This dissertation examines the Fes Festival of World Sacred Music and the historical and cultural milieu of which it is a part. Held annually since 1994 in the city of Fes, Morocco, this festival was first launched in the wake of the first Gulf War as an interfaith initiative and was conceived with a European and American audience in mind. It was later housed under the aegis of FES-SAISS, an NGO based in the medina of Fes, Morocco. Over time, the festival became both more local and more global, with local residents using the global rhetoric of western democratic ideals and human rights discourses as a way to shape the festival’s local programming. After 9/11 and the May 16, 2003 suicide bombings in Casablanca, the festival took on a new significance as Moroccans began to think of the festival as an event that would counter its own domestic extremism. This dissertation looks at the role of sound and music and its place in This dissertation examines the Fes Festival of World Sacred Music and the historical and cultural milieu of which it is a part. Held annually since 1994 in the city of Fes, Morocco, this festival was first launched in the wake of the first Gulf War as an interfaith initiative and was conceived with a European and American audience in mind. It was later housed under the aegis of FES-SAISS, an NGO based in the medina of Fes, Morocco. Over time, the festival became both more local and more global, with local residents using the global rhetoric of western democratic ideals and human rights discourses as a way to shape the festival’s local programming. After 9/11 and the May 16, 2003 suicide bombings in Casablanca, the festival took on a new significance as Moroccans began to think of the festival as an event that would counter its own domestic extremism. This dissertation looks at the role of sound and music and its place in This dissertation examines the Fes Festival of World Sacred Music and the historical and cultural milieu of which it is a part. Held annually since 1994 in the city of Fes, Morocco, this festival was first launched in the wake of the first Gulf War as an interfaith initiative and was conceived with a European and American audience in mind. It was later housed under the aegis of FES-SAISS, an NGO based in the medina of Fes, Morocco. Over time, the festival became both more local and more global, with local residents using the global rhetoric of western democratic ideals and human rights discourses as a way to shape the festival’s local programming. After 9/11 and the May 16, 2003 suicide bombings in Casablanca, the festival took on a new significance as Moroccans began to think of the festival as an event that would counter its own domestic extremism. This dissertation looks at the role of sound and music and its place in viii Moroccan spiritual traditions and questions how a local religious musical aesthetic produced by the festival impacts interfaith efforts beyond Morocco’s borders as well as local Moroccan conceptions of spirituality. Important components in the shaping of conceptions of spirituality are interactions in the sphere of tourism, and local and international efforts at historic preservation, and in the history of how local musics became world music. Perhaps more than ever before, the preservation of local histories and traditions are co-constructed at a global rather than a local level, where global spheres are new grounds for creating local meaning. In conclusion, this dissertation considers the nature and scope of the impact this festival has as it travels around the globe. / text

This narrative chronicles the dissemination of sacred music from the eastern seaboard to the West and South spanning a time frame from the colonial era to the latter part of the Early Nationalist Period (1700-1820). Musical culture in its migration away from the eastern seaboard also parallels the greater western and southern expansion of the United States from its initial configuration of localized regional subgroups to the beginnings of a larger national identity. From this conceptual base, sacred music becomes a vehicle for understanding not only religious and musical changes over time, but also the broader maturity of a nation. Focusing on this period allows for inquiries both into the development of hymnody in the Middle Atlantic, and the subsequent developments of the West and South. These chronological delimitations allow for a discussion of musical practice beginning with formative sacred music developments and continuing to the incorporation of techniques shaped by reform-minded musicians from the eastern seaboard. The following topics guided the construction of this thesis: explicating how the Middle Atlantic region shaped compositional trends, aesthetic, and performance practice of the American West and South; identifying the various southern cultures as understood by eighteenth and nineteenth-century southerners and their application to sacred music practice; understanding how nineteenth-century Americans distinguished between the West and the South; understanding how southern and western music relates to individual denominations and cultures within these areas; and understanding performance practice common to the evangelical and non-evangelical branches of individual sects. Identifying patterns of development in American sacred music of the South and West involves documentation of performance practice, denominational aesthetics, and tunebook bibliography. The study of eighteenth-and-nineteenth-century material by twentieth-and-twenty-first-century writers has falsely defined cultural borders of this region according to a post-bellum conceptualization of the boundaries of the North and South. Prior to 1850, writers defined their borders according to a different set of geographic boundaries than today. Consequently, this thesis differs in terms of geographic and cultural definitions of the North and South from current scholarship because of this writer’s application of colonial and Early Nationalist understandings of American culture.

<p>The intention of this essay is to put the light on and to discuss if there is a connection between a pre-Christian creation mythology and naked rocks on prehistoric sacred places in Scandinavia. Archaeological as well as historical materials are studied. The historical material is mostly from Snorre Sturlasons Asasagan with the explanation of the creation of the world. In this story the world was built from the body of a killed and deposited giant named Ymer. Almost the same myth is told in all Indo-European countries. Asasagsan tells about the Gods and the people in the late iron-age. Sanda in Fresna socken and Helgö in Ekerö socken, both in Uppland and both in activity in late iron-age are used as archaeological example of places where naked rocks are used as some kind of altar for rites.</p>

This work is a setting of the hymn of Thanksgiving written by St. Nicetius in the sixth century, the TE DEUM. In the Roman Catholic liturgy it replaces the last responsory of Matins on Feast Days and Sundays and in the Anglican liturgy it is one of the canticles of Morning Prayer. The text is one of the few surviving examples of Latin "Psalmus Idioticus" which were, along with the GLORIA of the Ordinary of the Mass and the EXULTET, early Latin texts written in imitation of the Psalms. This TE DEUM was written to continue a tradition of choral settings of this text, in Latin, English, and German, beginning with Palestrina and Handel, and continuing with Haydn, Mozart, Berlioz, Bruckner, Dvorak, Verdi, Britten, Walton, Kodaly, Persichetti, and Vaughan Williams to the present. The quotes from the Metamorphoses for 23 strings of Richard Strauss are used in honor of Strauss' quote of Beethoven's EROICA Funeral March at the end of the Metamorphoses. Strauss was acknowledging the "Master" and his compositional tradition and in the same way I humbly respect the artistic legacy I have inherited. The text and the music have symbiotically wended their way through the centuries out of the pens of the masters. The work is set using the English translation of the Anglican Church, is in one movement and is scored for the following forces: double woodwind with alto saxophone, four horns, 2 trumpets, 2 trombones, tuba, timpani, suspended cymbal, tam tam, tubular chimes, vibraphone, triangle, crash cymbals, SATB soli, SSAATTBB chorus, and strings.

Since 1990, at the direction of Congress, the U.S. Department of Defense (DoD) has been developing the Legacy Resource Management Program to enhance DoD's stewardship of cultural and natural resources for which it has responsibilities. The Legacy Program is designed to go beyond compliance with various host nation, Federal, tribal, state, and local historic preservation, religious freedom, and natural resource protection laws, policies, regulations, and guidance. The original Legacy legislation specifically directed the Program to assess the adequacy of DoD's stewardship of Native American resources, for which it may have conservation or management responsibilities either as a major landholder or as a Federal agency whose activities affect traditional Native American values and practices. This report is about Native Americans and their cultural resource relationships with the Department of Defense. This study does not consider the Native American relationships of all 16 Defense agencies that report to the Department of Defense. Instead, the study was restricted to the Army, Navy, Air Force, and Marine Corps.

Policy-makers, project planners and development organisations are becoming convinced that the failure of the new socio-ecologically sensitive strategies co-opted by 'professional' forestry could be better addressed by indigenous forestry. They believe that indigenous forestry might assist with the development of successful forestry projects that are ecologically sustainable and socio-politically equitable. In order, however, to learn from indigenous forestry systems, the acculturation of foresters in the vernacular culture of the forest users appears to be an essential process for understanding and intervening in a local forest management complex. Acculturation entails not only more attention to the immaterial cultural realm, but an understanding of multiple resource stewardship, local ways of knowing and perceiving, local forest values and 'practices of care'. While acknowledging the significance of the politics of knowledge and political ecology this study examines resource stewardship from an alternative neglected angle that of knowledge sustainability and synergistic bridging. It will examine in general modes of knowing and bridging between 'formal' and indigenous forestry knowledge, and in particular the identification of forest value paradigms that are evidently exemplars of bio-cultural sustainability. The main outcomes of this study include the cognitive mapping of forest values among 'Tibetan minority nationalities' in Eastern Kham, their spatial distribution and the coincidence of changes in forest values with cultural or biophysical phenomena. Conceptually this study relies heavily on knowledge-system, hypertext, and paradigm theory and a critique of the narratives of John Locke. The former provide a platform to compare and contrast alternative knowledge systems and a means of synergistic bridging between them and the latter encapsulates a trajectory of western knowledge often known as modernity. The quantitative methods employed in this study included text analysis for forest value identification, multidimensional scaling for the cognitive mapping of forest values, spatial analysis and kriging for forest value distribution, and boundary or wombling analysis for changes in forest values and their coincidence with cultural or biophysical phenomena. The latter four methods are groundbreaking in that they have never been used to study forest values before. The study concludes that there is compelling evidence suggesting homogeneity in forest values with up to 5 geospatial paradigms and up to 12 cognitive paradigms. The findings, especially close correlation between forest values and ethnolinguistics, provide a potential template for foresters to develop multiple models of natural resource or biodiversity stewardship based on local forest values. In terms of the wider application, indigenous knowledge cannot seemingly be sustained if it is integrated with or into western knowledge systems due to the lack of conceptual frameworks for cross-cultural epistemological or psychological integration. Coalescing under the rubric of post-modernism, however, we do find a number of complimentary trajectories, which seemingly provide space for knowledge equity, sustainability and bridging. These trajectories include hypertext theory, paradigm theory, abductive logic, adaptive management, ecospiritual paradigms, and post-modern forestry paradigms. These trajectories and findings offer planners globally a means for synergistic bridging between local and non-local knowledge systems on the road to sustainable forestry and biodiversity stewardship.

Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals. The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.

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.

The Chorale Cantatas by Johann Sebastian Bach are outstanding examples of his ingenuity. The existing data on the Chorale Cantatas are distributed throughout numerous volumes by many scholars. They have written much about the cantatas in general but not so much specifically about the chorales in them. In this thesis, the emphasis is on the chorales and Bach's treatment of them in the Chorale Cantatas. An historical approach to the cantata and the chorale is given as a preliminary to the treatment of the chorale in the chorale cantata. This was done that the reader might have a better understanding of them. The necessary material for this thesis was gathered from dictionaries, music lexicons, books, articles and the music principally in the Bach-gesellschaft edition. The material is organized according to the following plan: 1. The Church Cantata and its origin; the development of the Church Cantata in Germany; the use of the cantata in the worship service. 2. The Chorale, its origin and development; its changes as a result of the Reformation; its use in church services, and its use in musical composition. 3. Bach's treatment of the Chorale in musical forms. 4. Bach's treatment of the words of the Chorales in the Chorale Cantatas.

Though perhaps we shall never know the music to which these religious lyrics were written, the poems have never ceased to be the source of inspiration for the spirits of men since they were first sung. Each psalm seems to have an underlying purpose with a personal message for each reader. In the Book one can find a reply to every sort of question, for the Psalms are filled with expressions of emotion brought about by all human experience. The collection of these 150 songs or psalms makes up what is known as the Hebrew hymn-book or the Book of Psalms.