En Francie occidentale, le nombre de cartulaires, recueils de copies d’actes originaux, augmente à compter du milieu du XIe siècle. Les protagonistes du grand essor de leur production sont les monastères vers lesquels les donations ont alors afflué. Il est admis qu’aider à la gestion et à la protection de propriétés sont les préoccupations principales qui les ont conduits à la compilation des cartulaires. En même temps, les cartulaires monastiques apparus aux XIe et XIIe siècles sont caractérisés par la reconstruction orientée du passé ou la projection de l’image de ce que les monastères entendaient être. A fin de mettre en évidence la production élaborée et l’utilité des cartulaires qui répondent aux préoccupations diverses, nous avons examiné un cartulaire original, celui de l’abbaye de Saint-Cyprien de Poitiers. Au cours de ce travail, nous avons déterminé, au travers des critiques codicologique, paléographique et morphologique du cartulaire de Saint-Cyprien, la datation et les processus des deux séries de sa compilation; la première entreprise postérieurement à 1100 et la seconde avancée pendant dans les années 1110. Ensuite, nous avons examiné le texte des actes de ce cartulaire et caractérisé sa structure interne qui a adopté un classement géographique. L’élaboration minutieuse dans la disposition, la sélection et la description des actes prouve l’orientation de ce cartulaire pour créer une référence exacte du patrimoine à un moment précis au début du XIIe siècle, après la recomposition sociale, tandis que les éléments de mémoire collective sont latents dans le classement des actes. L’étude des actes d’autorité regroupés en tête du cartulaire a suggéré la reconstruction de l’histoire solennelle qui met en relief le prestige en tant qu’ « abbaye épiscopale ». La fondation légendaire, l’octroi de la liberté monastique, l’institutionnalisation des églises dépendantes, la campagne réformatrice, les éléments de mémoire collective ont progressivement mûri par compilation. L’étude focalisée sur l’acte no 43, seul acte narratif et mentionnant l’abbaye de Cluny, a élucidé l’effacement élaboré d’un passé dans ce cartulaire, en examinant l’opposition entre Saint-Cyprien et Cluny au tournant des XIe et XIIe siècles. Ces analyses suggèrent que le cartulaire de Saint-Cyprien est confectionné comme codex qui représente précisément une image de ses patrimoines matériel et culturel au début du XIIe siècle. Son utilité principale serait l’utilisation pratique en tant que référence à la gestion domaniale mais, il pourrait servir comme emblème de la communauté monastique de Saint-Cyprien. / In Western Francia, the proliferation of cartularies, collections of copies of original charters, began in the eleventh century. Cartulary practice became common in monasteries who received many donations then. Generally, pragmatic control and protection of their rights and properties are main concerns which led monasteries to compose cartularies. On the one hand, monastic cartularies appeared in the eleventh and twelfth centuries are characterized by the reconstruction biased of past or the projection of image of that these monasteries desired to be. In order to illuminate the making process and utility of cartularies which meet various concerns of monasteries, our study focused mainly on the original cartulary of the abbey of Saint-Cyprien of Poitiers.Through codicological, paleographical and morphological analyzes of the cartulary of Saint-Cyprien, we detailed its making process and dated its compilation in twice; the first one carried into effect right after 1100 and second one pursued in the 1110s. Furthermore, we examined the text of charters copied in this cartulary and indicated the features of its inner structure which adopted a geographic classification. The organization, layout, choice and description of charters all showed clearly that Saint-Cyprien had a principle of cartulary production to create a perfect reference recording the existing condition of its properties, which had been kept after the social change at the end of eleventh century. But the organization of Charters is influenced also by some elements of collective memory. Our investigation undertaken on the papal and episcopal privileges and the count’s charters copied at the head of this cartulary indicates that the reconstruction of the past throws into relief the prestige as an “episcopal abbey”. Legendary foundation, monastic liberty, institutionalization of dependent churches, reform campaign, these elements of collective memory were established progressively by each compilation. Finally, our study addressed the charter no. 43, only charter in narrative style and referring the abbey of Cluny, demonstrated a conscious cancellation of past in this cartulary, with disclosing the conflict between Saint-Cyprien and Cluny at the turn of the eleventh and the twelfth centuries. These analyzes suggest that the cartulary of Saint-Cyprien is composed as a codex which represent precisely a phase of material and cultural heritage at the beginning of the twelfth century. Its principal utility should be utilitarian purpose as a reference for the administration of properties, while it would serve as an emblem for monastic community of Saint-Cyprien.

Made available in DSpace on 2016-04-27T19:31:01Z (GMT). No. of bitstreams: 1 Vinicius Morais de Oliveira.pdf: 1799650 bytes, checksum: 8556a940efc757e20f44d0e7fe762463 (MD5) Previous issue date: 2014-09-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The central theme of this dissertation is to historicize the present time, the domestic soundscape of the Monastery of São Bento, the medieval remnants contained in its architecture and in its musical production, beside all dichotomous, accelerated and noisy loudness of its surroundings‟ urban sounds. Both spaces have their sonorous territories‟ identities. In view of the prominence that the sound production‟s study of societies is creating new possibilities for the current historiography, the research issue also sought to provide subsidies to the historical investigation of the music writing reading rules through gregorian chant and the whole complex set of nomenclatures derived from musicological analysis. It also proposes a restructuring in the ocular mechanism hierarchy in equilibrium with the conscious listening of sounds, promoting new cognitive models of our sensitive capacities. Thus, the main documentary sources used were sound sources, a small photographic collection and oral reports from people who passed by in both spaces / O tema central da presente dissertação é historicizar no tempo presente a paisagem sonora interna do Mosteiro de São Bento, as permanências medievais contidas em sua arquitetura e em sua produção musical, ao lado de toda a sonoridade dicotômica, acelerada e ruidosa dos sons urbanos de seu arrabalde. Ambos os espaços têm seus territórios sonoros identitários. Diante da preeminência de que o estudo da produção sonora das sociedades vem criando novas possibilidades para a historiografia atual, o problema da pesquisa também procurou oferecer subsídios à investigação histórica das regras de leitura da escrita musical do canto gregoriano e todo o conjunto complexo de nomenclaturas oriundas da análise musicológica. Propõe-se ainda uma reestruturação na hierarquia do mecanismo ocular em equilíbrio com a escuta consciente dos sons, promovendo novos modelos cognitivos das nossas capacidades sensíveis. Assim, as principais fontes documentais utilizadas foram as fontes sonoras, um pequeno acervo fotográfico e os relatos orais das pessoas que por ali passaram

With advances of modern technologies our post- modern society increasingle has to deal with lack of aesthetics and culture. The analysis of spirituality phenomennon enables us that, above all. spirituality is very significant because it has to do with the human essence and his divine origine. Secondly, spirituality os of grate importance from the pedagogical point of view when we wish to develop an all- rounded personality. Spirituality involves everything asociated with human vitality, his povers, energy, strength and will the system of spiritual values is comprised of main values such as kindness, beauty, the truth, as well as harmony between the mind and feelings, faith, freedom, transcendental alation, responsibility, decency, concience, duty, peace of mind, kindness, friendliness, love of God and one's neighbour, spirituality activities and prayers. The development of personality by means of sacred art is one of effective ways to encourage the development of spiritual values. Gregorian chorals, as the most spiritual way of singing distinguishes itself by its singing peculiarity such as peace, beauty, perfect expression of the word , simplicity, meaning fullness and sacredness. These features stimulate spiritual development. How actively the spiritual value system works depends on the experience of choral singing, the environment, theoretical knowledge and understanding of its designation. The subject of the study is the spiritual value system of youngsters. Two studies... [to full text]

A central focus of this thesis is the word-music relationship in the devotional-song-repertory of Hildegard of Bingen (1098-1179). Surrounding this focus is an examination of aspects of her life and work that relate to the production of her seventy-seven monophonic songs. This examination commences with a review of biographical sources, collation and discussion of parchment sources of her music, and identification of her music scribes. The theme of Hildegard’s music scribes is then developed, including their influence upon the liturgical genres in which her songs are cast and the melodic behaviour of her music. It is argued that, as a result of the rendering of her melodies on the medieval gamut, the surviving sources of her songs represent corruptions of orally produced chant. / The word-music relationship in Hildegard’s songs is then introduced. Her views on the role of music and her own role as monastic preacher form the basis of an examination of the relationship between rhetoric and her songs. This examination draws on contemporary modes of rhetorical criticism, and an approach which treats her songs as musically articulated rhetorical discourse is developed. A selection of her songs is then examined through this approach, and particular attention is given to songs which preserve unusual melodic behaviours. It is argued that her songs represent iubilatio responses to both the grammatical and rhetorical syntagms of her song texts, and melodic characteristics which suggest traces of her pre-redacted melodies are identified. / As a codicil to this study, a critique of ‘new’ and ‘unusual’ monastic practices in Germany by Anselm of Havelberg (c.1100-1158) forms a point of departure for discussion of a small number of surviving songs which surrounded the production of Hildegard’s music - the five monophonic songs comprising the Epithalamia to the Speculum virginum (c.1140), and a twelfth-century canticle setting emanating from the monastic home of her music scribes. This examination points towards a tradition of ‘new’ and ‘unusual’ musical practices in Southern Germany during the twelfth century and provides one possible context for Hildegard’s devotional-song repertory.

Thesis (Ph.D.)--Yale University, 1999. / Includes bibliographical references (leaves [390]-406).

Thesis (Ph.D.)--University of Edinburgh, 1999.

The purpose of this research is to explore the benefits of chant music and its pedagogical applications for the individual trombonist or ensemble member. Several common method books are examined and categorized as either musical exercise or lyrical etude. Through this analysis I highlight a gap between the two method types that can be bridged through practice of chant. I support this claim through an analysis of chant characteristics that make it an ideal candidate to encourage pure sound production and connection in a performable work. Practice of chant in trombone chamber or choir ensembles will also encourage the development of skills necessary to play as a member of a group. I propose regular practice of this music will aid the ensemble in blend and balance, intonation, articulation, and slide coordination. The final chapter of the research provides the reader with a brief summary of the works refenced to promote further study as one chooses.

No description available.

The lecture recital was given on November 20, 1979. The final movement of Widor's Symphonie Gothique, opus 70, the first movement of Widor's Symphonie Romane, opus 73, and the first movement of Dupré's Symphonie-Passion, opus 23 were performed following a lecture on Gregorian Chant in the organ symphonies of Widor and Dupré. The lecture included a brief historical discussion of the decline of organ literature following the French Classical School, the development of the Modern French Organ School beginning with the establishment of the organ department at the Paris Conservatory, the revival of plainsong and the establishment of the School of Solesmes, and the influence of César Franck and the organ symphony. The main body of the lecture included biographical sketches of Widor and Dupré, a discussion of the general characteristics of their organ symphonies, with the emphasis upon those movements specifically employing the use of Gregorian chant.

Dans cette dissertation, je présente trois pièces sur des thèmes religieux composées au cours de ma maîtrise, ainsi que leur analyse : Psalmus 150 pour chœur de jeunes à trois voix, chœur d'adultes à huit voix et orgue ou piano ; Quatuor à Cordes sur la vie de Saint Jean-Paul II ; et la Symphonie « La Rédemption » pour orchestre et chœur. Malgré les particularités de chacune, elles présentent des aspects communs. L'idée principale des compositions fut d'éviter la rupture avec la tradition tout en apportant des nouvelles idées aux pièces, et de souligner l'importance de ma recherche sur la beauté. À cet égard, certaines techniques contemporaines, ainsi que les sonorités médiévales des quintes et octaves parallèles, furent utilisées en accord avec un langage tonal / modal qui demeure la base des trois compositions. Le chant Grégorien fut aussi une importante caractéristique de ces compositions. Pour mieux comprendre les analyses des œuvres, deux techniques seront expliquées, la douce toile de dissonances linéaires et l'harmonie d'accords parfaits majeurs. L'analyse de chaque pièce est divisée en deux parties. La première est une vision générale et la deuxième est plus détaillée. À la fin, les connaissances acquises par la composition des ces œuvres seront résumées et l'importance intemporelle de la beauté sera réaffirmée. / In this dissertation, I present three pieces on religious themes composed during my master’s degree as well as their analysis: Psalmus 150 for three-voice youth choir, eight-voice adult choir and organ or piano; String Quartet on the life of Saint John Paul II; and Symphony “The Redemption” for orchestra and choir. Despite the particularities of each one, they present common aspects. The main compositional idea was to avoid rupture with tradition, whilst bringing new ideas into the pieces, as well as to highlight the importance of my research on beauty. For this purpose, some contemporary techniques as well the medieval sonorities of parallel fifths and octaves were used in consonance with a modal/tonal language, which remains the framework of the three pieces. Gregorian chant is also an important characteristic of these compositions. In order to better understand the analysis of the pieces, two techniques are explained, the soft web of linear dissonances and the perfect major chord harmony. The analysis of each piece is divided into two parts. The first is an overview and the second a more detailed analysis. At the end, the knowledge obtained from composing these pieces will be summarized, and the timeless importance of beauty will be reaffirmed.