Leonard Bernstein (August 25, 1918-October 14, 1990) had a fascination with language that was clear to his family from his childhood. He was raised in a Jewish home with parents who fostered an understanding of the Hebrew language as well as musical artistry. By the time he was commissioned to compose Chichester Psalms for the Chichester Cathedral in 1965, his understanding of Hebrew poetry was considerable. Bernstein’s compositional approach in this work was influenced not only by his musical training but also by his heritage and culture, including his literary knowledge. Scholars have explored the diversity of styles and text-painting in the Chichester Psalms. This author’s intent is to provide analysis of Bernstein’s use of Hebrew poetic forms to organize his composition. His understanding of Hebrew syntax is apparent in his sequencing and arrangement of the texts. In his careful and creative approach to setting these texts, Bernstein is able to highlight the themes of peace and unity that are the focus of the chosen verses in their original form.

Thesis (PhD)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The aim of this study is to make a contribution to the formulation of a set of guidelines for an acceptable poetic translation of a sacred poetic text. To achieve this definition, a thorough review of current translation theory and practice is conducted, a specific model for translating poetry is presented, two English poems are created by using the principles of the model, and these two poems are evaluatively tested against other English translations. Wendland‘s LiFE methodology combines a literary/rhetorical approach, Skopostheorie and functionalist approaches, relevance theory, cognitive linguistics, an equivalence methodology, and a respect for sacred texts. The re-sculpting model builds upon Wendland‘s approach, particularly emphasizing insights gained from analyzing literary translations of non-Biblical texts, a narrow view of translating, and the care needed when working with a sacred text. To create a poetic sacred text, three kinds of guidelines are proposed concerning: project definition, determination of acceptability, and re-sculpting. Project definition – This involves pre-project planning and research. The results of this research will enable one to specify the communicative purpose for the translation (Skopos) and to formulate a range of agreements (translation brief) that guides all aspects of the project. Determination of acceptability – Following Beekman-Callow‘s model, a basic two-fold guideline of source text accuracy and target group acceptability is adopted to avoid extreme literalness and unduly free translating. Other recommendations for achieving this dual guideline are given through strategic planning, collaboration, communication, and effective training. Re-sculpting – A metaphorical term ―re-sculpting‖ was created. The proposed definition of re-sculpting is: ―a moderately re-structured and meaning-based translation of a poetic sacred text based on theological, thematic, and other literary/rhetorical concerns‖. By working within a slightly larger semantic range, a translator has room to be creative. For example, one can re-structure over two or three lines of Hebrew poetry rather than being restricted to a single line. However, very broad re-creations of a text (e.g., restructuring an entire long poem) are not recommended in a re-sculpting approach. A narrow definition of translation is proposed that distinguishes ―translation proper‖ (where a conservative grammatical-historical hermeneutic is applied) from more extreme approaches such as excessive adaptation or excessive paraphrase. Wendland‘s ten step literary/rhetorical method of analysis is applied to Psalm 131 and Psalm 150, and two re-sculpted poems are created. Each of these poems is evaluatively compared with five other English versions, and a survey is conducted to determine how readers rate these various translations. Results of the survey show that both of the re-sculpted poems are viewed as very acceptable and poetic. Although a relatively small sample of readers was used in the survey, it is reasonable to argue, at least tentatively, that re-sculpting appears to be a valid and useful method to consider in the translation of sacred poetic texts. / AFRIKAANSE OPSOMMING: Die doel van die studie is om ʼn bydrae te maak tot die definiëring van riglyne vir die maak van ʼn aanvaarbare vertaling van ʼn godsdienstige poëtiese teks. Vir hierdie doel is ʼn indringende ondersoek na huidige tendense in die teorie en praktyk van vertaling geloods en ʼn model vir die vertaling van poësie geformuleer. Daarna is twee Engelse gedigte in terme van hierdie model geskep en beoordeel in die lig van ander Engelse vertalings van dieselfde twee gedigte. Wendland se LiFE (literêr-funksioneelekwivalente) model kombineer ʼn literêr/retoriese benadering met Skoposteorie en ander funksionalistiese benaderings, relevansieteorie en kognitiewe taalkunde. In die model word ekwivalensie aan die bronteks nagestreef terwyl die aard van ʼn godsdienstige teks gerespekteer word. Die ―resculpting model‖ bou voort op Wendland se benadering. Dit beklemtoon veral die insigte wat verkry word deur die analise van die literêre vertalings van nie-Bybelse tekste, ʼn eng opvatting van vertaling en die sensitiwiteit wat nodig is wanneer ʼn godsdienstige teks vertaal word. Vir die skep ʼn godsdienstige poëtiese teks word drie soorte riglyne voorgestel: definisie van die project, bepaling van aanvaarbaarheid en ―re-sculpting‖. Definisie van die projek – Dit behels voorafbeplanning en navorsing. Die bevindings van die navorsing maak die identifisering van die kommunikatiewe doel (Skopos) van die vertaling moontlik, asook die formulering van ʼn vertaalopdrag. In laasgenoemde word ʼn aantal afsprake wat alle aspekte van die projek rig, geformuleer. Bepaling van aanvaarbaarheid – In navolging van Beekman-Callow word die vermyding van, aan die een kant, ekstreem letterlike en, aan die ander kant, onnodig vrye vertaalkeuses as ʼn basiese tweeledige riglyn vir aanvaarbaarheid beskou. ʼn Verdere manier om aanvaarbaarheid te verseker is deur middel van strategiese beplanning, samewerking, kommunikasie en effektiewe opleiding. ―Re-sculpting‖ – ʼn Model van ―re-sculpting‖ word voorgestel. ―Re-sculpting‖ is ʼn metafoor wat geskep is en wat beskryf kan word as ―ʼn gematigde hergestruktureerde en betekenis-geörienteerde vertaling van ʼn poëtiese godsdienstige teks wat berus op teologiese, tematiese en ander literêre/retoriese oorwegings‖. Deur met ʼn effense breër semantiese horison as een kolon te werk (in Hebreeus, tipies op die vlak van die bi-kolon of tri-kolon), het ʼn vertaler ruimte om kreatief te wees. Herskeppings op ʼn breër vlak (byvoorbeeld, die hele gedig), word nie in terme van hierdie model aanbeveel nie. ʼn Eng definisie van vertaling (wat op grammaties-historiese hermeneutiek berus en waarin waarde geheg word aan historiese geloofwaardigheid) word aanbeveel. Hierdie opvatting van vertaling word onderskei van meer ekstreme benaderings waarin selfs verwerkings en parafrases van 'n bronteks as vertalings beskou word. Wendland se retories/literêre analise in tien stappe word gebruik om Psalm 131 en 150 te ontleed. Twee ―re-sculpted‖ gedigte word geskep. Elk van hierdie gedigte word met vyf ander vertalings vergelyk en ʼn ondersoek word geloods om te bepaal hoe lesers die verskillende vertalings beöordeel. Daar word bevind dat lesers beide hierdie ―re-sculpted‖ gedigte as heel aanvaarbaar en poëties beskou. Alhoewel die relatief klein aantal lesers wat in die ondersoek gebruik is, nie as ʼn verteenwoordige monster beskou kan word nie, is dit redelik om te argumenteer (ten minste voorlopig) dat ―re-sculpting‖ ʼn geldige en nuttige metafoor is om te gebruik in die vertaling van godsdienstige poëtiese tekste.

This thesis examines the citation of Ps 68(67).19 in Eph 4.8. Following an introduction that introduces the problem of the altered wording in the citation in Eph 4.8, chapter 2 comprises a History of Research that is organised around the possible sources for the author’s citation in Eph 4.8. One of several conclusions made is that the proclivity of NT scholars to attribute the source text to particular Jewish traditions has contributed to overlooking the import of Ps 68(67).19 within a normal pattern of christological reading of the Psalms in early Christianity. Following these opening chapters, the thesis is divided broadly into Part One and Part Two. The first is deconstructive in nature; the second is constructive. Part One examines textual traditions of Ps 68(67).19 within Justin Martyr, the Peshitta Psalter, and Targum Psalms. Each of these sources share the reading ‘give’ rather than ‘receive’, raising the question of the relationship between these traditions and Eph 4.8. Chapter 3 examines Justin’s Dialogue with Trypho, which contains two citations of Ps 68(67).19 that strongly resemble Ephesians. Nevertheless, as nearly all interpreters acknowledge, Justin never refers directly to ‘Paul’ or ‘Pauline’ letters in any of his writings. Is the parallel wording of Justin’s citations evidence for an early Christian tradition that was also available to Ephesians? I argue that although unmentioned by name, a reasonable case can be made that Justin is familiar with the Pauline corpus, including Eph 4.8. Chapter 4 considers the evidence of Peshitta Psalms, which agrees with the reading of Eph 4.8 in a strand of its copyist tradition. After examining scholarly construals of the Peshitta MS tradition, I consider direct evidence for the influence of Eph 4.8 upon some Peshitta MSS as intimated by Theodore of Mopsuestia. Chapter 5 examines Targum Psalms, focusing on translation techniques and the targumist’s tendency to add, alter, or modify his source in various ways. I argue that when the targumist’s techniques and tendencies are taken into consideration, the targum’s reading ‘give’ is better understood as a typical targumic insertion. The proclivity of many scholars to link Targum Psalms to Eph 4.8 is a classic example of ‘parallelomania’. Part Two turns to make a constructive case for the citation found in Eph 4.8. Chapter 6 is a close examination of the author of Ephesians’ approach to literary borrowing. I consider both his citations from the Jewish scriptures and his use of Colossians as evidence. Chapter 7 examines how early Christians read the biblical Psalms as prophecies. Following a survey of Jewish readings of the Psalms, this chapter surveys how early Christians read the Psalms in light of the death and resurrection- exaltation of Christ. Drawing insights from this, chapter 8 turns to consider the phrases ‘he ascended . . . he gave gifts’ in Eph 4.8. I argue that an ambiguity of the addressee in the text of Ps 68(67).19 allowed for the application of this text to Christ. Moreover, the ‘ascent’ language could easily be applied to the resurrection- exaltation and this association naturally led to the language of gift-giving in Eph 4.8. Chapter 9 considers how the citation of Ps 68(67).19 fits into the context of Ephesians 4, focusing on several important factors such as the language of descent in Eph 4.9–10. Part One and Part Two are followed by a short conclusion that summarises the thesis and draws out several conclusions and implications based upon this study.

Thesis (M.A.)--Ohio State University, 1969. / Includes bibliographical references (leaves 53-56). Available online via OhioLINK's ETD Center.

Thesis (M.Th.(O.T.)--Universiteit van Pretoria, 2005. / Includes bibliographical references (leaves 94-98)

H. A. Bruinsma's thesis--University of Michigan. / The Souterliedekens contains paraphrases of the Psalms by W. Zuylen van Nyevelt, set to folk tunes. "Transcription of the Souterliedekens [3d ed., 1540]" (with unacc. melodies): leaves 129-568. Includes bibliography.

This dissertation provides a guide for appropriate use of North American art song settings of biblical psalms for solo voice written after 1950 in the worship services of Christian faiths. The songs analyzed are for all voice parts and a variety of accompanying ensembles. The placement of each song on a specific calendar day is guided by the individual church calendars and lectionaries, on the prevalent themes of the text, and the characteristics of the musical setting. Performance of these songs only in a concert setting limits their usefulness for singers, voice teachers, and music directors alike. A new and worthy performing context can be established by analyzing the text and musical settings.

This creative project is a musical setting of Psalms 22, 23 and 24. The text is a paraphrase by the composer in contemporary English.The five movements of the work are: I. Suffering Servant, Psalm 22:1-10 II. Suffering Servant, Psalm 2:11-21 III. Suffering Servant, Psalm 22:22-31IV. Shepherding Savior, Psalm 23 V. Supreme Sovereign, Psalm 24The work was composed for flute, clarinet, bassoon, trumpet, trombone, percussion (xylophone, tam tam, triangle, snare drum, suspended cymbal, crash cymbal), tenor soloist, mixed chorus, violin, viola and double bass. One of each instrument is needed to perform this 20-minute work.The musical basis of the composition is the serialization of the intervals: diminished fifth, minor second, major third, major second and minor third.

Thesis advisor: Jane E. Regan / How does one teach Scripture in a way that leads to transformation? To answer that question, this study limits the matter to the Psalter and asks how the Psalms teach and transform in order to capitalize on the dynamics inherent in them. The Psalms here are treated not merely as documents to be studied but as texts to be enfleshed in practice. Utilizing the constructivist framework of transformative learning pioneered by Jack Mezirow, “thickening” that with Robert Kegan’s constructivist-developmentalist subject-object theory, and letting those interface with Walter Brueggemann’s categorization of the Psalter into Psalms of orientation, disorientation, and new orientation, I present the Psalms as holding environments which support and challenge us through transformations throughout our lives. After this, I focus on the extra-rational facets of embodiment, emotions, images, and encounter in the Psalms which enable them to accompany us as we widen our perspectives and paradigms. If we follow the dynamics of the Psalms, what theology, anthropology, and ethics arise? I provide glimpses of answers that can be prophetic in our postmodern culture, and I then suggest ways of practicing the Psalms which take advantage of their transformative elements. To conclude, I return to the broader question with which I began and propose a way of teaching Scripture that is inspired by the importance of the body, emotions, images, and encounter – aspects which are also active in Ignatian contemplation.

Lasso was considered the greatest composer of his generation with undisputable mastery of all sixteenth-century genres. The dynamism of the late sixteenth century saw the most sophisticated compositions in the continuation of the psalm motet tradition. However, more flexible applications for the psalms in the form of meditations, vernacular translations, and paraphrases opened the door for new and diverse interpretations. This dissertation is a study of Lasso's engagement with established musical traditions and new trends in psalmody. This study unfolds in two parts. First in the discussion of the Latin psalm motet genre and then ensuing with investigation of the German Lied. In each of the genres (1) there is a focus on the definition and classification of terms and older traditions, (2) the examination of the text and the discussion of ways in which the music engages with the prose and poetic forms, and (3) the evaluation of Lasso's interpretation of psalm texts. From negligible German Lieder to expansive motet cycles, the psalms afforded endless polyphonic inspiration and the diversity of which categorically points to the shifts and development of cultural and aesthetic traditions. The use of psalms to reflect devotion and confession amplifies the Catholic Reform implemented at the Bavarian court during Lasso's lifetime. This context along with Lasso's compositional innovation provides an interesting study for the stylistic development of psalm settings in the late sixteenth century.