Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006. / "A dissertation in conducting." Advisor: William A. Everett. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 132-137). Online version of the print edition.

The Cecilian movement was a reactionary movement made up of composers who sought to restore the musical principles of the fifteenth and sixteenth centuries by placing emphasis back on the liturgy, reviving the idea that the music should be subservient to the text. In his article "The Cecilian Movement in the Nineteenth Century: A Summary of the Movement," Patrick Liebergen introduces the term "Cecilian Ideal" as a means of describing the way in which Franz Liszt and Anton Bruckner incorporated elements of Cecilianism into their compositions. Though the two composers never belonged to the Cäcilien-Verband für Deutschland, analysis of various style features commonly found in their music reveals that they accomplished many of the goals of the Cecilian movement while retaining their own individual compositional styles. Analysis of the Latin-texted choral motets of Camille Saint-Saëns reveals that they share stylistic features that were endorsed by the Cecilian movement. That these features were a result of conscious decisions made by the composer is suggested by the fact that similar style traits were praised by Saint-Saëns in two articles he wrote about liturgical music that were published near the end of his life. Moreover, Patrick Liebergen already has shown that many of the Saint-Saëns' beliefs can be understood through the application of what he terms the "Cecilian Ideal" concept. The Latin-texted choral motets of Camille Saint-Saëns have largely been overlooked by the scholarly community. Perhaps it is the uncomplicated nature of these pieces that has led many to dismiss them as an unremarkable portion of the composer's repertoire. Six of the Latin choral motets which are the most similar in terms of style and function were chosen for this study, as they best represent the consistent compositional features of the composer in this genre. These works span a fifty-eight year time period covering a broad portion of the composer's life and career. By analyzing Saint-Saëns' liturgical music in the light shed by his prose writings on the subject we can better understand both his compositional style and his view of the Cecilian movement.

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Jenny Liu Ng Mui. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 123-128). / INTRODUCTION --- p.1 / PART I LISZT'S RELIGIOUS DEVELOPMENT AND HIS POSITION IN 19TH-CENTURY CHURCH MUSIC REFORM / Chapter Chapter 1 --- Liszt's religious development --- p.5 / The influence of Adam Liszt / The first religious outburst / The influence of the Saint-Simonians / The influence of the Abbe de Lammenais / The influence of Princess Wittgenstein / The Abbe Liszt / Chapter Chapter 2 --- Liszt's position in 19th-century church music reform --- p.13 / The Cecilian Movement / Liszt's ideal of church music / Liszt's sacred choral works / The evolution of Liszt's church music reform / The reception of Liszt's sacred choral works / "PART II LISZT'S VIA CRUCIS: COMPOSITIONAL BACKGROUND, RECEPTION AND TEXT" / Chapter Chapter 3 --- The compositional background and reception of Via Crucis --- p.26 / Liszt's late years / Date and place of composition / The influence of artworks on the composition / The reception of Via Crucis / Chapter Chapter 4 --- The text of Via Crucis --- p.32 / Biblical excerpts / Verses from Latin hymns / The German chorales / The text of Via Crucis as compared with traditional Passions / PART III UNITY AND CONTRAST IN VIA CRUCIS / Chapter Chapter 5 --- Thematic design in Via Crucis --- p.42 / Thematic cross-reference / The Cross motif / Jesus' theme / Veronica's theme / Large-scale repetition / The Prelude and Station XIV / The theme of the procession / Stations III， VII and IX / Stations IV and XIII / Chapter Chapter 6 --- Harmonic design in Via Crucis --- p.54 / The structural importance of the tritone / Station V / Station XI / The six monologues / The broad layout / The emphasis on the use of symmetric structures / Station II / Station IV / Station VIII / Station X / Station XII / Chapter Chapter 7 --- Stylistic contrast in Via Crucis --- p.67 / The adoption of Palestrina style / Texture / Rhythmic design / Melodic design / Harmonic design / Text setting / The adopt ion of Bach chorale style / O Haupt voll Blut und Wunden / O Traurigkeit / The coexistence of German chorales and Latin hymns / CONCLUSION --- p.78 / EXAMPLES --- p.80 / BIBLIOGRAPHY --- p.123

This doctoral thesis investigates the dynamics of reform of liturgical sacred music - the so-called "Cecilian" period - which affected the European Catholic world from the end of the 19th century, and In Trentino it was characterized by an intense and peculiar dialogue between Germany - place of origin of the main inspirers of the reform - and Italy. The research was based on several aspects. The assumption on which this thesis is based is the knowledge of the diocesan music collections kept at the Vigilianum Diocesan Library, of which the candidate personally oversaw the cataloging. These are four musical collections that in total they cover a time span of almost two centuries (from the end of the 18th century to the mid-twentieth century) and testify to the nature and consistency of musical training in the ecclesiastical circles of Trentino, but also the dynamics and results of the Cecilian reform. Initially it was necessary to carry out a census of the sources - never dealt with before - which brought to light, on the one hand, the documents kept in the archives and libraries of Trentino concerning the activity of the Cecilian Society of Trentino, of the Musical Chapel of the Trento Cathedral, of the Local Cecilian societies and other institutions involved. On the other hand the correspondence relating to exchanges with the Trentino and Italian environment preserved in the Bischöfliches Zentralarchiv und Bischöfliche Zentralbibliothek Regensburg. Fundamental to the historical reconstruction of this reform was, moreover, the systematic analysis of the main newspapers of the time in the period in question, i.e. from 1889 to 1920, which made it possible to create a conspicuous archive of musical chronicles, of news of reception of the reform and performance of various kinds of music in Trentino. Finally, to complete this musicological thesis, some of the many passages of the sacred and liturgical popular tradition in use at the time were collected and transcribed. Part of this rich documentation has been collected in the second volume (documentary appendix) and in the third volume (musical appendix) that complete the dissertation. The actual treatment (volume I) approaches the research subject with a multidisciplinary look: the Cecilian reform itself, in fact, did not limit itself to reforming liturgical chant, sacred music and organ building, but in fact intertwined with the history of institutions, with school, theater and popular singing. The setting of the thesis takes into account the supranational dimension of the reform (introduction) with which the small local societies had to confront, and then deepen, with a reading from the particular to the general, the history of the Trentino Cecilian Society, one of the longest-lived Cecilian associations (chapter I), the specific areas of activity of the reformers from Trentino, namely Christian liturgical chant, polyphony and sacred music and organ building (chapter II). Chapter III explores some collateral areas with which the reform interacted and investigates more deeply the relationship with the German environment from an institutional, ideological point of view and about the spread of the repertoire. Finally, the closing epilogue outlines the subsequent outcomes of the reform in the first half of the twentieth century, which remains, however, a partially unexplored era, with possible traces for new research. / La presente tesi dottorale indaga le dinamiche di riforma della musica sacra liturgica – il cosiddetto periodo “ceciliano” – che interessò il mondo cattolico europeo a partire dalla fine del XIX secolo, e che in Trentino fu caratterizzato da un intenso e peculiare dialogo con la Germania – luogo di origine dei principali ispiratori della riforma – e con l’Italia. La ricerca che ha condotto alla stesura di questa dissertazione è stata varia e articolata su più fronti. Il presupposto su cui questa tesi si basa è la conoscenza delle collezioni musicali diocesane conservate presso la Biblioteca Diocesana Vigilianum, di cui la candidata ha curato personalmente il riordino e la catalogazione, tra il 2016 e il 2019: si tratta di quattro fondi musicali che complessivamente coprono un arco temporale di quasi due secoli (dalla fine del Settecento alla metà del Novecento) e che testimoniano la natura e la consistenza della formazione musicale negli ambienti ecclesiastici trentini, ma anche le dinamiche e gli esiti della riforma ceciliana. Inizialmente è stato necessario svolgere un censimento delle fonti – mai affrontato prima – che ha portato alla luce, da un lato i documenti conservati negli archivi e nelle biblioteche trentine inerenti l’attività della Società Ceciliana Trentina, della Cappella Musicale della Cattedrale di Trento, delle Società Ceciliane territoriali e di altre istituzioni coinvolte; dall’altro i carteggi relativi alle relazioni e agli scambi con l’ambiente trentino e italiano conservati nella Bischöfliches Zentralarchiv und Bischöfliche Zentralbibliothek Regensburg. Fondamentale ai fini della ricostruzione storica di questa riforma è stato, inoltre, lo spoglio sistematico dei principali giornali dell’epoca nel periodo interessato, ovvero dal 1889 al 1920, che ha consentito di creare un cospicuo archivio di cronache musicali, di notizie di recezione della riforma e di esecuzione di musica di vario genere nelle valli trentine. Infine, a completamento di questa tesi musicologica, si è raccolto e trascritto alcuni dei moltissimi brani della tradizione popolare sacra e liturgica in uso all’epoca. Parte di questa ricca documentazione è stata raccolta nel secondo volume (appendice documentaria) e nel terzo volume (appendice musicale) che corredano la dissertazione. La trattazione vera e propria (I volume) approccia la materia di ricerca con uno sguardo multidisciplinare: la riforma ceciliana stessa, infatti, non si limitò a riformare canto liturgico, musica sacra e organaria ma di fatto si intrecciò con la storia delle istituzioni, con la scuola, il teatro e il canto popolare. L’impostazione della tesi tiene conto della dimensione sovranazionale propria della riforma (introduzione) con cui le piccole Società locali dovettero confrontarsi, per poi approfondire, con una lettura dal particolare al generale, la storia della Società Ceciliana Trentina, una delle più longeve associazioni ceciliane (capitolo I), gli ambiti specifici di attività dei riformatori trentini, ovvero canto liturgico cristiano, polifonia e musica sacra e organaria (capitolo II). Nel capitolo III vengono approfonditi alcuni ambiti collaterali con cui la riforma interagì e indagato più a fondo il rapporto con l’ambiente tedesco dal punto di vista istituzionale, ideologico e circa la diffusione del repertorio. Infine nell’epilogo di chiusura si tratteggiano gli esiti successivi della riforma nella prima metà del XX secolo, che rimane, tuttavia, un’epoca in parte inesplorata, con possibili tracce per nuove ricerche.

In the year 1903, the oldest existing Bohemian music society, the Tonkünstler-Wittwen-und-Waisen-Societät, founded in Prague in March 1803, finally ceased all its music activities; it continued its work just as a pension fund up to its final closing down in 1930. The Cecilská hudební jednota (Cecilian Music Society), founded in November 1803 in Ústí nad Orlicí/Wildenschwert, East Bohemia, was at that time still thriving. The ways in which the period social, political and cultural circumstances reflected in its work, are of special interest for anybody researching Bohemian music history.