The AIDS Quilt Songbook was a musical response to the shame surrounding the outbreak of the HIV virus and was one of the first art song publications to deal with the topic of HIV and AIDS. This DMA thesis documents the significance and history of the AIDS Quilt Songbook, traces the progression of the project up until December 1, 2008, and documents the work, experiences, and words of the composers who have been inspired to contribute to the AIDS Quilt Songbook Project. In 1981, the medical and popular press reported the first cases of a quickly spreading virus among homosexual males. This virus is currently diagnosed as HIV and AIDS. Lack of funding consumed the early years of what grew to become a national pandemic. The artistic community was one of the major catalysts for funding and education. Cleave Jones and other gay rights activists developed the NAMES Project as a memoriam for those lost to the pandemic. The AIDS Quilt Songbook was created to parallel the AIDS Quilt as "a never-ending work whose meaning and spirit is renewed and redefined with every addition." This concept of additions has continued the expansion of the AIDS Quilt Songbook Project from 1993 to the additions premiered on December 1, 2008 (World AIDS Day) at The Court Theater in Chicago, Illinois, entitled the "Chicago AIDS Quilt Songbook: A Benefit for Season of Concern." The AIDS Quilt Songbook project has sixty-seven documented additions, but only eighteen of the sixty-seven additions are collected. This thesis examines the events, compositions and experiences of the composers: Chris DeBlasio, Ricky Ian Gordon, Daniel Kallman, Cary John Franklin, and Evan Kuchar, who submitted compositions to the AIDS Quilt Songbook between 1991 and 2008. The compositions examined are: Walt Whitman in 1989 by DeBlasio, I Never Knew by Gordon, When I am dead, my dearest by Kallman, As Imperceptibly as Grief by Franklin, and Death Spiral by Kuchar.

Astronomy and music are both fundamental to cultural identity in the form of various musical styles and calendrical systems. However, since both are governed by incontrovertible laws of physics and therefore precede cultural interpretation, they are potentially useful for insight into the common ground of a shared humanity. This paper discusses three compositions inspired by different aspects of astronomy: Solstitium e Equinoctium, a site-specific composition for four voices and metal pipes involving an inclusive communal musical ritual and sonic meditation; Helios, a short symphonic work inspired by helioseismology; and Perspectives, a piece for soprano and percussion based on a logarithmic map of the universe.

Thesis (PhD) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The secular songs of John Blow (1649-1708): An Edition The aim of this thesis is to assemble the 109 secular songs of John Blow in one anthology, to transcribe them into modem notation and in doing so to make them accessible for modem use and further research. A significant feature of this collection is a group of 13 songs which have not been printed previously and which are available only in manuscript form in special collections in Great Britain. Other songs published during Blow's lifetime are likewise found in special collections which are not accessible to the public. Many of these songs are hard to decipher because of ageing. In some cases the paper is so thin that the notes show through from the back to the detriment of readibility. Where the manuscripts as well as contemporary publications exist, significant comparisons could be made, e.g. with In vain, brisk God of Love (vol. 2: 147) where the MUMS 118 manuscript could be compared with the published version in Choice Ayres and Songs printed by Godbid and Playford (jnr) in 1683. An important 'discovery' was finding that an autograph manuscript, Ah me, undone! (Lhl Add. 31457), does not comprise an individual song as listed by Watkins Shaw (1980), but an excerpt from the song Happy the Man who languishing (1700). This made it possible to compare an original manuscript by Blow with a publication of the same song by Playford. The 20th century has seen renewed interest in Blow's work: Frederick George Edwards (1902) and William Cummings (1908), in particular, started this revival in interest. Harold Watkins Shaw took the lead from 1936 and Leland Clarke (1947) was responsible for the next phase. Since 1975, Bruce Wood has been the main researcher of Blow's anthems. Anthony Rooley, director of the Consort of Musicke in London and Peter Holman, director of the Parley of Instrument, have contributed greatly to the recent (1987-1999) revival of interest in Blow's music with their performances and recordings making use of original instruments. This thesis, as well as my Master's thesis (Grobler 1993), forms part of the most recent stage of research into Blow's works. Volume 1: In the first chapter of the thesis the secular song of the English Restoration (1660- 1714) is presented in perspective. Blow's stylistic characteristics as they manifest themselves in his secular songs are discussed. The criticism that this style evoked from music critics through the years, especially Charles Burney (1726-1814), is put into historical perspective. Stylistic characteristics of the song, the influence of French and Italian vocal music, as well as the strong influence of Charles II's preferences on . court composers' music, are highlighted. The function of the song in Restoration society is discussed. In the second chapter Blow's contribution to the different song types are discussed in detail: the solo songs, songs for two voices and dialogues, songs for more than two voices and songs for incidental theatre music. The editorial process followed in transcribing the songs is explained. This is based on the methods suggested in Caldwell (1985) and described in the Musica Britannica. A discussion of the performing practice of the song contributes towards understanding the Restoration song. The textual commentary deals with aspects, such as notation and provides more information about the manuscripts and publications which form the basis of this investigation. A systematic index of sources and songs is provided. Volume 2: In this volume the 109 songs are presented chronologically in modem edited form. The songs reflect the original manuscript or publication as clearly as possible; old English spelling has been retained but archaic English letter forms have been modernised. Clef signs, time signatures, and key signatures, as well as accidentals, have been used according to modem practice. The figured bass is given as featured in the sources and is not realised or expanded. / AFRIKAANSE OPSOMMING: Die sekulêre liedere van John Blow (1649-1708): 'n edisie Die hoofdoel van die proefskrif is om John Blow se 109 sekulêre liedere toeganklik te maak vir uitvoerings- en navorsingsdoeleindes deur hulle vir die eerste keer as een versameling bymekaar te bring, getranskribeer in moderne musieknotasie. Van besondere belang is die insluiting van dertien van Blow se liedere wat nog nie voorheen gepubliseer is nie en slegs in manuskripvorm in spesiale versamelings in Engeland beskikbaar is, en liedere wat wel tydens Blow se lewe gepubliseer is, maar eweneens nie toeganklik is vir die algemene publiek nie. Die leesbaarheid van sommige liedere word bemoeilik as gevolg van die ouderdom en toestand van die papier. In 'n paar gevalle is die papier so dun dat die agterste notebeeld deurslaan en die leesbaarheid erg belemmer. Waar 'n manuskrip en kontemporêre weergawe van 'n lied bestaan, kon betekenisvolle vergelykings getref word. 'n Belangrike 'ontdekking' wat gemaak is, is dat die outograaf-manuskrip vanAh me, Undone (Lbl Add. 31457) nie 'n afsonderlike lied is soos wat Watkins Shaw (1980) dit gelys het nie, maar 'n gedeelte is van die lied Happy the man, who languishing (1700). Dit maak dit moontlik om in dié een geval Blow se oorspronklike komposisie te vergelyk met Playford se gepubliseerde weergawe daarvan. Dit is eers gedurende die twintigste eeu dat belangstelling in Blow se musiekgeleidelik begin posvat het. Frederick George Edwards (1902) en veral William Cummings (1909) het 'n belangrike rol in die Blow-herlewing gespeel. Harold Watkins Shaw neem vanaf 1936 die leiding met Leland Clarke (1949), 'n Amerikaner, wat die die volgende fase verteenwoordig. Bruce Wood staan vanaf 1975 aan die voorpunt met sy navorsing oor Blow se Anthems. Anthony Rooley, direkteur van die Consort of Musicke in Londen asook Peter Holman, direkteur van die Parley of Instruments het vanaf 1987 met hulle uitvoerings en opnames 'n groot rol gespeel om Blow se musiek weer aan die publiek bekend te stel. Hierdie tesis, asook my Magister-verhandeling (Grobler 1993) vorm ook deel van hierdie nuwe belangstelling in Blowen Engelse Restourasie-musiek. Volume 1: In die eerste hoofstuk word die sekulêre lied van die Engelse Restourasie-era (1660- 1714) in perspektief geplaas. Saam met 'n bespreking oor bydraes van John Blow, Henry Purcell en hulle tydgenote tot die genre, word die ontwikkeling van die lied en uitvoeringspraktyke daarvan krities ondersoek. Terselfdertyd word insae verkry in die' tydgenootlike liedpublikasies in Engeland gedurende die laat 17de en vroeg 18de eeu. Daarna volg 'n bespreking van Blow se styleienskappe soos dit veral in die sekulêre lied manifesteer. Kritiek wat Blow se werkswyse deur die eeue van musiek-kritici soos bv. Charles Burney (1726-1814) uitgelok het, word in historiese perspektief geplaas. Blow se bydrae tot die verskillende liedtipes word breedvoerig bespreek: die sololied, die twee-stemmige lied en dialogue, die lied vir meer as twee stemme en die lied as bykomstige teatermusiek. Die styleienskappe van hierdie liedere, die invloed van die Franse en Italiaanse vokale komposisies en die sterk invloed wat Charles II se voorkeure op die hofkomponiste se musiek gehad het, word uitgewys. Die funksie van die lied in die destydse samelewing kom ook onder die loep. Die redaksionele werkswyse wat gevolg is met die transkribering van die liedere is gebaseer op moderne benaderings tot dié veld soos Caldwell (1985) dit voorstaan en toegepas word in die Musica Britannica (1953, 1993, 1996). 'n Bespreking oor die uitvoeringspraktyk van die lied wil 'n bydrae lewer tot die begrip van die term 'Song' soos dit in die Restourasie-tydperk verstaan is. Die tekstuele kommentaar lig aspekte soos notasie in die liedere uit en gee toeligting oor manuskripte en publikasies wat die ondersoek ten grondslag lê. Ten slotte word al 109liedere, asook liedmusiek, en -publikasies in 'n sistematiese indeks saamgevat. Volume 2: In dié volume verskyn die 109 sekulêre liedere chronologies in moderne geredigeerde vorm. Die liedere word sover moontlik weergegee soos dit in die oorspronklike manuskripte en publikasies voorkom: die ouer Engelse spelling word behou maar argaïese lettervorme is gemoderniseer. Sleuteltekens, tydmaattekens, toonsoorttekens en skuiftekens is in ooreenstemming met huidige praktyke. Die besyferde bas IS weergegee soos dit in die bronne voorkom, en is nie aangevul of gerealiseer nie.

Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: The AFM came into being as a result of the Pentecostal Movement, which in turn owes its existence to the worldwide revivals at the beginning of the twentieth century. The president of the AFM, Dr. Isak Burger, writes in his book concerning the history of the church: Die Geloofsgeskiedenis van die Apostoliese Geloofsending van Suid-Afrika, that the First Evangelical Awakening (18th century), the Second Evangelical Awakening (19th century), as well as the worldwide revivals at the beginning of the twentieth century, had a causal effect on one another. It goes without saying that the musical practices of these Awakenings would also, indirectly, influence that of the AFM. This study serves a twofold purpose. It is just as important to examine the origin and development of the AFM, as it is to examine internal and external factors that have influenced its musical practices. The music that has been used during different periods also receives due attention. In order to view the AFM in the correct perspective, Chapter 1 deals with the factors leading up to the origin of the Pentecostal Movement. However, the historical development within the AFM also receives attention, with special reference to those events which influenced the practice of church music directly or indirectly. Chapter 2 includes a history of Church Music since the Reformation, since the Reformers strove to get the congregation involved into the service of worship. Music practised during the First and Second Evangelical Revivals, as well as the subsequent revivals at the beginning of the twentieth century, also receives mention. The musical practice within the AFM forms the main theme of Chapter 3. Subdivisions of this chapter reflect historical events within the AFM, the influence of the Charismatic Revival Movement, the role and function of music during church services, the rendition of music items, as well as the leading figures who contributed to this practice. Chapter 4 provides a chronological summary of songbooks used by the AFM since 1908 until 1998, while Chapter 5 presents analyses of the music mentioned in Chapters 2,3 and 4. / AFRIKAANSE OPSOMMING: Die AGS het vanuit die Pinksterbeweging ontstaan, terwyl dié op sy beurt uit die wêreldwye Ontwakings aan die begin van die twintigste eeu tot stand gekom het. Die President van die AGS, Dr. Isak Burger, kom in sy boek: Die Geloofsgeskiedenis van die Apostoliese Geloofsending van Suid-Afrika, tot die gevolgtrekking dat vorige Ontwakings van so ver terug as die Eerste Evangeliese Ontwaking (18de eeu), die Tweede Evangeliese Ontwaking (19de eeu), sowel as die wêreldwye Ontwakings aan die begin van die 20ste eeu, in kousale verband tot mekaar gestaan het. Dit spreek dus vanself dat ook die musiekbeoefening tydens hierdie Ontwakings indirek 'n invloed op dié van die AGS sou uitoefen. Hierdie studie is dus tweërlei van aard. Aan die een kant word die nodige aandag aan die ontstaan, sowel as die geskiedenis van die AGS gegee, terwyl die ontwikkeling van die musiekbeoefening soos beïnvloed deur interne en eksterne faktore, asook die musiek wat tydens verskillende tydperke gesing is, ook onder die loep geneem word. Om die AGS as kerkgenootskap binne die regte perspektief te plaas, begin Hoofstuk 1 met die vooraf- en ontstaansgeskiedenis van die Pinksterbeweging. Daar word egter ook kortliks aan die geskiedkundige verloop van gebeure binne die AGS aandag gegee, veral wanneer die beoefening van kerkmusiek direk of indirek daardeur geraak is. In Hoofstuk 2 word so ver as die Hervorming teruggegryp m.b.t. kerkmusiekgeskiedenis, aangesien die Hervormers so 'n belangrike bydrae gelewer het om die gemeente d.m.v. die kerklied weer by die erediensgebeure betrokke te kry. Daar word egter ook kortliks na musiek van die reeds genoemde Ontwakings in die 18de, 19de, asook aan die begin van die 20ste eeue verwys. Die AGS se musiekpraktyk vorm die hooftema van Hoofstuk 3. Onderafdelings van hierdie studie sluit o.a. in: bepalende geskiedkundige gebeure binne die AGS, die invloed van die Charismatiese Herlewingsbeweging, die rol van begeleiers en die begeleiding t.o.v. gemeentelike same sang tydens byeenkomste en die lewer van musiekitems, asook belangrike persone wat as leiers na vore getree en belangrike werk verrig het. Hoofstuk 4 bied 'n chronologiese opsomming van liedboeke wat vanaf 1908 tot en met 1998 deur die AGS gebruik is, en in Hoofstuk 5 word ontledings gemaak van musiek wat in Hoofstukke 2, 3 en 4 bespreek is. In Bylae 1 word aangedui watter musiek deel van die belangrikste liedbundels, nl. Hymns for Life and Service, Nuwe Sionsliedere, Evangelieliedere en Deo Gloria uitgemaak het, terwyl Bylaes 2 en 3 volledige bladmusiekvoorbeelde van ontledings van onderskeidelik vroeëre en hedendaagse musiek bevat.

Thesis (PhD)--Stellenbosch University, 2004. / ENGLISH ABSTRACT: The purpose of this study is to identify didactic strategies for the use of lyrics in children's religious education. This is done to enhance and facilitate children's spiritual growth by means of singing lyrics. The study pays particular attention to the recognition of the role of lyrics in Christian religious education as a maturing agent. Lyrics help to provide children with the opportunity to communicate with God by revealing God's characteristics through theoretical and doctrinal content in an artistic form. Lyrics enrich children's religious development by helping them to express their joy and praise of God. Lyrics can also help children to experience a special quality of fellowship when they sing together. Lyrics ease the stiffness which can occur during the process of education. The survey of lyrics in Christian history also reveals that lyrics played an essential role in the lives of Christians throughout history. Lyrics have been used for worship, education, evangelisation and fellowship. Lyrics have functioned as a medium in which people have conversations with God and worship Him. They have also been a delightful source through which people learn about God through joyful experiences. Lyrics have helped Christians to establish true fellowship in their faith by singing together. The study reveals, however, that lyrics today do not seem to be effective in supporting people, including children, in their encounters with God. As much as lyrics can help children, they can also be obstacles to children's spiritual growth because of their inappropriate contents or improper ways of presentation. Children might misunderstand religious concepts by acquiring "unfamiliar" doctrine from lyrics. It seems that children can also develop inappropriate ideas and attitudes about worshipping under the influence of self-oriented or fun-seeking styles of lyrics. This potential of lyrics to influence children either positively or negatively is often overlooked. The question that may be raised is: what should be done to facilitate the lyric's maturing role and to keep it from being a hindrance in children's religious education? This study attempts to identify systematic and scientific didactic approaches of teaching lyrics as a way of heightening the positive role of lyrics in children's spiritual growth. For the identification of didactic strategies which are best suited for children's spiritual growth, the study presents approaches in which systems of coherent ideas, findings, activities and views concerning instruction and learning are performed. The didactic strategies are illustrated in three main phases, i.e. introductory, executive and assessment phases. Essential characteristics of the instruction-learning phenomenon in all its facets are absorbed into the theory as an overall guide for every teaching situation. The study makes an effort to apply these didactic strategies to the practical situation of teaching lyrics. Korean children are chosen as the subjects for the teaching oflyrics and their religious development is empirically investigated as the basic research on the understanding of the learner in the didactic situation. The application of the general approaches to the definite and specific situation of teaching Korean children is explained. Didactic approaches are redesigned, taking the specific didactic situation of Korea, including Korean children's specific religious characteristics, into consideration. These programmes can be effectively applied to other didactic situations, keeping them flexible in the light of the uniqueness of each lesson. The ultimate aim of this study - the recognition of systematically organised didactic strategies and exemplification of their practical application to the detailed situation of teaching lyrics - is to maximise the effectiveness of lyrics for children's spiritual goodness, particularly in enriching children's religious knowledge and experience. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om didaktiese strategieë te identifiseer vir die gebruik van lirieke in kinders se religieuse opvoeding. Dit word gedoen om leerders se sprituele groei deur middel van die sing van liedjies te fasiliteer. Die studie fokus in die besonder op die herkenning van die rol wat lirieke, in hoofsaaklik Christelike religieuse onderrig, in die proses van volwassewording speel. Lirieke verskaf aan kinders die geleentheid om met God te kommunikeer deurdat God se eienskappe deur middel van teoretiese en dogmatiese inhoud as 'n vorm van kuns openbaar word. Lirieke verryk kinders se religieuse ontwikkeling deurdat dit hulle help om hul blydskap en eer vir God uit te druk. Lirieke kan kinders ook help om 'n besondere kwaliteit van gemeenskap ("fellowship") te ervaar wanneer hulle saam sing. Deur die gebruik van lirieke kan die stramheid wat dikwels met die opvoedingsproses gepaard gaan, in 'n groot mate verlig word. Die opname wat van lirieke in die Christelike geskiedenis gedoen is toon aan dat lirieke dwarsdeur die geskiedenis 'n baie belangrike rol gespeel het in die lewens van Christene. Lirieke is deur die eeue gebruik vir aanbidding, opvoeding, evangelisasie en geloofsgemeenskap. Lirieke funksioneer as 'n medium waardeur mense in gesprek tree met God en Hom aanbid. Dit dien ook as 'n bron waardeur mense deur vreugdevolle ervaring van God leer. Lirieke help Christene om ware geloofsgemeenskap deur hul samesang te bewerkstellig. Dit blyk uit die studie dat lirieke vandag nie meer effektief is om mense, insluitende kinders, in hulontmoeting met God te ondersteun nie. Alhoewel lirieke kinders kan help, kan hulle in dieselfde mate struikelblokke wees in kinders se sprituele groei weens onaanvaarbare inhoud of onvanpaste aanbieding. Kinders kan religieuse konsepte misverstaan deurdat hulle met "vreemde" dogmas vanuit lirieke gekonfronteer word. Dit blyk dat kinders ook onaanvaarbare idees en houdings oor aanbidding kan ontwikkel weens die invloed van die selfgeoriënteerde of pretsoekende styl van sommige lirieke. Die potensiaal van lirieke om kinders óf positief óf negatief te beïnvloed word dikwels misgekyk. Die vraag wat ontstaan is: Wat moet gedoen word om die lirieke se rol in die verwerwing van volwassenheid te fasiliteer en te verhoed dat dit 'n hindernis in kinders se religieuse opvoeding word? Hierdie studie poog om sistematiese en wetenskaplik-didaktiese benaderings te identifiseer om die onderrig van lirieke te bevorder ten einde die positiewe rol van lirieke in kinders se spritiuele groei te versterk. Om didaktiese strategieë te identifiseer wat die beste by kinders se spirituele groei pas, bied die studie benaderings aan wat stelsels van samehangende idees, bevindinge, aktiwiteite en sieninge betreffende onderrig en leer behels. Die didaktiese strategieë word in drie hooffases geïllustreer, nl. die inleidende fase, die uitvoerende fase en die assesseringsfase. Essensiële kenmerke van die onderrig-leerverskynsel in alle fasette daarvan is in die teorie opgeneem as 'n allesomvattende riglyn vir elke leersituasie. Die studie poog voorts om hierdie didaktiese strategieë toe te pas in 'n praktiese lirieke-onderrigsituasie. Koreaanse kinders is gekies as proefpersone vir die onderrig van lirieke, en hul religieuse ontwikkeling is empmes ondersoek as die basiese navorsing ten opsigte van die begrip van die leerder in die didaktiese situasie. Die toepassing van die algemene benaderings tot die bepalende en spesifieke situasie van onderrig aan Koreaanse kinders word verduidelik. Didaktiese benaderings word herontwerp met inagneming van die spesifieke didaktiese situasie in Korea. Koreaanse kinders se besondere religieuse karaktertrekke word tegelykertyd in aanmerking geneem. Hierdie plooibare programme kan ook effektief op ander didaktiese situasies toegepas word, wat beteken dat hulle by elke unieke les aangepas kan word. Die uiteindelike doel van hierdie studie - die erkenning van sistematies georganiseerde didaktiese strategieë en die toeligting van hul praktiese aanwending in die onderrig van lirieke - is om die effektiwiteit van lirieke vir kinders se sprituele welsyn te optimaliseer en veralom leerders se religieuse kennis en ervaring te verryk.

The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs unique to the Doukhobor tradition. The second limitation of the study was then applied, which was to select those Old Verses and Spiritual Songs believed to exist prior to the beginning of the twentieth century. Forty-five melodies, comprised of 11 Psalms, 18 Old Verses and 16 Spiritual Songs were included in the study. The notation of each example is accompanied by one verse of Russian text and transliteration and by documentary information stating the genre, the Doukhobor song text collection reference number, the singers' names, and a tape source in the researcher's private collection. Full and/or partial translations of the texts are provided.

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Although there is a marked increase in the number of surviving motets from the early sixteenth century, the context in which they were performed remains a mystery. The first five printed anthologies of motets, published by Petrucci in Venice between 1502 and 1508, include a significant proportion of Marian motets (95 of the 174 pieces). In the first chapter I provide evidence that these polyphonic Marian motets were used in the Venetian confraternities, or "scuole." The second chapter draws connections between the musical needs of the scuole and the Marian text types of the motet anthologies. The final chapter looks at settings of the most common devotional prayer of the early sixteenth century, the Ave Maria. This thesis thus proposes a new context---the Venetian scuole---for the consumption of printed motet books and the performance of motets, with a special emphasis on their role in lay Marian devotions.

This study examines attitudes regarding general violence, violence against women, gender roles, and rape myth and how they relate to music preference. Surveys were completed by 321 students from two large introductory sociology classes at a midsize Midwestern university. Data were analyzed using Ordinary Least Squares (OLS) regression. The results indicate that those who listen to predominantly rap and r&b music are more accepting of general violence and violence against women. Also, findings support the idea that amount of music videos viewed affects views on gender roles. Results show no support for a relationship between attitudes about rape myth and listening to rap and r&b music. / Department of Sociology