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

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. Includes bibliographical references. Also issued in print.

No description available.

Book Summary: Based in the idea that social phenomena are best studied through the lens of different disciplinary perspectives, Empty Churches studies the growing number of individuals who no longer affiliate with a religious tradition. Co-editors Jan Stets, a social psychologist, and James Heft, a historian of theology, bring together leading scholars in the fields of sociology, developmental psychology, gerontology, political science, history, philosophy, and pastoral theology. The scholars in this volume explore the phenomenon by drawing from each other's work to understand better the multi-faceted nature of non-affiliation today. They explore the complex impact that non-affiliation has on individuals and the wider society, and what the future looks like for religion in America. The book also features insightful perspectives from parents of young adults and interviews with pastors struggling with this issue who address how we might address this trend. Empty Churches provides a rich and thoughtful analysis on non- affiliation in American society from multiple scholarly perspectives. The increasing growth of non-affiliation threatens the vitality and long-term stability of religious institutions, and this book offers guidance on maintaining the commitment and community at the heart of these institutions.

No description available.

with Rev. Edward T. Oakes, SJ, University of St. Mary of the Lake/Mundelein Seminary / McGuinn Hall 121

Francis Poulenc ( 1899-1963 ) is one of the most important French composers in the early 20th -century. Influenced by Neo-classicism, Poulenc developed his own personal musical language which is light, humorous, and sagacious. He wrote in many different musical genres during his life, including ballet, opera, piano, vocal, choral, and chamber music. In 1936, after his good friend Pierre-Octave Ferroud¡¦ sudden death in a car accident and religious experience in Rocamadour, Poulenc started to compose choral music, including Petites Voix. Petites Voix, completed in 1936, includes five short pieces for three-part treble voices. Poulenc chose five lovely poems as the text from Madeleina Ley¡¦s poetry Petites Voix, and created five short choral songs. La Petite Fille Sage ( The Good Little Girl ) describes a substantial day of a little girl. Le Chien Perdu ( The Lost Dog ) is a conversation between a kid and a dog. En Renreant de L¡¦école ( On the Way Home from School ) describes the surprising things that happened on the way home from school. Le Petit Garçon Malade ( The Little Sick Boy ) describes a sick boy whose mind is full of feelings of helplessness. Le Hérisson ( The Hedgehog ) talks about a father who brings a Hedgehog home and some funny things happen in the family. Each song describes a little story happening in daily life from a child¡¦s point of view, and Poulenc has put these texts to music with excellent technique to express childlike innocence. This master report consists of seven parts. The first part is an introduction. It is followed by background of early 20th-century french music, a biographic sketch of Poulenc life, characteristics of Poulenc secular choral works, a biographic sketch of Madeleina Ley life, analysis of Petites Voix, and interpretation of Petites Voix. The last part is the conclusion. There are three appendices at the end of this paper. Appendix A contains the phonetic alphabets and the general rules of French diction. Appendix B offers the translation and a French pronunciation guide for the lyrics of these five pieces. Appendix C is a list of Poulenc choral works

Hungary has a splendid achievement in the choral development in the 20th century. Because the deep influence of Nationalism and the rising of musicology, the elements of folk music are widely used in the choral compositions. Lajos Bárdos followed the concept of Béla Bartók and Zoltán Kodály, using local folk songs as the fundamental material to compose music which can be sung and taught for school and community choirs. Bárdos was one of the choral musicians who had significant positions in the early 20th century in Hungary. He wrote 34 a cappella choral pieces, as well as one accompanied female secular choral work. These pieces are in simple musical form, modal, clearly rhythmic, and displays enriching harmonic color and penetrating style of music. They are appropriate choices for modern choral educators to use. This thesis contains five chapters. The first chapter is the introduction. The second chapter focuses on the background of Hungary: Part One is the brief introduction of the national conditions of Hungary; Part Two is a chronicle of the Hungarian music development, from the very beginning to the 20th century; Part Three briefly discusses composers who made great contribution to choral development and their important compositions. Chapter Three consists of two parts. Part one is a biographic sketch of Bárdos¡¦ life. Part Two introduces the musical characteristic and style of Bárdos¡¦ choral works. Chapter Four analyzes five pieces for women¡¦s chorus-- ¡§High is the Rue Tree¡¨ (Magos a rutafa), ¡§Peak in the Plain¡¨ (Bérc a rónán), ¡§Blow the Pipe¡¨ (Fújd a sípot!), ¡§Sing!¡¨ (Cantemus!), and ¡§the Bride¡¨ (Menyecske). Rehearsal techniques and teaching suggestions are also included in this chapter. Chapter Five draws conclusions from the study. Three appendix are included in this thesis. Appendix A is the phonetic alphabets and phonics rules of Hungarian. Appendix B contains the translation and Hungarian pronunciation of the lyrics of the five analyzed pieces. Different versions of scores, phonographic recordings, and lyrics of Bárdos¡¦ female secular choral works are included in Appendix C.

“Pattern Language” is a term popularized by Christopher Alexander and his coauthors of the book A Pattern Language: Towns, Buildings, Construction, Sara Ishikawa, and Murray Silverstein in the late 1970’s. Though intended to enable every citizen to design and construct their own home, pattern language never quite caught up with those in the field of architecture, mostly because of its lack of flexibility. The core idea of Alexander’s pattern language was to arm architects, designers, and the common people with a tool that would empower them to make informed decisions related to designing places that would comply with their needs and wants. What architecture needs the most today is the ability to heal and invigorate. I believe that contemporary architecture lacks such places that enable occupants to connect and communicate with what is within and what is without. A number of studies have proven that universally sacred (a majority of which are religious in function) places are charged with energies that could contribute towards this process. The energies, also referred to as “patterns,” are the energies unique to a place that make it special and sacred (not just in the religious context but also in the secular context). This thesis is an attempt to derive a new pattern language for the creation of sacred “secular” places like our homes and work places which draw from the pattern lists that have been proposed in four separate instances by authors including Christopher Alexander and Phillip Tabb. This new pattern list is aimed at providing architects and designers with a tool for creating secular places with an element of sacrality without having to taking on a religious meaning.

No description available.