The purpose of this research is to expand knowledge regarding the presence and quality of expression of certain place-making patterns that contribute to place being experienced as sacred. The results are intended to validate and make available an assessment method based on pattern presence and pattern quality for determining whether a specific built environment is more likely to be experienced as sacred or secular. In addition, the results are intended to provide architects with research-informed design guidelines for sacred place-making. This research explores the difference in the presence and quality of expression of certain placemaking patterns at two selected sacred and secular buildings, i.e., Rothko Chapel and Contemporary Arts Museum, both in Houston, Texas. Two key literature references were used as a basis for identifying place-making patterns used in this research: 1) Sacred Place: The Presence of Archetypal Patterns in Place Creation, authored by Phillip Tabb in 1996; and 2) Using the Place-Creation Myth to Develop Design Guidelines for Sacred Space, authored by Michael Brill in 1985. Three types of data were collected and analyzed: graphical data, questionnaire data, and focus group discussion data. Graphical data included photographs and sketches with field notes. A total of forty-eight (48) questionnaires (24 at each setting) were administered to twenty-four (24) Houston architects at the selected buildings. The focus group discussion panel consisted of 6 participants – three architects and three spiritual mentors from Houston, Texas. Relative frequencies were calculated for multiplechoice answers in the questionnaire, while open ended questionnaire items were subjected to inductive content analysis. Focus group discussion data was examined and coded by means of open coding, axial coding, and selective coding. The analyzed data were synthesized to test whether the presence and quality of expression of certain place-making patterns contributed to place being experienced as sacred. This study concludes that built environments which possess a higher presence and higher quality of expression of certain place-making patterns are more likely to be experienced as sacred than built environments with a lower presence and lower quality of expression of the place-making patterns. A set of design guidelines for sacred place-making were produced and a place-making pattern matrix was developed as part of this study.

Thesis (M.A.)--Catholic Theological Union, 1986. / Includes bibliographical references (leaves 188-193).

The objective of this dissertation is to explore the meanings, significance, and functions of sacred space developed in the Hebrew Bible. A wide range of categories, models, and geographical forms of biblical sacred space will be presented: the cosmos, Mt. Zion, the Land of Israel, Jerusalem, the Temple, the Tabernacle, sanctuaries and sacred sites, the high places, and the micro-scales of cultic installations, such as the Ark, altars, sacred poles, and sacred pillars. From a biblical point of view, the two realms of the sacred and the profane co-exist. The sanctity of a place can be restricted and intensified to a certain zone of space or micro-scales of cultic installations. It can also be extended to a wider scope of space, such as the entire sanctuary, the entire city, the entire land, or the cosmos. These models of sacred space used in the biblical texts reflect the manifestation of the specific worldview that is governed by the concept of holiness and the particular concepts of God associated with the notions of divine dwelling presence, divine glory, and divine rest. The Israelite model of sacred space emphasized in a particular biblical text can also represent related transformations of the functions, meanings, and significance of the concepts of sacred space. For instance, the establishment of the Temple of Solomon in Jerusalem signifies the transformation of the legitimate place of worship in ancient Israelite religion, from a dynamic model to a permanent, static one. Its meanings, significance, and functions are now contingent upon the fixed location in Jerusalem. This dissertation provides evidence of the plurality of meanings, significance, and functions of the concepts of sacred space in the Hebrew Bible. This exploration of the biblical concepts of sacred space includes a discussion of various issues: defining forms, sources of sanctity, rules of access and boundaries, and contexts and uses of biblical sacred space. The exploration also includes consideration of the distinctive intentions of various biblical writers and their perspectives on geographical and spatial realities.

The publicelion of Biich in lismayed or infin iated those erities who had with Evelyn early comic novels.It seems that jaugh's apparent obsession with the upper class and fatholicism is horrible.repel- lent unpardenable. Howeyer.the sacred and profane meneries of caplain Byder are nol exclusivelv divided;rather.linny crilicize and counterbalan- ce each other.As a result.the imelies no wholehearted embrace of an ualue. The firet aim of this thesis is to explore the ambivalence of emotious th- nouah the ambiauous narrative--how time dislance does not offer the tone but tosters the nostalaic mood instead.The cmestion of Evelyn waugh's snobbery is the main issue in the second chadter.The last chapter cente- rs on the narrative which reveals that the profane proves to be the holv. The author hopes that this study can shed chariivino lish' an this often misread novel. #50010343.abs #50010343.abs

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J.F. Fasch, the Kapellmeister at the Court of Anhalt-Zerbst from 1722 to 1758 and one of the most neglected contemporaries of J.S. Bach, composed approximately 1400 sacred cantatas during his life time. Seven cycles comprising 1000 cantatas were listed by Fasch in a music inventory, the Concert=Stube des Zerbster Schloβes. Using data recorded in volumes 352-369 of the Konsistorium Zerbst Rep 15 IXa chronicle, this dissertation sheds light on the musical-liturgical activities at the Court Chapel during the years of Fasch's tenure. This primary source was hitherto thought to be lost but it is indeed held at the Landesarchiv Oranienbaum, Germany, and has provided a wealth of illuminating information for this study. It allows us to solve a number of enigmas which have long puzzled scholars. First, we can gain insight into the music and worship traditions at the Court Chapel and examine Fasch's role as Kapellmeister in a contemporary mid-eighteenth century context. In addition to performing his own cantata cycles and premiering cycles by other composers such as Telemann and G.F. Stölzel, Fasch repeated these cycles between two and six times. Secondly, we can date the largest collection of sacred cantatas by Fasch preserved at the Staatsbibliothek zu Berlin—Preuβischer Kulturbesitz. The majority of cantatas form part of a cycle from 1735/36, Das in Bitte, Gebeth, Fürbitte and Dancksagung bestehende Opffer. The extant copies were prepared by Fasch in the early 1750s, probably upon the request of a fellow composer who participated in the Musikalientausch which Fasch had begun organizing in 1728. Finally, an examination of Fasch's compositional procedures as evident in the sacred cantatas preserved at the Staatsbibliothek shows that while his musical style was firmly rooted in the mid-eighteenth century, Fasch also employed forward-oriented techniques and developed an Individualstil. This investigation, having brought to light important source materials and offered significant insights, provides a useful basis for, and stimulus to any future research into the sacred music of J.F. Fasch as well as the musical-liturgical activities at German Courts during the first half of the eighteenth century. / Graduate

The sacred lotus (Nelumbo nucifera) is a large aquatic plant endemic to subtropical and tropical Asia and northern Australia. Lotus has a combination of morphological and anatomical features that make it challenging for research work. The necessity of research on lotus is driven by niche market opportunities identified in Japan during counter seasonal production periods. Several features of lotus are utilised for consumer applications with commercial promise including seeds, young shoots and rhizome production. Further, the flowers and seed pods have value as cut-flower products and religious decoration. Several challenges have to be overcome before production of adequate products can be realised in Australia. The challenges which can be addressed most immediately are the questions regarding plant nutrition for lotus. In order to accomplish certain objectives, development of a system for growth and analysis of imposed nutrient treatments in replication, which accommodated a plant with unusual and seasonal attributes, was essential. The results of the tests conducted on the trialled system, whilst not conclusive, provide a solid reference for any future research on lotus nutrition. Recommendations are made for design and enhancement of the system to provide guidelines for such research. / Doctor of Philosophy (PhD)

The Seven Last Words from the Cross is structured as a kind of loose double theme and variations. Movements II, IV, VI, VIII, IX, XI and XII present Jesus’ words as recorded in the four Gospels, and the remaining movements (which set related biblical and non-biblical texts) treat related themes and serve as choral and orchestral responses to Jesus’ words. The Gospel movements use a gradually expanding collection of pitches that frame a central pitch. This pitch (with a few deliberate exceptions) is generally reserved for Jesus’ actual utterances, which are sung by the four vocal soloists together, and which mostly use contrasting pitch material: a quasi-diatonic collection presented as pairs of intervals that move in contrary motion around the central pitch. The movements that respond to the Gospel texts take these interval pairs as their primary musical material, adapting them in symbolically and musically significant ways. The unison that is used to set Christ’s words fractures into a minor second when sung by the chorus, and his minor seventh expands to the more dissonant major seventh. The major third and perfect fifth, however, are common to both versions of the primary intervallic material, and both are used in shaping the large-scale form of these movements. Symmetry, both of pitch and rhythm, is also important to these movements’ structures. The opening and closing movements frame the main body of the work and are deliberately linked in their texts and musical material. The text of the first movement deals with the problem of corporate and individual human sin, of God’s wrath at humankind’s misdeeds and our own frustration and grief at our inability to consistently do what is right. The answer to this problem of sin, Christians believe, is the cross, and so in the last movement God’s anger, which was “poured out like fire” in the first movement, is quenched in a fountain of mercy. God’s rejection of sinning humanity and our rejection of God are ended. The Lord hears his people and answers them, and they in turn call out to him, acknowledging him as their God. In the seventh movement, a setting of a portion of the Stabat mater, the verse “Tui Nati vulnerati/ tam dignati pro me pati/ poenas mecum divide” (in part, “Let me share the pains of your wounded Son”) is given particular emphasis. The reason for this emphasis is explained in the eighth movement, “My God, my God, why have you forsaken me?” in which the piece’s previously established pattern breaks down. The words of Jesus are sung by the full chorus with the soloists, instead of by the soloists alone, and use the more dissonant version of the paired intervals, which was previously reserved for the response movements. The setting of the Gospel text and its response (excerpts from Psalm 22) are also combined into one movement for the first and only time in the piece. The purpose of these alterations was to draw a connection between Jesus’ sense of abandonment by God, the psalmist he was quoting, and the universal experience of human suffering.

The Seven Last Words from the Cross is structured as a kind of loose double theme and variations. Movements II, IV, VI, VIII, IX, XI and XII present Jesus’ words as recorded in the four Gospels, and the remaining movements (which set related biblical and non-biblical texts) treat related themes and serve as choral and orchestral responses to Jesus’ words. The Gospel movements use a gradually expanding collection of pitches that frame a central pitch. This pitch (with a few deliberate exceptions) is generally reserved for Jesus’ actual utterances, which are sung by the four vocal soloists together, and which mostly use contrasting pitch material: a quasi-diatonic collection presented as pairs of intervals that move in contrary motion around the central pitch. The movements that respond to the Gospel texts take these interval pairs as their primary musical material, adapting them in symbolically and musically significant ways. The unison that is used to set Christ’s words fractures into a minor second when sung by the chorus, and his minor seventh expands to the more dissonant major seventh. The major third and perfect fifth, however, are common to both versions of the primary intervallic material, and both are used in shaping the large-scale form of these movements. Symmetry, both of pitch and rhythm, is also important to these movements’ structures. The opening and closing movements frame the main body of the work and are deliberately linked in their texts and musical material. The text of the first movement deals with the problem of corporate and individual human sin, of God’s wrath at humankind’s misdeeds and our own frustration and grief at our inability to consistently do what is right. The answer to this problem of sin, Christians believe, is the cross, and so in the last movement God’s anger, which was “poured out like fire” in the first movement, is quenched in a fountain of mercy. God’s rejection of sinning humanity and our rejection of God are ended. The Lord hears his people and answers them, and they in turn call out to him, acknowledging him as their God. In the seventh movement, a setting of a portion of the Stabat mater, the verse “Tui Nati vulnerati/ tam dignati pro me pati/ poenas mecum divide” (in part, “Let me share the pains of your wounded Son”) is given particular emphasis. The reason for this emphasis is explained in the eighth movement, “My God, my God, why have you forsaken me?” in which the piece’s previously established pattern breaks down. The words of Jesus are sung by the full chorus with the soloists, instead of by the soloists alone, and use the more dissonant version of the paired intervals, which was previously reserved for the response movements. The setting of the Gospel text and its response (excerpts from Psalm 22) are also combined into one movement for the first and only time in the piece. The purpose of these alterations was to draw a connection between Jesus’ sense of abandonment by God, the psalmist he was quoting, and the universal experience of human suffering.

Tyzen Hsiao (1938- ) is one of the prominent Taiwanese composers of recent years. His compositions include many different musical genres. Among them, choral music is the category of the majority. There are more than eighty choral pieces in all, some sacred and some secular. The Prodigal Son, completed in 2000, is Hsiao¡¦s principle sacred composition. It is written for five soloists, mixed chorus, and piano accompaniment. The text of the work comes from the Bible. The music is divided into eleven parts: a piano introduction, two solo and eight choral sections. All solos, choral and piano parts are constructed in a very thoughtful way; and it demonstrates good compositional techniques, originality, and correlation of text and music; therefore it is a well-composed piece. This thesis consists of five chapters. Chapter One introduces the material. Chapter Two is the background of Tyzen Hsiao: Part one is a biographic sketch of Hsiao¡¦s life; Part two generally describes Hsiao¡¦s compositional development ; Part three explains the style and feature of Hsiao¡¦s musical works; Part four introduces Hsiao¡¦s choral compositions. Chapter Three focuses on analysis of The Prodigal Son, consisting of four sections. The first section is about why and how this work became a reality. The second section discusses the origin of the text. The third section is about the borrowed melody, and the last contains the musical analysis of the work. Chapter Four supplies a rehearsal technique and a teaching suggestion for the director of a performance The Prodigal Son. Chapter Five provides the writer¡¦s conclusion from the study. In the end of this thesis is an appendix which gives a phonetic transcription of The Prodigal Son in Roman letters. Hopefully it can be a helpful diction reference for conductors and singers.