Thesis (Ph.D.) - University of Glasgow, 1999. / Ph.D. thesis submitted to the Department of Music, University of Glasgow, 1999. Includes bibliographical references. Print version also available.

Thesis (S.T.M.)--Concordia Seminary, St. Louis, 1996. / Includes bibliographical references (leaves 125-129).

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.

Thesis (D. Mus. Arts)--University of Washington, 2007. / Vita. Includes the scores to six unpuplished pieces. Includes bibliographical references (leaves 263-279). Also available electronically.

Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Abstract. Includes bibliographical references (leaves 241-248).

xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms. / Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski

The primary purpose of this research was to ascertain the attitudes and opinions of Church of God (Anderson, Indiana)* musicians regarding continuing education. The secondary purpose of the study was to determine the types of continuing education experiences that are needed by current church musicians who are employed by, or volunteer for Church of God congregations.An online survey was developed and made available to current musicians serving in Church of God congregations. One hundred and fourteen participants responded to the survey.The writer gathered data from participants regarding their personal information, details about their congregation, about their responsibilities with their congregations, their personal belief statements about their position with their congregation and their interest in and/or barriers to receiving further education.The initial hypotheses for this study were: 1) many who lead worship in Church of God congregations are not trained or educated in the skills and knowledge needed to serve effectively. 2) Many of these persons are not opposed to continued education in church music topics, but they do not know where to look for the training, and, in many cases, the type of educational resources they need do not exist.The results of the study indicated a great interest in receiving continuing education in the worship arts The study also indicated that time, money and family constraints prove to be significant obstacles in the pursuance of further education by music and worship leaders.The data gathered from the study indicated that the types of continuing educational experiences that musicians practicing in the Church, of God congregations need are many and varied. The writer concluded that those who would provide such experiences must take into consideration the constraints and barriers most of these leaders experience and provide practical and theological and philosophical elements.Data were presented in narrative form with the help of listings and figures when appropriate. Based on the data received, the writer gave recommendations for continuing educational opportunities. / School of Music

John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style.