Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

The purpose of this study is to provide a conductor's resource for preparation of the Missa Dona Nobis Pacem of Ernst Pepping (1901-1981). While research on the organ works has been done, there is no English language resource on the sacred choral works of Pepping. This paper provides a collection of information on Pepping's life, musical characteristics, and the composition of the Missa Dona Nobis Pacem. Following an introductory first chapter, Chapter Two is a biographical sketch of the composer with emphasis on compositional periods and important historical figures, and it places Pepping's works into this context. The third chapter is a brief description of Pepping's musical language and places the Mass in historical compositional context through a discussion of the Vier letzte Lieder of Richard Strauss (1869-1949) and the Cinq rechants of Olivier Messiaen (1908-1992), two vocal works also written in 1948. Chapter Four is an overview of the Mass. The fifth chapter gives an analysis of the Missa Dona Nobis Pacem and provides musical examples. The sixth and final chapter provides further insight into the works for a cappella choir by Ernst Pepping with a discussion of two major examples from the same compositional period, Heut und ewig (1948) and the Passionsbericht des Matthaus (1949-1950). The Appendices are a chronological list of the choral compositions of Ernst Pepping, and a chronology.

Die folgenden Ausführungen dienen dazu, zunächst unabhängig von dem von Bach hinterlassenen Oeuvre die Regelungen zur hamburgischen Kirchenmusik zu skizzieren. Ausgangspunkt der Darstellung bilden neu aufgefundene Zeitungsdokumente. Ferner soll geschildert werden, mit welchem Repertoire und auf welche Weise Bach die Gottesdienstmusik bestritt, bevor ein vorläufiger Aufführungskalender für die Jahre 1775 und 1788 abschließend diskutiert wird.

Thesis (S.T.M.)--Trinity Lutheran Seminary, Columbus, Ohio, 2007. / Includes bibliographical references (leaves 118-122).

Thesis (S.T.M.)--Trinity Lutheran Seminary, Columbus, Ohio, 2007. / Includes bibliographical references (leaves 118-122).

Thesis (Ph.D.)--Boston University. PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The stature of Samuel Wesley, liturgical composer, organist, editor, lecturer and man of letters, has been obscured by the prominence of his son, Samuel Sebastian Wesley. The father's contributions have been reflected dimly in his recognition as an organist-improvisator and Bach enthusiast, and by the fleeting notoriety accorded him as another religious eccentric named Wesley. The composer's hitherto unacknowledged sacred choral compositions reflect his genius and Romantic dedication to his religious ethos in an unstable environment. Twenty-three English anthems and thirty-one Latin motets have been analyzed. The anthems are less impressive than the motets; they reflect the conservative verse anthem forms which prevailed in English sacred music after 1700. The Latin works constitute a significant contribution which marks the resurgence of English full choral traditions [TRUNCATED]. / 2031-01-01

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Many scholars have recognized the communicative and emotive power of singing as a ritual performance, and some have argued that hymn singing has played a significant role as a medium of cultural and religious communication and exchange. To better understand how and why singing might facilitate such exchange, this essay explores as a case study, the role of hymn singing in the cultural contact between the Cherokees and the missionaries at Brainerd, near Chattanooga, TN. By examining accounts of ritual singing recorded by both missionaries and Cherokees, the project illuminates how these communities, respectively, may have understood the role of singing in ritual practice. From these different perceptions of ritual singing, one can better understand how the Cherokees may have experienced resonances with the missionaries’ practices, which would encourage cultural assimilation and exchange. In turn, this study contributes to a larger conversation about music and religious expression.

This dissertation provides the first full-scale musicological study of Stuttgart 95, a thirteenth-century song book, formerly thought to be from the abbey of Weingarten. Upon further examination, it is clear that rather than a single unified corpus of Latin songs, the musical portions are composed of three separate layers. Furthermore, I argue that these layers were best understood as separate entities. This delineation between writing campaigns indicates that the original musical project likely constitutes a mostly intact collection, with only one or two folios missing from the beginning of the codex. Moreover, the song repertoire in the first layer is partially comprised of addenda entered into other Engelberg liturgical manuscripts, mainly at the close of the twelfth and beginning of the thirteenth century, shortly before the manufacture of Stuttgart 95. I focus, in particular, on the first layer of its musical corpora, arguing that the earliest stratum in this composite manuscript points to the double cloister of Engelberg as a likely provenance. As a collection of addenda, it demonstrates that musicians in Engelberg actively collected pieces that addressed Mary, the community’s patrona. I first discuss the consistent use of majuscule and rubrication to visually highlight the name of Mary amidst its surrounding text. Furthermore, I demonstrate that Mary along with each of these additional saints had liturgical ties to the double house of Engelberg; Mary was the monastery’s patrona, and the additional figures were either especially venerated at Engelberg or were the namesakes for dedicated altars or chapels in joint community’s churches.

Die folgenden Ausführungen dienen dazu, zunächst unabhängig von dem von Bach hinterlassenen Oeuvre die Regelungen zur hamburgischen Kirchenmusik zu skizzieren. Ausgangspunkt der Darstellung bilden neu aufgefundene Zeitungsdokumente. Ferner soll geschildert werden, mit welchem Repertoire und auf welche Weise Bach die Gottesdienstmusik bestritt, bevor ein vorläufiger Aufführungskalender für die Jahre 1775 und 1788 abschließend diskutiert wird.