Thesis (M.F.A.)--University of California, Irvine, 2005. / Includes bibliographical references (leaves 88-89).

Project (D. Min.)--Perkins School of Theology, Southern Methodist University, 1973. / Abstract. Includes bibliographical references (leaves 105-107).

Beginning with the creation of a Methodist denomination in the United States in 1784, Methodists have had prescribed liturgical texts starting with John Wesley's prayer book entitled The Sunday Service of the Methodists in North America, and later its authorized revisions. However, Methodist leaders were never required to use the approved forms, and so were at liberty to employ, modify or abandon those texts. This polarity of ritual form and freedom of practice has created an ever-present tension within Methodist liturgical praxis. Methodism has also often found itself seeking to distinguish its liturgy from the cultural trends of the day, while at other times striving to contextualize its worship practices. This tension exhibits another polarity within Methodist worship practice, that of distinction and inculturation. These two polarities have often made it difficult for Methodists to evaluate the faithfulness of their own liturgical praxis. Similarly, because of these areas of tension the answer to the question "what makes Methodist worship, Methodist?" has remained elusive. This project considers the life, work, and significant contributions of three persons-- Thomas O. Summers, Nolan B. Harmon, and James F. White--who sought to answer that question within their own contexts. This study employs liturgical biography as a means of discerning shared "liturgical convictions" of these three mediators in order to move toward the construction of a paradigm for evaluating emerging liturgical practices from an American Methodist perspective. A key feature of this work is that it seeks to hold in tension the dialectic between liturgical text and liturgical praxis. Each of the mediators in consideration utilized the foundational liturgical texts within the Methodist tradition--John Wesley's Sunday Service and the Wesleyan hymns--yet each also demonstrated concern for how these texts might be employed within their particular contexts. Careful attention is given to how each of the mediators understood this interplay between text and praxis. A central conclusion of this study is that American Methodists have unique characteristics seminal to their liturgical identity. Not only do these include particular elements within a liturgical ordo, but also several distinguishing features of a liturgical piety. / 2022-08-30

Joseph Ratzinger, who led the Catholic Church as Pope Benedict XVI from 2005 to 2013, is a well-respected and published theologian. Much of his writing centers on the liturgy, and he has addressed the topic of music several times. His theological understanding of liturgical music and its application to the pipe organ together with its repertoire is the focus of this dissertation. The first two chapters deal with Ratzinger’s theological writings on the liturgy and sacred music as well as their significance for the pipe organ. Several themes emerge in his writings. These reveal Ratzinger’s understanding of the liturgy and are identified as characteristics of true liturgical music. Though he rarely speaks directly about the organ, these characteristics, namely, cosmos, logos, mystery, and history can be connected with both the instrument and its repertoire. In chapters three through five, select pieces from the masterworks of the Catholic organ tradition, Frescobaldi’s Fiori Musicali, Tournemire’s L’Orgue Mystique, and Langlais’ Livre Oecumenique, are analyzed and interpreted in light of Ratzinger’s theology. The organ has also been used as an accompanimental instrument and for improvisation in the liturgy. This is considered in chapters six and seven. In chapter eight, attention is given to the pipe organ itself, and the instrument is found to be a symbol of the same theological concepts Ratzinger associates with the liturgy. The last chapter provides a summary and indicates the implications of Ratzinger’s theology for the liturgical role of the pipe organ today. This comprehensive examination of Ratzinger’s theology of liturgical music and the pipe organ with its liturgical repertoire, which includes written compositions, accompaniment, and improvisation, reveals the relationship between them. The organ itself embodies Ratzinger’s themes of cosmos, logos, mystery, and history and is therefore the ideal liturgical instrument, indeed, the king of musical instruments. Through analysis, certain musical characteristics are discovered that can be said to exemplify elements of liturgical theology. Ultimately, Ratzinger’s liturgical theology assigns value to the historic role of the organ in the liturgy and illuminates the worth and relevance of the Church’s treasury of sacred organ music.

In the 1930s, Oregon State University received an impressive oversized manuscript, now known as "The Gradual," as part of a large donation of books. Not much was known about this manuscript. It does not have documentation attached from the time of its acquisition, nor had any methodical study been undertaken regarding the manuscript. This thesis examines the OSU Gradual, aiming to provide research tools for the identification of musical manuscripts of unknown or unclear provenance that could be useful to conservators, archivists, and librarians, irrespective of musical training. It is conceived as a "rough guide" for working situations where there is no dedicated manuscript specialist, in particular, a fulltime Latin paleographer or a chant scholar overseeing a massive collection. Instead, its "how-to" nature addresses curators and catalogers managing smaller manuscript collections as generalists, offering an interdisciplinary approach both beneficial and suitable to the aims of this study.

The present thesis analyzes the special group of verbs occurring in the German liturgical text that was written down in the Dominican monastery in České Budějovice. The first part provides information on the Dominican monastery in České Budějovice and the manuscript itself. It is followed by the editorial process of the manuscript. The main part focuses on the analysis of these groups of verbs: Präteritopräsentien, Wurzelverben, kontrahierte Verben and a verb wollen and werden. Attention is also paid to the dialect features of the text since the manuscript was affected by the Bavarian dialect as demonstrated and proved by the analysis of the verb forms.

O canto e a música no contexto ritual da liturgia na Igreja Católica: desafios para a formação de agentes na Diocese de Vacaria/RS. Os sons da natureza, selecionados e combinados, originaram a arte musical. A música faz parte da cultura humana; é constitutiva de sua própria existência. Na abordagem desse assunto, o capítulo primeiro deste trabalho busca uma aproximação histórica da música; investiga a antropologia da música e sua relação ritual com o sagrado, fazendo parte, inclusive, dos ritos cristãos. O Concílio Vaticano II resgatou, na Igreja Católica, o valor da arte musical e ampliou suas possibilidades. A arte musical passa a se inscrever dentre os ritos sacramentais. Mais que cantar na liturgia se nos impõe a necessidade de cantar a própria liturgia. A música passa a ser entendida como veio de participação favorecendo que os fiéis expressem sua fé, seu agradecimento e suas necessidades. Na segunda parte se busca uma aproximação com a realidade litúrgico musical da Diocese de Vacaria/RS. Além da localização histórico-geográfica, apresentam-se significativos elementos obtidos através de uma pesquisa de campo. Tendo-se como ponto referencial o Curso de Canto Litúrgico e Pastoral (CCLP), em execução há três anos, procurase entender a compreensão que as pessoas têm de música e a forma que esta incide em suas vidas. Depois, a pesquisa procura captar a função que a música ritual tem na liturgia, na opinião dos entrevistados. De modo geral os entrevistados demonstram entender que uma celebração bem cantada anima a caminhada e torna viva a Igreja cristã. Há, portanto, a necessidade de preparar os agentes da arte musical para que contribuam na realização de celebrações vivas através de um adequado uso da música e do canto nas celebrações litúrgicas. O terceiro capítulo deste trabalho procura apontar indicativos práticos para a formação dos ministros do canto e da música bem como para a sua atuação nos ritos litúrgicos. Tais indicativos tomam em consideração os passos que já se tornaram realidade a partir da renovação conciliar e, especialmente, as reflexões e exigências que se impõem para a ação evangelizadora sob a ótica da Teologia da Libertação. Esse jeito de refletir e fazer teologia inspirou passos significativos na reinterpretação bíblica e continua a oferecer métodos de análise e reflexão pastoral, inclusive litúrgicos. Aos agentes do canto e da música ritual da Diocese de Vacaria/RS sugere-se agirem considerando-se os fiéis como sujeitos da ação litúrgica, proporcionando-lhes participação ativa e momentos de verdadeira comunicação com seu Criador, através de liturgias bem cantadas. Propõe-se a formação continuada e progressiva em diversos níveis, contando com a colaboração dos sujeitos desse processo, os próprios agentes. / Song and music in the ritual context of the liturgy in the Catholic Church: challenges for the formation of agents in the Diocese of Vacaria/RS. The sounds of nature, selected and combined, gave origin to the musical art. Music belongs to human culture; it is constitutive of its own existence. In the approach of this topic, the first chapter of this work looks for a historical approach to music. It investigates the anthropology of music and its ritual relation to the sacred, also as a part of Christian rites. The II Vatican Council has restored, in the Catholic Church, the value of musical art and increased its possibilities. The musical art begins to be inserted into the sacramental rites. More than singing in the liturgy, there is the need to sing liturgy itself. Music begins to be understood as a means of participation, helping the faithful to express their faith, their gratitude and their needs. In the second part, one looks for an approach to the liturgical-musical reality of the Diocese of Vacaria/RS. Besides the historical-geographical localization, there appear significant elements obtained through a field research. Having as a referencial point the Course of Liturgical and Pastoral Singing (Curso de Canto Litúrgico e Pastoral =CCLP), since three years in function, one tries to perceive what understanding persons have of music and the form by which it influences their lives. Afterwards, the research tries to capture the function of ritual music in liturgy in the opinion of the persons interviewed. In a general way, the persons interviewed show their understanding that a well-song celebration animates the journey and makes the Christian Church to be alive. There is, therefore, the need to prepare the agents of musical art, in order that they contribute to perform living celebrations through an appropriate use of music and song in the liturgical celebrations. The third chapter of the present work tries to point out practical indications for the formation of ministers of song and music, as well as for acting in liturgical rites. Such indications take into consideration the steps which already became reality since the conciliar renewal, especially the reflections and requirements necessary for the evangelizing action from the point of view of the Theology of Liberation. This way of reflecting and making theology has inspired significant steps in the biblical reinterpretation and continues to offer methods of pastoral analysis and reflection, including liturgical ones. To the agents of song and musical ritual of the Diocese of Vacaria/RS, it is suggested to act by taking into consideration the faithful as subjects of the liturgical action, offering them active participation and moments of true communication with their Creator, through wellsong liturgies. The suggestion is the continued and progressive formation on various levels, counting on the collaboration of the subjects of this process, namely, the agents themselves.

Cette thèse propose une anthropologie historique de l'objet de culte. Elle s'appuie sur un corpus de 454 chasubles ou orfrois produits entre le XIIIe et le XVIe siècle, croisé avec les témoignages de sources écrites et iconographiques. Elle s'inspire des modèles de « vie de l'objet » et s'intéresse aux fonctions, représentations et usages du vêtement liturgique. Aux derniers siècles du Moyen Âge, le vêtement liturgique est fixé par un ensemble de normes. Sa forme n'évolue que très peu et les autorités ecclésiastiques cherchent à ancrer cet objet dans le rituel. Malgré cela, le vêtement peut changer d'usage, se transmuter en relique, accessoire pour le drame liturgique, parure mortuaire, voire intervenir dans des rites d'inversion du sacré. Il devient par ailleurs un motif à part entière, apparaissant dans des représentations figurées, indépendamment de toute référence à la messe. Une première partie détermine comment le costume liturgique se construit, tant d'un point de vue matériel qu'idéel. Les autorités ecclésiastiques cherchent à définir une apparence cléricale et à légitimer l'emploi d'ornements spécifiques à la messe. Il imposent un certain nombre de pratiques qui tendent à sacraliser le vêtement. Il n'en est pas moins vrai que le domaine de la production, de la commande à la fabrication, laisse une large place aux laïcs. La seconde partie est centrée sur les fonctions du costume liturgique dans son environnement (in situ), c'est-à-dire dans le contexte visuel du lieu de culte. Le vêtement liturgique ainsi que les images dont il est le support sont considérés comme des éléments de performativité du rite. Le costume est analysé comme une représentation de l'Église en prière. Une troisième partie considère les transferts d'usage, l'aptitude de l'objet de culte à devenir autre : un emblème - partie prenante de la construction d'une identité cléricale, d'une « propagande ecclésiastique » - ou un objet efficace. Le chapitre 9, qui vient clore cette partie, s'intéresse au désir d'avilir le vêtement, de le tourner en dérision ou de le profaner. En conclusion, ce travail montre que les ornements liturgiques acquièrent une dimension symbolique. Ils sont sacralisés et se chargent de puissance. De façon très schématique, cet ustensilia (objet utilitaire) devient un ornamentum, un élément qui distingue le clerc dans sa fonction (au moment de la messe) et par sa fonction (dans l'iconographie notamment). / This thesis outlines an historical anthropology of liturgical objects. It examines liturgical vestment through a collection of 454 chasubles or orphreys from the XIII to the XVIth century, with additional written and iconographical sources. Based on a « cultural biography of things » approach, it considers functions, representations and uses of liturgical vestment. In the last centuries of the Middle Ages, the perception and function of liturgical vestment are determined by established norms which are fixed rather than flexible, implanted in ritual by ecclesiastical authorities. Yet, this vestment might function outside mass: as a relic, an accessory in liturgical drama or sacred inversion rites, as a funeral costume. It becomes a motif imbued with its own meaning, appearing in images with no reference to mass. Part one determines how liturgical costume is constructed, in a material as well as imaginative point of view. It is gradually standardized. Ecclesiastical authorities justify the use of special clothes for mass and impose a number of practices in order to make this vestment sacred. Manufacture of these special clothes, however, involves secular laborers in no small part. Part two focuses on the functions of vestment as a part of the visual context and in relation to the body. Its role in ritual performance is explored, as well as the functions of iconographical program. The question of how liturgical costume emphasizes clerical identity is central. Finally, part three considers transfers of liturgical objects to other practices. Liturgical vestment turns into an emblem - part of construction of clerical identity, indeed of « ecclesiastical propaganda » -, or a magic object. Chapter 9 focuses on the wish to ridicule or desecrate liturgical vestment. In conclusion, this study shows that liturgical ornaments have acquired a symbolic dimension. They are regarded as sacred and powerful. Schematically, this object serving a practical purpose (ustensilia) become an ornamentum, an element distinguishing the clergy in performing his function (during mass) and through his function (in particular in iconography).

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-22Bitstream added on 2014-06-13T20:35:59Z : No. of bitstreams: 1 duarte_fls_me_ia.pdf: 3814312 bytes, checksum: 90d901af88d337474c9add90ab77ad25 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Universidade Estadual Paulista (UNESP) / Este trabalho tem como objeto seis missas compostas por Furio Franceschini (1880-1976), compositor, regente e organista que atuou como mestre-de-capela na Sé de São Paulo por aproximadamente sessenta anos contados a partir de 1908. Seu objetivo é investigar possíveis significados às opções de Franceschini na composição das missas. Tais significados serão investigados levando em consideração o posicionamento estético do compositor, o período em que as obras foram escritas, a legislação eclesiástica sobre a música sacra e a prática musical litúrgica do período. Questiona-se também no que o conhecimento adquirido nesta pesquisa pode ajudar na compreensão da música litúrgica do presente. A busca pelos significados se deu com o auxílio dos seguintes conceitos explicadores: a teoria dos sistemas autopoiéticos de Niklas Luhmann e as noções de tradição inventada e mito de origem, ambos oriundos da História. O primeiro capítulo traz uma rápida biografia do compositor, seu posicionamento sobre questões artísticas de seu tempo e sobre técnicas de composição. O capítulo seguinte é dedicado à compreensão dos movimentos de restauração musical – Cecilianismo – e institucional – Ultramontanismo – que aconteceram na Igreja Católica Romana, no século XIX. Passa-se, então, ao passado considerado ideal, em termos de música, a polifonia de Palestrina, para então se chegar, no quarto capítulo, ao estudo do Motu Proprio (1903), que determinava este gênero musical e o canto gregoriano como modelos de música sacra. Por fim, são estudas as principais características das missas para que se possa responder às questões centrais formuladas neste trabalho. / This paper has as goal six masses composed by Furio Franceschini (1880-1976), composer, conductor and organist who acted as chapel master at Sé in São Paulo for approximately sixty years having started in 1908. Its goal is to investigated possible meanings to the options of Franceschini in the composition of masses. Such meanings shall be investigated taking in consideration the esthetic positioning of the composer, the period in which the songs were written, the ecclesiastic legislation on sacred music and liturgical music practice at the time. It is also questioned in what way the knowledge acquired in this research can help understand liturgical music of the present. The search for significance happened with the help of the following explainers: the autopoietic systems theory of Niklas Luhmann and the notions of invented traditions and myth of origin, both coming from History. The first chapter brings a quick biography of the composer, his opinion about artistic matters of his time and about composing techniques. The following chapter is dedicated to the understanding of musical restoration movements – Cecilian Movement – and institutional – Ultramontanism – that took place in the Roman Catholic Church in the 19th century. It then goes on to the past considered ideal, in musical terms, the polyphony of Palestrina, to finally arrive at chapter four, at the study of Motu Proprio(1903), which determined this musical genre and the Gregorian chant as models of sacred music. Finally the main characteristics of the masses are studied to be able to answer the central questions formulated in this paper.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-28Bitstream added on 2014-06-13T20:16:52Z : No. of bitstreams: 1 almeida_ma_me_ia.pdf: 632583 bytes, checksum: 8fd3d00bb19e573959ffeeca8351e9e9 (MD5) / Universidade Estadual Paulista (UNESP) / Este estudo tem por finalidade descrever metodologicamente a prática mistagógica dos séculos IV e V d.C. e discutir a recente sistematização e aplicação do método mistagógico à formação dos ministérios litúrgico-musicais da Igreja Católica Romana. No ano de 1963, promulgava-se a Sacrosanctum Concilium (Constituição sobre a Sagrada Liturgia) do Concílio Ecumênico Vaticano II (1962-1965) que, sustentada pelo Movimento Litúrgico, representava o retorno às fontes bíblicas e patrísticas da fase de estruturação da liturgia por volta do século IV. Atualmente, a formação continua sendo um dos maiores desafios à consolidação do processo de renovação litúrgica desencadeado pela reforma do Vaticano II. A reforma teve implicações sobre a liturgia e também sobre o modelo eclesial a ser assumido pelas novas gerações. Quanto ao uso do método mistagógico, dois autores, Mazza (1996) e Buyst (2006), serão largamente focalizados devido à especificidade de sua aproximação ao objeto de estudo. O primeiro expõe a sistemática catequético-mistagógica dos séculos IV e V; e a segunda aplica o método mistagógico ao estudo da música ritual com escopo formativo mais evidenciado. O propósito da pesquisa foi sendo consolidado a partir da leitura, tradução e interpretação de variados autores para se avançar de rudimentos conceituais à apropriação teórica e metodológica do termo e prática da mistagogia. Deste modo, o percurso assumido procurou evidenciar o deslocamento do discurso normativo e prescritivo, próprio dos documentos eclesiais, ao discurso reflexivo e propositivo sobre o processo de renovação da música ritual no Brasil a partir de produções litúrgico-musicais pós-conciliares. Esta pesquisa, ao propor o método mistagógico no estudo da música ritual como estratégia que articula diferentes áreas do conhecimento, procura identificar... / The purpose of this study is describe methodologically the mystagogic practice of 4th and 5th centuries, and discuss new approaches and application on mystagogic method related to liturgical musical formation of the ministries of Roman Catholic Church. In 1963 was promulgated the Constitution on the Sacred Liturgy (Sacrosanctum Concilium) of Second Vatican Council (1962-1965) that held on Liturgical Movement represented the return to biblical and patristic sources of the 4th century. Nowadays, formation continues being one of the main challenges to consolidation of the liturgical renewal process started at Second Vatican reformation. This reformation had effect on the liturgy and ecclesial model. Two authors Mazza (1996) and Buyst (2006) were focused on due to particular approach to mystagogic method. The first demonstrates the catechetical and mystagogic systematic from 4th and 5th; the second applies mystagogic method to the study of ritual music with a clearly formative scope. The purpose of this research was developed through reading, translation and interpretation of various authors to reach the concept and to get a theoretical and methodological understanding of terminology and practice of mystagogy. Therefore, the way assumed had revealed a changing from normative and prescriptive enunciation to a reflexive and rational enunciation related to renewal process of ritual music in Brazil and post-Second Vatican Council liturgical musical productions. This research proposes mystagogic method in the study of ritual music as a strategy that conjugates different areas of knowledge. Finally, also identify how the formation was theorized and performed in the liturgical renewal process to reach the method.