Examining the role of women in the ministry of the Syrian Orthodox Church is not a new endeavor; however, it remains a complex one. This paper aims to delve into the roles assigned to women in church ministry according to canon law, exploring the reasons behind the failure of their implementation, and identifying the opportunities available for women in church ministry today. The creation narratives in the Book of Genesis 1:27 underscore the equality of both male and female, as they are created in the image of God. Biblical texts emphasize the invaluable role of women as supportive partners within the context of the church community (Romans:16:1-5). They are depicted as pillars of strength, offering their wisdom, compassion and dedication to nurturing the spiritual growth of others. This role as a helper (Genesis 2:20) is not one of subservience but rather of partnership and collaboration where both men and women work together harmoniously to fulfill the mission of the church and spread love and understanding.  Through this study, I have endeavored to elucidate the integral role of women in church ministry. The church must recognize and harness the considerable expertise that women possess across various fields of religious life. By doing so, their spiritual journey is enriched, enabling them to align more closely with the image of God and pursue their goals with greater specificity and purpose. This exploration also discusses into the establishment of the office of deaconess and highlights the myriad opportunities available for women in the ministry of the Syrian Orthodox Church today. By embracing and empowering women within the church, we uphold the values of equality and inclusivity and enrich our community’s spiritual fabric.

Acoustic Voice Placement has been in use in the United States choral ensembles since the mid-twentieth century, yet research on the topic is limited. Beyond the techniques of Weston Noble (1922-2016), who championed the practice in the United States from 1948 until his death in 2016, there is little known about methods of Acoustic Voice Placement. The purpose of this research is not only to deepen the information available for the reader, but to create a pathway for future research and debate which expands the knowledge about and the practices within the field of Acoustic Voice Placement. Drawn from multiple source types, an empirical analysis of the approaches, methods, and techniques of Acoustic Voice Placement used by three prominent North American choral conductors was conducted. The methods of Weston Noble, James Bass, and Joe Miller were observed and analyzed intent on capturing exemplary practices and detailed methodologies. When compared to Weston Noble's foundational techniques, modern Acoustic Voice Placement techniques showed both convergent and divergent trends.

This diploma thesis called "The analysis of selected choral compositions by Jakub Jan Ryba" deals primarily with his religious works. The introductory chapter briefly describes Ryba's journey to music and the activity of a composer and the text is also based on Ryba's own biography published in 2005 titled My Life and Music. The thesis concerns an extant autographic list of his works dated to 1801 and an autographic fragment of an incipit catalogue of compositions dated from 1774 to 1796 including an incipit of Czech Christmas Mass "Hey, Master!" dated back to 1795. Both lists were compared with two electronic music databases: the catalogue of the department of music history, National Museum - the Czech Museum of Music and the musical incipit catalogue of the National Library of the Czech Republic. The electronic databases were further compared with the thematic catalogue which is a part of the monography titled Jakub Jan Ryba published in 1963. The object of interest was also the quantity of autographs and transcripts and the prints of the works by Jakub Jan Ryba which have been issued from the beginning of the 19th century till present. Regarding the results of the research, it was proved that only a part of Ryba's work has survived up till now since Ryba himself presents 1083 compositions, both...

Cette thèse se veut une contribution à la recherche en éducation musicale en France. Elle est ancrée dans le domaine de l’enseignement spécialisé de la direction de chœur et aborde les pratiques de l’élève et de l’enseignant dans leur interdépendance, à travers l’analyse d’une situation réelle d’enseignement-apprentissage du geste de direction musicale. La recherche traite spécifiquement le travail de l’enseignant et tente de mettre en lumière le rôle de ce dernier dans la construction des savoir-faire liés à un élément technique particulier :« la levée ». Il s’agit de mettre en évidence la manière dont l’enseignant structure le cours, et les aménagements qu’il opère, en termes de « milieu » pour accompagner l’élève vers les connaissances visées. / This thesis has the purpose investing in the research of musical education in France. It isfocused on specialised teaching for choir conductors and hence studies the practicesundertaken by both the student and the teacher interdependently, by analysing the conductinggestures in a real teaching-learning situation. The research specifically takes an interest in theteacher's work, and seeks to highlight the role of the latter in the building of knowledge linkedto a particular technical element: « the upbeat ». Of particular importance is the way in whichthe teacher structures the lessons, organises the layout, in terms of “the environment” in orderto direct the students towards targeted learning.

Este trabalho busca apresentar uma análise focada na interpretação de cinco obras sacras para coro à cappella do compositor Ernani Aguiar. As obras são: Três Motetinos n° 1 (1975-1978), Três Motetinos n° 2 (1982), Três Motetinos n° 3 (1980-1986), Três Motetinos n° 4 e Três Motetinos n° 5 (1992). A metodologia de análise musical está sustentada a partir do Referencial Silva Ramos de Análise de Obras Corais, respondendo as questões pertinentes e depois transformando-as em texto corrido. Apresentamos um pequeno texto sobre sua trajetória de vida, mostrando sucintamente a atividade de Ernani Aguiar como compositor, regente e professor. Em seguida elencamos o conjunto de sua obra coral sacra para coro à cappella, apresentando informações como data de composição, texto utilizado, estreias e gravações das mesmas. Ainda, apresentamos a fundo outros detalhes sobre as composições das cinco obras estudadas. Na continuidade, apresentamos as análises de cada uma das cinco obras e discutimos pontos que ocorreram durante nosso processo de chegada a uma concepção para performance das mesmas. E é na esteira desse trabalho que abordamos as constâncias composicionais de Aguiar, seu modo de escrita e algumas de suas escolhas estéticas, concluindo assim esta dissertação. / This study aims to present an analysis focused on the interpretation of five sacred works for choir a cappella from the composer Ernani Aguiar. The works are: Três Motetinos No. 1 (1975-1978), Três Motetinos No. 2 (1982), Três Motetinos No. 3 (1980-1986), Três Motetinos No. 4 and Três Motetinos No. 5 (1992). The methodology of the musical analysis is sustained from the Silva Ramos Reference of Coral Work Analysis, answering the relevant questions and then turning them into plain text. We present a small text about his life story, succinctly showing Ernani Aguiar\'s activity as a composer, conductor and teacher. Then we list his sacred choral work\'s ensemble to the a cappella choir, presenting information, such as composition date, text used, premieres and its recordings. We also thoroughly present other details about the compositions of the five studied works. Continuing, we present the analysis of each of the five works and we discuss points which occurred during our process of arriving at a guideline for its performance. And it is in the wake of this work that we approach the compositional constancies of Aguiar, his writing mode and some of its aesthetic choices, thus concluding this dissertation.

Made available in DSpace on 2014-07-29T16:25:15Z (GMT). No. of bitstreams: 1 Dissertacao Renate Stephanes.pdf: 1981750 bytes, checksum: 278b54844c04d3070436fcf36204dfdd (MD5) Previous issue date: 2007-03-29 / This article proposes a reflection about the repertoire sung by amateur choirs, focusing on the process of elaboration of vocal arrangements based upon Brazilian regional music, especially country-hick songs (música caipira). The songs discussed here and their arrangements unfold a very particular thematic world, that of the music from one of Brazil s various country-side cultural/geographic areas: the sertão caipira (hick country side). This repertoire becomes both artistic and educational, since through the investigation, edition and performance of the arrangements it is possible, at once, to make music and preserve the social and cultural traditions of a place or community. Through the application of the compositional techniques discussed here, conductors and their amateur vocal groups will be able to enjoy an attractive repertoire, easy to prepare and quite appreciated by the public, despite its apparent simplicity when still on the page. / O presente artigo propõe reflexões sobre o processo de elaboração de arranjos vocais de músicas regionais brasileiras, em especial a caipira, destinados a coros amadores. As composições enfocadas neste artigo e os arranjos que delas resultaram revelam um universo temático muito específico, aquele da canção regionalista oriunda da cultura de apenas um dos diversos sertões do Brasil: o sertão caipira. Este repertório possui caráter artístico e educativo, mostrando que, por meio do levantamento das canções originais, da preparação das edições e da performance dos arranjos, é possível, a um só tempo, musicalisar e preservar as tradições sócio-culturais de uma região ou comunidade. A aplicação de técnicas composicionais aqui discutidas oferece alternativas para que, a despeito da aparente simplicidade do resultado musical no papel, regentes e seus grupos vocais leigos possam desfrutar de um repertório atrativo e de fácil preparação, mas de grande efeito junto ao público.

Este trabalho busca apresentar uma análise focada na interpretação de cinco obras sacras para coro à cappella do compositor Ernani Aguiar. As obras são: Três Motetinos n° 1 (1975-1978), Três Motetinos n° 2 (1982), Três Motetinos n° 3 (1980-1986), Três Motetinos n° 4 e Três Motetinos n° 5 (1992). A metodologia de análise musical está sustentada a partir do Referencial Silva Ramos de Análise de Obras Corais, respondendo as questões pertinentes e depois transformando-as em texto corrido. Apresentamos um pequeno texto sobre sua trajetória de vida, mostrando sucintamente a atividade de Ernani Aguiar como compositor, regente e professor. Em seguida elencamos o conjunto de sua obra coral sacra para coro à cappella, apresentando informações como data de composição, texto utilizado, estreias e gravações das mesmas. Ainda, apresentamos a fundo outros detalhes sobre as composições das cinco obras estudadas. Na continuidade, apresentamos as análises de cada uma das cinco obras e discutimos pontos que ocorreram durante nosso processo de chegada a uma concepção para performance das mesmas. E é na esteira desse trabalho que abordamos as constâncias composicionais de Aguiar, seu modo de escrita e algumas de suas escolhas estéticas, concluindo assim esta dissertação. / This study aims to present an analysis focused on the interpretation of five sacred works for choir a cappella from the composer Ernani Aguiar. The works are: Três Motetinos No. 1 (1975-1978), Três Motetinos No. 2 (1982), Três Motetinos No. 3 (1980-1986), Três Motetinos No. 4 and Três Motetinos No. 5 (1992). The methodology of the musical analysis is sustained from the Silva Ramos Reference of Coral Work Analysis, answering the relevant questions and then turning them into plain text. We present a small text about his life story, succinctly showing Ernani Aguiar\'s activity as a composer, conductor and teacher. Then we list his sacred choral work\'s ensemble to the a cappella choir, presenting information, such as composition date, text used, premieres and its recordings. We also thoroughly present other details about the compositions of the five studied works. Continuing, we present the analysis of each of the five works and we discuss points which occurred during our process of arriving at a guideline for its performance. And it is in the wake of this work that we approach the compositional constancies of Aguiar, his writing mode and some of its aesthetic choices, thus concluding this dissertation.

This doctoral thesis is the result of the experience, continuous practice and day to day work as head of infant and youth choirs that the candidate has developed for over more than thirty years. The motivation, the concerns and the questions formulated with regards to choral singing, have underpinned this research. The thesis has focused on the learning of values, habits and competences in order to demonstrate that singing in an infant or youth choir is educational and goes far beyond the mere act of singing in a choir. We can therefore state that education is continuous, it never comes to an end and, furthermore, it unfolds in divergent ways. In summary to show that singing in an infant or youth choir is educational in the widest possible sense. / La tesi doctoral que presentem és fruit de l’experiència, de la pràctica continuada i de la tasca del dia a dia al capdavant de cors infantils i juvenils, per part de l’autora, al llarg de més de trenta anys. La motivació, la preocupació i els interrogants formulats entorn al cant coral han estat el mòbil de la present investigació. Hem centrat el tema en l’educació en valors, hàbits i competències per arribar a demostrar que cantar en una coral infantil o juvenil és un fet educatiu en aquests aspectes i que va molt més enllà de l’acte de cantar en una coral, ja que podem afirmar que l’educació és continuada, no s’acaba mai i, a més, es realitza en espiral. En definitiva, vol demostrar que cantar en una coral infantil o juvenil és un fet educatiu en el sentit més ampli.

En 1535, alors que le chantier de l'église paroissiale Notre-Dame des Marais de La Ferté-Bernard est privé de maître-maçon depuis deux ans et que la fabrique vient d'obtenir la promulgation d'indulgences, un nouveau maître-maçon est élu par les habitants fertois. Mathurin Delaborde est chartrain. Maître des maçons des ville et bailliage de Chartres, Mathurin Delaborde est alors le maître-maçon de la clôture de choeur de la cathédrale. A La Ferté-Bernard, l'édifice qu'il découvre est dans l'état suivant : nef, transept et tour-clocher sont achevés depuis plus de trente ans, tandis que le choeur est en cours de construction. Les chapelles nord sont élevées, ainsi que la chapelle axiale qui vient d'être pavée et vitrée. L'ensemble, de facture sobrement flamboyante, reste toutefois non voûté. Trente-quatre ans plus tard, en 1569, alors que la fabrique fait appel à un nouveau maître-maçon pour achever les arcs-boutants, l'édifice est quasiment achevé. Il porte le monogramme MdLB en deux endroits – dans le triforium et dans la tourelle d'escalier qui mène au garde-corps des parties hautes du choeur. Avec ses trois niveaux d'élévation, les voûtes plates de ses chapelles rayonnantes et surtout l'abondant décor sculpté « à l'antique » de ses parois intérieures et extérieures, le choeur de l'église Notre- Dame des Marais de La Ferté-Bernard est une véritable « fenêtre ouverte sur la Renaissance » / In 1535, the building of Notre-Dame des Marais the parish church of La Ferté-Bernard has been deprived of maître-maçon for two years and the fabrique has just obtained an indulgence enactment, when a new maître-maçon is elected by the people of La Ferté, Mathurin Delaborde from the city of Chartres. A city maître des maçons and bailiwick in Chartres, Mathurin Delaborde becomes the maître-maçon of the chancel screen of the cathedral. On his arrival in La Ferté-Bernard, the nave, transept and church tower have been built for over thirty years whereas the choir is in the middle of its construction. The northern chapels are built, as well as the axis chapel which has just been paid for and windowed. Although soberly flamboyant crafted, the structure remains unvaulted. Thirty four years later, in 1569, the structure is almost finished when the people of La Ferté call on a new maître-maçon to finish the flying buttresses. The building bears the MdLB monogram in two different places – on the triforium and on the staircase turret of the choir. With three levels elevation, the voûtes plates of the radiating chapels and especially the great amount of « à l'antique » decoration sculpted on its inner and outer walls, the choir of the church Notre-Dame des Marais in La Ferté-Bernard is a « window opened upon the Renaissance »

En 1857, Joseph d'Ortigue constatait que les maîtrises des cathédrales en France, en activité au cours de la première moitié du XIXe siècle, ne pourraient jamais prétendre au rôle qu'elles avaient rempli pendant des siècles avant leur fermeture en 1791. Malgré le soutien dans un premier temps des pouvoirs publics, la tentative de refondation souhaitée pour chaque cathédrale, s'est en effet soldée par un échec : l'Église catholique n'a pas réussi à redonner au culte l'éclat musical et cantoral qu'il revêtait avant la Révolution. À travers l'étude de la maîtrise du Mans de 1801 à 1860, « une des premières rétablies et une des plus florissantes », cette thèse analyse les principales causes de cet échec inévitable : l'incertitude des ressources financières, l'évolution des mentalités en matière de religion, la formation incomplète des nouvelles générations de musiciens d'Église, le changement des goûts musicaux. Dans les années 1830-40, la liturgie et sa musique sont l'objet de vives polémiques où s’affrontent les partisans d'une musique expressive et les militants d'une restauration du plain-chant. Le renouveau musical dans les cathédrales, et notamment au Mans, ne trouve finalement son accomplissement qu'après une réforme de la liturgie qui définit la musique la plus appropriée au culte. Avec le retour de la liturgie romaine et du chant grégorien, plus de cinquante ans d’efforts auront été nécessaires pour que les cérémonies religieuses gagnent en cohérence ce qu’elles ont perdu en éclat. / In 1857, Joseph d’Ortigue saw that the music schools attached to French cathedrals in the first half of the 19th century could never play the part they had had for centuries, until they were closed in 1791. Though they were at first officially aided, all the cathedrals failed when they tried to revive their musical activity : the catholic church did not succeed in giving back to their celebrations the brilliance of music and song that had been theirs before the Revolution. Studying the Le Mans music school from 1801 to 1860 – it was « one of the first to be re-estblished and one of the most flourishing » –, this thesis analyses the main causes of this inevitable failure: the uncertainty of financial resources, the evolution of habits of thought as regarded religion, the incomplete training of the new generation of church musicians, as well as the changes in musical tastes. In the years 1830-1840, the liturgy and its music are hotly argued about by those in favour of an expressive music and those advocating a restoration of plain chant. The musical revival in cathedrals – notably in Le Mans – was eventually achieved only after a reform of the liturgy defining which music is most suitable for divine worship. With the return of the Roman liturgy and Gregorian chant, over fifty years were necessary for religious ceremonies to gain in coherency what they had lost in brilliance.