Title: Liturgical Music as Curriculum in Primary School Author: Bc. Lenka Jelínková Supervisor: PhDr. Leona Saláková, Ph.D. Department: Department of Music Education, Charles University in Prague Abstract: This thesis speaks about the liturgical music taught in Czech primary schools. Firstly, the meaning of liturgical music is explained, we focus at the liturgy and its forms, then we present the survey results about teaching liturgical music, thirdly the textbooks are analyzed - we look for liturgical music as curriculum here, and in the end, there is our owns project for teaching the liturgical music. Project is about the Passion. The main goal of this work is to chart how is liturgical music in textbooks and at school approached and to give some ideas for working with liturgical music during music lessons in primary schools. Keywords: liturgy, liturgical music, music textbooks, liturgical music in primary school, spiritual music in primary school

Le gallicanisme et la poésie liturgique, quels sont les liens ? Le gallicanisme, produit des doctrines des « libertés de l’Église gallicane » et source de toute sorte de contestations qui atteignirent leur point culminant à l’époque, fut responsable du renouveau liturgique opéré en France à partir du dernier tiers du XVIIe et pendant le XVIIIe siècle. Son effet bouleversant des assises traditionnelles, politiques et religieuses, de la société française joua contradictoirement un rôle positif en tant qu’il avait poussé l’enthousiasme religieux et patriotique. A cette époque-là, l’Église en France devint le principal représentant des doctrines gallicanes prônant des valeurs historiques et nationales du passé. Le gallicanisme a trouvé sa réplique dans le « néo-gallicanisme », terme non défini, qui exprime naturellement une nostalgie du passé. Ainsi, le gallicanisme a provoqué un mouvement du retour aux rites, usages et fêtes anciens dans les pratiques liturgiques à l'époque, codifiées dans les livres liturgiques nommés « néo-gallicans ». L’indépendance en face de la tradition liturgique romaine professée par le gallicanisme et le jansénisme a autorisé l’entrée de nouvelles proses dans les liturgies en France. Un seul aspect du chant liturgique des proses modernes montre dans quelle mesure on a transgressé les règles traditionnelles propres à la liturgie romaine. Le caractère principal des proses modernes est leur aspect national manifesté par le sentiment de fierté pour la France. Les proses liturgiques composées à l’époque dans les diocèses et les monastères ont beaucoup contribué à la solennité et à l’importance de nouvelles liturgies en France. / The gallicanism and the liturgical poetry, what are the common points ? The gallicanism resulting of “les libertés de l’Église gallicane” was the reason of all the political and religious debates, attained their extreme points at the epoch. It was responsible for the liturgical revival in France that took place from the end of the XVIIth and during the XVIIIth century, including the chant. Its destructive impact on political and religious social foundations contradictorily played the positive role as it had spurred on the religious patriotic enthusiasm. At that time, the Church of France became the main agent to express the gallican doctrines advocating the historical and national past values. The gallicanism found its reply in the “néo-gallicanisme”, indefinite term, expressing naturally the nostalgia of the past. So, the gallicanism provoked the movement of return to the past rites, uses and feasts in the liturgical practice, codified at the time in the liturgical books named “néo-gallicans”. The independence regarding the roman Church tradition professed by the gallicanism and the jansenism authorized the entry of the new poetry in the diocesan liturgies in France. Only one aspect of the chant of modern proses shows to what extent the traditional rules of the roman liturgy were broken. The main character of the modern proses is their patriotic aspect demonstrating the feelings of pride for France. The modern liturgical proses had contributed to the solemn celebrations and, so, to more importance of the new liturgies in France.

[pt] O tema da presente pesquisa é a influência do pensamento de Romano Guardini na construção e desenvolvimento da teologia litúrgica de Joseph Ratzinger. Está inserida nas atividades de pesquisa do Programa de Pós-Graduação em Teologia da PUC-Rio, área de concentração Teologia Sistemático-Pastoral, linha de pesquisa Fé e Cultura, projeto de pesquisa A Teologia de Joseph Ratzinger e o Magistério de Bento XVI. Seu principal objetivo é investigar a existência de uma coerência interna entre o pensamento do intelectual veronese com o do teólogo bávaro de tal maneira que se possa verificar se a teologia litúrgica de Joseph Ratzinger está em continuidade com o pensamento de Romano Guardini sobre a sagrada liturgia. Assim sendo, após uma primeira reflexão, que busca reaver a personalidade e o pensamento de Romano Guardini a partir a apresentação de dados biográficos, do contexto histórico/teológico e da exposição e análise de sua clássica obra litúrgica O Espírito da Liturgia, o estudo se desenvolve em duas abordagens sucessivas: a apresentação e análise do princípios abordados no famoso escrito ratzingeriano O Espírito da Liturgia. Uma introdução e a análise comparativa entre os textos teológicos já citados, a fim de descobrir pontos de contato entre os pensamentos de ambos os autores, que examinam a hipótese de que parte do pensamento litúrgico de Joseph Ratzinger está construído sobre bases lançadas por Romano Guardini. O escopo desta pesquisa é contribuir para uma melhor divulgação e compreensão da teologia litúrgica de Joseph Ratzinger. / [en] The theme of this research is the influence of Romano Guardini s thought on the construction and development of Joseph Ratzinger s liturgical theology. It is part of the research activities of the Postgraduate Program in Theology of PUC-Rio, Area of Concentration Systematic-Pastoral Theology, research line Faith and Culture, research project Joseph Ratzinger s Theology and the Magisterium of Benedict XVI. The main objective is to investigate the existence of an internal coherence between the thinking of the veronese intellectual and that of the bavarian theologian in such a way that it can be verified whether Joseph Ratzinger s liturgical theology is in continuity with Romano Guardini s thinking about the sacred liturgy. Thus, after a first reflection that seeks to recover the personality and thinking of Romano Guardini from the presentation of biographical data, the historical / theological context and the exposition and analysis of his classic liturgical work The Spirit of the Liturgy, the study develops in two successive approaches: the presentation and analysis of the principles addressed in the famous ratzingerian writing The Spirit of the Liturgy; and the comparative analysis of the theological texts already cited, in order to discover points of contact between the thought of both authors, which examine the hypothesis that part of Joseph Ratzinger s liturgical thought is built on foundations laid by Romano Guardini. The scope of this research is to contribute to a better dissemination and understanding of the liturgical theology of Joseph Ratzinger.

The San Juan Ixcoi Mass is part of the San Miguel Acatan Repertory which was found in the northwestern highlands of Guatemala before being purchased by the Lilly Library at Indiana University. Even though the authorship and date of the mass cannot be established, the mass is similar to works from the Josquin generation. Not discounting the few transcription difficulties as well as isolated compositional weaknesses, the San Juan Ixcoi Mass demonstrates the reasonably high quality of music that was performed and even possibly composed in northwestern Guatemala three centuries ago. A modern performance edition of the mass complete with critical notes and commentary on the transcription is included within the thesis.

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.

anglicky The diploma thesis Contemporary Trends of Protestant Liturgical Music in the Czech Republic deals mainly with both - musical and unmusical - element of contemporary praise and worship songs used at protestant Sunday services. The aim of praise and worship music in a Sunday service, is to give praise to God, as well as it was in biblical times. Therefore the first chapter of the thesis presents observations about music in the Bible and examines its connections to non-musical ways of praising God, which throws light upon the situation today. The part of the thesis which makes the reader familiar with current situation of protestant liturgical music in the Czech Republic, points out weaknesses in present-day song writing and shows a need of musical education for Christians, who take part in performing music at Church, compose songs and translate them from other languages. There is also a notable trend of adapting hymnbook songs, which therefore become friendlier to younger generation who prefers livelier music. Although there is not any board for protestant liturgical music, there are several influential personalities, whose view on various components of music liturgy and relationship to God's praise are presented in the third chapter. All of them agree on the fact that praising God through...

L'étude de la musique à l'église au XIXe siècle est une thématique de recherche en plein essor. Depuis quinze ans, lesrecherches menées ont permis d'appréhender ce large sujet et d'ouvrir les perspectives de recherche qui en découlent,mais une part de cette thématique reste encore à explorer. En effet, le mouvement de restauration de la musique d'égliseest à ce jour peu abordé de façon singulière.Notre objectif étant de mettre en évidence l'étendue du champ de recherche, musicologique et pluridisciplinaire liée àl'étude de ce mouvement, Félix Clément est apparu être une entrée appropriée. Bien que n'étant pas chef de file, Clémentsemblait s'engager dans toutes les voies qui s'ouvraient à lui pour aborder et développer la question de la restauration dela musique à l'église.Dépassant le domaine du religieux, Clément fait montre, dans son travail de restaurateur du chant liturgique et selon sesdifférentes approches, d'une réelle acuité d'esprit et prend bien en considération toute la complexité d'une telleentreprise. Surtout, il permet d'intégrer le mouvement auquel il appartient dans le flux historiographique, sociétal,politique et cultuel et d'en révéler toute la profondeur. li ouvre la voie de plusieurs axes de recherches liés à l'étude de larestauration du chant liturgique de sorte qu'un vaste paysage du mouvement se dépeint au seul regard de ses activités.Notre étude s'applique à replacer les démarches de Clément dans leur contexte afin d'en dégager le rapport àl'environnement politique et cultuel et de définir l'importance et les retombées de ses travaux. / 19th century church music is a research area that is greatly expanding. The last 15 years of research has Iead to a better understanding of this expansive subject, but much remains to be examined. ln particular, the 19th century French Church Music Restoration Movement has yet to be studied in its own right.Our goal was to demonstrate the breath of the musicological and multidisciplinary research opportunities related to this movement, and Félix Clément emerged as an ideal starting point. Although he was nota principle leader, he was involve in ail areas of the Church Music Restoration Movement that were open to him. Beyond the field of religion, Clément revealed a real insight, through his work as a Iiturgical chant restorer and his different methodological approaches, and understood the entire complexity of the field. Above all else, his experience allows for a deeper understanding of the societal, political, religious and historiographical currents involved in this kind of work. His work opens the door to many research possibilities relating to the study of the restoration of Iiturgical chant in such a way that an entire field is revealed by looking at his activities. Our study attempts to place the work of Clément in their context in order to extract the political and religious relationship and to define the importance and Iegacy of his work.

Made available in DSpace on 2016-04-29T14:27:21Z (GMT). No. of bitstreams: 1 Gabriel dos Santos Frade.pdf: 4381660 bytes, checksum: f3249eaddfed84273ad9112cfb009278 (MD5) Previous issue date: 2012-04-26 / This work addresses the relationshiop between the Liturgy and the Eclesiastical Architecture of the township of São Paulo. Its frame time dwells within the pré II Vatican Council period. It was a time in which the Catholic Church had had a difficult relationship with the modern world. Let us not forget that during this period some movements within the Church were in search of a greater dialogue with the great cultural movements of the modern world. As a result, we may say that the aforementioned modern architecture has contributed, to some extent, to the purpose of the so called Liturgical Movement, as its aim was to lead the faithful to a major participation within the liturgical celebrations / O presente trabalho aborda as relações entre a liturgia e a arquitetura eclesiástica na cidade de São Paulo na época que antecede ao Concílio Vaticano II. Num período em que a Igreja católica travava uma difícil relação com o mundo moderno, setores dessa mesma Igreja procuravam um maior diálogo com os grandes movimentos culturais advindos da modernidade. Nesse sentido, verificamos como a arquitetura moderna serviu, em alguma medida, aos propósitos do chamado Movimento Litúrgico, o qual visava levar os fiéis a uma maior participação nas celebrações litúrgicas

L’espace alsacien est divisé principalement en deux diocèses catholiques jusqu’à la Révolution. La Réforme protestante, survenant en Alsace dès les années 1520, crée une situation particulière qui voit désormais cohabiter, dans une atmosphère conflictuelle, deux religions chrétiennes qui s’opposent notamment sur le plan cultuel. Les objets et les ornements sont au cœur du culte catholique, faisant l’objet de publications explicatives ou normatives dès la fin du XVe siècle. Le corpus, qui couvre essentiellement la fin du XVIIe siècle et le XVIIIe siècle, permet de discerner des périodes esthétiques qui répondent aux grands courants artistiques de la période prise en compte. Les objets et les ornements sont pris en compte en tant que production artisanale régionale ou venue d’ailleurs. L’étude de l'orfèvrerie permet de dessiner un réseau orienté vers les villes d’Allemagne du sud, Augsbourg notamment, alors que les textiles connaissent un espace davantage tourné vers Lyon et Paris. Le cadre régional et corporatif se trouve complété par des réseaux commerciaux, dominés en partie par des familles originaires de Savoie. Ces objets et ornements sont achetés par les institutions, notamment les fabriques, ou bien font l’objet de dons aux églises. Ils sont soumis aux aléas des événements, ce qui permet de dessiner des variations cycliques de création et de destruction. Au-delà de l’économie générée, la question des commanditaires permet de toucher à la perception du beau et du sacré par les fidèles au sein des paroisses, perception concrétisée dans la construction et dans l’aménagement des sacristies. Enfin, la question de l’utilisation des objets et des ornements débouche sur une analyse de la sacralité attachée à ces objets et de leur perception par les fidèles. Une théologie des objets peut ainsi être envisagée, entre une perception proche du tabou et une mise en péril par la profanation, la destruction ou, peut-être aussi, par leur patrimonialisation. / Until the Revolution, the Alsace area was roughly divided into two catholic dioceses. The protestant reform, which started in Alsace as soon as the 1520s, created an unusual situation, where two Christian religions confronting each others mainly on religious matters, also had to live together. Objects and ornaments were in the heart of the Catholic cult, as related in explanatory or normative publishings, as soon as the end of the XVth century. The corpus, which essentially covers the end of the XVIIth as well as the XVIIIth century, helps us distinguish the aesthetic periods which match the main artistic currents of the concerned time. The objects and ornaments are referred to as regional or imported craft. The study of silverware allows us to draw a network oriented towards the cities of Southern Germany, such as Augsburg, whereas textile is more to be found around Lyon and Paris. The regional and corporative frame is completed by business networks, partially ruled by families from Savoie. These objects and ornaments were either bought by institutions such as church councils or donated to churches. They were submitted to the randomness of events which draws cyclical variations of creation and destruction. Beyond the economic consequences, the order givers prompt us to study the way the faithful apprehended beauty and sacredness, which were made concrete in the building and furnishing of sacristies. To finish with, the study of the use of the objects and ornaments leads to an analysis of the sacred value linked to these objects and the way the faithful considered it. Thus, a theology of objects may be considered, amid a taboo related perception and the risk of desecration, destruction or maybe even by their status when classified as patrimony.

Amidah - תפילת העמידה – for soprano voice, clarinet, cello, and piano – is a liturgical work in three movements that uses common Jewish prayers as its text. These three movements focus on specific prayers that can be found in the Amidah, the central portion of a Jewish prayer service. This work uses prayers that can be performed on a Friday evening Shabbat service. The first movement focuses on accompanimental music to the Silent Amidah, a silent prayer. The prelude uses the traditional Jewish melody of the opening prayer of the Amidah, Adonai S’fatai Tiftach (אדני שפתי תפתח), leading directly into the first movement. This movement, while harkening to some Jewish melodies, takes ideas from classical Western harmony. While conveying both a sense of calmness and unease, the movement allows for the listener to silently reflect and meditate while absorbing the music. The second movement, Oseh Shalom (עושה שלום), takes its root in Freylach music, a traditional, fast-paced, upbeat style of Klezmer music. While keeping traditional elements, it also uses contemporary harmony and extensive ornamentation in a joyous, energetic fashion. The third movement, Mi Shebeirach (מי שברך), combines flowing lines, ornamental ancient Hebrew trope cantillation, liturgical elements, Middle-Eastern aspects, and spectral harmonies to create a slow, lamenting prayer for healing, a prayer that cries out in pain and suffering, begging for a restoration of mind, body, and soul. The movement closes in mournful sadness comforted by the presence of the Divine.