Thesis (Ph. D.)--University of Pennsylvania, 1944. / Reproduced from type-written copy. Bibliography: p. 50-54.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 341-354). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 341-354). Also available on the Internet.

Thesis--Rijksuniversiteit te Utrecht. / Musical examples: p. 125-148. "Geraadpleegde literatuur": p. 158-159.

Through a comprehensive analysis of literary and documentary material from 1270–1500, this study offers insights into the history and significance of the late medieval string instrument known as the gittern in Western Europe. Source criticism and hermeneutics form the basis of the critical reading of the nearly hundred sources. Through these, a more refined history of the instrument is suggested, focusing on social, symbolic and musical change throughout the period. The gittern is shown to have been an instrument predominately used in noble and royal milieus for half a century before being more widely played among all ranks of society. When its popularity faded in the 15th century, it became a symbol of nostalgia. The sound and playing techniques of the gittern were well suited for the music of the late 14th century, and the decline in use was simultaneous to the developments of new genres and compositional techniques where other sounds were sought.

One of the most important ways to understand Olivier Messiaen’s musical language is through the lens of the theological ideas that many of his works convey. He considers expressing his Christian faith to be the primary purpose in his music. Through his idiosyncratic technique, Messiaen gives power and life to his religious music that he combines with his interest in literature, musical analysis, poetic imagery and symbolism, his love for theatre, and his compositional and organ abilities. The abundant studies of Messiaen’s works deal with the intricacies of his musical language, yet most of these studies barely discuss his theological ideas. Nevertheless, technical analysis of his music poses immense challenges, especially in the domains of melody and harmony. Although my approach is unconventional and do not follow any existing system, I base my technical and theological analyses mainly from Messiaen's technique, his commentaries and his references to the Scriptures. The “Combat de la mort et de la vie” is the heart of Les Corps glorieux in both technical and theological aspects. It is an intricate musical artwork where Messiaen demonstrates his melodic and harmonic developments using his idiosyncratic language, and through symbolism portrays the most complex of all drama according to Christian theology—the story of Jesus Christ's Passion and Resurrection. My research can relate directly to a more informed and convincing performance of the work, and can contribute a different perspective to the study, understanding, and appreciation of Messiaen's theologically inspired works.