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This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany. Liszt’s interest in these movements, and in the style then in use in the Sistine Chapel, also receive comment. Chapter 7 analyzes Christus itself, and explains it as a synthesis of the styles then in use by Catholic composers of the era. Chapter 8 concludes with musings on the state of Catholic music, suggestions on how that field could be improved, and Christus’s future. / Music Composition / Accompanied by one .pdf score: Denarius: Two movements for Orchestra.

Liberation in White and Black studies, respectively, Washington Memorial Chapel (WMC) and The Church of the Advocate (COA), which are two Episcopal parishes in the Diocese of Pennsylvania. This dissertation investigates the ways that the visual culture of these spaces represents and affects the religious, racial and national self-understanding of these churches and their ongoing operations by offering particular and opposing narrative interpretations of American history. These "sacred spaces" visually describe the United States (implicitly and explicitly) in terms of race and violence in narratives that set them in fundamental opposition to each other, and set a trajectory for each parishes' life that has determined a great deal of its activities over time. I develop this thesis by situating each congregation and its development in the context of the entire history of both the Episcopal Church and Philadelphia as related to race, violence and patriotism. WMC is what historian of religions scholar Jonathan Z. Smith calls a "locative" space and tries to persuade all Americans to patriotically covenant with images of heroic "White" freedom struggle. COA is what Smith calls a "utopian" space and tries to compel its visitors to covenant with a subversive critique of the United States in terms of the parallels between biblical Israel and the African American freedom struggle. My analysis draws especially on the theoretical work of Pierre Bourdieu and David Morgan. A major focus of Pierre Bourdieu's work in both Language and Symbolic Power, and The Logic of Practice is the power of group-making. Group-creating power is often exercised through representations that create a seemingly objective sense of group identity and a social world that is perceived as "natural." David Morgan writes that religious visual culture functions as this sort of political practice through the organization of memory among those who are drawn to "covenant" with images. The Introduction of my dissertation lays out the theoretical approaches informing the visual culture analysis of these Episcopal Churches and raises the significant questions. Three main chapters provide: 1) an historical background of patriotism, race and violence in the Episcopal Church and in Philadelphia in particular, and 2-3) a thorough analysis of the history and visual culture of each space in context. A great deal of my analysis will be interpretive "readings" of the visual culture of the aforementioned churches in their larger contexts to explain how the visual culture represents social classifications to affect the constituents religious, racial and national self-understanding, and their ongoing operations by offering particular and opposing narrative interpretations of American history. The project concludes by summarizing the ways that the analysis of these spaces explicates the thesis with thoughts about the implications for the disciplines involved and further research. / Religion

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Imagine a grocery store that physically helps you to make healthy decisions for you. Your Twinkies, Hoho's, and other processed foods are all available and within sight, but you've got to work for them. In the wake of challenges that Americans face every day, this thesis project is putting a magnifying glass to (hi)stories and the human experience, and promoting change for American suburban and urban grocery stores to be health-fitness machines that we need them to be in order to help those of us on a quest to stay fit and healthy. With the information age pretty much exploding- as we are able to do a search for just about anything on Google, lack of information is not necessarily the problem. While gimmicky short term dieting fads come and go, an architectural model solution can set the foundation and structure to sustain progress. Let's look to the origins of architecture, labyrinths are built of walls, but if we are not careful, we can let them lead us to dead ends. Let's look to the origins of the marketplace, where fresh foods are taken directly from the source. For many of us, the modern American grocery store is the origin of our energy, where we will return again and again. It is our food source. It might be one root of our society's increasing levels of unhealthy weight gain, but also the source of opportunity to challenge the current design of the boxed store. / Master of Architecture

This dissertation is an ethnography of an African American sacred music tradition – the trombone worship bands of the United House of Prayer for All People (UHOP) – that examines the ways in which musical aesthetics mediate racial and economic marginality and religious authority. Musical worship featuring these “shout bands,” involves UHOP members in an embodied performance of religious discourse, including actualizing the boundaries of sanctified interiority, confirming the charismatic authority of the organization’s sacralized leader, and constituting the independence and sovereignty of the UHOP Kingdom. The project is animated by a central question: given continuities in repertoire, performance practice, and theology between UHOP shout bands and other Black gospel practices, why is musical worship at the UHOP organized around the trombone rather than the human voice? The dissertation answers this question dialectically by showing how shout band music-making offers solutions to the ethical and theological issues members face, while UHOP theological discourse capitalizes on the sensory affordances of musical practice. The opening chapter introduces the role of the shout band in the context of UHOP worship services, framing musical practice as the enactment of sacred divisions of space and subjectivity. This chapter also depicts the feedback loop between worship practice and scriptural interpretation by introducing UHOP-specific idioms of Biblical literalism and re-enactment. Chapter two dilates on the connections between musical microsocialities and forms of authority through an analysis of the “figure of call-and-response” as a medium for the bishop’s charismatic authority. In the final chapter, I survey a variety of UHOP state-mimetic forms – that is, forms appropriated from the symbolic repertoire of the United States government – as points of entry into the ways that members actualize a shared notion of “freedom.”

John Williams är att betrakta som en av giganterna inom den amerikanska filmmusikkompositionen. Förutom filmmusik så har han komponerat ett flertal beställda solokonserter för betydande instrumentalister och orkestrar, däribland The Five Sacred Trees för fagott och symfoniorkester som är skriven för New York Philharmonics 150-års jubileum och denna orkesters solofagottist Judith LeClair. I detta examensarbete analyseras de första två satserna från ett motiviskt, strukturellt och i viss mån harmoniskt perspektiv, samt genomgås hur det kan påverka instuderingsprocessen och författarens interpretatoriska val. Referensmaterialet som används är främst en pianoreduktion av stycket, samt en doktorsavhandling gällande styckets pedagogiska användningsområden av John Michael Lopinto från 2004. Slutsatser efter analysen inkluderar bland annat att de två satserna i stora drag kontrasterar varandra, att konserten innehåller så pass många olika klangkaraktärer att det krävs extra arbete från solistens sida för att kunna framföra denna med endast piano, samt att John Williams kontinuerligt utvecklar motiv från tidigare verk och inkorporerar dem i konserten och har fortsatt att arbeta på detta vis även efter tillkomsten av denna konsert. Min förhoppning är att det här arbetet ökar min egen och omvärldens insikter om denna konsert, och ökar sannolikheten för att detta verk framförs i större utsträckning i framtiden. / <p>John Williams fagottkonsert, sats 1-2.</p><p>Medverkande: Gabriella Varga Karlsson, fagott</p><p>Georg Öquist, piano</p><p></p><p></p><p></p>

Criteria for identifying prehistoric water-temples among other archaeological remains in Sardinia have not been explicitly discussed so far, making it difficult to investigate this remarkable body of evidence as a whole. This study therefore aims at elaborating a method for identifying water-temples among other fonts and wells in Sardinia, and applying it to produce a preliminary inventory. A theoretical discussion of definable criteria for assessing possible cult status in this context precedes an evaluation of the investigable wells and fonts reported in the island. Buildings found to lack cult correlates are noted in an Appendix, while buildings presenting them are inventoried in a Catalogue. A discussion of the results considering spatial, temporal and cultural aspects follows, leading to a new perspective regarding the genesis of the Sardinian water-temples. / Criteri per l'identificazione di templi ad acqua preistorici fra altri residui archeologici in Sardegna non sono stati esplicitamente discussi fin'ora, rendendo difficile l'indagine di questo straordinario insieme di evidenze come tale. Questo studio vuole perciò elaborare un metodo per identificare templi ad acqua fra altri pozzi e fonti in Sardegna, e applicarlo per produrre un inventario preliminare. Un discorso teorico di criteri definibili per valutare l'eventuale status cultuale nel contesto precede una valutazione degli indagabili pozzi e fonti segnalati nell'isola. Edifici trovati mancanti di correlati di culto sono notati in un Appendice, mentre edifici che li presentano sono inventoriati in un Catalogo. Segue una discussione dei risultati, considerando aspetti spaziali, temporali e culturali, portando ad una nuova proposa in riguardo alla genesi dei templi ad acqua sardi. / Kriterier för att identifiera förhistoriska vattentempel bland andra arkeologiska lämningar på Sardinien har hittills inte diskuterats uttryckligen, vilket gjort det svårt att undersöka denna anmärkningsvärda fyndkategori som helhet. Denna studie syftar därför till att utarbeta en metod för att identifiera vattentempel bland andra funter och brunnar på Sardinien, och tillämpa den för att göra en preliminär inventering. En teoretisk diskussion av definierbara kriterier för att bedöma eventuell kultstatus i sammanhanget föregår en utvärdering av de studerbara brunnar och källor som har rapporterats på ön. Byggnader som befunnits sakna kultkorrelat noteras i ett Appendix, medan byggnader som uppvisar dem inventeras i en Katalog. En diskussion av resultaten med rumsliga, tidsliga och kulturella aspekter i åtanke följer, och leder till ett nytt perspektiv gällande te sardiska vattentemplens tillkomst.

Tout comme les grottes-sanctuaires, les bois sacrés et d’autres sanctuaires naturels, les lacs sacrés s’intègrent dans les paysages religieux des provinces romaines. Depuis la Renaissance, les sources textuelles faisant référence à la sacralité des lacs ont largement retenu l’attention contribuant à nourrir tout un imaginaire autour de ce thème. Ce travail, fondé sur les sources documentaires existantes, principalement archéologiques et historiques, vise à analyser et définir les rapports entre les lacs et le religieux dans le monde romain en distinguant ce qui relève de la réalité ou du fantasme. Avant tout centrée sur les provinces des Gaules de la fin du IIe s. av. J.-C. au Ve s. ap. J.-C., cette recherche est étendue à l’ensemble du monde romain dans une perspective comparative. Après avoir défini le lac et décrit ses caractéristiques morphologiques, l’analyse et le croisement des données permettent d’approfondir la connaissance des lieux de culte lacustres et des représentations qui s’y rattachent. Ces étendues d’eau, souvent présentes dans des contextes topographiques accidentés, ont été regardées comme sacrées en raison de caractéristiques spécifiques qui étaient considérées comme la marque de la présence du divin (profondeur, couleur, circularité/centralité, îles flottantes, variations de niveau). Ces croyances ont conditionné la fréquentation de ces lacs, ainsi que l’ensemble des aménagements et des pratiques rituelles dont ils ont été le cadre. Réceptacles de nombreux éléments matériels, c’est à partir de ces derniers reliefs que l’archéologue est en mesure d’identifier ces sanctuaires lacustres. / Like cave-sanctuary, holy woods and other natural shrines, sacred lakes were part of the sacred landscapes of the Roman provinces. Since the Renaissance, textual sources referring to the sacrality of lakes have widely attracted attention, fuelling a whole imaginary. This work, based on archaeological and historical sources, aims to analyse and define the relationship between lakes and the religious in the Roman world by distinguishing between reality and fantasy. Mainly centred on the provinces of Gaul between the end of the second century BCE and the fifth century CE, this research extends to the whole Roman world in a comparative perspective. After defining the lake and describing its morphological characteristics, the analysis and cross-analysis of data allow to deepen our knowledge about these lacustrine shrines and the representations attached to them. These bodies of water, often found in uneven terrain, were regarded as sacred due to specific characteristics construed as the sign of a divine presence (depth, colour, circularity/centrality, floating islands, level changing). These beliefs conditioned attendance at the lakes, as well as installations and ritual practices. Such lacustrine shrines left numerous artefacts, that now allow the archaeologist to identify them.