Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.

My dissertation seeks to answer the following question: why did German Romantic composer Robert Schumann turn to the composition of sacred music in the early 1850s? From Schumann's earliest biographers to more recent commentators, critics have struggled to make sense of the composer's seemingly uncharacteristic production of a Mass and Requiem Mass, often explaining his work in these musical genres in terms of his struggles with mental illness and eventual institutionalization. I seek to revisit this question by taking a broader look at Schumann’s compositional output from his years in Düsseldorf, arguing that his interest in sacred genres reflected an active engagement with evolving questions of religious and national identity during these pivotal decades in the German states. To this end, I analyze three case studies. The first examines the tension between communal and individual understandings of Romantic religion through comparison of Schumann’s choral-orchestral Adventlied, Op. 71 and his song cycle Sieben Lieder, Op. 104. The second analyzes Schumann’s plans for a Martin Luther oratorio, which, although he never completed the project, reveal much about Schumann’s nationalist aspirations and understandings of German history and culture. The final case study looks at the Missa Sacra, Op. 147, highlighting Schumann’s investment in the history and future potential of church music. Examination of Schumann’s church music reviews from the 1830s and 40s, as well as his conducting and scholarly priorities during the late 1840s and early 1850s, suggests that Schumann esteemed and sought to contribute to the history of German church music. These case studies demonstrate how, using different means, Schumann was interested in and actively participated in larger currents of religious transformation in the mid-nineteenth century, transformations that were shaped by intersecting forces of nationalism, historicism, Romanticism, and the shifting roles and venues of religious identity and practice in German society and culture.

[pt] Esta dissertação pretende desenvolver uma análise teológica sobre o papel da música sacra no cenário atual de evangelização no Brasil: elementos para o entendimento do estado da questão. Inicialmente, fizemos um percurso em busca do conceito de música sacra e sua importância para a vida humana em Israel, nas primeiras comunidades cristãs, para mostrar seu papel essencial para a manifestação da fé. A seguir, focamos no esforço de projetar uma perspectiva antropológica em relação à música sacra que contribuísse para sua participação harmônica na integração social de pessoas, grupos, comunidades. É inegável, então, que a Igreja desde a sua fundação canta e celebra o amor de Deus. Assim sendo, o Concílio Vaticano II contribuiu para a efetiva participação das pessoas nas celebrações e para o surgimento na realidade brasileira de uma gama, até difícil de ser documentada, de cantos, de músicos, de músicas. Entretanto, diante das exigências da atualidade, podemos inferir que a música ao ser inserida em uma determinada cultura se apropria de elementos que são parte integrante dela. Por conseguinte, evidenciamos a importância da música como um instrumento de evangelização no Brasil. / [en] This dissertation intends to carry out a theological analysis about the role of sacred music in today’s evangelism scenario in Brazil: elements to understand the state of the art. First, we set out on a journey in search of the concept of sacred music and its importance in human life, in Israel, in the first Cristian communities, in order to show that this type of music is an essential element for people to proclaim their faith in worship. Then we focused on the effort to project an anthropological perspective towards sacred music that would contribute to the realization of its harmonic participation in the social integration of people, groups and communities. We also pointed out that the Second Vatican Council contributed to the effective participation of people in the celebrations and to the appearance of a great number of songs and musicians. However, faced by today s demands, we must acknowledge that music when introduced into a certain culture takes over elements that are an integral part of that culture. Therefore, we have been able to present the importance of music as an instrument of evangelism in Brazil.

During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.

La présente thèse tente d'aborder, pour la première fois, une analyse comparative du rôle que la musique liturgique a joué dans le processus de construction de l'image sacrée des souverains de la maison Bourbon de France et d'Espagne dans le cadre des cérémonies religieuses célébrées aux cours de Madrid et de Versailles pendant les dernières décennies de l'Ancien Régime, ainsi que du rôle que l'exemple de la Chapelle pontificale a joué dans ce processus. Le but principal de cette étude a été d’apporter un cadre conceptuel et un modèle d'analyse qui permettraient d'aborder une étude globale de la musique sacrée destinée à ces cérémonies, sous un angle plus proche de l'histoire culturelle que de la musicologie traditionnelle, mais toujours partant de l’analyse des aspects performatifs qui permettaient dévoiler l’interaction réciproque entre la musique avec le contexte cérémonial, politique et historique duquel a fait partie. Tout au loin de six chapitres on examine les éléments qui conformaient les cérémonies de la liturgie d’État, conçues à cette époque comme des représentations sacrées : les différentes scènes où avaient lieu, les acteurs, le cérémonial, ainsi que le fonctionnement des différents styles de chant utilisés pour solenniser aussi bien les cérémonies ordinaires que les extraordinaires célébrées à Rome, à Madrid et à Versailles entre 1745 et 1789. Cela comprenait non seulement les œuvres de musique sacrée produites ad hoc par les maîtres de chapelle, mais aussi d’autres musiques, comme le plain-chant, le contrepoint où le faux-bourdon, qui faisant partie de ce même système de représentation étaient parfois exécutés par l’improvisation ou la mémorisation. / This thesis attempts, for the first time, to address a comparative analysis of the role that liturgical music played in the process of building the sacred image of the sovereigns of the Bourbon House of France and Spain as part of the religious ceremonies celebrated in Madrid and Versailles during the last decades of the Ancien Régime, as well as the role that the example of the Pontifical Chapel played in this process. The main purpose of this study was to provide a conceptual framework and analytical model that would allow a global study of sacred music for these ceremonies to be approached from a perspective closer to cultural history than traditional musicology, but always starting from the analysis of the performative aspects that revealed the reciprocal interaction between music and the ceremonial, political and historical context of which it was a part. Along six chapters, we examine the elements that shaped the ceremonies of the State liturgy, conceived at that time as sacred representations: the different scenes in which they took place, the actors, the ceremonial, as well as the functioning of the different styles of singing used to solemnize both the ordinary and extraordinary ceremonies celebrated in Rome, Madrid and Versailles between 1745 and 1789. This included not only sacred music works produced ad hoc by the choirmasters, but also other music, such as plainchant, counterpoint or faux-bourdon, which were sometimes performed by improvisation or memorization as part of this same system of representation.

Made available in DSpace on 2016-08-03T12:18:48Z (GMT). No. of bitstreams: 1 Milton Rodigues de Souza1-145.pdf: 733021 bytes, checksum: 27d635c39633626d7dbd7acbcdbe7456 (MD5) Previous issue date: 2011-08-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation intends to study the Christian Harp, one of the main national protestant hymnals, looking to identify it as instrument of expansion in Brazil s Pentecostalism mission in the period between 1910 and 1970, while appreciating the history and the creation of this liturgical book, intending to comprehend its usage as motivational element in the missionary practice of the Brazilian Pentecostal churches. It also consists of knowing the characteristics of construction of this compendium, passing through the presentation of its hymnists profiles and through the assiduous study of its musical structure and literary composition, while being aware of some important constitutive characteristics that are used, such as the theological concepts. Looking for a missiology concept that shows to be more correlated with the theological content of this hymnal and the referral of various examples of incitement to the evangelist practice found within its songs, which leads to the comprehension of the relevancy of the Christian Harp in the liturgical life of confessional pentecostal churches in Brazil, and its bold presence as an efficient developer of missionary practice of these faith communities. / Esta dissertação pretende estudar a Harpa Cristã, um dos principais hinários protestantes nacionais, buscando identificá-la como instrumento de expansão da missão no pentecostalismo do Brasil, no período comprendido entre os anos 1910 e 1970, apreciando a história e a formação deste livro litúrgico na pretensão de compreender sua utilização como elemento motivador para a prática missionária das igrejas pentecostais brasileiras. Consiste também em conhecer as características da construção deste compêndio, passando pela apresentação do perfil de seus hinistas e pelo estudo aplicado da sua estrutura musical e sua composição literária, conhecendo, ainda, algumas de suas importantes características constitutivas, como os conceitos teológicos de que faz uso em seu discurso. A procura por uma conceituação missiológica que se mostre mais identificada ao conteúdo teológico deste hinário e a indicação de vários exemplos de incentivo à prática evangelística encontrados em suas canções conduzem à compreensão da relevante importância da Harpa Cristã na vida litúrgica das igrejas de confissão pentecostal no Brasil e da sua marcante presença como eficiente agente fomentador do exercício missionário dessas comunidades de fé.

John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style.

This master's thesis concerns the extant masses of Jan František Novák (died 1771), kapellmeister of the cathedral of St. Vitus in Prague from 1737-1758. These masses and their copies are critically examined and subsequently analyzed by focusing on particular types of arrangement as well as in summary. Aspects of musical practice and of the collection of notated music of the metropolitan chapter during Novak's era are also discussed in this thesis.

Alfredo Ildefonso Schuster (1880-1954), abate di San Paolo fuori le Mura e, successivamente, arcivescovo di Milano dal 1929 al 1954, ricoprì, durante il periodo romano, importanti incarichi sia all’interno dell’Ordine benedettino che della curia romana per volontà di Pio X, Benedetto XV e Pio XI. Egli diede un contributo decisivo in svariati ambiti: insegnò presso la Scuola di Musica sacra, fu consultore della Congregazione dei Riti, preside del Pontificio Istituto Orientale e presidente della Pontificia Commissione di arte sacra. Personalità particolarmente sensibile, fu in contatto con il mondo benedettino europeo, sostenne il movimento liturgico e si mostrò aperto verso la Chiesa ortodossa e gli ebrei. Dal punto di vista politico, infine, Schuster affermò con chiarezza la necessità che lo Stato riconoscesse l’importante azione sociale della Chiesa, denunciando le ingerenze e i soprusi commessi sia dal governo liberale che da quello fascista. / Alfredo Ildefonso Schuster (1880-1954) was a Benedictine monk at the Basilica of Saint-Paul-Outside-the-Walls in Rome and Archbishop of Milan from 1929 to 1954. During his stay in Rome he held high offices for both the Benedictine order and the Roman Curia thanks to Popes Pius X, Benedict XV and Pius XI. He provided decisive contributions to various fields: teacher at the Institute of Sacred Music, Consultor to the Sacred Congregation of Rites, President of the Pontifical Oriental Institute and President of the Commission for Sacred Art. Man with a highly sensitive personality, Cardinal Schuster got in touch with the European Benedictine community, promoted the Liturgical Movement and showed his openness to the Orthodox Church and the Jewish people. In the political field Schuster clearly stated the necessity of the State to admit the important social action carried on by the Church, while blaming interferences and abuses of both the Liberal and Fascist Government.

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.