Dissertations / Theses: 'Hymnist'

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Conway, Barry John. "The Thanksgiving Hymns from Qumran." Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321962.

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Souza, Junior Milton Rodrigues de. "CANTAI E MULTIPLICAI-VOS... : ESTUDO DA HARPA CRISTÃ COMO INSTRUMENTO DE EXPANSÃO DA MISSÃO NO PENTECOSTALISMO NO BRASIL (1910-1970)." Universidade Metodista de São Paulo, 2011. http://tede.metodista.br/jspui/handle/tede/189.

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This dissertation intends to study the Christian Harp, one of the main national protestant hymnals, looking to identify it as instrument of expansion in Brazil s Pentecostalism mission in the period between 1910 and 1970, while appreciating the history and the creation of this liturgical book, intending to comprehend its usage as motivational element in the missionary practice of the Brazilian Pentecostal churches. It also consists of knowing the characteristics of construction of this compendium, passing through the presentation of its hymnists profiles and through the assiduous study of its musical structure and literary composition, while being aware of some important constitutive characteristics that are used, such as the theological concepts. Looking for a missiology concept that shows to be more correlated with the theological content of this hymnal and the referral of various examples of incitement to the evangelist practice found within its songs, which leads to the comprehension of the relevancy of the Christian Harp in the liturgical life of confessional pentecostal churches in Brazil, and its bold presence as an efficient developer of missionary practice of these faith communities.
Esta dissertação pretende estudar a Harpa Cristã, um dos principais hinários protestantes nacionais, buscando identificá-la como instrumento de expansão da missão no pentecostalismo do Brasil, no período comprendido entre os anos 1910 e 1970, apreciando a história e a formação deste livro litúrgico na pretensão de compreender sua utilização como elemento motivador para a prática missionária das igrejas pentecostais brasileiras. Consiste também em conhecer as características da construção deste compêndio, passando pela apresentação do perfil de seus hinistas e pelo estudo aplicado da sua estrutura musical e sua composição literária, conhecendo, ainda, algumas de suas importantes características constitutivas, como os conceitos teológicos de que faz uso em seu discurso. A procura por uma conceituação missiológica que se mostre mais identificada ao conteúdo teológico deste hinário e a indicação de vários exemplos de incentivo à prática evangelística encontrados em suas canções conduzem à compreensão da relevante importância da Harpa Cristã na vida litúrgica das igrejas de confissão pentecostal no Brasil e da sua marcante presença como eficiente agente fomentador do exercício missionário dessas comunidades de fé.

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Vamvouri, Ruffy Maria. "La fabrique du divin : les "Hymnes" de Callimaque à la lumière des hymnes homériques et des hymnes épigraphiques." Liège : Centre international d'étude de la religion grecque antique, 2004. http://catalogue.bnf.fr/ark:/12148/cb409347414.

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Morand, Anne-France. "Études sur les "Hymnes orphiques" /." Leiden : Brill, 2001. http://catalogue.bnf.fr/ark:/12148/cb389104757.

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Quate, Amy. "Hymns to Inanna." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500257/.

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The poetry of Sumer, inscribed in cuneiform script on clay tablets dating from 2000 B.C., is considered humanity's earliest written literature. Hymns To Inanna is a three-movement, mixed media work based on adapted English translations from ancient Sumerian text. The text is sung by SATB choir and musically illustrated by harp, flutes, percussion, and computer-generated sound (on tape). My musical setting displays these hymns not as a reflection of antiquity but as a timeless expression of spiritual thought. Certain elements of the composition evoke associations with early culture and music. These components, however, are transformed or merged with musical characteristics of other eras, idioms, and forms thus representing a conceptual and stylistic "bridge" between past, present, and future.

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Goeken, Johann. "Les Hymnes en prose d'Aelius Aristide : (or.XXXVII-XLVI)." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20063.

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La thèse est consacrée aux hymnes en prose (or. XXXVII-XLVI) d'Aelius Aristide, un orateur grec du IIe siècle ap. J. C. Elle consiste à jeter les bases d'une édition critique, en proposant une traduction (la première, en français, pour l'ensemble du corpus), des notes critiques et un commentaire. Le corpus ainsi fixé et interprété donne lieu à une étude synthétique développée. La Première Partie analyse le statut privilégié des hymnes en prose dans la carrière de l'orateur, la poéti-que qu'ils mettent en œuvre, leur ancrage dans la société gréco-romaine et la religiosité dont ils témoignent. Se présentant comme une recherche en rhétorique religieuse, l'enquête s'intéresse aussi aux rapports qu'entretient le sophiste hymnographe avec la poésie et la philosophie. Chaque texte, accompagné d'une traduction en regard, est précédé d'une notice (Deuxième Partie). Les notices présentent les circonstances de composition et de prononciation, la structure, l'esprit général et les carac-téristiques principales de chaque hymne, en précisant l'ancrage historique, institutionnel et civique de la perfor-mance oratoire. Fondé sur l'édition Keil (Berlin, 1898), le texte grec est révisé et libéré de conjectures difficile-ment justifiables. Le commentaire (Troisième Partie) veut répondre à cinq objectifs : 1) donner les moyens de situer les éta-pes de l'argumentation, en précisant notamment les topoi abordés ; 2) expliquer et commenter les citations dont l'orateur émaille sa prose ; 3) mettre en vedette certains effets de style et certaines finesses de l'expression ; 4) apporter des précisions permettant de comprendre les allusions à la mythologie et aux realia ; 5) discuter, le cas échéant, des interprétations proposées par les devanciers
This thesis deals with the hymns in prose (or. XXXVII-XLVI) of Aelius Aristides, a second century A. D. Greek orator. Its purpose is to provide the foundation for a critical edition of them, offering a translation into French (the first one ever for the whole corpus), as well as critical notices and commentary. So defined, the corpus will then be subjected to an extensive interpretative synthesis. The first part of the thesis analyses the favoured status of prose hymns in this orator's career, the poetics they put to work, the way they are firmly anchored in Greco-Roman culture and society and the religious attitude they reveal. This paper intends above all to investigate religious rhetorical practice, but it is also concerned with how the hymn sophist composer related to poetry and philosophy. In the second part, each piece comes with its translation on the opposite page, after a notice relating the circumstances of its composition, commenting on its pronunciation, structure, general spirit and main features; the notice also specifies the fundamental historical, institutional and political conditions of the individual oratory production. Based on the 1898 Keil's Berlin edition, the Greek text has been thoroughly revised and freed of many unjustifiable conjectures. A fivefold commentary, in the third part, aims at 1) describing the stages of the argumentation, while identifying the topoi that come into play; 2) explaining and commenting on the numerous quotations that enrich the orator's prose; 3) pointing out stylistic flourishes and linguistic niceties; 4) providing information about mythological allusions and contemporary realia; 5) discussing the opinions of former commentators

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Metcalf, Christopher Michael Simon. "Aspects of early Greek and Babylonian hymnic poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:70c45666-9768-41ac-bf42-5b5e1926d6d6.

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This thesis is a case study of early Greek poetry in comparison to the literature of the ancient Near East, especially Mesopotamia, based on a selection of hymns (or: songs in praise of gods) mainly in Sumerian, Akkadian, Hittite and Greek. Chapters 1–3 present the core groups of primary sources from the ancient Near East: Old Babylonian Sumerian, Old Babylonian Akkadian, Hittite. The aim of these chapters is to analyse the main features of style and content of Sumerian and Akkadian hymnic poetry, and to show how certain compositions were translated and adapted beyond Mesopotamia (such as in Hittite). Chapter 4 contains introductory remarks on early Greek hymnic poetry accompanied by some initial comparative observations. On the basis of the primary sources presented in Chapters 1–4, the second half of the thesis investigates selected elements of form and content in a comparative perspective: hymnic openings (Chapter 5), negative predication (Chapter 6), the birth of Aphrodite in the Theogony of Hesiod (Chapter 7), and the origins and development of a phrase in Hittite prayers and the Iliad of Homer (Chapter 8). The conclusion of Chapters 4–6 is that, in terms of form and style, early Greek hymns were probably not indebted to ancient Near Eastern models. This contradicts some current thinking in Classical scholarship, according to which Near Eastern influence was pervasive in early Greek poetry in general. Chapters 7–8 argue that such influence may nevertheless be perceived in certain closely defined instances, particularly where supplementary evidence from other ancient sources is available, and where the extant sources permit a reconstruction of the process of translation and adaptation. Hence this thesis seeks to contribute to the current debate on early Greek and ancient Near Eastern literature with a detailed analysis of a selected group of primary sources.

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Evers, Ute. "Das geistliche Lied der Schwenckfelder /." Tutzing : H. Schneider, 2007. http://catalogue.bnf.fr/ark:/12148/cb40995623d.

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DeLaurier, Raymond A. "Using hymns to preach biblical doctrine." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Da, Silva Eusebia. "Dramatic unity in Spenser's Amoretti, Anacreontics and Fowre Hymnes." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61905.

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Pires, Robert Brose. "Epikomios Hymnos: investigações sobre a performance dos epinícios pindáricos." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-13052014-110834/.

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Nesta tese, irei investigar as implicações que o uso consistente que Píndaro e Baquílides fazem do termo têm para a ocasião de performance dos epinícios. Irei argumentar, do ponto de vista da Linguística e da Poética Cognitivas, que, através de uma análise das passagens relevantes da literatura grega, de Homero ao drama do século V, o termo sempre implica algum tipo de celebração, seja móvel ou não, e que ele nunca é usado para denotar canção ou coro. Também irei argumentar que implica um frame dentro de um Modelo Cognitivo Idealizado para CELEBRAÇÃO DE VITÓRIA, dentro do qual referências às odes devem ser entendidas. Baseando-me nesta análise irei discutir as implicações dos resultados e reexaminar a pressuposição, atualmente tida como não problemática, segundo a qual as odes eram sempre executadas por um coro em sua première. Além disso, irei discutir também o problema da identificação da persona loquens nos poemas e irei propor que, na maioria dos casos, ela nunca parece se referir a um coro. Finalmente, discutirei alguns cenários de transmissão das odes, propondo que a escrita não precisa ser proposta para a transmissão do texto até uma data bem tardia e que uma tradição de reperformances orais dos poemas deve ter tido um papel essencial na preservação do texto.
In this thesis I shall investigate the implications of the consistent use Pindar and Bacchylides make of the term to the occasion of the performance of the epinikia. I shall argue, from the perspective of Cognitive Linguistics and Poetics, that, through the 9 analysis of the relevant passages in Greek literature from Homer to the V century drama, the term always implies some sort celebration, either mobile or not, and that it is never used to denote either song or chorus. Most importantly I shall argue that implies a frame in an Idealized Cognitive Model for VICTORY CELEBRATION within which references to the victory ode must be understood. Based on this, I shall discuss the implications of these results and try to reexamine the assumption, held as unproblematic by the majority of critics, that the victory odes were always performed chorally on its premiere. Additionally I shall also discuss the problems of identifying the persona loquens in the poems and I shall propose that in most cases it never seems to refer to a chorus. Finally, I shall discuss some scenarios of transmission of the odes, proposing that writing needs not be assumed for the transmission of the text until a fairly late date and that a continuous tradition of oral reperformances must have played an essential role in the preservation of the text.

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Geisler, Ursula. "Gesang und nationale Gemeinschaft : zur kulturellen Konstruktion von schwedischem "folksang" und deutscher "Nationalhymne /." Baden-Baden : Nomos, 2001. http://catalogue.bnf.fr/ark:/12148/cb38959692c.

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Wilkinson, Richard William. "A history of "Hymns ancient and modern"." Thesis, University of Hull, 1985. http://hydra.hull.ac.uk/resources/hull:8304.

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When the first Edition was published in 1861, Hymns Ancient and Modern Was just one of many collections of hymns. However, it rapidly established itself as the most popular of all. The subject of this thesis is the way that the Proprietors reacted to this success by bringing out enlarged and revised editions until the publication of the New Standard Edition in 1983. The background and the compilation of the First Edition is only briefly touched upon (I) although some attempt will be made to analyse its characteristics. The first major episode to be covered in detail will be the 1904 Edition, in which the Proprietors made a radical attempt to revise and reform the Victorian book which had developed from the First Edition. This attempt was, by Hymns Ancient and Modern standards, a failure. This failure will be explained and analysed, and its effect on future policies of the Proprietors will be assessed. To a remarkable degree the Proprietors swung over to a cautious conservatism by further enlarging the Victorian book, in order to produce the Standard Edition of 1922. The imperative need for change, however, could not be resisted for ever, in particular when the challenge of other books such as the English Hymnal had to be faced. The result was Hymns Ancient and Modern Revised, published in 1950. This was a new book, but far more limited in its innovations than mi9ht have been the case. No such criticism could, however, be levelled against the two supplements, A Hundred Hymns for Today and More Hymns for Today which were published in 1969 and 1980. The thinking behind these radical publications and the excision of nearly half the hymns in Hymns Ancient and Modern Revised to form the New Standard Edition will be discussed. The role of such key personalities as Baker, Frere and Nicholson will be evaluated, likewise the deliberations of the present members of the Council of Hymns Ancient and Modern as they look to the future.

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Yarbrough, Mark M. "Paul's hymnic call to godliness in 1 Timothy 3:16." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Kwon, Hee-Chang. "Le vocabulaire scientifico-technique dans les "Hymnes" de Ronsard (1555-1556)." Dijon, 1994. https://nuxeo.u-bourgogne.fr/nuxeo/site/esupversions/c81c879b-29c6-48b2-aaa5-166b18834f91.

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Les études ronsardiennes connaissent une prolifération considérable depuis une dizaine d'années, en particulier, les Hymnes bénéficient d'un développement exceptionnel. Toutefois, peu d'études sur les Hymnes se rapportent aux problèmes formels et, surtout s'agissant de la langue, rien ne s'accuse spécialement. Ainsi, il parait utile de procéder dans un premier temps à un relevé complet du vocabulaire scientifique et technique afin d'examiner sa spécificité. Après ce travail lexicographique, notre enquête portera sur la position du poète dans ses Hymnes vis-à-vis de ses nombreuses déclarations linguistiques faites depuis 1550 qui visent à l'enrichissement de la langue française ne faisant appel aux langues anciennes et vivantes, aux vieux fonds français et aux néologisme. Dans la deuxième partie, nous examinons le fonctionnement et la valeur du vocabulaire en décrivant "la structure relationnelle des valeurs sémantiques manifestées dans l'oeuvre". Nous essayons également d'éclairer les idées ronsardiennes recelées par les relations de mots
Studies on Ronsard have known a considerable proliferation for the last ten years or so, in particular, the Hymnes have benefited from this exceptional development. However, few studies about the Hymnes are connected to formal problems and especially concerning the language, nothing is particulary obvious. Thus it appears useful to initially proceed in making a complete list of scientific and technical vocabulary in order to examine its specificity. After, this lexicographic piece of work, our investigation will address the poet's position in the Hymnes vis-a-vis the numerous linguistic declarations made since 1550 which aim at enriching the French language by appealing to ancient and living languages, to old French sources and to neologismes. Secondly we will examine the function and the value of the vocabulary describing the relationnelle structure of the semantic values displayed in the work. We will try to clarify the ideas of Ronsard

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Brugeas, Pierre, and Jean-Baptiste Santeul. "Traduction annotée de commentée des Hymni sacri et novi de Jean de Santeul, accompagnée d'une biographie de l'auter." Paris 4, 1995. http://www.theses.fr/1995PA040216.

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Les hymnes traduits étaient destinés à renouveler le bréviaire de Cluny et de Paris. L'auteur, Jean de Santeul (1630-1697), très apprécié de ses contemporains et connu pour ses extravagances, est considéré comme le dernier grand poète néo-latin. Ses hymnes révèlent le souci d'une latinité très pure mise au service d'une esthétique cohérente marquée par le goût du baroque et le sens du sublime
The translated hymns were aimed at renewing the breviary of Cluny and Paris. The author, J. De Santeul (1630-1697), was very appreciated by his contemporaries and known as someone original. He has been considerated as the last great neo-Latin poet. His hymns have revealed the care of a very pure latinity and a research for coherent aesthetics, characterized by a baroque tendency and the sense of the sublime

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Kennel, Gunter. "Frühchristliche Hymnen ? : Gattungskritische Studien zur Frage nach den Liedern der frühen Christenheit /." Neukirchen-Vluyn : Neukirchener Verl, 1995. http://catalogue.bnf.fr/ark:/12148/cb38819689g.

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Hobbs, June Hadden. ""I sing for I cannot stay silent" : the feminization of American hymnody, 1870-1920 /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1994.

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Cinquegrani, David J. "The language of hymnody a theological and catechetical exploration /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Luiselli, Maria Michela. "Der Amun-Re Hymnus des P. Boulaq 17 (P. Kairo CG 58038) /." Wiesbaden : Harrassowitz, 2004. http://catalogue.bnf.fr/ark:/12148/cb39185357f.

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Pätzold, Alexandra. "Der Akathistos-Hymnos die Bilderzyklen in der byzantinischen Wandmalerei des 14. Jahrhunderts /." Stuttgart : F. Steiner Verlag Wiesbaden, 1989. http://catalog.hathitrust.org/api/volumes/oclc/20586117.html.

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Mathew, Thomas. "Hymnic affirmation of Yahweh's sovereignty a study of the doxologies of Amos /." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Veluppillai, Uthaya. "Cikali : hymnes, héros, histoire. Rayonnement d'un lieu saint shivaïte au Pays Tamoul." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030051/document.

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Cıkali est le site le plus célébré dans le Tevaram, corpus de poèmes de la bhakti shivaïte composés en tamoul dans la seconde moitié du premier millénaire : soixante-et-onze hymnes lui sont dédiés. Lieu de naissance de Campantar, un des trois auteurs du Tevaram, Cıkali aurait été chanté, selon la tradition, sous douze toponymes différents. Notre travail de type monographique porte sur l’histoire religieuse du site de Cıkali qui n’a jamais été étudié alors qu’il représente un haut lieu de la tradition des textes de bhakti shivaïte tamoule. Nos sources sont constituées de trois corpus textuels appartenant à trois genres différents de diverses périodes qui permettent de rendre compte du rayonnement continu de ce site : le corpus du Tevaram sur Cıkali (partie i), généralement daté des viie-ixe siècles, le corpus des hagiographies sur Campantar (partie ii) attribuées à des poètes des xie-xiie siècles, et le corpus des inscriptions du temple de Cıkali (partie iii) qui forme une documentation inédite du xiie au xvie siècle.À travers une approche « archéologique » de ces sources qui permettent de reconstituer, de manière générale,l’histoire du site de Cıkali, nous proposons une étude historique des textes du Tevaram sur Cıkali, nous retraçons l’histoire de la légende de l’enfant Campantar et nous éditons le corpus épigraphique de ce temple au rayonnement local
Cıkali is the most celebrated temple in the Tevaram, a corpus of Shaiva bhakti poems composed in Tamil inthe second half of the first millennium : 71 hymns are dedicated to it. The birth place of Campantar, one of thethree authors of the Tevaram, Cıkali has been praised, according to tradition, under 12 names.Our monographic study deals with the religious history of the Cıkali temple which has never been studiedalthought it is a highly traditional place for Tamil bhakti texts. Our sources are three corpuses of different genresand periods which highlight the continuous spread of this site : the Tevaram corpus on Cıkali (part i), which canbe dated in the viith-ixth centuries, the hagiographical corpus on Campantar (part ii) attributed to poets of thexith-xiith centuries, and the unpublished epigraphical corpus of the Cıkali temple (part iii) from the xiith to thexvith century.. On the basis of our archaeological approach of these sources, we reconstruct the history of the Cıkali temple.Further, we propose a historical study of the Tevaram on Cıkali, we investigate the history of the child Campantar’slegend and we edit the epigraphical corpus of this localy spread site

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König, Stefan. "Regers Hymnus der Liebe für Bariton (oder Alt) und Orchester op. 136." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A32330.

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Guillet-Laburthe, Suzanne. "Les Hymnes de 1537 de Jean Salmon Macrin : edition, traduction et commentaire." Paris 4, 2007. http://www.theses.fr/2007PA040177.

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Jean Salmon Macrin (1490-1557), poète néo-latin originaire de la ville de Loudun, valet de chambre du roi François Ier aux côtés de Clément Marot, fut considéré de son vivant comme le plus grand poète lyrique après Horace. Nous proposons ici l’édition, la traduction et le commentaire des Hymnes de 1537, un recueil charnière dans sa carrière littéraire, qui marque le retour à une piété plus ardente et plus intimiste, témoigne d’un approfondissement de la veine familiale et réalise l’alliance du lyrisme profane et d’une pensée érasmienne. Le lecteur trouvera dans ces pièces de circonstance, odes auliques, méditations spirituelles, éloges des grands hommes de lettres, hymnes à Dieu, à la Vierge et aux saints, odes domestiques et autobiographiques, l’harmonieuse union de l’érudition, de la virtuosité métrique, d’une rhétorique affective et d’un idéal de la sincérité
Jean Salmon Macrin (1490-1557), famous neo-latin poet, native from Loudun, in France’s Touraine region, held the position of official valet and poet from the king François the first, like his colleague Clément Marot. He was considered during his lifetime as the greatest lyric poet after the great Horatius. This book proposes an edition, a French translation and a commentary of the Hymns of 1537, a key book in Macrin’s production. In these poems, Macrin returns to a more ardent yet intimistic devotion, a sign of his shift towards family topics. Macrin’s poems are a synthesis between profane lyrism and Erasmus’ philosophy. The reader will find in this book occasion lyricism, official odes, spiritual meditations, praise to humanists, hymns to God, the virgin Mary and the saints, as well as domestic and autobiographic odes. All poems demonstrating a wonderful harmony between erudition, metric virtuosity and seekness of sincerity

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Eglite, Sarma A. "The sacred songs of the followers of the lamb an examination of Latvian Brudergemeine hymns from 1739 /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Zumbach, Eric Hudson. ""Is the Pacifique Sea my home?" John Donne's hymns /." NCSU, 2003. http://www.lib.ncsu.edu/theses/available/etd-07222003-145320/.

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Scholars have traditionally regarded John Donne?s three Hymns as independent works of devotional or meditative verse. This study proposes that Donne?s Hymns are read properly as a tripartite sequence, one which addresses the poet?s desire for a spiritual union with Christ. Before that union may occur, Donne must ?tune the Instrument? of his soul by submitting his fallen will to the will of Christ. The Hymns are that ?tuning,? that labor of submission. As they unfold, the Hymns present the drama of Donne?s piety wrestling with his aggressive will, and his transformation from a self-serving rake dedicated to his ?Iland? of ?false mistresses? into a Christ-serving religious. Until the last line of the Hymns, Donne seems to have won spiritual security: he has prayed for release from his ?Iland,? he has ?embrace[d]? the body and blood of Christ, and he has confessed his ?sinne of feare,? despair. However, the final line of the Hymns, ?I have no more,? seems to unravel Donne?s spiritual work. His final perplexing, ambiguous line could indicate (among many other meanings) that he has fully transformed, or that he has abandoned the enterprise altogether. ?I have no more,? an enunciation of Donne?s fallen will, proves if anything that the work of the soul is never complete.

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Ludwig, Marie-Christine. "Untersuchungen zu den Hymnen des Išme-Dagan von Isin /." Wiesbaden : O. Harrassowitz, 1990. http://catalogue.bnf.fr/ark:/12148/cb37610469n.

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Kern, Martin. "Die Hymnen der chinesischen Staatsopfer : Literatur und Ritual in der politischen Repräsentation von der Han-Zeit bis zu den Sechs Dynastien /." Stuttgart : F. Steiner, 1997. http://catalogue.bnf.fr/ark:/12148/cb37659433n.

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Reiche, Christina. "Ein hymnischer Text in den Gräbern des Ḥwyʼ, ʼIʻḥ-ms und Mry-Rʻ in El-ʻAmarna : Text und Textsorte, Textanalyse und Textinterpretation : ein "sozio-kommunikativer" Ansatz /." Wiesbaden : Harrassowitz, 1998. http://catalogue.bnf.fr/ark:/12148/cb37673727h.

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Texte remanié de: Diss.--Fachbereich Philologie III--Mainz--Johannes Gutenberg-Universität, 1995.
Contient les textes égyptiens du "Grand hymne à Aton" et du "Petit hymne à Aton", et leur trad. allemande en regard. Commentaire en allemand. Bibliogr. p. 375-401. Index.

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Palmer-Quay, Dianne M. "Developing indigenous hymnody an annotated bibliography for cross-cultural workers /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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Jordaan, Gerrit. "Die interpretasie en uitvoering van Stefans Grové se Afrika hymnus II / G.A. Jordaan." Thesis, North-West University, 2008. http://hdl.handle.net/10394/771.

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The main objective of this mini-dissertation is to research the interpretation and performance practice of Stefans Grove's organ work Afrika Hymnus 11. Grove as a person, is introduced here by different means, one being through his own written essays. The creation and inspiration behind the Hymnus 11 - as stated by the composer, is given. Compositional aspects like the character, form, texture and motive development are analysed and performance aspects like tempo, registration, articulation and agogics are discussed. In the addenda the Hymnus 11 is placed within the context of Grove's oeuvre and the South African organ repertoire. As the 1995 Rieger organ (UNISA) inspired the registration of this work, the disposition of this instrument is given here. The more refined registration for this work - after suggestions by the composer - that was used for the Exhibition of Grove's music (2007), is published here. A study edition of the Afrika Hymnus 11 (in Sibelius 4 notation) is also included. It is the wish of the author that this mini-dissertation could help to include Grove's master work, Afrika Hymnus 11 in the generally performed organ repertoire
Thesis (D.Mus)--North-West University, Potchefstroom Campus, 2008.

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Dufourcet, Marie-Bernadette. "Les Hymnes "Pange lingua" dans la polyphonie vocale et instrumentale à la Renaissance." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376133871.

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Dufourcet, Marie-Bernadette. "Les hymnes "Pange lingua" dans la polyphonie vocale et instrumentale à la Renaissance." Paris 4, 1988. http://www.theses.fr/1988PA040050.

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L'analyse des pange lingua composes en europe aux xve et xvie s. , permet d'examiner dans le detail, les tendances generales du repertoire religieux de l'epoque, comme, par exemple, l'accroissement de l'effectif, l'essor du style imitatif, le recul du cantus firmus en valeurs longues, au profit d'un cantus firmus integre a la polyphonie, l'evolution du langage vers l'equilibre entre contrepoint et harmonie, sentiment modal et tonal, l'incorporation progressive de la tierce majeure dans les accords terminaux et, sur le plan prosodique, la volonte de rendre plus perceptibles les paroles ou de respecter l'accentuation latine, dans les oeuvres post-tridentines. Enfin, les pange lingua instrumentaux illustrent, de facon assez representative, les differents stades de l'emancipation stylistique du repertoire instrumental, par rapport a l'ecriture vocale
The analysis of the pange lingua hymns composed in europe in the 15th and 16th centuries allows us to examine in detail the general tendencies of the religious repertoire of the period. Examples of this include the increasing number of voices, the rise of the imitative style, the decline of the use of the cantus firmus in long note values, towards a cantus firmus integrated into the polyphony, the development of the musical language towards a balance between counterpoint and harmony, modal and tonal feeling, the progressive incorporation of the major third in final chords, and, on the prosodic level, the will to make the words more perceptible and to respect the latin accentuation in the post-tridentine works. Finally, the instrumental pange lingua illustrate, representatively, the different stages of the stylistic liberation of the instrumental repertoire with regard to the vocal writing

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Guèvremont, Jeanne. "Chanter qui nous sommes : les hymnes nationaux comme indicateurs de l'identité d'un peuple." Thèse, Université du Québec à Trois-Rivières, 2010. http://depot-e.uqtr.ca/1241/1/030145804.pdf.

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Grassien, Céline. "Préliminaires à l’édition du corpus papyrologique des hymnes chrétiennes liturgiques de langue grecque." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040249.

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Cette thèse prépare l’édition du corpus des hymnes chrétiennes liturgiques de langue grecque conservées par les sources papyrologiques trouvées en Égypte et datées entre le IVe et le IXe siècle. L’introduction définit les termes du sujet, fixe la terminologie poétique et liturgique et justifie les limites chronologiques et géographiques du corpus. La première partie (vol. I t. 1) expose les étapes de la constitution du corpus de la collecte des papyrus, établit le protocole d’identification et de sélection des papyrus et propose un classement croisant quatre principes, par document entier, par destinataire du culte, par modèle littéraire et par thème liturgique Une deuxième partie (vol. I t. 2) rassemble cinq études préparatoires à l’édition des papyrus, puis une étude illustrant les problèmes d’édition posés par neuf papyrus remarquables et une synthèse destinée au futur Dictionary of Hymnology. Elle comporte trois annexes détaillant l’apport des autres sources anciennes transmises par la tradition manuscrite au travail du papyrologue, les principes de la poésie religieuse byzantine de rythme accentuel et une liste des hymnographes chrétiens anciens de langue grecque, ainsi qu’une bibliographie générale. Un CD-ROM de planches numérisées de 21 papyrus servant à la datation paléographique ou éditées dans les études est joint (non communicable). Le vol. II (t. 1 et 2) contenant les éditions des 209 papyrus (avec présentation matérielle, bibliographie, édition du texte grec, reconstitution en grec normalisé, apparat critique) est communiqué au jury afin de permettre la discussion du classement proposé dans la thèse
This thesis presents the preparation of an edition of christian liturgical hymns, in greek, on papyrological materials discovered in Egypt, dated between the 4th and 9th centuries. The introduction defines the subject, clarifies the liturgical and poetic terminology and determines the chronological and geographical boundaries of the corpus of 209 hymns. The first part of the first volume describes the steps in assembling the corpus, establishes a protocol for referencing the papyri and proposes four levels of classification: by document, by religious entity, by literary type and by liturgical topic. The second part of the first volume contains five preparatory studies for editions of the papyri, a paradigmatic study of the problems confronted in the editions of nine specific papyri and a general summary destined for an upcoming publication in the Dictionary of Hymnology. This first volume includes three annexes: a list of ancient sources whose texts survived through manuscript copies, a detailed description of the principles of rhythmic accents in byzantine religious poetry and a chronology of early christian hymnographers in the greek language. There is also a general bibliography at the end of the volume and a CD-ROM that contains digital images of 21 papyri that are either included in the preparotory studies or that served as paleographic paradigms for the dating of the materials. The second volume of the thesis contains editions of 209 papyri. These includes editions of the original greek texts, apparatus criticus, normalized editions of the greek texts and bibliographies. This second volume was provided to the jury only, in order to foster and support a discussion of the classification systems determined within the thesis

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Abbott, Rebecca L. ""What? bound for Canaan's coast?" songs of pilgrimage in the American church /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Jolle, Jonas. "The uses and function of mythology in Goethe's Early hymns." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297534.

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Shaver, Joel A. "Metaphors of travel in the language of hymns : 1650–1800." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2381/.

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This dissertation concentrates on the role of the conceptual metaphor LIFE IS A JOURNEY in English hymns of the 17th and 18th centuries, addressing the following research questions: 1) To what extent and in which contexts have elements of the lexical category of travel, applied metaphorically, been used in English spiritual language and literature in the period 1650–1800? 2) How has metaphorical extension affected the semantic development of this category? This dissertation discusses the use of travel metaphors as structural schemata for complete hymns, and analyzes the use of individual elements of travel-related terminology across a historical textual corpus. The analyses in this dissertation are undertaken in light of recent trends in semantics, and with the aim of contributing to the development of Cognitive Metaphor Theory as a tool for historical linguistic analysis and literary criticism.

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Shepardson, Christine. "Anti-Judaism and Christian orthodoxy : Ephrem's hymns in fourth-century Syria /." Washington, D.C : The Catholic Univ. of America Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780813215365.

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Berg, Robert Maarten van den. "Proclus hymns : essays, transl., commentary by R. M. Van den Berg." Leiden : K. Brill, 2001. http://catalogue.bnf.fr/ark:/12148/cb388033174.

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Zueger, Agnes C. "The Psalms, hymns and spiritual songs of the season of Advent." University of Portland, 2009. http://library2.up.edu/theses/2009_zuegera.pdf.

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Volk, Mitchell James. "GRAAPHS: graphic representations of abstract and altruistic phenomenological hymns and stories." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6871.

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Hannon, Elizabeth. "The influence of Paradise Lost on the hymns of Charles Wesley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25417.

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An overview of the prose writings of John Wesley, and the hymn writing of his brother Charles, shows that John Milton was an important influence on both men. A search of the literature indicates that critics have rarely noticed this, and although some work has been done on John's abridgement of Paradise Lost, there are no qualitative studies of its effect on the hymnody of Charles. Although the singing of hymns is a potential way of influencing language and doctrine of all singers, it is particularly important for people who have little other education. Charles Wesley, as the most prolific English hymnwriter, was influential in educating generations of church-goers. He used Paradise Lost in several ways: l)by simple appropriation of diction, 2) by combining it with the Bible in four specific ways, i.e., a) simple addition of images and language from Paradise Lost to biblical sources, b) magnification of a biblical idea by projecting it through a scene in Paradise Lost, as in the case of the hymn, "Soldiers of Christ Arise" which is influenced by Book 5, c) the use of the Bible and Paradise Lost as joint "pre-text" to create a new concept, and d) the use of Paradise Lost to "Christianise" a Psalm. Psalm 24 is used as an example. Obvious reasons why Charles Wesley might wish to imitate Milton, such as Milton's popularity in the eighteenth century, and Wesley family connections with Milton, are explored and considered not significant, but a common classical education is important. The two men have similar theological views in two doctrines essential to the Wesleyan revival: a) justification by faith and b) universal redemption. Other similarities are their expression of views on covenant theology, the nature of the goodness of God, and the name of God as "all in all." Their audiences were different but their purposes were similar: to teach "serious godliness" by inculcating doctrine and inspiring faith in a way that would touch the minds and hearts of their readers. Three appendices are presented: one on the problem of the hymn as a literary genre, the second on the audience for Wesley hymns, and the third on the history of literary criticism of the Wesleys.
Arts, Faculty of
English, Department of
Graduate

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McKenzie, Hope Bussey. "The Craft of the Old English Glossator: Latin Hymns in the Anglo-Saxon Hymnarium." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332508/.

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The ten hymns of this study cover such overlapping categories as doctrine, solemn occasions in the rites of the Anglo-Saxon Church, and hymns prescribed in the Regularis concordia for the "little hours" of the daily office, as well as a historical overview from the fourth to the early tenth centuries.

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Karsten, Wilfred L. "New pericopal-based hymnody for Lutheran corporate worship." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Boettcher, Glenn Roy. "A heart longing for God." Online full text .pdf document, available to Fuller patrons only, 1985. http://www.tren.com.

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Khwela, Princess Phiwakahle. "African culture and its influence on the hymn." Thesis, University of Zululand, 1988. http://hdl.handle.net/10530/1283.

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Submitted in partial fulfilment of the requirements for B.A. Honours degree in the Department of African Languages at the University of Zululand, South Africa, 1988.
The aim of study is to motivate cultural heritage amongst Africans, to despise the past in their musical ability and be self-!'reliant and original instead of imitating the Western musical systems entirely.

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Mesplé, Raymond. "Hymnologie protestante et acculturation musicale à Tahiti et en Imerina (Madagascar) /." Lille : A.N.R.T, 2003. http://catalogue.bnf.fr/ark:/12148/cb390577515.

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Maravelia, Amanda-Alice. "Les astres dans les textes religieux en Egypte antique et dans les "hymnes orphiques" helléniques." Limoges, 2004. http://www.theses.fr/2004LIMO2005.

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Cette thèse examine l'évolution de la pensée astronomique ainsi que les idées astronomiques et cosmovisionnelles diverses dans l'Egypte pharaonique (C. 2800 à 1200 BCE), d'après les textes religieux importants comme les "Textes des pyramides" e les "Textes des sarcophages". Plus précisément, nous examinons les conceptions que les Egyptiens se faisaient des astres (étoiles, Soleil, Lune et planètes) ; nous les comparons aux mêmes notions dans les "Hymnes orphiques" ; enfin, nous les comparons avec prudence épistémologique - mutatis mutandis - aux conceptions astronomiques et cosmologiques modernes. Bien que notre étude comparative entre les conceptions des astres chez les Egyptiens et les Orphiques soit complète, notre analyse des sources égyptiennes quant à elles (PT, CT, BD, & C. ) n'est pas exhaustive. Notre étude textuelle des "Hymnes orphiques" et des textes funéraires égyptiens se place dans le cadre interdisciplinaire de l'Egyptologie et de l'Archéoastronomie.

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Dissertations / Theses on the topic 'Hymnist'

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