Log in

Relevant bibliographies by topics / Hymns, American / Dissertations / Theses

To see the other types of publications on this topic, follow the link: Hymns, American.

Dissertations / Theses on the topic 'Hymns, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 15 dissertations / theses for your research on the topic 'Hymns, American.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ginn, Craig Warryn Clifford. "Theological authority in the hymns and spirituals of American Protestantism, 1830-1930." Thesis, University of Leeds, 2009. http://etheses.whiterose.ac.uk/12735/.

Full text

Abstract:

This dissertation examines theological authority in the hymns and spirituals of American Protestantism within the period 1830-1930. It investigates the deuterocanonical status of hymns in hymnic-theological commentary, and demonstrates the functional canonicity of hymns in three case studies (children's hymnody, African American spirituals, and hymns of marginalized groups), and two representative areas of praxis (conversion and missions). This dissertation consults a variety of primary source materials, both elite and popular, including journals, biographies, conference minutes, academic addresses, theological works, hymn prefaces, domestic novels, newspapers, and poetry. These sources are used to situate the hymnal in the cultural context of American Protestantism and determine the status and role of hymnody. As the Bible is acclaimed the exclusive canonical text of Protestantism, consideration of the hymnal's theological authority in canonical terms is at odds with Protestant biblicism. As such, this dissertation's claim that the hymnal shared, to a significant degree, the Bible's place as a textual source of theological authority, is intellectually innovative. In identifying didactic and doctrinal themes in hymnals, primarily through systematic theology, this dissertation shows the role of hymns and spirituals in regulative theology and audible faith. Thus defended in this dissertation, is the hymnal's capacity to adjudicate on matters of faith and praxis. Of additional importance to this dissertation is its contribution toward hymnic theology, as well as demonstrating the hymnal's influence upon historical theology, liturgical theology, cultural theology, and evangelistic theology. This dissertation yields various insights for theology, especially the soteriological efficacy· of hymnody, the role of hymns in regulative theology, and the discussion of antiSemitism and black-liberation theology in African American spirituals. In applied theology and congregational studies the ramifications are critical, with the analysis of hymnic authority, the intersection of singing and doctrine (lex cantandi lex credendi), and the Bible and hymnal as mutually constitutive, all of paramount importance.

APA, Harvard, Vancouver, ISO, and other styles

4

La, Spata Adam Nunzio. "Psalms, Hymns, and Commercial Songs: Tradition and Innovation in James Lyon's "Urania"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707400/.

Full text

Abstract:

This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.

APA, Harvard, Vancouver, ISO, and other styles

5

Spearman, Richard E. "African American acculturation as a consideration for the revision of the hymnal in the United States Armed Forces Book of worship." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Stevens, Theresa A. "America's Patriotic Hymnal - Sweet Land of Liberty, Fruited Plains, and The Coming of the Lord." Ohio Dominican University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=odu1406576170.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Ridley, Sarah Elizabeth. ""That Every Christian May Be Suited": Isaac Watts's Hymns in the Writings of Early Mohegan Writers, Samson Occom and Joseph Johnson." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984204/.

Full text

Abstract:

This thesis considers how Samson Occom and Joseph Johnson, Mohegan writers in Early America, used the hymns of English hymnodist, Isaac Watts. Each chapter traces how either Samson Occom or Joseph Johnson's adapted Isaac Watts's hymns for Native communities and how these texts are sites of affective sovereignty.

APA, Harvard, Vancouver, ISO, and other styles

8

Sims, Scott G. "Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501161/.

Full text

Abstract:

This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.

APA, Harvard, Vancouver, ISO, and other styles

9

McCabe, Juhnke Austin. "Music and the Mennonite Ethnic Imagination." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523973344572562.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Kindley, Carolyn E. "Miriam's timbrel : a reflection of the music of Wesleyan Methodism in America, 1843-1899." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/454809.

Full text

Abstract:

The purpose of the study was to examine nineteenth century church music practices. This was done by 1) studying the attitudes displayed in the church periodical of The Wesleyan Methodist Connection (later, Church) of America; 2) locating and analyzing 44 tunes suggested in Miriam's Timbrel, a hymnal published for the Connection in 1853. This church was formed by people who seceded from a number of different denominations over the issue of slavery. It therefore represented the music practices of several American Protestant groups of the time.Findings1. Vocal music dominated music worship practices.2. Congregational singing was emphasized; every worshipper was urged to participate.3. Choirs were permitted but were often criticized and many thought their membership and music should be carefully regulated.4. There was much controversy over instrumental music; from 1845 to 1899 the church Discipline recommended that congregations dispense with its use.5. The history of each suggested tune was studied. Sources were discovered to be primarily European, either by actual composition or by influence.6. The tunes were grouped in categories according to origin: 1) the "better music" school of Lowell Mason and his coworkers, twelve tunes; 2) parlor songs by known composers, twelve; 3) folk song origin, nine; 4) European sacred sources, six; 5) European secular sources, four; 6) early American hymn tune, one.Similar characteristics were discovered among the tunes.The majority displayed:A 6- or 7-tone scaleMelodic range o f a 7th-9thFour or eight line stanzasConjunct melody linesSyllabic or slightly neumatic settings Common duple, triple, or quadruple meters Repetitive rhythmic patternsGenerally slow harmonic rhythm Simple harmonic structuresMajor keys with less than four sharps/flatsNon-traditional poetic meters.The tunes were relatively simple, easily learned, and in the popular styles, sacred and secular, of the nineteenth century.

APA, Harvard, Vancouver, ISO, and other styles

11

Lelos, Ingrid Goggan. "The spirit in the flesh : the translation of German Pietist imagery into Anglo-American cultures." 2009. http://hdl.handle.net/2152/18446.

Full text

Abstract:

During the Protestant evangelical awakenings of the eighteenth and nineteenth centuries, widely-circulated hymnals carried the message of evangelicals by way of mouth across great periods of time and vast geographic expanses. This study traces the cultural route of specific religious expressions in these hymns as they crossed national, linguistic, ecclesiastic, social, and other cultural barriers to become ubiquitous expressions found in religious, social, and political discourses. More specifically, this dissertation traces the route of fleshly-spiritual imagery in Baroque Lutheran and German Pietist hymns as they traveled to England by way of the Wesleys during the eighteenth-century evangelical revival and eventually surfaced during the Methodist revivals of the Second Great Awakening in nineteenth-century America. Fleshly-spiritual imagery, that concretizes spiritual experience in the human body, expressed a change in religious subjectivity experienced by Protestant revivalists in the period. This imagery captures an epistemological change in progress as individuals took authority from the clergy to commune directly with the Divine and judge the validity of that experience for themselves. Rather than framing this work as a study of specific authors or literary movements, I have traced the historical trajectory of a set of discursive practices as they were used by hymn authors, re-written by hymn editors, and often spontaneously reedited by participants. This discursive approach without regard to authorship and often in absence of standard texts more clearly illuminates the convergence of religious and public rhetoric, an intersection that remains occluded by traditional studies of a single author, genre, literary period, or national literature.
text

APA, Harvard, Vancouver, ISO, and other styles

12

Tuiasosopo, Kuki M. "Pese ma vīʻiga i le Atua : the sacred music of the Congregational Church of Jesus in Sāmoa : ʻO le ʻEkālēsia Faʻapotopotoga a Iēsū i Sāmoa." Thesis, 2005. http://hdl.handle.net/10125/11756.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

"A survey of hymn-playing requirements in selected American Christian college and university piano departments." UNIVERSITY OF SOUTH CAROLINA, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3354865.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Hallum, Christopher David. "Chamber symphony : Wondrous love." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6175.

Full text

Abstract:

Wondrous Love (public domain) is an old American hymn tune that I have known for a long time, and I have used it as the primary source material for my Chamber Symphony, trying throughout the piece to vary the texture and mood of the music. The piece opens with a sort of static texture, which gives way to a section where veiled references to the hymn tune become gradually more apparent. This veiled section almost dies away when the next section begins with a clear woodwind choir announcement of the first part of Wondrous Love. This short section, which is primarily transitional in nature, then moves through the strings, brass, and other instruments to effect a modulation into the next section. The next section is the first full announcement of the Wondrous Love hymn tune. While the music itself does not really change for the next two iterations of the tune in the section, the instrumentation is varied, and there is a modulation. This rather transparent music then dies away to a single note in the violins; this serves as a transition into a dreamlike section. This dreamlike music ends rather suddenly with an explosive tutti moment of which augmentation and open sonorities are the most salient features. The piece then comes to a close shortly thereafter with music that gradually dies away.
text

APA, Harvard, Vancouver, ISO, and other styles

15

Peterson, Erik C. "Playing, learning, and using music in early Middle Indiana." Thesis, 2013. http://hdl.handle.net/1805/3804.

Full text

Abstract:

Indiana University-Purdue University Indianapolis (IUPUI)
This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!