Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1999. / Includes abstract and vita. Includes bibliographical references (leaves 129-134).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2002. / Includes abstract and vita. Includes bibliographical references (leaves 131-137).

Thesis (D. Ed. Min.)--New Orleans Baptist Theological Seminary, 2003. / Includes abstract and vita. Includes bibliographical references (leaves 149-156).

Thesis (D. Min.)--Trinity International University, 2005. / Abstract. Includes bibliographical references (leaves 207-209).

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2005. / Includes bibliographical references (leaves 134-138).

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2004. / Includes bibliographical references (leaves 134-138). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

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Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-28T12:13:08Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-28T14:22:47Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-28T14:31:57Z No. of bitstreams: 1 Tese SANTOS, A.C. 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Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-12-04T14:43:23Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-12-05T14:11:15Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Approved for entry into archive by Telma Jaqueline Dias Silveira null (telmasbl@marilia.unesp.br) on 2017-12-05T18:47:21Z (GMT) No. of bitstreams: 1 santos_ac_dr_mar.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Made available in DSpace on 2017-12-05T18:47:21Z (GMT). No. of bitstreams: 1 santos_ac_dr_mar.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) Previous issue date: 2017-08-31 / Não recebi financiamento / Este trabalho objetivou estudar as relações de conflitos na prática musical dos séculos XVIII e XIX, vividas, sobretudo, a partir da formação do bispado (1745) na cidade de São Paulo. Estruturou-se, para tanto, mediante a exploração meticulosa de vasta documentação avulsa, cartas, ofícios e estatutos que forneceram grande quantidade de informações sobre a prática e os conflitos na música, não obstante a presença de novos atores, como mulheres, negros e seus descendentes exercendo a prática musical no cotidiano da cidade. A fundação do bispado na cidade de São Paulo provocou transformações perceptíveis ‒ seja pela construção da Catedral da Sé, seja pela estruturação do culto religioso segundo os preceitos estabelecidos no Concílio de Trento, que se espelhavam no modelo da Sé de Lisboa ‒, desse modo, fortalecendo o padroado conservador representado por Dom Frei Manuel da Ressurreição, o terceiro bispo da Sé (1772-1789). O jogo de poderes eclesiástico e civil, ora unindo-se para realizar e decidir em favor dos seus interesses, ora buscando alternativas para exercer controle sobre a prática da “música de violinos”, representaram algumas das rupturas e desordens no meio musical em tela. / This work aims at studying the conflictive relations in the musical practice of the eighteenth and nineteenth centuries, mainly those that emergedafter the formation of the bishopric (1745) in the city of São Paulo. It is structured through the meticulous exploration of vast documentation, letters, statutes, which provided a great deal of information about the practice and conflicts in music, despite the presence of new actors such as women, Black people and their descendants practicing music in the daily life of the city. The foundation of the bishopric in the city of São Paulo provoked noticeable transformations, such as the construction of the Sé Cathedral, as well as the structuring of religious worship according to the precepts established at the Council of Trent and following the model of the Lisbon Cathedral, strengthening the Conservative patron, represented by Don Friar Manuel da Ressurreição, the third bishop of the Sé Cathedral in São Paulo (1772-1789). The struggle between ecclesiastical and civil powers, sometimes uniting to create and decide in favor of their interests, sometimes seeking alternatives to exercise control over the practice of "violin music", represented some of the ruptures and disorders in the musical environment.

Manuel Arenzana was the last chapel master of the Cathedral of Puebla from 1791 to 1821. Arenzana composed sacred music for the Cathedral of Mexico, as well as operas for the Coliseo Theater in Mexico City. Missa à 4 Compuesta a Grande Orquesta in D Major was composed for double choir and big orchestra, which included viola, clarinets and bassoon. This work is a scholarly edition of previously unedited manuscripts and it is collocated with two late copies located in Oaxaca. Also, the actas capitulares from the Cathedral of Puebla, during the period when Arenzana worked as chapel master (1791-1821), and the documents from the Archivo General de Indias revealed new biographic data, which is confronted with a review of the existing biography. Additionally, the music catalogue in New Spain is included with the repertoire of the archives of Cathedrals from Puebla, Morelia, and Oaxaca, two parishes, and the Basílica de Santa María de Guadalupe.

This thesis provides a comprehensive source study of the eighteenth-century Chapel Royal partbooks (London, British Library R.M.27.a–d). The 56 manuscript volumes in this collection, which are now catalogued into four groups (or ‘sets’), were used in the daily choral services at St James’s Palace during the eighteenth and nineteenth centuries. The sources have a complex history since they have an ‘organic’ quality whereby the books continued to be copied into and altered whilst they were in regular use. The first part of the thesis (chapters two to six) examines the physical characteristics of the manuscripts by considering the books’ construction, the traits of the copyists, and the way material was gradually added. Paper and scribal analysis, as well as general cataloguing work, are used to identify the contents and explore the layers of copying. The second part of the thesis (chapters seven and eight) looks at the function of the books and considers the collection within its eighteenth-century context. Documentary sources are considered alongside various elements of the books to establish how the partbooks were used in performance. The Chapel’s method of partbook organisation is then compared with the organisation of similar collections at other choral foundations (including those with which the Chapel had strong connections).

The present dissertation ("Hybridisations between music and painting: the relationship of Morton Feldman and Mark Rothko in Rothko Chapel") has as main objective to examine the technical approach, the stylistic resources and the degree of interdisciplinary relation that establishes between the work of the American composer Morton Feldman (1926 - 1987) Rothko Chapel (1971) and the work of the same painter, also American, Mark Rothko (1903 - 1970), realized in Houston, Texas. By linking the pictorial and architectural work with the musical - due to the "autobiographical character" attributed by the composer to his piece - the research addresses its degree of hybridization, the rhetorical, narrative or imitative processes used and the possibility of classification of This interdisciplinary convergence within the scope of musical ekphrasis. Because of this, the work developed, which has a transdisciplinary character, focuses basically on the study, analysis and comparison - through similarities and / or references - of the musical and pictorial work within the North American artistic and sonorous context of Mid twentieth century. However, while the musical proposal is approached with a technical and systematic criterion of analysis of the score - from a melodic, harmonic, organological, agogical, dynamic and structural point of view, the pictorial intervention is examined not only as a site project -specific - number of paintings or panels, size, shape and technique of the same, arrangement in the architectural space, specific treatment of light - but also as a plastic disc inserted in the artistic and vital trajectory of its author. The comparative study is completed with textual and biographical contributions, especially related to Morton Feldman, given the importance they have in order to locate Rothko Chapel in a context that, beyond strictly musical, reflects the pictorial influence that the work had Of Rothko in the compositional methods of our musician. Finally, the thesis is accompanied by a self-recorded CD on Rothko Chapel, a recording that is also accessible through an online platform. Through the same it is wanted that the interpretation made allows to contrast the proposals, the results and the conclusions obtained during the investigation process. / La presente tesis doctoral ("Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel") tiene como objetivo principal examinar el planteamiento técnico, los recursos estilísticos y el grado de relación interdisciplinar que se establece entre la obra del compositor estadounidense Morton Feldman (1926 - 1987) Rothko Chapel (1971) y el trabajo homónimo del pintor, también estadounidense, Mark Rothko (1903 - 1970), realizado en Houston, Texas. Al vincular la obra pictórica y arquitectónica con la musical -debido al "carácter autobiográfico" que el mismo compositor le atribuye a su pieza-, la investigación aborda su grado de hibridación, los procesos retóricos, narrativos o imitativos utilizados y la posibilidad de clasificación de esta convergencia interdisciplinar dentro del ámbito de la écfrasis musical. Debido a ello, el trabajo desarrollado, que posee un carácter transdisciplinar, se centra básicamente en el estudio, análisis y comparación -a través de similitudes y/o referencias- de la obra musical y de la pictórica dentro del contexto artístico y sonoro norteamericano de mediados del siglo XX. Ahora bien, mientras que la propuesta musical es abordada con un criterio técnico y sistemático de análisis de la partitura -desde un punto de vista melódico, armónico, organológico, agógico, dinámico y estructural-, la intervención pictórica es examinada no solo como proyecto site-specific -número de cuadros o paneles, tamaño, forma y técnica de los mismos, disposición en el espacio arquitectónico, tratamiento específico de la luz-, sino también como discurso plástico inserto en la trayectoria artística y vital de su autor. El estudio comparativo realizado se completa con aportaciones textuales y biográficas, especialmente vinculadas a Morton Feldman, dada la importancia que estas poseen de cara a ubicar Rothko Chapel en un contexto que, más allá de lo estrictamente musical, recoge la influencia pictórica que tuvo la obra de Rothko en los métodos compositivos de nuestro músico. Finalmente, la tesis se acompaña con una grabación propia en CD de Rothko Chapel, grabación que también es accesible través de una plataforma en línea. A través de la misma se desea que la interpretación efectuada permita contrastar las propuestas, los resultados y las conclusiones obtenidas durante el proceso de investigación. / La present tesi doctoral ("Hibridacions entre música i pintura: la relació de Morton Feldman i Mark Rothko en Rothko Chapel") té com a objectiu principal examinar el plantejament tècnic, els recursos estilístics i el grau de relació interdisciplinària que s'estableix entre l'obra del compositor nord-americà Morton Feldman (1926 - 1987) Rothko Chapel (1971) i el treball homònim del pintor, també nord-americà, Mark Rothko (1903 - 1970), realitzat en Houston, Texas. En vincular l'obra pictòrica i arquitectònica amb la musical -a causa de el "caràcter autobiogràfic" que el mateix compositor li atribueix a la seua peça-, la recerca aborda el seu grau d'hibridació, els processos retòrics, narratius o imitatiUs utilitzats i la possibilitat de classificació d'aquesta convergència interdisciplinària dins de l'àmbit de la écfrasis musical. A causa d'açò, el treball desenvolupat, que posseeix un caràcter transdisciplinar, se centra bàsicament en l'estudi, anàlisi i comparació -a través de similituds i/o referències- de l'obra musical i de la pictòrica dins del context artístic i sonor nord-americà de mitjan el segle XX. Ara bé, mentre que la proposta musical és abordada amb un criteri tècnic i sistemàtic d'anàlisi de la partitura -des d'un punt de vista melòdic, harmònic, organológico, agógico, dinàmic i estructural-, la intervenció pictòrica és examinada no solament com a projecte site-*specific -nombre de quadres o panells, grandària, forma i tècnica dels mateixos, disposició en l'espai arquitectònic, tractament específic de la llum-, sinó també com a discurs plàstic inserit en la trajectòria artística i vital del seu autor. L'estudi comparatiu realitzat es completa amb aportacions textuals i biogràfiques, especialment vinculades a Morton Feldman, donada la importància que aquestes posseeixen de cara a situar Rothko Chapel en un context que, més enllà de l'estrictament musical, arreplega la influència pictòrica que va tenir l'obra de Rothko en els mètodes compositius del nostre músic. Finalment, la tesi s'acompanya amb un enregistrament propi en CD de Rothko Chapel, enregistrament que també és accessible través d'una plataforma en línia. A través de la mateixa es desitja que la interpretació efectuada permeta contrastar les propostes, els resultats i les conclusions obtingudes durant el procés de recerca. / Cerveró Beta, JJ. (2017). Hibridaciones entre música y pintura: la relación de Morton Feldman y Mark Rothko en Rothko Chapel [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90572 / TESIS