, his sacred works remain largely unknown. Cavalli published only a small portion of his compositional output, and his Musiche Sacre Concernenti of 1656 contains the largest source of his acred music in concertato style, representing a fusion of his sacred and secular compositional worlds. The purpose of this study is threefold. The first is to provide a modern performing edition of each motet governed by the same editorial principles that will serve scholars and performers by providing a performing edition based on the Gesamtausgabe tradition of complete works of a single composer. The second is to explore the musical, liturgical, and historical context and significance of his motets as pertains to executing an informed performance. The third is to promote the music of Francesco Cavalli in general. The motets of the collection include eleven psalms, five hymns, the Magnificat, and the four Marion antiphons, employable in various Vesper services of the liturgical year. Part I of this study will serve as the Critical Commentary to the edition. Chapter 1 examines Cavalli's life and work. Chapter 2 contains analyses of the motets. Chapter 3 discusses the liturgical contexts of the motets as well as the historical background of the collection in relation to Seicento Venice. Chapter 4 explores issues of performance practice such as ensemble size, voicing, the appropriate choice of instruments, pitch center, continuo practice, tempo, metric relationships, coronas, dynamics, and missing verses. Part II will present the performing edition of each motet in full score with a critical report. Sources and editorial methods will be discussed, and detailed critical notes will be provided. Appendices including the motets' texts, translations, and instrumental parts are provided.

The thesis starts with the study of a Miao village in China, which is known as the center of the Miao culture. In Miao settlement landscape history, there is one feature that can be found in many cultures. The Fengshui Lin, also known as the Sacred Grove, protects the village. The ancient songs and tales of Miao show that the Fengshui Lin can be seen as the spirits of the ancestors (Wang, X. 2015). Since ancient times, Miao people have a tradition of respect for nature, and Fengshui Lin is the most important landscape element for them. It is not only part of the natural flexible border, but also associated with many social activities. Sacred groves are created and evolved through human acts and the long span of human history (Jackson J. B. 1980). They play an important role in many different cultures around the world. Sacred groves may reflect the culture of society as settings for specific functions, or serve as objects of worship for people to purify their souls and refresh their spirits. In burial grounds, there also are sacred groves which could be a place for praying and commemorating. Since sacred groves are seen as spirits of life, it is necessary to think about the relationship between sacred groves and burial grounds. The thesis focuses on the issue of what is sacred? How to make a grove sacred or create a sacred grove in burial grounds? What kind of scenario for the design? With the inspiration of the Fengshui Lin in Miao village, the project aims to create a sacred space with trees for people who lost their family or friends in local communities. My thesis addressed these questions through a design project for sacred groves in the local parks of Arlington, Virginia. With design criteria derived from case studies and literature review, my goal is to create neighborhood cemeteries in the local parks to bring people closer to life as well as death and to let people get the experience of mortality. / Master of Landscape Architecture / In many ancient societies, sacred groves were an essential aspect of life. In some cases, these groves encompass a large territory; in other cases they may be a few trees. These groves originated in the time following the introduction of agriculture. When societies evolving, sacred groves became not a piece of nature, but an institution that depending on custom, agriculture, and even the cycles of life. Sacred groves are a legacy for everyone. These sacred groves may reflect the culture of society, they are not merely symbols but dynamic and complex landscapes created as settings for specific functions. These sacred groves serve not only as totems of worship, but as moments or places where people purify their souls. Sacred groves surrounding or covering burial grounds have existed widely throughout the world (Tuan, Y. 1977). In many burial sites, sacred groves dominate the landscape. They serve the spiritual needs of the living as well as keep alive memories of the dead. This thesis will discuss the method to make a grove sacred and develop a landscape to provide an opportunity for people to get a sense of their life and culture. The concept is to reinstate the connection between burial grounds and neighborhoods by creating neighborhood cemeteries in the local parks of Arlington, Virginia. Through thoughtful site selection and design, sacred groves can hold precious information about the history of communities for generations.