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Dissertations / Theses on the topic 'Sacred vocal music'

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Published: 4 June 2021

Last updated: 31 July 2024

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1

Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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2

Steed, Janna T. "Duke Ellington's jazz testament the sacred concerts /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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3

Hafar, Matthew Alan. "The psalmody of Monteverdi : choral settings of the vesper psalms CX and CXI." Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/6031.

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4

Ziegler, Reinald. "Die Musikaliensammlung der Stadtkirche St. Nikolai in Schmölln/Thüringen repertoiregeschichtliche Studien und Katalog : ein Beitrag zur Musiküberlieferung im 16. und 17. Jahrhundert in Mitteldeutschland /." Tutzing : Schneider, 2003. http://catalog.hathitrust.org/api/volumes/oclc/51654880.html.

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5

Board, Ryan Everett William A. "Dietrich Buxtehude's Membra Jesu nostri a study in baroque affections and rhetoric /." Diss., UMK access, 2006.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2006.<br>"A dissertation in conducting." Advisor: William Everett. Typescript. Vita. Description based on contents viewed Oct. 30, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 100-102). Online version of the print edition.

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6

Bunnell, John H. "An open-ended database guide to assist ministers of music and vocal soloists to select solos that will match and enhance the lectionary readings during the Easter cycle (year "A")." Theological Research Exchange Network (TREN), access this title online, 2006. http://dx.doi.org/10.2986/tren.089-0073.

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7

Greene, Charles F. "There came Jesus a choral depiction of Messiah's last days of earthly ministry /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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8

Gardner, David B. "Filled with the fullness of God a choral concert expressing God's design for mankind /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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9

Soga, Hector Ian. "The sacred vocal works of Gottfried August Homilius (1714-1785) with particular reference to his St. Mark Passion." Thesis, University of Glasgow, 1989. http://theses.gla.ac.uk/3961/.

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The chance discovery of a composer of whom the present writer had previously been unaware; who was allegedly a pupil of J.S. Bach; whose list of compositions occupied no small space in modern lexicographical entries, let alone in Eitner's now largely obsolete catalogue; who, according to Feder in his article entitled Decline and Restoration in Protestant Church Music - a History, though highly regarded in his day, had not received detailed consideration: such were the factors which gave impetus to the present day. No sooner was that study underway than it transpired that others, too, had been

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10

Jeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /." Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.

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11

Ealy, Gregory. "Medieval Russian chant and the contemporary church." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0469.

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12

Abdel-Malek, Kamal. "The sīra of the prophet Muḥammad in the repertoire of the contemporary Egyptian Maddāḥin". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39333.

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This is an interpretive study of the life of the Prophet Muhammad as it is artistically depicted in the repertoire (especially the narrative ballads) of fifty-one contemporary Egyptian maddahin (singers of eulogies in honour of the Prophet Muhammad, sing. maddah). The elements of this repertoire, as diverse as narrative ballads, classical odes, Qur'an chanting, and the melodies of the secular songs of well-known Egyptian singers, do not exist as discrete units but rather as a lively tawlifa (blend)--to use a common term in Colloquial Egyptian Arabic (CEA). This study is about blends where disc

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13

Clay, William Rudy Paul. "Incarnation for soprano duo and chamber ensemble /." Diss., UMK access, 2008.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>"A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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14

Palionis, Solveiga. "Formation of pastoral musicians in Lithuania pastoral project : intensive one week summer course /." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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15

Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the develo

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16

Sullivan, Ryan W. "A Performance Edition of the Vespers Settings in Sacri E Festivi Concenti, Opera Nona by Giovanni Legrenzi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505211/.

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Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by cre

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17

Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.

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18

Napier, Dione J. "A STUDY OF J.S. BACH’S SACRED AND SECULAR VOCAL WORKS INFLUENCED BY POPULAR STYLIZED DANCE OF THE FRENCH BAROQUE COURT: A PERFORMER’S GUIDE." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/23.

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Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource fr

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19

Kirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.

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Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of

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20

Collingridge, Lorna Marie, and n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her

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21

Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her

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22

Eyzaguirre, Roberto. "Melchor Tapia and music in the Lima cathedral /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121815d.

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23

Cunha, Alcingstone de Oliveira. "The Portuguese royal court and the patronage of sacred music in Rio de Janeiro, 1808-1821 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122091j.

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Diss.--Philosophie--Fort Worth, Tex.--Southwestern Baptist theological seminary, 1998.<br>Liste des musiciens (compositeurs et instrumentistes) de la Chapelle royale de Rio de Janeiro. Bibliogr. p. 151-165.

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24

Simon, Laurent. "L’œuvre vocale sacrée de Henry Purcell : à la recherche d’un équilibre." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040238.

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Le développement de la musique religieuse de Henry Purcell pendant la seconde moitié du dix-septième siècle est le fruit d’un compromis fructueux entre les contraintes politiques et religieuses de l’Angleterre de la Restauration et l’influence du baroque continental. L’évolution stylistique de ses compositions reflète la politique menée par les souverains successifs : Charles II, Jacques II et Guillaume d’Orange. Musicien baroque en pays anti-papiste, Purcell se montre particulièrement habile dans la manière de mettre les mots en musique et parvient à un équilibre entre l’exigence des réformat

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25

Fructus, Michel. "Les cantates de Nicolaus Bruhns (1665-1697)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20067/document.

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Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions oppos

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26

Tramonte, Marcella 1989. "O Coro Santa Cecília, uma análise documental : o papel da mulher como educadora musical na primeira metade do século XX em São João da Boa Vista /." São Paulo, 2017. http://hdl.handle.net/11449/151758.

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Orientadora: Dorotea Machado Kerr<br>Banca: Lutero Rodrigues da Silva<br>Banca: Hélio Sales Rios<br>Resumo: Este trabalho tem como foco o Coro Santa Cecília, coro feminino pertencente à associação católica Pia União das Filhas de Maria na cidade de São João da Boa Vista, na primeira metade do século XX. O grupo vocal, "moderno" para sua época, chegou a obter considerável projeção regional e desempenhou importante papel na transmissão de conhecimento na cidade e contexto em questão. Visto que os estudos direcionadas à educação feminina e à participação de mulheres na educação musical ainda se e

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27

López, Morillo Luis. "Les Bourbons sacrés : musica sacra y liturgia de Estado en las cortes de Roma, Madrid y Versalles (1745-1789)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL174.

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La présente thèse tente d'aborder, pour la première fois, une analyse comparative du rôle que la musique liturgique a joué dans le processus de construction de l'image sacrée des souverains de la maison Bourbon de France et d'Espagne dans le cadre des cérémonies religieuses célébrées aux cours de Madrid et de Versailles pendant les dernières décennies de l'Ancien Régime, ainsi que du rôle que l'exemple de la Chapelle pontificale a joué dans ce processus. Le but principal de cette étude a été d’apporter un cadre conceptuel et un modèle d'analyse qui permettraient d'aborder une étude globale de

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28

Esteves, Claudio Antonio. "A obra vocal "de capella" de padre Jose Mauricio Nunes Garcia : seis edições e seus elementos de escrita." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284225.

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Orientador: Helena Jank<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-27T00:26:48Z (GMT). No. of bitstreams: 1 Esteves_ClaudioAntonio_M.pdf: 10002260 bytes, checksum: c92a190f687f190dda5ade9b48cf3e06 (MD5) Previous issue date: 2000<br>Resumo: O conhecimento teórico de Padre José MauricioNunes Garcia, referência maior do Período Colonial Brasileiro, é ainda subestimado apesar de sua grande produção. Contribui para isto a pouca quantidade de obras editadas disponíveis para análise. O presente trabalho tem como objetivo

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29

Woetmann, Christoffersen Peter Manley James. "French music in the early sixteenth century : studies in the music collection of a copyist of Lyons : the manuscript Ny kgl. Samling 1848 2 ° in the Royal Library, Copenhagen /." Copenhagen : Museum Tusculanum Press, 1994. http://catalogue.bnf.fr/ark:/12148/cb36959192q.

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30

Tenne, Pierre. "L’harmonie du Prince. Musique, sacré, pouvoirs dans les cours de Paris et Florence (vers 1560-vers 1610)." Electronic Thesis or Diss., Sorbonne université, 2020. http://www.theses.fr/2020SORUL155.

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À partir d’une démarche transdisciplinaire, notamment entre histoire et musicologie, cette thèse interroge les usages politiques de la musique sacrée dans les cours de Florence et Paris entre 1560 et 1610. En suivant l’angle du spectacle musical, il s’agit de démontrer tout d’abord qu’apparaissent dans la période de nouvelles formes de spectacles musicaux dans les cours considérées, comme en attestent les écrits humanistes comme les réformes ecclésiastiques menées par les synodes et conciles provinciaux. Ces spectacles musicaux permettent de répondre aux crises religieuses et politiques que re

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31

Bolin, Joseph. "Doctoral thesis recital (lecture) conducting." Thesis, 2013. http://hdl.handle.net/2152/23468.

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32

Keyser, Amy Von Glahn Denise Stravinsky Igor Stravinsky Igor Stravinsky Igor. "A question of religion Igor Stravinsky's early sacred works /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08282003-161809/.

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Thesis (M.M.)--Florida State University, 2003.<br>Advisor: Denise Von Glahn, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-18-03). Document formatted into pages; contains 63 pages. Includes biographical sketch. Includes bibliographical references.

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33

Ethier, Glen Edward. "A methodology for the analysis of melodic accent in Renaissance sacred polyphony." Thesis, 1996. http://hdl.handle.net/2429/4836.

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Modern scholars have suggested various approaches to the analysis of the pretonal repertory. However, if we consider the question of how the individual voice parts interact in a Renaissance polyphonic composition to create coherence for the movement as a whole, we find that there are no tools available to undertake such a task. We may be able to speak generally of the arrival of certain moments as relatively accented or unaccented; we may even be able to dissect a complete melodic line with some segmentation process to highlight motivic structure, phrase development or contou

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34

Buijs-Dragusin, Cornelia. "Liturgical music in a new Japanese religion : the formation, survival and repositioning of tenrikyo through music." Phd thesis, 2013. http://hdl.handle.net/1885/151126.

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The Japanese religion, Tenrikyo, has a well-established reputation as one of the oldest 'new' Japanese religions still in existence. Its endurance over nearly two centuries might be partly explained by the many musical genres used in activities undertaken by its followers, because Tenrikyo music can draw on both traditional and contemporary themes, and employs a variety of styles. This thesis explores the way that music shapes and consolidates the Tenrikyo identity, has enabled it to become known to the world outside the religion, and has laid foundations for its future through propagation. Ce

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35

"Sacred vocal music by Ignacio Jerusalem found in the archives of the National Cathedral in Mexico City." Thesis, 2009. http://hdl.handle.net/1911/61817.

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This thesis analyzes and transcribes into a modern performing edition eight sacred works for solo voice and instrumental accompaniment by Ignacio Jerusalem, the chapelmaster of the National Cathedral in Mexico City from 1749 to 1769. It also places these works in historical context by examining Jerusalem's position within the evolution of Western musical style in New Spain. The following works are transcribed and analized: Responsorio Segundo del Patrocinio de Santo San Jose, Responsorio Quinto de la Concepcion de Nuestra Senora, Responsorio Segundo Para Los Matines de Santo Ildefonso, Motete

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36

O'Connor, Michael Brian Kite-Powell Jeffery T. "The polyphonic compositions on Marian texts by Juan de Esquivel Barahona : a study of institutional Marian devotion in late Renaissance Spain /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-08282006-160857/.

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Dissertation (PhD) Florida State University, 2006.<br>Advisor: Jeffrery Kite-Powell, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-10-07). Document formatted into pages; contains 246 pages. Includes biographical sketch. Includes bibliographical references.

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37

Dean, Michael Noel Zumaya Manuel de. "Renaissance and Baroque characteristics in four choral villancicos of Manuel de Sumaya analysis and performance editions /." 2002. http://catalog.hathitrust.org/api/volumes/oclc/52941754.html.

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38

Moshugi, Kgomotso Samuel. "Between the church and the marketplace: how professional gospel musicians negotiate the tension between sacred and market contexts, with reference to the case of No Limits, a vocal music group from Soweto." Thesis, 2016. http://hdl.handle.net/10539/19387.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in fulfilment of the requirements of the degree of Masters in Arts, Culture and Heritage Management<br>The music industry as a sector of cultural industries provides an environment for musicians to engage with the business of music. Churches, as religious and social environments, provide a platform for musical activity and development for musicians. While the church has provided musical development, the music industry has been looked to for sustaining musical careers. Using the adaptation of the Land

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39

Odewole, Israel Oluwagbemiga Omoniyi. "Missional character of music in worship : a study of select churches in the metropolitan city of Abeokuta, Nigeria." Thesis, 2016. http://hdl.handle.net/10500/22012.

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In this thesis, the researcher engages in emerging work in music in worship to deepen contemporary conversations about musical styles in worship. This thesis critically examines the missional character of music in worship in seven selected evangelical churches in the metropolitan city of Abeokuta, Nigeria in order to propose a sustainable model for promoting God’s missions. . The selected churches are The Assemblies of God Church, Four Square Church, The Baptist Church, The Church of Nigeria, Anglican Communion, The Redeemed Christian Church of God, The Apostolic Faith, and The Gosp

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