During the first half of this century, a wealth of anthem literature was published and performed in the United States that, as a result of the deluge of new publications since those years, has been either forgotten or is unknown to modern church musicians. The purpose of this study is to make the best of this music known, for much of it is still both suitable and desirable for contemporary worship. The research is grouped into six chapters that are entitled: The Quartet Anthem, "Anthems in the Anglican Tradition," "Prominent Choral Ensembles and the Dissemination of the Anthem," "Anthems by Prominent Music Educators," "Anthems in the Russian Style," and "The Negro Spiritual."

Thesis--Freie Universität Berlin. / Summary in German. Anthems by I.H. Whyte, for chorus (SATB): v. 2. Includes bibliographical references (v. 1, p. 412-416).

Thesis--Freie Universität Berlin. / Summary in German. Anthems by I.H. Whyte, for chorus (SATB): v. 2. Includes bibliographical references (v. 1, p. 412-416).

Made available in DSpace on 2014-06-11T19:27:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-11-12Bitstream added on 2014-06-13T20:17:20Z : No. of bitstreams: 1 berg_tj_me_rcla.pdf: 9754495 bytes, checksum: 2a29ac3a460560573eb2a4a4d17e94a8 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Bandeiras e estandartes, escudos e brasões, hinos e canções não são simples composições artísticas e musicais idealizadas ao sabor dos caprichos e fantasias de poderosos reis, mandatários, governantes, países e regiões ao longo dos tempos. Ao contrário, esses símbolos refletem uma realidade histórica e, ao mesmo tempo, portam-se como uma crônica viva de um povo e de uma nação, sendo que nela também está embutido o espaço geográfico, suas influências e suas relações. Foi somente com a Constituição Republicana de 1891, que as províncias foram transformadas em Estados Federados e poderiam adotar de forma oficial, hinos, bandeiras e brasões, desde que não omitissem nesta hierarquia os símbolos nacionais; entretanto, o uso destes símbolos no Brasil já se fazia presente desde os primeiros séculos de colonização portuguesa. Ao se analisarem os símbolos estaduais brasileiros, encontram-se em suas estruturas semânticas e sintáticas fortes relações que envolvem representação da natureza, paisagem, lugar, economia, território e região. As conclusões deste trabalho apontam para o fato de que os hinos, as bandeiras e os brasões dos Estados brasileiros demonstram amplas possibilidades de pesquisa dentro da ciência geográfica, pois estes documentos simbólicos portam-se como “testemunhos” no espaçotempo, cujo caráter gráfico e narrativo revelou em suas múltiplas conexões com o geográfico uma nova perspectiva e possibilidade no que se refere à análise e desvendamento das formas culturais de representação espacial. / Flags and banners, shields and coats of arms, anthems and songs are not simply artistic and musical compositions which were created due to the vanity or fantasies of powerful kings, dukes, rulers, governors, countries and regions throughout time. Instead, those symbols reflect a historical reality and not only they stand as an alive chronicle of a people and a nation, but also they represent the geographical space, its influences and its relationships. It was only after the Republican Constitution of 1891 that the provinces were transformed into Federated States and they could officially adopt anthems, flags and coats of arms, as long as they didn't omit, in this hierarchy, the national symbols. However, these symbols had been already used in Brazil since the first centuries of Portuguese colonization. This analysis of the Brazilian States symbols, as well as their semantic and syntactic structures, aimed to demonstrate the strong connections involving the representation of the nature, landscape, places, economy, territory and regions. The conclusion of this dissertation shows that anthems, flags and the coats of arms of Brazilian States demonstrate wide research possibilities in the geographical science because these symbolic documents stand as “testimonies” in space and time, whose graphic and narrative character has revealed in its multiple connections with the geographical; a new perspective and possibility regarding the analysis and unveiling of the cultural forms of spatial representation.

Submitted by THAIS BORBA RIBEIRO RODRIGUES null (thais-borba@hotmail.com) on 2017-06-16T19:13:29Z No. of bitstreams: 1 Dissertação Mestrado - Thais Borba Ribeiro Rodrigues.pdf: 1293101 bytes, checksum: 0cabea7cfa7bc82f2c1cbfdd368fc606 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-06-19T14:36:14Z (GMT) No. of bitstreams: 1 rodrigues_tbr_me_arafcl.pdf: 1293101 bytes, checksum: 0cabea7cfa7bc82f2c1cbfdd368fc606 (MD5) / Made available in DSpace on 2017-06-19T14:36:14Z (GMT). No. of bitstreams: 1 rodrigues_tbr_me_arafcl.pdf: 1293101 bytes, checksum: 0cabea7cfa7bc82f2c1cbfdd368fc606 (MD5) Previous issue date: 2017-05-12 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O objetivo deste estudo é compreender, por meio da semiótica discursiva, como os hinos patrióticos se organizam e quais estratégias textuais e discursivas são utilizadas para mobilizar o sensível e incitar a identidade nacional. Considerando que no Brasil existem diferentes hinos para simbolizar a nação, os estados e os municípios, selecionamos os hinos patrióticos que representam cada um desses segmentos, a fim de realizar um estudo comparativo. São eles: o Hino Nacional Brasileiro e o Hino à Bandeira, representando os nacionais, o Hino do estado de São Paulo (estadual), e os hinos municipais de Araraquara e de São Carlos. Nos hinos selecionados para o córpus, verifica-se que, no entrecruzar dos gêneros e dos estilos, há similaridade de estratégias discursivas que, por meio do dizer e, principalmente, pelo modo de dizer, conseguem a adesão do enunciatário, cujo envolvimento e identificação são resultados de um efeito de sentido. Sendo assim, a pesquisa caminha para o entendimento das construções de sentido, analisando os enunciados que, revestidos de temas e de figuras, evocam o ufanismo e o orgulho patriótico e apresentam um crer, um querer e um dever ser cidadão. Entre os resultados da pesquisa, destaca-se a identificação do enunciatário com os discursos dos hinos, sendo a manipulação do sensível um caminho eficiente para a manutenção de uma identidade patriótica. / From the perspective of the discursive semiotics, the main of this study is comprehend how the patriotic anthems are organized and which textual and discursive strategies are used to mobilize the sensitive and to incited the national identity. In Brazil, there are different anthems to symbolize the nation, the states and the municipalities; hence we chose the patriotic anthems that represent each segment in order to conduct a comparative study. They are: the Brazilian National Anthem and the Brazilian Flag Anthem, representing the national ones, the Anthem of São Paulo (state), and the municipal anthems of Araraquara and São Carlos. The selected anthems as corpus allow verifying through genre and style intersection, the discursive strategic similarities, which through the saying; and mainly, through the way of saying, can captivate the enunciatee whose involvement and identification are the result of a meaning effect. Thus, the research apprehends the meaning construction, analyzing the utterances that, covered with themes and figures, evoke the jingoism and the patriotic pride and show a believing, a wanting and a having-to-be citizen. Among the results of the research, contrast the identification of the enunciatee with the anthems discourse, that the manipulation of the sensitive is efficient way to keeping a patriotic identity. / FAPESP: 2015/14341-0

No description available.

The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.

Orientador: Bernadete Aparecida Caprioglio de Castro Oliveira / Banca: Paulo Roberto Teixeira de Godoy / Banca: Zeny Rosendahl / Resumo: Bandeiras e estandartes, escudos e brasões, hinos e canções não são simples composições artísticas e musicais idealizadas ao sabor dos caprichos e fantasias de poderosos reis, mandatários, governantes, países e regiões ao longo dos tempos. Ao contrário, esses símbolos refletem uma realidade histórica e, ao mesmo tempo, portam-se como uma crônica viva de um povo e de uma nação, sendo que nela também está embutido o espaço geográfico, suas influências e suas relações. Foi somente com a Constituição Republicana de 1891, que as províncias foram transformadas em Estados Federados e poderiam adotar de forma oficial, hinos, bandeiras e brasões, desde que não omitissem nesta hierarquia os símbolos nacionais; entretanto, o uso destes símbolos no Brasil já se fazia presente desde os primeiros séculos de colonização portuguesa. Ao se analisarem os símbolos estaduais brasileiros, encontram-se em suas estruturas semânticas e sintáticas fortes relações que envolvem representação da natureza, paisagem, lugar, economia, território e região. As conclusões deste trabalho apontam para o fato de que os hinos, as bandeiras e os brasões dos Estados brasileiros demonstram amplas possibilidades de pesquisa dentro da ciência geográfica, pois estes documentos simbólicos portam-se como "testemunhos" no espaçotempo, cujo caráter gráfico e narrativo revelou em suas múltiplas conexões com o geográfico uma nova perspectiva e possibilidade no que se refere à análise e desvendamento das formas culturais de representação espacial. / Abstract: Flags and banners, shields and coats of arms, anthems and songs are not simply artistic and musical compositions which were created due to the vanity or fantasies of powerful kings, dukes, rulers, governors, countries and regions throughout time. Instead, those symbols reflect a historical reality and not only they stand as an alive chronicle of a people and a nation, but also they represent the geographical space, its influences and its relationships. It was only after the Republican Constitution of 1891 that the provinces were transformed into Federated States and they could officially adopt anthems, flags and coats of arms, as long as they didn't omit, in this hierarchy, the national symbols. However, these symbols had been already used in Brazil since the first centuries of Portuguese colonization. This analysis of the Brazilian States symbols, as well as their semantic and syntactic structures, aimed to demonstrate the strong connections involving the representation of the nature, landscape, places, economy, territory and regions. The conclusion of this dissertation shows that anthems, flags and the coats of arms of Brazilian States demonstrate wide research possibilities in the geographical science because these symbolic documents stand as "testimonies" in space and time, whose graphic and narrative character has revealed in its multiple connections with the geographical; a new perspective and possibility regarding the analysis and unveiling of the cultural forms of spatial representation. / Mestre

This thesis analyzes and demonstrates the similarities and differences between some of the national symbols of France and the United States. This includes the shared and borrowed aspects of each one and the ways in which each culture is reflected through, and built around them. The flags, national anthems, and several national icons such as France's Marianne and Uncle Sam are discussed. This analysis deals with the historical contexts and cultural meanings of the symbols, showing the changes each has undertaken in form and in national and international importance. Through the study of national symbols, this thesis reveals the similarities along with the differences between the two nations, which are often perceived as being highly dissimilar and even opposing in belief systems, cultures, and histories.

In the Catecismo Patriótico by Gonzales Vigil in 1859, written evidence was found for thefi rst time of the anonymous verses that substituted, for almost 200 years, Torre Ugarte’sfi rst stanza of Peru’s national anthem, just shortly after it was created in 1821. Arguments toexclude it appeared in the late 19th century and 20th: it was anti-Hispanic, silenced rebellionsand colonial revolutions and went against Torre Ugarte’s author rights. Comparisonis made of the themes and language of the apocrypha verses with other national HispanicAmerican songs of the period, fi nding complete similarity in all of them. The debate centeredin the original text and the one from popular tradition. The conclusion comes with the Constitutional Tribunal’s decision and complementary dispositions from 2005 to 2010, to locatethe anonymous stanza at the end, and substitute it with one by Torre Ugarte. / En el Catecismo Patriótico preparado por Francisco de Paula Gonzales Vigil en 1859, aparecela primera evidencia escrita de unos versos anónimos que poco después de creadoel himno nacional del Perú en 1821 se habían incorporado como primera estrofa, y quesustituyó a la del texto original de José de la Torre Ugarte, por casi 200 años. A fi nes del XIXy el XX comenzaron a aparecer argumentos para excluirla: su antihispanismo, el silenciosobre rebeliones y revoluciones coloniales y el derecho de autor de Torre Ugarte. Se comparanlos temas y lenguaje de la estrofa apócrifa con los de otras canciones nacionales deHispanoamérica de su tiempo, advirtiendo la completa similitud entre todos. En realidad,el debate se centró entre un texto original y otro procedente de la tradición popular. Seconcluye con la decisión del Tribunal Constitucional y las disposiciones complementariasentre 2005 y 2010 que ubicaron al fi nal la estrofa apócrifa y ordenaron sustituirla por otrade Torre Ugarte.