Typewritten sheets in cover. Thesis (M.A.)--Boston University Bibliography: p. 123-126 This item was digitized by the Internet Archive.

Philipp Heinrich Erlebach (1657-1714) was a court composer and music director in the central German town of Schwarzburg-Rudolstadt. During his day, Erlebach mastered nearly every genre of his era and turned the court of Rudolstadt into a sophisticated musical center. Unfortunately, a fire which consumed the Rudolstadt court in 1735 destroyed many of his sacred and secular manuscripts. Erlebach had a marked influence on the development of the sacred cantata. He was one of the first composers to write a cycle of texts by Erdmann Neumeister, the earliest cycle of Neumeister cantatas that survives. This study provides background and analysis of two cantatas, Ich will Wasser giessen and Christus ist mein Leben, and examines how this music can be performed today in a historically informed, logistically viable fashion.

<p>This dissertation lays the groundwork for a reevaluation of early Protestant understandings of salvation in the sixteenth century by tracing the emergence of the confessional formulation of the doctrine of justification by faith from the perspective of the history of biblical interpretation. In the Introduction, the author argues that the diversity of first-generation evangelical and Protestant teaching on justification has been widely underestimated. Through a close comparison of first- and second-generation confessional statements in the Reformation period, the author seeks to establish that consensus on this issue developed slowly over the course over a period of roughly thirty years, from the adoption of a common rhetoric of dissent aimed at critiquing the regnant Catholic orthopraxy of salvation in the 1520's and 1530's, to the emergence of a common theological culture in the 1540's and beyond. With the emergence of this new theological culture, an increasingly precise set of definitions were employed, not only to explicate the new Protestant gospel more fully, but also to highlight areas of divergence with traditional Catholic teaching.</p> <p> With this groundwork in place, the author then examines the development of several key concepts in the emergence of the confessional doctrine of justification through the lens of biblical interpretation. Focusing on two highly contested chapters in Paul's epistle to the Romans, the author demonstrates that early evangelical and Protestant biblical exegesis varied widely in its aims, motivations, and in its appropriation of patristic and medieval interpretations. Chapter 1 consists of a survey of pre-Reformation exegesis of the first half of Rom 2, and the author demonstrates that this text had traditionally been interpreted as pointing to an eschatological final judgment in which the Christian would be declared righteous (i.e., "justified") in accord with, but not directly on the basis of, a life of good deeds. In Chapter 2, the author demonstrates that early evangelical exegetes broke away from this consensus, but did so slowly. Several early Protestant interpreters continued, throughout the 1520's and 1530's, to view this text within a traditional frame of interpretation supplied by Origen and Augustine, and only with Philipp Melanchthon's development of a rhetorical-critical approach to the text were Protestants able to overcome the traditional reading and so neutralize the first half of Rom 2 as a barrier to the emerging doctrine of justification by faith alone.</p> <p> Chapters 3, 4, and 5 all deal with the reception history of what is arguably the central text in the Reformation debates concerning justification by faith, Rom 3. Chapter 3 turns once more to patristic and medieval interpretation, and here it is argued that that two major strands of interpretation dominated pre-Reformation exegesis. A "minority view" contrasted justification with works of the ceremonial law, arguing that Paul's assertion of justification "apart from works of the law" was aimed at highlighting the insufficiency of the Jewish ceremonial law in contrast with the sacraments of the Catholic church. In contrast with this view, the "majority view" (arising again from Origen and Augustine) argued that the contrast was properly viewed as one between justification and works of the moral law, thus throwing into sharp relief the problem of justification in relation to good works. This tradition generally followed Augustine in drawing a contrast between works of the law performed prior to, and following upon, the initiation of justification as a life-long process of transformation by grace, but at the same time insisted that this process ultimately issued in the believer fulfilling the demands of the moral law. In Chapter 4, I turn to Luther's early exegesis of Rom 3, as seen in his lectures from 1515. In contrast with Luther's own description of his "Reformation breakthrough" later in life, I argue that Luther did not arrive at his new understanding of justification in a flash of inspiration inspired by Augustine; rather, his early treatment of Romans is unimpeachably Catholic and unmistakably Augustinian, although there are indications even in this early work that Luther is not entirely satisfied with Augustine's view. In Chapter 5, I consider the ways in which Luther's followers develop his critique of the Augustinian reading of justification in the first generation of the Reformation. Throughout this period, it was unclear whether Protestant exegesis of Paul would resolve itself into a repristinization of patristic theology, inspired in large part by Augustine, or whether it would develop into something genuinely new. The key turning point, I argue, came in the early 1530's with Melanchthon's rejection of Augustine's transformative model of justification, and his adoption in its place of a strictly forensic construal of Paul's key terms. Many of Melanchthon's fellow reformers continued to operate within an Augustinian framework, however as Melanchthon's terms passed into wider acceptance in Protestant exegesis, it became increasingly apparent that the Protestant reading of Paul could not ultimately be reconciled with patristic accounts of justification.</p> / Dissertation

Inaug.-Diss. --Munich. / Bibliography: p. 102-103.

Syftet med denna uppsats är främst att dokumentera min instudering av Carl Philipp Emanuel Bachs Sonat i e-moll för traversflöjt och basso continuo (H.551), som jag har spelat på blockflöjt. Bach skrev sonaten under upplysningstiden och den är ett fint exempel på den nya stil som bröt fram mellan barocken och klassismen, Empfindsamer Stil, med snabba karaktärsväxlingar och känslobyten. Jag har reflekte- rat över många aspekter av musikskapandet, främst tempo, artikulation och dynamik. Dessutom har jag diskuterat de utmaningar man ställs inför när man spelar travers- flöjtmusik på blockflöjt och varför man kan och vill spela musik skriven för ett annat instrument. Jag har kommit fram till att det finns två huvudsakliga skäl: historiska och konstnärliga.

The purpose of the treatise is to provide the first modern edition of one of Telemann's “Lutheran masses” and a discussion of the work in its historical, stylistic, and liturgical context. In his lifetime, Georg Philipp Telemann (1681-1767) was one of Germany’s, if not Europe’s, most famous and most prolific composers. Though many of Telemann’s works were published by him, many are today assumed lost or remain unknown. Presented here, for the first time, is a performing edition of one of Telemann’s missae breves based on the Lutheran chorale melody Christ lag in Todesbanden. This setting is one of five in a manuscript collection in the library of the Koninklijk Conservatorium Brussel (Royal Conservatory, Brussels). Chapter One presents a survey of Telemann’s life and career, church music, and historical reception, both in his day and to the present. Because this mass setting resulted from the reform movement of Martin Luther, Chapter Two addresses the role of the mass in the Lutheran liturgy. Included in this chapter is a discussion of some of the elements Luther retained from the Roman liturgy and some of those elements which he discarded or changed, namely those elements which relate to the use of music in the liturgy. Unlike his fellow reformers Jean Calvin and Ulrich Zwingli, Luther was a lover of music and gave a prominent position to music in his new liturgy. Chapter Three focuses on the importance of music in the Lutheran liturgy, especially the significance of the chorale. Chapter Four presents the chorale melody and the manner in which Telemann employed it in this mass setting. There is also a discussion of performance considerations and suggestions. The score of the edition is included as Appendix A. / text

On November 10, 1988, Philipp Jenninger, President of the German Bundestag (FRG), held a speech in commemoration of the fiftieth anniversary of Reichskristallnacht, or 'night of broken glass', a pogrom which was orchestrated by the National Socialist government against Germany's Jewish citizens. The speech proved to be extremely controversial and provoked heated reactions in Germany and around the world. / The following is an analysis of the discourse generated by the speech in Germany. The goal of my project is to elucidate the discursive structures that subtended the state of the German discours social in order to show the way in which the 'text' of Der Fall Jenninger was formed and informed by it. / The first part of the thesis shall serve as an introduction to the incident of Der Fall Jenninger. Part two will outline the precepts upon which I will be basing my analysis. Part three will consist of my analysis of Der Fall Jenninger.

Thesis (S.T.M.)--Concordia Seminary, St. Louis, 1987. / Includes bibliographical references (leaves 171-172).

Zugl.: Bonn, Univ., Diss., 2007

Zugl.: Bonn, Univ., Diss., 2007