Inaug.-diss.--Upsala. / "Quellen und literatur": p. [xi]-xix.

Inaug.-diss.--Upsala. / "Quellen und literatur": p. [xi]-xix.

Sacrosanctum concilium, the Second Vatican Council’s constitution on the liturgy, is often cited by scholars when assessing and commenting upon Roman Catholic liturgical music in the Council’s reception period, that is, the late-twentieth and early-twenty first centuries. The constitution, however, is only one of four constitutions promulgated by the Council that together create a vision for reform. Conciliar documents state principles which the Church’s teachers—the pope, bishops, pastors, and theologians—continually interpret for specific situations. This essay considers theological and historical factors that affected the Second Vatican Council’s statements about liturgical music. The Council’s overall concern was the Church’s effective proclamation of the Gospel in a world of diverse cultural settings facing modern problems. Liturgical music prior to the Second Vatican Council reflected the needs and concerns of a Church that, in a sense, no longer exists. Current theological methods begin by validating a congregation’s experience of God and placing it in dialogue with tradition. In this context, Gregorian chant and polyphony hold “pride of place” among a variety of musical styles that express the Church’s encounter with God. / text

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Feb. 26, 2004, Nov. 5, 2004, Nov. 6, 2004, and Feb. 11, 2009. Includes bibliographical references (p. 45-47).

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-05-12T14:32:56Z No. of bitstreams: 1 HUMBERTO DOS SANTOS NETO.pdf: 1093947 bytes, checksum: 9ab7fc1e1d1c02f0d2b06682de899abb (MD5) / Made available in DSpace on 2017-05-12T14:32:56Z (GMT). No. of bitstreams: 1 HUMBERTO DOS SANTOS NETO.pdf: 1093947 bytes, checksum: 9ab7fc1e1d1c02f0d2b06682de899abb (MD5) Previous issue date: 2017-02-13 / This work was carried out in order to understand the use of music and its therapeutic elements; Techniques and procedures used within the Neo-Pentecostal liturgical process. It was aimed at the verification of a religious process, which approximates in a similar way a therapeutic process, and which reinforces and demonstrates aspects already proposed by religion, which can make sense of life, nomia, resignification, salvation and healing in people who are They find themselves in a situation of vulnerability and emotional, spiritual and even physical fragility, thus covering the eschatological and anthropological dimensions. In another sphere, we observed and evidenced some techniques and methods of music therapy, used in the cults, that potentiate the dynamics that religion offers. In our methodology, in addition to the observations of various meetings and gatherings of Neo-Pentecostal communities, both in person and in social media, we also participate in specific events with an emphasis on healing and liberation, called 'Encounter with God' or 'Tremendous Encounter' . From an informal perspective, it was possible to hear testimonies from believers and religious leaders participating in these events in order to discuss the existence or not of music therapy resources in the liturgies of such meetings, but with the aim of collecting data to tabulate and analyze Comparatively the same. Considering that our object is the observation of music therapy resources and their use in the liturgy of these communities, a vast amount of material was also read on social media, blogs, TV and the internet. In addition, we use part of neopentecostal confessional literature and the science of religion, psychology, music therapy, music and anthropology. These contents were configured as sources for understanding how the technical elements of music and music therapy can enhance the dynamics already offered by religion. / Este trabalho foi realizado no intuito de compreender a utilização da música e seus elementos terapêuticos; as técnicas e os procedimentos musicoterapêuticos utilizados, dentro do processo litúrgico Neopentecostal. Visou-se à verificação de um processo religioso, que se aproxima de forma análoga de um processo terapêutico, e que reforça e evidencia aspectos já propostos pela religião, que podem possibilitar sentido de vida, nomia, ressignificação, salvação e cura em pessoas que se encontram em situação de vulnerabilidade e fragilidade emocional, espiritual e até física, abrangendo assim as dimensões escatológicas e antropológicas. Em outra esfera, observamos e evidenciamos algumas técnicas e métodos musicoterapêuticos, utilizados nos cultos, que potencializam as dinâmicas que a religião oferece. Em nossa metodologia, além das observações de diversas reuniões e ajuntamentos das comunidades neopentecostais, tanto de forma presencial, quanto pelas mídias sociais, também participamos de eventos específicos com ênfase na cura e libertação, chamados de ‘Encontro com Deus’ ou ‘Encontro Tremendo’. Em uma perspectiva informal, foi possível ouvir depoimentos de fiéis e dos líderes religiosos participantes desses eventos com o fim de que eles discorressem sobre a existência ou não de recursos musicoterapêuticos nas liturgias de tais encontros, porém com o objetivo de recolher dados para tabular e analisar comparativamente os mesmos. Tendo em vista que nosso objeto se constitui na observação dos recursos musicoterapêuticos e sua utilização dos mesmos na liturgia dessas comunidades, foi também realizada uma leitura de vasto material, divulgado em mídias sociais, blogs, TV e internet. Ademais, utilizamos parte da literatura confessional neopentecostal e da ciência da religião, psicologia, musicoterapia, música e antropologia. Esses conteúdos configuraram-se como fontes para compreensão de como os elementos técnicos da música e musicoterapia podem potencializar as dinâmicas, já oferecidas pela religião.

Spanish and Portuguese organ music still remains a relatively unchartered area escaping the attention of most general assessments of European musical history. The work which has been done in this field has tended towards stylistic appreciations of the published large-scale compositions and the compilation of short biographies of prominent musicians. No extensive investigation has yet been undertaken which deals with such fundamental issues as the role of the organist and the origins and function of the extant organ repertory, of which a large proportion lies dormant in manuscripts, within the liturgy. Indeed, there is no monograph about organists and organ music in the Iberian peninsula as a whole. The overall aim of this thesis is to provide a musical background and liturgical context for short organ pieces called <u>versos</u> which were thoroughly integrated within a musical celebration of the Offices. For this end, a variety of musical and documentary material has been examined: practical sources of organ music; plainchant manuals; ceremonials and musical treatises. To an enormous extent this organ music was subject to long-standing liturgical customs and legislation, as well as to strongly defined traditions of musical composition. The prescriptions to the organist given in the ecclesiastical constitutions and how these may have been realized in the Canonical Hours and in the Mass constitutes the essence of part two of this thesis. This interpretation of musico-liturgical practices has entailed an examination of the relationship between plainchant and the organ verset and the technicalities of mode and tranposition which were involved when alternating the organ with choral plainchant. An analysis is also made of the musical development of versets based on the psalm-tones, organ hymns (the <u>Pange lingua</u> in particular) and the 'organ mass'. An anthology of transcriptions complementing this discussion is contained in a separate volume. As a counterbalance to the analytical discussion in part two, part one provides an historical and cultural background to the subject. An assessment is made of the contribution made by individual organists and organ 'schools' and some consideration is made of the extent to which both royal and ecclesiastical patronage was responsible for the livelihood of music and the arts.

The work deals with active participation of religious people while celebrating li-turgy renewed by II. Vatican council, The whole work is divided into 5 major parts. The history of liturgy is described in the first part of the work. Emphasis is put on the age of Liturgical Movement and following outfall into general reform of liturgy ? the constitution of Sacrosanctum Concilium. The second part deals with the importance of music and language which are necessary condition for active participation. I would like to highlight the transition from latin to local languages after the II. Vatican council. The Church wants the religious people to be active in liturgy and which leads to another part of the work which is dedicated to the services for children and young people. It also considers the beauty and richness of the breviary. A very important term is animation of liturgy which is mentioned in the fourth part of the work. I dedicated the last part of my work is to familirize the readers with efforts in Týn nad Vltavou?s parish to engage the people in liturgy.

Geonyong Lee, the composer of Mass for AILM, is a well-known composer in Asia whose main interest lies in choral music. He has composed numerous choral works which are highly diverse in their nature. This study introduces the choral composer Geonyong Lee to the West. The significance of Geonyong Lee's Mass for AILM is the display of Asian inflection in a traditional setting of the mass ordinary. Lee's Mass for AILM employs melodic and rhythmic aspects of traditional Philippine folk songs, a Japanese mode, traditional Korean music, and various Asian percussion instruments. This study explicates these Asian influences and how Lee utilized them in his Mass for AILM.

Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...