This thesis examines the religious experiences of American-born converts to Islam. The social nature of religion has been long ignored in research on the lives of religious people. A review of research on Muslim identities reveals an emphasis on immigrants, women, and youth in the British context. However, there is little to no research on the unique constituency of converts to Islam and the importance of social aspects of faith for establishing a sustainable and transformative practice of Islam. This research closes this gap through a case study of the religious experiences of American-born converts to Islam. Through in-depth interviews with converts and community leaders, and sustained engagement with the Cincinnati Muslim community, I examine the extent to which social interaction (understood as both site and process) shapes convert identities and their understanding of religious belief and practice. My research suggests that religion not only occupies a variety of everyday lived spaces for converts, but that Islam can be understood as a way of being in the world. Since understanding of religious belief and practice is multifaceted and diverse, I explore the influence of social interaction and community on converts’ spiritual modalities. I argue that spaces not deemed officially sacred (e.g. places of worship or pilgrimage sites) are just as influential in shaping the religious identities of converts, and help converts develop a religious way of being that is self-transformative and sustainable in the American context.

ABSTRACT The purpose of this thesis is to assess the Crown’s Constitutional duty of consultation and its application on the holders of Treaty rights. Indigenous legal and Constitutional orders are the underpinning of the consensual Treaties. They were negotiated by sovereign nations through mutual consent and established a distinct Constitutional authority establishing rights, responsibilities and rules of coexistence. Their implementation is a Crown Constitutional obligation. This thesis argues that the duty to consult jurisprudence reveals systemic colonial problems in the common law Treaty rights paradigm by colonial interpretation, unilateral abridgement and justified infringement of the consensual Treaty. Further, judicial and politically created doctrines of the honour of the Crown and reconciliation are rendered meaningless when used as part of the ongoing colonial paradigm and abridgement of Treaties. This thesis argues that Canada must enter a post-colonial era by giving content to Indigenous legal and Constitutional orders by implementing Treaty through Treaty Constitutionalism. This requires Canada to undertake a Constitutional paradigm shift to accord the sacred and inviolable Treaties their proper place as foundational instruments in the building of Canada. This means, as well, that the only forum for proper consultation on the numbered Treaties is through Constitutional conferences with full and equal participation of Treaty First Nations.

Heitor Villa-Lobos (1887-1959) is regarded as the composer of highest distinction in twentieth-century Brazilian music. His musical compositions, representing virtually every musical genre, reflect his concerted effort toward developing a nationalistic Brazilian style. While the importance of this composer's ouvre and his contribution to a national Brazilian style is well established, particularly with regard to his instrumental works, his sacred choral compositions are generally considered to be peripheral in his overall compositional productivity. Although his major sacred choral works such as Bendita Sabedoria, Missa Sad Sebastian, and Magni scat Alleluia are programmed occasionally, the smaller sacred choral pieces found in his Musica Sacra collection remain less well-known.Musica Sacra, initially published by Vincente Vitale in 1951-52, is an out-of-print collection of twenty-three unaccompanied motet-style pieces, composed throughout Villa-Lobos's lifetime. Limited availability to many of these pieces has resulted in a paucity of programming of this music by choral conductors, as well as a lack of understanding of its place in his collected works.This study provides an updated and corrected performance edition of selected choral pieces from Musica Sacra, providing choral conductors with appropriately edited material for concert programming. It includes historical background, editorial notes, and performance notes to provide context and clarity.In this study, I have compared seventeen pieces from the original Vitale edition with manuscripts provided by the Museu Villa-Lobo, in an effort to represent the composer's musical intent in a manner accessible to the contemporary choral conductor. I have alsoidentified and discussed salient musical traits in this music, exemplifying not only the Spanish Renaissance influence as it existed in the Brazilian society during Villa-Lobos's lifetime, but more broadly reflecting, through its diverse assortment of musical features, an expression of the overall religious syncretism in Brazil at the time.Within the sacred choral framework of Musica Sacra, one discovers the composer's stylized representation of Brazilian musical eclecticism. This is exhibited through elements of musical spontaneity, Brazilian multi-cultural ethnicity, nationalism, European impressionism, Renaissance imitation, and twentieth-century harmonic dissonance. These features represent Villa-Lobos's synthesis of style that, according to Latin American music scholar, Gerard Behague, illuminates "Brazil's Musical Soul." / School of Music

This creative project is a setting of the book of Ecclesiastes from the Bible. The New English Translation has been used. A certain amount of editing of the complete Ecclesiastes has taken place and only three basic ideas are presented in the text: One, the emptiness of all endeavor; two, that death awaits us all; and three, some advice to a young man.The first song is built on a pedal point D and it is held by the double bass. This signifies emptiness. Above this pedal point there are various motives which are more fully developed in the second song. The third song uses a tone cluster pedal point in the string section which fades away to the ever present pedal point D held by the double bass, signifying the return of the opening words of the text: "Emptiness, emptiness, says the Speaker, all is empty." / School of Music

The aim of this paper is to study whether the way directioners (One Direction fans) on Twitter express self-understandings denote fandom as a sacred experience. For this purpose, the data was analyzed in relation to Nicholas Jay Demerath III typology of the varieties of the sacred experience. The method used was discursive psychology. The data was analyzed by how the fans draw the line between “us” and “them”, when expressing their self-understandings and their position in relation to others.   Five themes were identified: (1) positioning and demarcation for membership, (2) group identity, (3) conflict, (4) the norms for behavior, opinions and language and (5) the group’s role and function. The directioners were using three interpretative repertoires; the One Direction fandom as identity, lifestyle and therapy.   The conclusion when analyzing the data in relation to Demeraths typology was that directioners expressed notions of the One Direction fandom as a sacred experience in an integrative manner, that is, being a “directioner” was described as marginal and confirmatory.  This suggests that the One Direction fandom consists of people that are outside the mainstream who are brought in to a social unit by joining the fandom. The data also contradicts this; the high demands for directioners to be active on Twitter can create an unsafe community.   Being in the One Direction fandom can be a possible source for a sacred experience as experienced consequences since it has given the fans identity, improved their lives and helped them escape reality. The experience of the sacred varies depending on the devotion of the fans.

This thesis aims to uncover music’s important role in shaping and defining the selfidentity of ancient Israel. Functional music was integrated into Israel’s daily life, accompanying activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to formulate and deliver messages, convey and heighten emotions, assert and strengthen communal bonds, and establish and intensify human-divine contact. The intricate and multi-faceted nature of this music will be demonstrated through a detailed look into four main episodes and genres: the Song of the Sea (Exod. 15), King Saul and David’s harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. Specifically, it will be argued that Israel’s birth as a free nation was marked by the Song of the Sea, its monarchic system was defined by the archetypical musician-king David, it depended on God’s word delivered through the often musical messages of prophecy, and its appointed institution for mediating worship was designed and officiated by a class of priestly musicians. Moreover, three of these four areas involve the main leadership categories of Old Testament society—king, prophet and priest—giving added support to the view that music held a prominent place and played a defining role within that civilization. The conception of music as a central element of biblical society will be developed using an interdisciplinary approach, wherein pertinent information from an array of specializations and sources is put into conversation and Old Testament passages are analyzed through a modern-scientific lens. Rather than relying on a single methodology, this study is rooted in the premise that by applying a variety of contemporary theoretical tools to selected Old Testament passages, essential functions of music in biblical life can be illuminated. Such an endeavour requires tools from a number of fields, including but not limited to theology, sociology, anthropology, musicology, cognitive science and music therapy, as well as the classification of musical references into four primary functions: cohesive, therapeutic, emotive/spiritual and didactic. The result is a thesis that identifies reasons for—and not just the existence of—music in biblical life, and, most centrally, shows significant ways music informed Israel’s understanding of itself. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2012.

Islamic design is a rich art form with spiritual and meditative meaning expressed through its infinite pattern. The iterative process of creating pattern, unified yet diverse, is an intri-cate geometric path conveying conceptual exploration. Process of form development in Is-lamic patterns defines its growing design, seeking explicit relationships between unity and multiplicity. As the grid expands and patterns unfold, new concepts are introduced for pat-tern exploration and formation. Reoccurring focal points of the Islamic geometries mark significant moments in which these patterns take form. By fusing traditional Islamic design fundamentals with contemporary concepts for interiors, I expand the realm of this rich art form from a two dimensional form to a three dimensional structure.

This thesis aims to uncover music’s important role in shaping and defining the selfidentity of ancient Israel. Functional music was integrated into Israel’s daily life, accompanying activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to formulate and deliver messages, convey and heighten emotions, assert and strengthen communal bonds, and establish and intensify human-divine contact. The intricate and multi-faceted nature of this music will be demonstrated through a detailed look into four main episodes and genres: the Song of the Sea (Exod. 15), King Saul and David’s harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. Specifically, it will be argued that Israel’s birth as a free nation was marked by the Song of the Sea, its monarchic system was defined by the archetypical musician-king David, it depended on God’s word delivered through the often musical messages of prophecy, and its appointed institution for mediating worship was designed and officiated by a class of priestly musicians. Moreover, three of these four areas involve the main leadership categories of Old Testament society—king, prophet and priest—giving added support to the view that music held a prominent place and played a defining role within that civilization. The conception of music as a central element of biblical society will be developed using an interdisciplinary approach, wherein pertinent information from an array of specializations and sources is put into conversation and Old Testament passages are analyzed through a modern-scientific lens. Rather than relying on a single methodology, this study is rooted in the premise that by applying a variety of contemporary theoretical tools to selected Old Testament passages, essential functions of music in biblical life can be illuminated. Such an endeavour requires tools from a number of fields, including but not limited to theology, sociology, anthropology, musicology, cognitive science and music therapy, as well as the classification of musical references into four primary functions: cohesive, therapeutic, emotive/spiritual and didactic. The result is a thesis that identifies reasons for—and not just the existence of—music in biblical life, and, most centrally, shows significant ways music informed Israel’s understanding of itself. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2012.

This dissertation begins with the hypothesis that sacred places and their stories are connected in complex ways. This refers to place-based sacred places; that is, places which gain their sacred qualities from their natural environment. The two main examples used are both located in the U.K.: Puzzlewood and the Forest of Dean, and Stonehenge. It is further theorized that the stories within these places are repositories of an ancient wisdom; a memory of what it means to live with a sense of the divine in nature. Paying attention to those stories, and to the presences found in these places, may engender a greater appreciation of the interconnectedness of the human world to the natural world and the sacred in nature. Thus an ethic of care for that storied place may develop, and a more harmonious relationship between people and the larger environment may come about. Such an ethic of care may be central in finding solutions to current environmental problems, and preventing future ones. Thus a new story about our relationship with the Earth, based on ancient wisdom, may become the conduit for a kinder, gentler future, where peace, social justice, and environmental care inform both cultural paradigms and individual worldviews. This fusion of stories, the sacred, and the sacred in nature as a way towards self-realization, the development of an ethic of care, and the vision a more harmonious future, is the unique contribution of this dissertation. Bringing together these diverse strands required a multidisciplinary approach with multiple methodologies, particularly phenomenology to account for experiences in or of sacred places, and hermeneutics to address the stories. In addition, there was a need to include some of the basics of system theory to explore both natural and social systems, and for philosophical inquiry to discuss spirituality and cosmology. Other elements of this dissertation include a background of the ways in which history is presented, how this contributes to the paradigms and worldviews found in the modern Western world, and how those paradigms affect thinking about sacredness in nature, as well as a discussion of why stories are central to all of our lives, and how places come to be imbued with stories. All of this is then set within a framework of the principles of the deep ecology movement. To bring all this together with a cohesive collection of methods, the concentric circles model was created and is explained. Additionally, this dissertation presents five criteria that could prove useful in assessing sacredness in place when such sacred sites are contested, as happens quite often. This too may help to protect (care for) these places. / Graduate / 0422 / 0322 / michelleabeauchamp@gmail.com

The object of this thesis is to lay open a repertory of music which has long been ignored, the music for two and more choirs composed by Roman composers of the generation of Palestrina and his immediate successors. Polychoral music is taken to mean music in which two or more independent and consistent groups of voices take part, singing separately and together; the parts should remain independent in tuttl sections, with the possible exception of the bass parts. By this definition, the first real polychoral music to be published in Rome was that by Giovanni P. da Palestrina in his Motettorum liber secundus of 1575. This is taken as the starting point for this study. Music which might have influenced Roman composers is examined, as well as eight-voice music by Roman composers which is not polychoral according to the above criteria. The development of polychoral music in the city is then traced through the reigns of the various popes from Gregory XIII to Paul V, whose death in 1621 is taken as a convenient place to end the study. Particular emphasis is laid on structural and textural aspects and the way these were adapted by successive composers. The ground for the Roman concerts to style was laid in the early experiments by composers such as Giovanni Animuccia, Palestrina and Tomas Luis de Victoria; this is traced through what is termed the 'fragmented' style of the last two decades of the sixteenth century to the full flowering of the large-scale concerts to motet after 1605. The music is studied in the context of the institutions for which it was written. The archives of these Institutions have been researched for information on performance practice, which is presented here. The broader cultural, social and religious background which spawned the idiom is also examined and polychoral music related both to the new propagandist attitude of church leaders from Gregory XIII onwards, and to a general expansion in musical activity in the city of Rome through the period under investigation. The various printed and manuscript sources for this music have been researched and the resulting catalogue of pieces by fifty or so composers who worked in the city is presented. A more detailed examination is carried out of the primary manuscript sources, from which valuable information on various aspects of the music can be obtained.