Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:35:25Z (GMT). No. of bitstreams: 1 Gomes_HermesCoelho_M.pdf: 911382 bytes, checksum: 050139607e19dab18b8ad22ab3baecab (MD5) Previous issue date: 2006 / Resumo: Em busca de uma maior compreensão da Sinfonia dos Salmos de Igor Stravinsky, tendo em vista sua interpretação dentro de um processo de preparação e execução, o presente trabalho apresenta recursos teóricos, históricos e técnicos bem como aponta elementos interpretativos como subsídios para o desenvolvimento de tal processo. O trabalho é composto de quatro capítulos que, tendo como foco central a obra em questão, aborda assuntos diversos buscando maior compreensão. O primeiro capítulo apresenta dados do compositor em uma perspectiva histórica. O segundo é uma reflexão sobre os textos bíblicos utilizados na obra e suas origens dentro da tradição hebraica. Já o terceiro capítulo é uma análise da partitura, onde são abordados parâmetros de forma, orquestração, instrumentação, escrita vocal, harmonia e contraponto. Concluindo o presente trabalho, o quarto capítulo apresenta elementos de interpretação da obra, com sugestões para sua preparação e execução. Este último capítulo, além de ser o objetivo primeiro do trabalho, justifica todo o esforço de sua realização / Abstract: As a means for a better understanding of The Symphony of Psalms by Igor Stravinsky, and having in mind its interpretation through the process of preparation and performance, this dissertation discusses theoretical, historical and technical elements that participate in the development of the interpretive process. It is comprised of four chapters each approaching distinct aspects of the composition. The first chapter, in historical perspective, presents data about the composer's life . The second reflects on the Biblical texts used in the work and their origins within the Hebrew tradition. The third presents an analysis of the score as it discusses technical aspects such as musical form, instrumentation, orchestration, vocal writing, harmony and counterpoint. As a conclusion, the fourth chapter discusses interpretive elements and practical suggestions for its performance and interpretation. This final chapter, is indeed the prime objective of this work, and justifies all effort for its realization / Mestrado / Mestre em Música

Cette thèse a pour objet d’établir une édition critique et une traduction du Commentaire d’Eusèbe de Césarée de quatre psaumes parmi les psaumes d’Asaph : les psaumes 49, 72, 77 et 82. Elle s’intéresse également à l’apport de la tradition indirecte, et à son utilisation par l’éditeur du Commentaire. Le Commentaire sur les Psaumes d’Eusèbe de Césarée est transmis, pour presque un tiers de l’ouvrage, en tradition directe, par le manuscrit Coislin 44. Pour le premier et le dernier tiers, la tradition directe fait défaut, et le Commentaire doit être reconstitué à l’aide de la tradition indirecte : les chaînes exégétiques sur le Psautier. Nous étudions, dans ce travail, le texte transmis par la première chaîne palestinienne et le texte transmis par la chaîne de Nicétas, et le confrontons, lorsque c’est possible, au texte transmis par le Coislin 44. Il ressort de cette étude que la première chaîne palestinienne transmet de longs fragments littéraux, susceptibles d’être utilisés par l’éditeur pour pallier la perte du texte en tradition directe (elle ne transmet toutefois pas le texte dans son intégralité). Elle permet également d’améliorer le texte de la tradition directe. L’apport des chaînes filles de la première chaîne palestinienne est de qualité inégale. Le nombre de fragments transmis, leur longueur et leur intérêt pour l’éditeur varient considérablement d’un manuscrit à l’autre. Enfin, l’utilisation de la chaîne de Nicétas reste délicate. Son utilisation ponctuelle reste possible, et parfois utile, mais la chaîne de Nicétas, seule, ne permet pas la reconstitution du texte perdu du Commentaire. / The purpose of this dissertation is to establish a critical edition and a translation of Eusebius of Caesarea’s Commentary on four of the Psalms of Asaph: the psalms 49, 72, 77 and 82. This dissertation also studies the contribution of the indirect tradition, and its use by the editor of the Commentary. Eusebius of Caesarea’s Commentary on the Psalms is transmitted, for almost a third of the book, by the direct tradition: the manuscript Coislin 44. The direct tradition is lacking for the first and last thirds, and the Commentary has to be edited using the indirect tradition: the exegetical catenae on the Psalms. We study, in this dissertation, the text transmitted by the first Palestinian catena and the text transmitted by Niceta’s catena, and we confront it, when it’s possible, to the text transmitted by the Coislin 44. This study shows that the first Palestinian catena transmits extended literal fragments. The editor can use these fragments to compensate the lack of the text in the direct tradition (but this catena doesn’t transmit the full text). The first Palestinian catena also improves the text of the direct tradition. The contribution of the catenae derived from the first Palestinian catena is of variable quality. The number of fragments transmitted, their length and their relevance for the editor vary considerably from one manuscript to another. Finally, the use of Niceta’s catena is quite difficult. Its use remains possible, and sometimes useful, but the only use of the Niceta’s catena doesn’t enable to edit the missing text of the Commentary.

The full text of this thesis/dissertation is not available online. Please <a href="mailto:upetd@up.ac.za">contact us</a> if you need access. Read the abstract in the section 00front of this document. / Dissertation (MA (Semitic Languages))--University of Pretoria, 2006. / Ancient Languages / unrestricted

AFRIKAANS:By die interpretasie van tekste moet die historiese en kultiese Sitze im Leben waarbinne hierdie tekste ontstaan en oorgelewer is in ag geneem word. Ou-Testamentiese tekste het elkeen ’n selfstandige betekenis wat nie van ander tekste afhanklik is om betekenis te kry nie. Hiervolgens handel die sogenaamde Koningspsalms (ook genoem messiaanse psalms) soos Psalm 45 en Psalm 110 inhoudelik oor ‘n Judese koning. Elke Dawidiese koning het as seun van God oor die volk Israel regeer. Hy was die verteenwoordiger van God se regering. Sy taak was om reg en geregtigheid te handhaaf. Elke koning was ‘n tipe verlossersfiguur. Deur die koning en die oorloë wat hy gevoer het, het Jahwe verlossing van hulle vyande, aan sy volk geskenk. As teken van sy gesag en sy besondere taak wat die koning van Jahwe ontvang het, is die Dawidiese koning met olie gesalf. Dit het van hom God se messias gemaak. In ooreenstemming met hulle Jebusitiese voorgangers was elke Dawidiese koning ‘n priester net soos Melgisedek, die koning van Salem. In hierdie Dawidiese dinastie van messiaanse priester-konings, was Israel se hoop gesetel. Die Ou Testament gee ‘n unieke betekenis aan die begrip messias. Hiervolgens is die sentrale figuur in Psalm 45 en 110 die aardse koning van Juda wat optree as Jahwe se messias. Met die Babiloniese ballingskap is die Dawidiese messias-dinastie verbreek. Nou is die messias-begrip na die toekoms geprojekteer sodat die verwagting van ‘n komende messias begin ontwikkel het. Die unieke betekenis wat die Ou Testament aan die messias-begrip gee, is op sy beurt deur die Nuwe Testament geherinterpreteer sodat dit op Jesus Christus dui. Daarom dat die Hebreërskrywer Psalms 45 en 110 herinterpreteer met betrekking tot Jesus Christus. Die Nuwe Testament is dus nie ’n sleutel tot die verstaan van Ou-Testamentiese tekste nie. ENGLISH: When texts are being interpreted, it is necessary to do so within their historic and cultic Sitze im Leben where they have originated and have been transmitted. Old Testament texts have their own unique meanings. Therefore it is not necessary to use other texts to give meaning to a specific text. According to this, the royal psalms such as Psalm 45 and Psalm 110 have a Judean king as its contents. The royal psalms are also messianic psalms. Every Davidic king ruled over his people as the son of God. He was the representative of God’s rule. His task was to uphold justice and righteousness. Every king was a type of redeemer. To his people God gave redemption from their enemies by the king and the holy wars he waged. As a sign of his authority and the fact that God chose him for a specific task, every Davidic king was anointed with oil. This made him the messiah of God. In co-ordinance with his Jebusite predecessors, every Davidic king also was a priest just as Melchizedek, the king of Salem, was. Upon this Davidic dynasty of messianic priest-kings, Israel’s hope as a nation rested. The Old Testament gives a unique significance to the concept of messiah. In this significancent context the central figure in Psalms 45 and 110 is the earthly king of Judea. As king, he is the messiah of Jahwe. With the Babylonian exile, the Davidic messiah-dynasty was ended. Now the concept of the messiah was futurised in such a way that the anticipation of a coming messiah was developed. In its turn the New Testament reinterprets the unique significance that the Old Testament gives to the concept of messiah as being fulfilled in Jesus Christ. This is why the writer of Hebrews reinterprets Psalm 45 and 110 as being fulfilled in Jesus Christ. The New Testament is therefore not the key to the interpretation of the Old Testament. / Thesis (PhD)--University of Pretoria, 2009. / Old Testament Studies / unrestricted

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Thesis (MA.)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This study investigates the image of Yahweh as warrior in a selection of Biblical-Hebrew psalms against the background of similar images in the broader Ancient Near East. In the psalms this image is closely linked with the emotions and experience of the psalmist. In the situation of conflict he calls on Yahweh to intervene and to destroy the enemy. It is in such circumstances that this image of Yahweh gives the necessary comfort. In order to investigate the image of Yahweh as warrior in the psalms, this study uses the Comparative Method. This method is based on the assumption that cultures and societies share certain ideas and characteristics. The specific approach within the Comparative Method is called the typological comparative approach. This approach focuses on the comparison of phenomena in cultures that are historically and geographically far removed from each other. This comparison is based on the assumption that certain cultural characteristics are universally shared. In this investigation the following psalms are analysed: 3, 21, 46, 68, 76, 83, 140, 144. The selection was made on the basis of the different literary genres within the psalms. As a background to this investigation a summary of warrior terminology and ideas in the rest of the Ancient Near East is presented. Afterwards the warrior image in the selected psalms is investigated. The investigation proceeded as follows: Chapter 1 is devoted to the research history with regard to the image of Yahweh as warrior in the Hebrew Bible; in Chapter 2 the metaphor as literary device is discussed; and in Chapter 3 the focus is on the institution of war in the Ancient Near East and the role of warriors in this regard. From Chapters 4 to 11 the warrior metaphors in the selected psalms are analysed. With each of the analysed psalms the following method is used: (1) a translation and text-critical notes; (2) a discussion of the literary genre; (3) an analysis of the poetic elements; and (4) an analysis of the warrior images. The psalmist's enemies are also Yahweh's enemies. In the psalms where he is portrayed as warrior, three characters always come to the fore, namely Yahweh, the psalmist and the enemy. While the enemy is portrayed in terms of typical hostile images, the relationship between Yahweh and the psalmist is defensive, and offensive between Yahweh and the enemy. In this study it is , also shown that when Yahweh intervenes, he saves and restores the honour of the psalmist. Yahweh is also praised for his acts of salvation in the past. This forms the basis for the psalmist call to Yahweh to intervene in his situation. He defeats the enemy by making use of different weapons. The psalmist's enemies are also Yahweh's enemies. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die voorstelling van Jahwe as kryger in 'n seleksie Bybels-Hebreeuse psalms teen die agtergrond van soortgelyke voorstellings in die breër Ou Nabye Oosterse konteks. In die psalms hang hierdie voorstelling ten nouste saam met die emosies en ervarings van die digter. Die vyand stig gedurig stryd aan en soek die digter se ondergang. In sy situasie van stryd en aanvegting roep hy tot Jahwe om in te gryp en die vyand te verslaan. Dit is dan juis hierdie voorstelling van Jahwe wat in dié omstandighede 'n groot gerusstelling is. In hierdie studie word daar van die Vergelykende Metode gebruik gemaak. Hierdie metode is gebaseer op die aanname dat kulture en gemeenskappe sekere opvattings en idees met mekaar deel. Die spesifieke benadering wat binne die Vergelykende Metode gebruik word, word die Tipologies-Vergelykende benadering genoem. In hierdie benadering handel dit oor die vergelyking van verskynsels in kulture wat histories en geografies van mekaar verwyderd is. Hierdie benadering opereer met die aanname dat sekere kulturele opvattings universeel gedeel word. Die volgende psalms word in die ondersoek ontleed: 3, 21,46,68, 76, 83, 140, 144. Die seleksie is gedoen op grond van die belangrikste literêre genres in die psalms. As agtergrond tot die ondersoek, word 'n kort oorsig gebied van krygerterminologie en opvattings in die res van die Ou Nabye Ooste. Daarna is die krygerbeeld in die geselekteerde psalms ondersoek. Die ondersoek het soos volg verloop: in Hoofstuk 1 is daar aandag gegee aan die navorsingsgeskiedenis met betrekking tot die voorstelling van Jahwe as kryger in die Hebreeuse Bybel, in Hoofstuk 2 is die literêre verskynsel van die metafoor behandel en in Hoofstuk 3 is daar gefokus op die Ou Nabye Oosterse instelling van oorlog en die plek van krygers in die verband. Vanaf Hoofstuk 4-11 is die krygermetafore in die geselekteerde psalms geanaliseer. By elk van die geanaliseerde psalms word die volgende metode gevolg: (1) 'n vertaling en tekskritiese aantekeninge; (2) 'n bespreking van die literêre genre; (3) 'n analise van die styl-elemente; en (4) 'n analise van die krygermetafore. In die psalms waar Jahwe as kryger voorgestel word, tree daar altyd drie hoofkarakters na vore, naamlik die digter, die vyand en Jahwe. Die vyand word geteken in terme van tipiese "vyandsbeelde", terwyl Jahwe defensief teenoor die bidder optree en offensief teenoor die teëstanders. In hierdie studie word ook aangedui dat wanneer Jahwe ingryp, bewerk Hy redding en herstel Hy ook die digter se eer. Jahwe word geloof vir sy reddingsdade in die verlede. Dit vorm die basis vir die digter se hulpgeroep tot Jahwe om in te gryp in sy situasie. Hy verslaan die vyand deur van verskillende wapens gebruik te maak. Die digter se vyande word ook as Jahwe se vyand gesien.

Thesis (MA)--Stellenbosch University, 1991. / ENGLISH ABSTRACT: One of the most vexing questions in the exegetical research on the Psalms has been the establishing of the identity of the suppliant who refers to himself as the cani. Many scholars have endeavoured to study the meaning and significance of this word, but it is still not satisfactorily resolved. The weakness of these studies can be traced back to two factors: (1) an exaggerated over-confidence in the etymological method of analysis, and (2) the implementation of inadequate and incomplete semantic methods. This investigation starts out with the hypothesis that the meaning of cani must be determined in terms of both its macro and micro leve~. Thus, the meaning of this designation will be established synchronically, as well as in terms of an associative field. In this way the semantic field of cani can be .demarcated in light of its immediate lexical, as well as its wider associative field. A close reading of the Psalms in which cani appears, reveals that a triangular relationship is depicted between certain actants. The drama tis personae occupying the following roles in this triangle are: (1) Yahweh asjudge and saviour, (2) the cani as suppliant and victim, and (3) .the antagonist as oppressor and blasphemer. In order to establish the identity of the cani it was necessary to investigate its synonyms and antonyms within this complex triangular structure. Within such a semantic framework it has been determined that the stereotype translation equivalent "poor" is both inadequate and misleading. / AFRIKAANSE OPSOMMING: Een van die mees kwellende vrae in die moderne Psalmeksegese is die raaisel aangaande die identiteit van die cani. Baie geleerdes het gepoog om die betekenis van hierdie woord te bepaal, maar tot nou toe is die prableem nog nie bevredigend opgelos nie as gevolg van: (1) te swaar klem wat op die etimologie van die woord geplaas is, of (2) onvoldoende semantiese metodes wat gebruik is in die ondersoek van hierdie term. Hierdie studie gaan uit van die hipotese dat die betekenis van cani op beide makro- en mikrovlak vasgestel moet word. Die betekenis moet sinkronies sowel as in terme van 'n assosiatiewe veld bepaal word. Op hierdie wyse kan die semantiese veld afgebaken word op grand van die onmiddellike leksikale sowel as die wyere assosiatiewe veld. Verder is daar ook vasgestel dat in die Psalms waarin cani voorkom, daar gewoonlik sprake is van 'n driehoeksverhouding. Die dramatis personae is: (1) Jahwe as rigter en redder, (2) die cani as aangeklaagde/smekeling en slagoffer en (3) die antagonis as onderdrukker en aanklaerllasteraar. Om die identiteit van die cani vas te stel, was dit nodig om die sinonieme sowel as die antonieme van hierdie term binne so 'n driehoekige struktuur te ondersoek. Binne so 'n semantiese raamwerk is vasgestel dat die stereotipe vertalingsekwivalent "arm" beide onvoldoende en misleidend is.

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