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examination of pre- and post-Vatican II music for the Roman Catholic liturgy
Title
An examination of pre- and post-Vatican II music for the Roman Catholic liturgy: ethnic diversity as a vehicle of unity.
Creator
Panayiotou, Andrea C., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
The Second Vatican Council of 1962-1965 initiated the translation of the Roman Catholic liturgy into languages other than Latin, spurring numerous ethnic musical settings which have seemingly departed from the unitive nature of a universal Latin liturgy. Following an examination of the musical history of the Latin liturgy, this document examines the changes introduced into music for the Roman Catholic liturgy after Vatican II, discussing how different parishes have subsequently incorporated...
Show moreThe Second Vatican Council of 1962-1965 initiated the translation of the Roman Catholic liturgy into languages other than Latin, spurring numerous ethnic musical settings which have seemingly departed from the unitive nature of a universal Latin liturgy. Following an examination of the musical history of the Latin liturgy, this document examines the changes introduced into music for the Roman Catholic liturgy after Vatican II, discussing how different parishes have subsequently incorporated the teachings of the Council with regard to music for the liturgy. The study then addresses specific post-Vatican II musical settings for the liturgy through an analysis of examples from different cultural backgrounds and a discussion of their positive usage and unifying effects within Catholic communities, in order to demonstrate that through their inclusion of diverse musical and cultural styles united with fidelity to Church teaching, post- Vatican II settings can continue the Church's catholic (universal) mission.
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Date Issued
2011
PURL
http://purl.flvc.org/FAU/3333062
Subject Headings
History, Liturgy, Church music Catholic Church, Cross-cultural studies, Music, Religious aspects
Format
Document (PDF)
Beethoven
Title
Beethoven: his nine symphonies and their influence on the development of the orchestra.
Creator
Padua, Daniel., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Beethoven is widely considered to be one of the most influential composers of all time. His compositions denote a crucial turning point in the history of western music, and his influence can be discussed in numerous ways - musically, technically, theoretically and even philosophically. This treatise discusses one of the primary aspects of Beethoven's influence on later generations: the way that his symphonies contributed to the expansion of the genre and, consequently, to the development of...
Show moreBeethoven is widely considered to be one of the most influential composers of all time. His compositions denote a crucial turning point in the history of western music, and his influence can be discussed in numerous ways - musically, technically, theoretically and even philosophically. This treatise discusses one of the primary aspects of Beethoven's influence on later generations: the way that his symphonies contributed to the expansion of the genre and, consequently, to the development of the orchestra. Included is a detailed analysis of his nine symphonies, an overview of his personal life, and an exploration of the historical, social, and political time in which he lived. This thesis collects and examines relevant documents in order to inquire about and better understand the changes and innovations that transformed the standard orchestra of the eighteenth century, opening the doors to the symphonic music of the Romantic Era.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2978945
Subject Headings
Influence, Criticism and interpretation, Performance practice (Music), History, Music, Philosophy and aesthetics, Instrumentation and orchestration, History, Arrangement (Music), History
Format
Document (PDF)
voice of nationalism in Moniuszko's opera
Title
The voice of nationalism in Moniuszko's opera.
Creator
Niewczas, Marlena., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
Stanislaw Moniuszko (1819-1872) is the father of the Polish national opera, and yet he is little known outside Poland. His two masterpieces, Halka and The Haunted Manor, are operatic works that contributed to the development of national music. Moniuszko composed during the middle of the nineteenth century when Poland was under control of the three Powers: Russia, Prussia, and Austria. A study of Polish history reveals the understanding of Moniuszko's position as an artist and the role of his...
Show moreStanislaw Moniuszko (1819-1872) is the father of the Polish national opera, and yet he is little known outside Poland. His two masterpieces, Halka and The Haunted Manor, are operatic works that contributed to the development of national music. Moniuszko composed during the middle of the nineteenth century when Poland was under control of the three Powers: Russia, Prussia, and Austria. A study of Polish history reveals the understanding of Moniuszko's position as an artist and the role of his operas. The national elements portrayed in his compositions include Polish dances, such as the polonaise, mazurka, and krakowiak, as well as folk tunes, and most importantly, the libretto with social and patriotic stances. This thesis intends to enlighten English speakers about the development of Polish national opera, its innovator, and his techniques.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/1930489
Subject Headings
Criticism and interpretation, Criticism and interpretation, Nationalism in literature, Music, History and criticism, Nationalism, History, Politics and government
Format
Document (PDF)
Urban space and the birth of punk
Title
Urban space and the birth of punk.
Creator
Fletcher, Paul., Harriet L. Wilkes Honors College
Abstract/Description
While the general public agrees that the Sex Pistols were punk--they were dirty, vile, low-class, and they sang crass lyrics--their aesthetics were originally brought into punk by the New York Dolls, by bringing the street into their performance. The New York Dolls were from the New York City streets; they were mediocre musicians, unglamorous, and not at all phantasmagorical. They removed the hierarchy and the bourgeois elements from their performances that had been established by previous...
Show moreWhile the general public agrees that the Sex Pistols were punk--they were dirty, vile, low-class, and they sang crass lyrics--their aesthetics were originally brought into punk by the New York Dolls, by bringing the street into their performance. The New York Dolls were from the New York City streets; they were mediocre musicians, unglamorous, and not at all phantasmagorical. They removed the hierarchy and the bourgeois elements from their performances that had been established by previous New York City bands like the Velvet Underground--who performed as high-class, elitist artists. The New York Dolls destroyed this hierarchy, allowing the audience to join them. So, all the aesthetics that are associated with punk are the physical, visual, and auditory manifestations of the original scene and unity that began with the New York Dolls.
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Date Issued
2006
PURL
http://purl.flvc.org/FAU/11586
Subject Headings
Rock musicians, Music, Philosophy and aesthestics, Counterculture, History, Punk rock music, History and criticism, Punk culture, History
Format
Document (PDF)