Call number: LD2668 .T4 1986 I78 / Master of Music / Music, Theatre, and Dance

Although Micheelsen is recognized in Germany as a distinguished composer involved with the "renewal and rejuvenation" of sacred music in the first half of the twentieth century, little of his music is known to American choral conductors. (Only two of his pieces are presently published in English by an American publishing company.) The purpose of this study is to document Micheelsen's role as a composer, performer and educator in Germany since the mid-thirties and to make a detailed study of the compositional style and technique used in his sacred choral works.Micheelsen's first creative period (1930-1945) developed from his experience as a student connected with the Singing Movement, the Schutz Movement, the Liturgical Movement and his work with Paul Hindemith. Although Micheelsen looked to the past for inspiration, he tried to imbue his music with the spirit of his own time. He continually stressed the need to look forward in art and welcomed new music that was stylistically compatible with older styles.The second creative period (1945-1973) shows the influences of the many new styles prevalent in Germany after World War II. These influences can be seen in Micheelsen's increased use of all twelve tones of the chromatic scale, an increase in his use of chromaticism and larger vocal ranges, and his experiments with serialism.Micheelsen carried on the developments of the renewal in sacred music as the Director of the Church Music School in Hamburg and as Department Chairman of the Sacred Music Department in the Hamburg Hochschule fur Music. Until his retirement in 1962, Picheelsen was a leader in the education of church musicians and in the rebuilding of musical life in Germany after.the Second World War.In all his creative work, Micheelsen maintained a commitment to a style of music which emphasized melodic (linear) elements as a basis for composition. He placed a great emphasis on the relationships of text and music. His technique recalls, but does not copy, the contrapuntal style of Renaissance vocal music and puts vocal technique at the center of all his music.

The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.

Text in German with summaries in German and English / Die Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt gerechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion. / The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are underrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function / Practical Theology / M. Th. (Practical Theology)