This work, a requiem cantata for chorus and orchestra, is based in part on the shape-note hymn "Idumea". The first verse of "Idumea" ("And am I born to die...") is sung by the chorus at the conclusion of the first movement, which is a chorale prelude based on that hymn tune. The "Idumea" tune also appears in orchestral interludes in the middle and at the end of the composition. Although this composition is not based on one continuous narrative as are many cantatas, the opening chorale prelude and subsequent use of that initial material suggest a musical continuity reminiscent of the cantata. This composition was written as a memorial; the use of the "In Paradisum" chant from the Requiem Mass coupled with the elegiac setting of certain of the texts suggest both a literal and spiritual connection with the requiem. Excepting the opening movement, the texts and orchestral interludes are arranged in a progression leading from statements of youth to old age to death. This work, with a total duration of approximately thirty minutes, is in nine movements and is scored for the following forces: three flutes, two oboes, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, two trombones, tympani, bass drum, handbells, SATB chorus, and strings.

Thesis--Wisconsin. / For solo voices (SATB): arbitrary syllables as text. Typescript. Vita. eContent provider-neutral record in process. Description based on print version record.

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Thesis (J.C.L.)--Catholic University of America, 1987. / Includes bibliographical references (leaves 98-104).

The essay discusses the moral lessons that are conveyed in C.S. Lewis´ The Lion, the Witch and the Wardrobe. The didactic lessons are examined from a biographical point of view and with a New Critical close reading. The essay argues that the lessons can be interpreted in two different ways: from the secular and the Christian perspective. The focus is on the five most important lessons: forgiveness, self-sacrifice, friendship, compassion, and temptation. The essay concludes by stating that the lessons of the novel are possible to interpret both from the secular and the Christian perspective and that the novel is complex and multidimensional.

Thesis--University of California, Los Angeles. / Vol. 2 contains scores of 5 cantatas by Savioni. "Thematic catalogue of the secular cantatas of Mario Savioni": v. 1, leaves 226-324. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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This thesis seeks to demonstrate the extent to which secularizing tendencies are present in Russian vitae of the sixteenth and seventeenth centuries, to examine what role these tendencies play in the evolution of sacred life-writing and also consider how they reflect changing perceptions of and attitudes towards sanctity. By the later medieval period, Russian hagiographical writing had evolved beyond the primarily edificatory goals of the early Russian Orthodox Church, and had become a more varied and sophisticated literary medium used to great effect by the hagiographer to present a political, legal, socio-cultural or ideological message which was distinctly secular in nature. Despite the continuing ideological constraints of the Church, hagiographers succeeded in manipulating and refashioning the established patterns of traditional rhetorical vitae in order to express more powerfully an opinion on a variety of non-ecclesiastical affairs. Several native Russian vitae dating to the sixteenth and seventeenth centuries are analysed in detail to demonstrate the development of this tendency in hagiography. The four main chapters of the thesis focus upon different groups of hagiographical works which demonstrate clear evidence of secularizing tendencies: first, vitae composed in northern Russia during the sixteenth century; secondly, works influenced structurally and thematically by oral tradition largely pre- Christian in origin; thirdly, vitae devoted to female protagonists; and finally, seventeenth-century autohagiography. An examination of the relevant historical and socio-political events of the period helps place the vitae chosen for detailed analysis in a wider critical context than simply that of literary genre. Each chapter also includes a section on the contextual hagiographical background which determines the extent to which earlier works of Russian hagiography acted as models or inspiration for the sixteenth- and seventeenth-century vitae.

Formal and cultural analyses of The Wizard of Oz (Victor Fleming, 1939) indicate that Dorothy's passage from Kansas, through Oz and back to Kansas symbolically recapitulates paradigmatic stories of both America (the nation's passage from utopian origin, through history, to utopian destiny) and Christianity (the cosmic passage from paradisian origin, through history, to paradisian destiny). In order to "go home" (the explicit theme), Dorothy must "grow up" (the implicit theme); this link is also paralleled symbolically at both national and cosmic levels. Resonating profoundly with the collective ethos, this movie has come to function in a modern (ostensibly secular) society the way myths function in traditional (overtly religious) societies. I conclude that popular movies may be effective replacements for the mythic aspect of traditional religion and that modern societies may appear to be more secular (hostile or indifferent to religion) than they actually are.