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The thesis The hymnal Mešní zpěvy. The analysis and the usage in the musical pedagogy suggests a way of usage of Mešní zpěvy in music courses at secondary school. Liturgical music is the important source of knowledge of our musical culture, and of the culture in general too. Mešní zpěvy adds to that knowledge noticeably. The hymns listed there come from elder hymnals, but each has the origins of both music and lyrics traced and attached. This writing provides an analysis of selected hymns and offers how to use them when teaching music. The purpose of the thesis is to show that Mešní zpěvy are suitable in everyday teaching of music. The choice of hymns has been made considering the other subjects too, particularly Czech language and history. The aim is to widen pupils' horizons of historical and cultural heritage. The hymn selection and its involvement in the teaching process has been tried at secondary school.

O objetivo desse trabalho é investigar a adaptação da organista com relação às modificações nos hinários oficiais da Igreja Congregação Cristã no Brasil, enfatizando as mudanças do Hinário 4 para o Hinário 5. Também foi averiguado qual o impacto das mudanças no estudo dos hinos novos e antigos (onde houve várias mudanças) e qual a repercussão das organistas com relação ao acréscimo do terceiro pentagrama no Hinário 5. O presente estudo foi delineado com base em dois questionários elaborados e enviados para as organistas da Igreja Congregação Cristã no Brasil (uma vez que apenas as mulheres tocam o órgão), tanto para as oficializadas com profunda experiência no Hinário 4, como para as organistas aprendizes que só tiveram contato com o Hinário 5. Ficou evidente que muitas organistas oficializadas ainda apresentam dificuldades em tocar os hinos alterados do hinário devido às diferenças entre mão esquerda e pedal. As aprendizes não reportaram ter problemas porque nunca estudaram com outro hinário. Como na Igreja Congregação Cristã no Brasil somente hinos são tocados durante o culto, foram elaborados exercícios para auxiliar na adaptação do novo hinário, já que em 194 dos 480 hinos, as notas mais graves da mão esquerda e do pedal são distintas durante alguns compassos. O material produzido poderá auxiliar principalmente as organistas oficializadas, tornando-se também, uma fonte de consulta sobre os tipos de hinos para toda a classe. / This work aims to investigate the adaptation of the organist of the Christian Congregation Church of Brazil in relation to the modifications in the new hymnal (No. 5), as well as the impact it has had on the way the organists study the new and old (and altered) hymns. The addition of the third staff has also been investigated. Two questionnaires, as a basis for the study, were sent to women organists (since only women are allowed to play the organ): a group of Official organists with a great deal of experience with Hymnal No. 4, and beginner organists (Apprentices), who had only studied Hymnal No. 5. The Official organists reported that many still present difficulties playing the altered hymns of the latest edition because of the differences between the left hand and pedal. The Apprentices admitted not having any problems since they never came in contact with other editions of the hymnal. Considering that the Christian Congregation Church of Brazil only allows hymns to be performed during services, exercises were elaborated to help them adapt to the new hymnal, since in 194 of the 480 hymns, the lower note of the left hand and the pedal are not the same for several measures. The material presented is intended to aid mainly the Official organists, however, it may be utilized by all organists as a source for the many different types of hymns.

<p>To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition.</p><p>The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth.</p><p>Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work.</p><p>Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context.</p><p>The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God.</p><p>The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture.</p><p>In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.</p>

To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition. The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth. Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work. Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context. The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God. The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture. In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.

O objetivo desse trabalho é investigar a adaptação da organista com relação às modificações nos hinários oficiais da Igreja Congregação Cristã no Brasil, enfatizando as mudanças do Hinário 4 para o Hinário 5. Também foi averiguado qual o impacto das mudanças no estudo dos hinos novos e antigos (onde houve várias mudanças) e qual a repercussão das organistas com relação ao acréscimo do terceiro pentagrama no Hinário 5. O presente estudo foi delineado com base em dois questionários elaborados e enviados para as organistas da Igreja Congregação Cristã no Brasil (uma vez que apenas as mulheres tocam o órgão), tanto para as oficializadas com profunda experiência no Hinário 4, como para as organistas aprendizes que só tiveram contato com o Hinário 5. Ficou evidente que muitas organistas oficializadas ainda apresentam dificuldades em tocar os hinos alterados do hinário devido às diferenças entre mão esquerda e pedal. As aprendizes não reportaram ter problemas porque nunca estudaram com outro hinário. Como na Igreja Congregação Cristã no Brasil somente hinos são tocados durante o culto, foram elaborados exercícios para auxiliar na adaptação do novo hinário, já que em 194 dos 480 hinos, as notas mais graves da mão esquerda e do pedal são distintas durante alguns compassos. O material produzido poderá auxiliar principalmente as organistas oficializadas, tornando-se também, uma fonte de consulta sobre os tipos de hinos para toda a classe. / This work aims to investigate the adaptation of the organist of the Christian Congregation Church of Brazil in relation to the modifications in the new hymnal (No. 5), as well as the impact it has had on the way the organists study the new and old (and altered) hymns. The addition of the third staff has also been investigated. Two questionnaires, as a basis for the study, were sent to women organists (since only women are allowed to play the organ): a group of Official organists with a great deal of experience with Hymnal No. 4, and beginner organists (Apprentices), who had only studied Hymnal No. 5. The Official organists reported that many still present difficulties playing the altered hymns of the latest edition because of the differences between the left hand and pedal. The Apprentices admitted not having any problems since they never came in contact with other editions of the hymnal. Considering that the Christian Congregation Church of Brazil only allows hymns to be performed during services, exercises were elaborated to help them adapt to the new hymnal, since in 194 of the 480 hymns, the lower note of the left hand and the pedal are not the same for several measures. The material presented is intended to aid mainly the Official organists, however, it may be utilized by all organists as a source for the many different types of hymns.

O objetivo desse trabalho é investigar a adaptação da organista com relação às modificações nos hinários oficiais da Igreja Congregação Cristã no Brasil, enfatizando as mudanças do Hinário 4 para o Hinário 5. Também foi averiguado qual o impacto das mudanças no estudo dos hinos novos e antigos (onde houve várias mudanças) e qual a repercussão das organistas com relação ao acréscimo do terceiro pentagrama no Hinário 5. O presente estudo foi delineado com base em dois questionários elaborados e enviados para as organistas da Igreja Congregação Cristã no Brasil (uma vez que apenas as mulheres tocam o órgão), tanto para as oficializadas com profunda experiência no Hinário 4, como para as organistas aprendizes que só tiveram contato com o Hinário 5. Ficou evidente que muitas organistas oficializadas ainda apresentam dificuldades em tocar os hinos alterados do hinário devido às diferenças entre mão esquerda e pedal. As aprendizes não reportaram ter problemas porque nunca estudaram com outro hinário. Como na Igreja Congregação Cristã no Brasil somente hinos são tocados durante o culto, foram elaborados exercícios para auxiliar na adaptação do novo hinário, já que em 194 dos 480 hinos, as notas mais graves da mão esquerda e do pedal são distintas durante alguns compassos. O material produzido poderá auxiliar principalmente as organistas oficializadas, tornando-se também, uma fonte de consulta sobre os tipos de hinos para toda a classe. / This work aims to investigate the adaptation of the organist of the Christian Congregation Church of Brazil in relation to the modifications in the new hymnal (No. 5), as well as the impact it has had on the way the organists study the new and old (and altered) hymns. The addition of the third staff has also been investigated. Two questionnaires, as a basis for the study, were sent to women organists (since only women are allowed to play the organ): a group of Official organists with a great deal of experience with Hymnal No. 4, and beginner organists (Apprentices), who had only studied Hymnal No. 5. The Official organists reported that many still present difficulties playing the altered hymns of the latest edition because of the differences between the left hand and pedal. The Apprentices admitted not having any problems since they never came in contact with other editions of the hymnal. Considering that the Christian Congregation Church of Brazil only allows hymns to be performed during services, exercises were elaborated to help them adapt to the new hymnal, since in 194 of the 480 hymns, the lower note of the left hand and the pedal are not the same for several measures. The material presented is intended to aid mainly the Official organists, however, it may be utilized by all organists as a source for the many different types of hymns.

abstract: Among the hundreds of hymnals published in the United States during the Second Great Awakening (1790–1850), the first official hymnal of The Church of Jesus Christ of Latter-day Saints is a rare example of a hymnal compiled by a woman. The Latter-day Saints wanted a hymnal adapted to their unique beliefs and emerging identity, and Emma Smith—the wife of founding prophet Joseph Smith—was given sole charge of selecting the hymns. The hymnal is also significant because Emma Smith selected and arranged hymns from 1830–1835, years of an emerging rhetoric for the early women’s rights movement. Nevertheless, few studies attend to Smith’s agency and priorities as a compiler, being preoccupied with the contributions of W. W. Phelps, the editor, printer, and most represented poet of the hymnal. Drawing on Karlyn Kohrs Campbell’s theories of agency and of feminine style as well as Kenneth Burke’s theory of form, this thesis uses close textual analysis and coding to examine the rhetorical strategies Smith employed in the hymnal’s preface and in the organization of the Sacred Hymns section. The analysis reveals the hymnal’s recurring themes as well as the ideas it circulates about sex, gender, agency, and community inclusion/exclusion. It also uncovers tension between Smith’s and Phelps’ priorities for the hymnal, particularly in how Smith and Phelps characterize those who should and should not be included with equal authority in Zion, the ideal community the Latter-day Saints sought to build. / Dissertation/Thesis / Masters Thesis English 2019

Haig Utidjian - Abstract In this thesis we attempt to establish, in as concrete and tangible a manner as possible, the procedures used by Ełia Tntesean (1834-1881) in compiling and redacting his version of the melodies of the Armenian Hymnal, and to place his own endeavour in the context of other attempts to record the melodies of Armenian hymns using the Limōnčean system of musical notation in nineteenth-century Constantinople - at a time when the mediaeval neumatic notation had already become largely intractable. Our approach entails the juxtaposition of Tntesean's musicological articles and paedagogical publications with his transcriptions in Western notation and with his mature realisations of the hymnal melodies in the Limōnčean system, published posthumously in 1934 - treating these sources as a coherent corpus, of which the diverse components are allowed to shed light on each other. Comparison with other hymnals from the same period, the investigation of parallels with the neighbouring practice of Ottoman makams, fieldwork with surviving remnants of the oral tradition, and a critical examination of Tntesean's writings and transcriptions enable us to elucidate aspects of notation and performance practice, and to expose a subtle evolution in aesthetic. Furthermore, a detailed analysis of the Tntesean...

Made available in DSpace on 2016-08-03T12:18:48Z (GMT). No. of bitstreams: 1 Milton Rodigues de Souza1-145.pdf: 733021 bytes, checksum: 27d635c39633626d7dbd7acbcdbe7456 (MD5) Previous issue date: 2011-08-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation intends to study the Christian Harp, one of the main national protestant hymnals, looking to identify it as instrument of expansion in Brazil s Pentecostalism mission in the period between 1910 and 1970, while appreciating the history and the creation of this liturgical book, intending to comprehend its usage as motivational element in the missionary practice of the Brazilian Pentecostal churches. It also consists of knowing the characteristics of construction of this compendium, passing through the presentation of its hymnists profiles and through the assiduous study of its musical structure and literary composition, while being aware of some important constitutive characteristics that are used, such as the theological concepts. Looking for a missiology concept that shows to be more correlated with the theological content of this hymnal and the referral of various examples of incitement to the evangelist practice found within its songs, which leads to the comprehension of the relevancy of the Christian Harp in the liturgical life of confessional pentecostal churches in Brazil, and its bold presence as an efficient developer of missionary practice of these faith communities. / Esta dissertação pretende estudar a Harpa Cristã, um dos principais hinários protestantes nacionais, buscando identificá-la como instrumento de expansão da missão no pentecostalismo do Brasil, no período comprendido entre os anos 1910 e 1970, apreciando a história e a formação deste livro litúrgico na pretensão de compreender sua utilização como elemento motivador para a prática missionária das igrejas pentecostais brasileiras. Consiste também em conhecer as características da construção deste compêndio, passando pela apresentação do perfil de seus hinistas e pelo estudo aplicado da sua estrutura musical e sua composição literária, conhecendo, ainda, algumas de suas importantes características constitutivas, como os conceitos teológicos de que faz uso em seu discurso. A procura por uma conceituação missiológica que se mostre mais identificada ao conteúdo teológico deste hinário e a indicação de vários exemplos de incentivo à prática evangelística encontrados em suas canções conduzem à compreensão da relevante importância da Harpa Cristã na vida litúrgica das igrejas de confissão pentecostal no Brasil e da sua marcante presença como eficiente agente fomentador do exercício missionário dessas comunidades de fé.