Diss.--Theologische Fakultät--Utrecht--Reichsuniversität, 2001. / Bibliogr. p. 217-223. Index.

This thesis explores how the ancient Near Eastern Book of Lamentations can be read and interpreted cross-culturally today, so that the reader stays with the structure of the text but also listens to the spontaneity of cries from a bereft and humiliated people as they grapple with grief. The first part sets the scene and develops a hermeneutical model: a double-stranded helix, which demonstrates the tensions between the textual form and psychological content of Lamentations 1-5. The two strands are connected by three cross-strands, which representat frameworks, cries and metaphorical images introduced by the opening stanza of each lyric. In the second part, the model becomes the basis for an examination of the frameworks of the Lamentation lyrics and of psychological grief, which together demonstrate how regular patterns are difficult to maintain without interuuption, so an analysis of the translation of cries of lament shows how strong feeling of emotion become audible or are silenced as they break through the containment of traditional borders and structures. In the third part motifs already introduced by the forms of frameworks and the sounds of cries are developed further, through metaphotical imagery. Through this fresh approach each poem becomes a new venture by means of stance, voice, and dynamic movement, as communities of men, women and children develop coping strategies for feelings of grief.

Texte remanié de: Dissertation--Bristol--University, 2007. / Bibliogr. p. 259-272.

Diss. Ph. D.--Baltimore (Md.)--Johns Hopkins university, 1992.

Diss.--Washington (D.C.)--Catholic university of America, 1996. / Bibliogr. p. [203]-207. Index.

Texte remanié de: Dissertation--Princeton theological seminary, 1996. / Bibliogr. p. 213-229.

Lamentatio Jeremiae Prophetae, Opus 68, composed by Ernst Krenek in 1941, is a musical work that is difficult to analyze and classify due to its fusion of contrasting musical styles. The pervasive dissonance of the work shows its modern twelve-tone organization, yet other aspects more closely resemble the sacred music of the early Renaissance. Analysis of Lamentatio solely in terms of the atonal twelve-tone system belies the work's full complexity and range of expression. While the twelve-tone system is the basis for the organization of the work, Krenek radically modifies the system to allow for more possible combinations of tones through an innovative technique he calls "rotation." The primary objective of this study is to consider the influence of early Renaissance sacred music, particularly that of Johannes Ockeghem, on certain aspects of Lamentatio, including the text, pitch organization, form and structure, rhythm and meter, and expressive markings. The study reveals that though the pitch organization is based on the twelve-tone system, Krenek uses the increased flexibility granted by his rotation technique to create implications of the modal system of the Renaissance. In the other aspects considered, the music of Lamentatio also bears clear Renaissance influences. A thorough understanding of these earlier influences in Lamentatio will influence both future performances and written characterizations of this enigmatic work.

This thesis consists of a contextual study and critical transcription of five Lamentation settings by the Spanish composer Manuel José Doyagüe (1755–1842), the sources for which were recently found in a unique bound collection of music manuscripts from the University of Santo Tomás, Manila, the Philippines. With the disappearance of most musical sources dating from the Spanish Colonial Period in the Philippines (1565-1898), due to the complete destruction of the walled city centre Intramuros in 1945, the rediscovery of this bound collection entitled “Partituras” is significant, as it indicates the type of repertoire that was possibly known and performed in nineteenth-century Intramuros. The largest group of works by any one composer is five Lamentation settings by Doyagüe, which take up almost a third of the volume. The scores for these works restore incomplete copies held in Spain, and attribute to Doyagüe two settings which were previously unknown. The introduction includes a discussion of the historical and cultural context and the circumstances of the re-discovery in the Philippines. Part I examines the history of the musical activity of the Dominican Order in the Philippines, and considers the possible means of transmission of the manuscripts from Spain to Manila. Part II examines the Lamentations genre and includes a biographical study of the composer Manuel José Doyagüe. Part III is made up of a source study of the manuscripts and a critical edition of the five works, while areas for future research are indicated in the conclusion.

Texte remanié de: Doctoral dissertation--University of Stellenbosch, South Africa, 2005. / Bibliogr. p. 247-268.

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