Dissertations / Theses: 'Hymns and songs of the church'

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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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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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Hammond, Susan J. "Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians." Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.

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Cedergren, Mats. "Lars Åke Lundberg och den andliga visan 1965-1973 : tolkning och teologiskt tänkande under 68-epoken." Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445511.

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Uppsatsen visar hur prästen och tonsättaren Lars Åke Lundberg har medverkat till den andliga visans teologiska bestämning i en banbrytande och samhällsomvälvande tid 1965-1973. Studien omfattar det urval av andliga visor Lundberg själv valt att tonsätta/översätta under tidsperioden. I uppsatsen görs en analys av vistexterna utifrån några valda samhällsteologiska motiv. Resultatet av textanalysen sammankopplas med den tidsanda, som då rådde. Uppsatsen bidrar också till en samhällsteologisk förståelse av vad som hände inom Svenska kyrkan under perioden. Förståelsen av den politiska förändringen kom inifrån Svenska Kyrkan i första hand och inte genom yttre påverkan.
The essay shows how the priest and composer Lars Ake Lundberg has contributed to the theological determination of the spiritual song in the pioneering and revolutionary period of the society in 1965-1973. The study includes the selection of spiritual songs that Lundberg himself chose to compose/translate during the time period. In the essay, analaysis of the lyrics is made based on some selected theological motives belonging to the society. The result of the analysis of the texts is connected with the spirit of the time, which then prevailed. The essay also contributes to a theological understanding of what happened whithin the Church of Sweden during the period. The understanding of the politcial change came from the Church of Sweden itself and not primarly through external influences.

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Bart, Carol Vanderbeek. "Developing worship enrichment through congregational song at Ramapo Valley Baptist Church, Oakland, New Jersey." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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6

鄭寧人. "中文聖歌集心頌、頌恩之語言風格初探 = The stylistic exploration of Chinese hymns in Xin Song and Song En." Thesis, University of Macau, 2000. http://umaclib3.umac.mo/record=b1636173.

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Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene." Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.

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Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia.
Thesis (DMus)--University of Pretoria, 2005.
Music
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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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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/.

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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.

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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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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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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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Arrington, James N. "The journey home : a root-metaphor analysis of the 1840 Mormon Manchester hymnbook /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1177.pdf.

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Beal, John C. "An introduction to the musical octoechos of the Georgian Orthodox Church." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Davidson, Jill D. "Prayer-songs to our elder brother : Native American Church songs of the Otoe-Missouria and Ioway /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841275.

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Kassam, Tazim R. "Songs of wisdom and circles of dance : an anthology of hymns by the Satpanth Ismāʻīlī Saint, Pīr Shams." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39477.

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This dissertation offers for the first time an extensive scholarly translation of an anthology of 106 ginans (sacred hymns) attributed to the Isma'ili saint-composer, Pir Shams. The Ginan tradition is a sacred corpus of devotional poetry belonging to a sub-sect of the Shiah Muslims known as the Satpanth Isma'ili Khojahs. Composed in various North Indian dialects, ginans are part of a broader rich and complex heritage of Indo-Muslim folk literatures in the Indian subcontinent. For centuries, however, the Satpanth Isma'ilis have carefully guarded this sacred tradition for fear of persecution. By thus presenting a major translation of ginans attributed to a pivotal figure in Satpanth Isma'ilism, this dissertation aspires to advance significantly the academic study and knowledge of this scarcely examined sacred literature.
To date, the syncretic nature of Satpanth Isma'ilism has been viewed within a framework of conversion. Thus, generally, the ginan literature has been explained as the creative attempts of Isma'ili pirs (venerated teachers) to effect changes in religious orientation by conveying Nizari Isma'ili teachings through Hindu symbols and themes. However, an examination of the internal evidence in the ginans of Pir Shams--who belonged to the beginnings of Satpanth--in conjunction with events in Sind and the greater Isma'ili world at the time, has brought into focus crucial social and political factors that may also have instigated the formation of Satpanth Isma'ilism.

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Demirjian, Mesrob Zaven. "The hymns of Pentecost of the Armenian Apostolic Orthodox Church translation with theological commentary /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Bigler, Nathan Robert. "Musical Form in Hymns of the Church of Jesus Christ of Latter-Day Saints." Thesis, Northern Arizona University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10817691.

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Hymn singing is an integral part of both congregational and private worship for millions across the globe. While hymns have been the subject of research regarding history, origins, and cultural influence, there has been very little research regarding musical forms and harmonic structures found in nineteenth- and twentieth-century Protestant hymns. In discussing form, many theory texts describe the bulk of modern hymn music as “strophic.”

Using William Caplin’s text Classical Form (1998) as a model of analytical techniques and principles, this thesis examines the Mormon collection Hymns of the Church of Jesus Christ of Latter-day Saints (1985) and reveals that “strophic” is too narrow a label for an entire hymnal. Four formal models and one harmonic structure emerge. Each is identified by specific musical characteristics (illustrated using hymn examples), and together these five structures encompass a majority of the 341 hymns in the hymnal. Chapter 1 gives a brief historical review of Protestant hymn development and of the LDS hymnal. Chapter 2 discusses the analytical methods used in this study. Chapter 3 introduces the two smaller multi-phrase models: the “small-scale model” that manifests as any of several variations of an aaba phrase structure; and the “two-phrase model” that manifests as an extremely compact binary structure. Chapter 3 also introduces the “standard harmonic structure” that circumscribes expository, transitional, developmental, and closing/cadential harmonic functions across a single hymn. Chapter 4 introduces the two larger sectional models (made up of phrase groups): the “verse-chorus model” that manifests as a sectional binary form with distinctive musical characteristics in each half; and the “large-scale model” that encompasses all other sectional hymns. There are dozens of ways individual hymns can manifest the characteristics of one model or another, and much of the interest of studying hymns is found in discovering that within these five structures the hymns exhibit an abundance of structural variety, creativity, and interest. Chapter 5 examines ways that many hymns stretch the model boundaries, exhibit formal trends outside the model boundaries, or largely defy formal categorization based on the four models and the standard harmonic structure outlined in this study.

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Green, Richard T. (Richard Thurmond). "Remembrance of the Fiftieth Anniversary of the Dedication of the Moravian Church at Lititz, Pennsylvania, 13 August 1837: An Edition of Moravian Music." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500942/.

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This thesis is a musical reconstruction of the primary services held on 13 August 1837, for the fiftieth anniversary of the dedication of the Moravian church at Lititz, Pennsylvania. The work includes general background on the Moravians and interprets information from contemporary sources to place the music in its accurate historical context. The edition of music comprises more than one half of the paper, and is taken from the original manuscript scores used. Included in the edition are five concerted anthems for choir and orchestra, and eighteen hymns from eighteenth- and early nineteenth-century Moravian tunebooks. The special texts come from an original set of orders of service.

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Yokosaka, Yasuhiko. "Developing the guidelines for the revision of the hymnal (1954) of the United Church of Christ in Japan /." Access Digital Full Text version, 1985. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10556370.

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Handman, Deborah Fleenor. "Healing songs understanding and creating powerful music for the American church /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Chacko, Abi. "Beth gazo a study of the eight tone music system as used in the Malankara Orthodox Syrian Church /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0463.

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Elliott, Mark W. "The Song of Songs and christology in the early Church, 381-451 /." Tübingen : Mohr Siebeck, 2000. http://catalogue.bnf.fr/ark:/12148/cb38889232v.

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Smoak, Alfred M. "Identifying contemporary praise & worship songs for use during the church year at Trinity Baptist Church, Livermore, California." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Kuswanto, Cornelius. "A reformed interpretation of the Song of Songs in light of the history of interpretation." Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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Burnham, Richard A. "A plan by which to introduce the new hymnal to the Bethany United Methodist Church." Theological Research Exchange Network (TREN), 1989. http://www.tren.com/search.cfm?p100-0080.

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Tonsing, Johanna Gertrud. "Searching for the "Good Song" - Determining the quality of Christian songs within the polarities of worship." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/40212.

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This thesis tries to answer the question what Christians should be singing in worship and why. The situation in many congregations is one of conflict around music and worship styles. The question is how these can be bridged and how worship leaders can be guided to make responsible choices about what is sung in Sunday worship. It is argued that what is sung, strongly influences the theology and faith of congregants. The thesis locates the discipline of hymnology within a hermeneutical approach to practical theology and tries to develop a theory to answer the question how to determine quality in Christian songs. The current discussions in practical theology and hermeneutics are examined for their relevance to hymnology, particularly some of the insights of Habermas, Gadamer and Ricoeur. Here particularly the idea of “dialogue” and “fusion of horizons” becomes relevant for bridging the divides in the conflicts around worship music. The dissertation examines biblical and church historical answers to the question of whether and what Christians should be singing. It becomes clear that the answers have varied widely during the course of church history, sometimes swinging between extremes. The next chapter looks at songs in the context of the worship service, their function within various parts of the service, and particularly looks at the dialectical poles of worship which should be kept in balance. Musical perspectives are discussed looking at ways to help people not formally trained in music to evaluate tunes. This theoretical section leads to a catalogue of criteria for “Good songs”: These are criteria for quality, for “Good Text”, such as biblical and theological value, how easily it is understood, whether it takes human experience seriously and its poetic value. Criteria for “Good Tune” include its level of difficulty, how heavily it depends on accompaniment, and its balance between the familiar and the interesting and new. The third category of criteria evaluate the match between text and tune in mood, rhythm and climax. The last category looks at the balance in the song between different polarities, such as, amongst others, the balance of past and present, cognitive and emotive elements, between challenge and affirmation, and between universal and particular emphases. This list of criteria is then tested on three songs each of four different songwriters: two traditional and two contemporary: Paul Gerhardt, Charles Wesley, Graham Kendrick and Noel Richards. In each case a background is given, an overview of their work as a whole and a detailed analysis of each song. In the end the criteria themselves are evaluated as to their usefulness and user-friendliness. Suggestions are then made how these criteria can guide worship leaders in their choices of songs for the Sunday service.
Thesis (PhD)--University of Pretoria, 2013.
gm2014
Practical Theology
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Nelms, Jonathan P. "A guide to the liturgical use of the Baptist Hymnal (1991) in fourfold Sunday worship at First Baptist Church, Cookeville, TN." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Michel, Stefan. "Gesangbuchfrömmigkeit und regionale Identität : ihr Zusammenhang und Wandel in den reußischen Herrschaften vom 17. bis zum 20. Jahrhundert /." Leipzig : Evang. Verl.-Anst, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2963693&prov=M&dokv̲ar=1&doke̲xt=htm.

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Read, Daniel. "WHY WE SING ALONG: MEASURABLE TRAITS OF SUCCESSFUL CONGREGATIONAL SONGS." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/102.

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Songwriters have been creating music for the church for hundreds of years. The songs have gone through many stylistic changes from generation to generation, yet, each song has generated congregational participation. What measurable, traceable qualities of congregational songs exist from one generation to the next? This document explores the history and development of Congregational Christian Song (CCS), to discover and document the similarities between seemingly contrasting styles of music. The songs analyzed in this study were chosen because of their wide popularity and broad dissemination among non-denominational churches in the United States. While not an exhaustive study, this paper reviews over 200 songs spanning 300 years of CCS. The findings of the study are that songs that have proven to be successful in eliciting participation all contain five common elements. These elements encourage congregations to participate in singing when an anticipation cue is triggered and then realized. The anticipation/reward theory used in this study is based on David Huron’s ITPRA (Imagination-Tension-Prediction-Reaction-Appraisal) Theory of Expectation. This thesis is designed to aid songwriters and music theorists to quickly identify whether a CCS can be measured as successful (i.e., predictable).

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Kohle, Maria. "Das Paderborner Gesangbuch 1609 : das älteste erhaltene katholische Gesangbuch Westfalens und sein gottesdienstlicher Gebrauch im Dienst der Katholischen Reform /." Paderborn : Bonifatius, 2004. http://www.loc.gov/catdir/toc/fy054/2005377827.html.

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32

McElwain, Randall D. "Singing the word: the role of the Old Testament in selected hymns of Charles Wesley and some implications for Twenty-First Century worship in terms of the 'Blueprint' model /." Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.

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33

Weiss, Joanne Grayeski. "The relationship between the "Great Awakening" and the transition from psalmody to hymnody in the New England colonies." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/535900.

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This study examines the relationship between the first major religious revival in the New England colonies and the change from psalmody to hymnody in the mid-eighteenth century through an approach which integrates the two fields of theology and church music. The termination date is 1770, and the focus is Protestant congregational song in the three groups most influenced by Puritan thought: the Congregationalists, the Presbyterians, and the Baptists.While much has been written separately about the change in eighteenth-century sacred song and the Great Awakening itself, there has been little research that attempts to place the psalmody/hymnody issue within the larger context of the changing theological milieu. This study first examines the theological and ecclesiastical structures which provided the context for Reformed worship, and then explores how fundamental changes in those structures and thought systems impacted congregational song. In order to comprehend the major changes which occurred in the mid-eighteenth century in colonial America, chapters on the Reformed Church and the beginning and spread of psalmody, the New England colonies to 1700, and the beginning of English hymnody are included.Conclusions1. The primary conclusion of this study is that the Great Awakening is the single most important factor in the change from psalmody to hymnody in the New England colonies. It is not a peripheral factor as indicated in much of the research. Rather, it provides both the rationale and the means for the transition in church song. The Great Awakening represented a basic theological change from a theocentric to an anthropocentric viewpoint that subsequently required alterations in sacred song. The revival movement, through its evangelistic spirit, also provided the vehicle by which this change in psalmody was effected.2. The agitation of the 1720s as evidenced in the tracts and treatises did not affect the transition directly. However, it is indicative of the increasing discontent with traditional Calvinist theology.3. The Psalms and Hymns of Isaac Watts were not a primary reason for the change, but met the needs of the new anthropocentric theology of the Great Awakening that required a new language of praise.
School of Music

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Scott, Carol. "Common foundations the hymnals of the United Methodist Church and the black Methodist denominations /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Elliott, M. W. "The Song of Songs and Christology in the early Church, with special reference to the period 381-451." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598817.

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This thesis shows how the two central characters of the Song of Songs, the male Bridegroom and the female Bride, were understood by Christian writers the few decades either side of AD400. It argues that Christology, as the relationship of God to Humankind in the Incarnation, was not simply a background issue in their presentation of these two figures. It is as if the two usually accepted models for interpreting the Song, namely those of "Word-Soul" and "Christ-Church", blend for a while during this period, before going their separate ways. An introduction explains how the Song was understood in early Christianity (with some reference to Judaism and Gnosticism), the state of Christology and biblical hermeneutics by this period and some account of how the two combined. Details required to situate the relevant works of these writers are given in the first chapter. It appears that the Song of Songs was not a contributor to Christological doctrine, but that its interpretation offered a window into the Christological understanding of the Church, revealing some things more clearly than purely doctrinal writings did. Even in the writer who seems most interested in relating the Song to Christology (Apponius) the Song as a whole is understood as an account of, or pattern for, Christian spirituality. Yet the verses, or more accurately the images to be examined, are those which say something specifically about the personae of the Groom and Bride. The Groom is clearly the Word of God, but rarely is he, the wooer of the Christian soul, described as purely that. That which is predicated of him is frequently with reference to his incarnate state or form. There are some for whom this is less the case (eg Ambrose). After looking at the images which speak of the Groom in his essence, his presence, his relationships, his actions, his power, his scope, it would appear that, at the heart of all such depictions, the Word is presented as none other than the Incarnate One.

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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.

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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.

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Fredin, Tuva. "Påskens psalmer : En studie av de fyra evangeliernas uttryck genom påskens psalmer i Svenska kyrkan." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-186757.

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The study consists of a survey in which church musicians answered questions about which hymns are played during the various gatherings of Easter in the Church of Sweden. Based on the Swedish Hymn Book, the answers to the questionnaire are presented and a selection of hymns is made for the study. The psalms are analyzed on the basis of a hermeneutic method and in the light of reception theory regarding the origin of the psalms through the narrative of the biblical gospels. The study compares the Bible reading that occurs during Easter gatherings in the Church of Sweden and the hymns that are sung. It describes whether these different texts are common to the psalms and the reading or whether they are independent of each other. Finally, what happens to the Gospel texts when they are converted into a psalm is discussed. What happens is that the whole of the Gospels is included and not just specific pericopes. The psalm does not reflect the feeling of what is happening in the reading of the gospel, but contributes with a completely different feeling. This means that the experience of the gospel narrative through the psalm becomes different from the gospel narrative through reading.

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Simbandumwe, Samuel S. "Israel in two African prophet movements : an inquiry into the Mount Zion-Jerusalem concept and the Prophet's role as reflected in the aspects of hymns and prayer-songs of the Kimbangu and Shembe Prophet movements." Thesis, University of Edinburgh, 1990. http://hdl.handle.net/1842/30755.

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When the profane world and secular society threaten man's socio-religious life, he takes refuge in the centre of the world of his religion. This centre for the Israelite, Kimbangu and Shembe Prophet Movements is the cosmic mountain. The phenomenon of theophany on it characterises the genesis of earth's unpolluted life, through which they try to transcend the profane world. In such a situation the Israelite, Kimbangu and Shembe Prophet Movements were born and emerged in protest against colonisation and corruption. The prophets of these Afro-Israel movements claimed to be under the control of the Spirit. They were compelled to deliver a divine message of both condemnation and redemption through the spoken and sung word. With their prophecies, hymns and prayer-songs they attempted to reform the evil systems of their societies, they questioned the right of the oppressor and led pilgrims to the road of the New Jerusalem, the place of comfort and liberation. The thesis analyses the cosmological significance of the sacred mountain and discusses what Zion-Jerusalem is believed to have in common with Nkamba-Jerusalem of the Kimbanguists, Nhlangakazi and Ekuphakameni of the Shembeites. It observes parallels between the three Prophet Movements in their socio-religious traditions. The research was conducted within the guideline of a major research question and four subsidiary questions. The answers to the questions were reached through the interpretation of the socio-religious traditions and analysis of prophecies, hymns and prayer-songs of the prophet Movements. As a result, the thesis concludes that the cosmic mountain in the Prophet Movements is pre-eminently the centre of the pilgrim's world of socio-religious life. Through the phenomenon of theophany on the cosmic mountain, the pilgrim re-enters into the realm of the primal instant perfection of nature and foretastes the paradisiacal life. He feels the need to be and stay always at the centre of this life-giving force. It is his sanctuary, the centre of divine powers and axis mundi where he meets his ancestors and God. The reading of the Bible opened the eyes of the prophets Kimbangu and Shembe to see the sacred symbols of Zion-Jerusalem in their holy mountains, the rich heritage of their traditional religion and values of their socio-cultural traditions. Thus they established Churches based authentically on African Christianity.

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Neufeld, Matthias. "Das Bild der Kirche im Singen der Gemeinde : Überlegungen zur Bedeutung des gesungenen Wortes für das Selbstverständnis der Kirche anhand ausgewählter Lieder des "Evangelischen Gesangbuchs" /." Freiburg : [Rombach], 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2770153&prov=M&dok_var=1&dok_ext=htm.

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Gilman, Daniel. "The Acoustics of Abolition: Recovering the Evangelical Anti–Slave Trade Discourse Through Late-Eighteenth-Century Sermons, Hymns, and Prayers." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24055.

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This thesis explores the late-eighteenth-century movement to end Britain’s transatlantic slave trade through recovering one of the major discourses in favour of abolition, namely that of the evangelical Anglicans. This important intellectual milieu has often been ignored in academia and is discovered through examining the sermons, hymns, and prayers of three influential leaders in this movement: Member of Parliament William Wilberforce, pastor and hymn writer John Newton, and pastor and professor Charles Simeon. Their oral texts reveal that at the heart of their discourse lies the doctrine of Atonement. On this foundation these abolitionists primarily built a vocabulary not of human rights, but of public duty. This duty was both to care for the destitute as individuals and to protect their nation as a whole because they believed that God was the defender of the enslaved and that he would bring providential judgement on those nations that ignored their plight. For the British evangelicals, abolishing the slave trade was not merely a means to avoid impending judgement, but also part of a broader project to prepare the way for Jesus’s imminent return through advancing the work of reconciliation between humankind and God as they believed themselves to be confronting evil in all of its forms. By reconfiguring the evangelical abolitionist arguments within their religious framework and social contexts, this thesis helps overcome the dissonance that separates our world from theirs and makes accessible the eighteenth-century abolitionist discourse of a campaign that continues to resonate with human rights activists and scholars of social change in the twenty-first-century.

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Wissmann, Cheryl. "Worship practice in the Churches of Christ, Central Luzon, Philippines." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/13642.

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Worship practice in Christian churches around the world has changed rapidly in the last two decades. The impact of contemporary Christian music on non-western churches has been little studied. The Filipino Churches of Christ of Central Luzon have utilized tools of a worship service order and a hymnbook provided by American missionaries in the early twentieth century to establish a consistent worship practice. As the new music has entered through international marketing and communication, the worship order has remained the same while the usage of the Tagalog himnario has declined. This research reviews Filipino history, the history of the Churches of Christ, missionary practice in the Filipino Churches of Christ, the translation of the himnario from the English, the impact of new Tagalog lyrics, and the importation of contemporary Christian music into the Churches of Christ.

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

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Anderson, Stephen Reg. "Heart of the Fathers, for Wind Symphony." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2546/.

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Heart of the Fathers is a programmatic, seven movement work for wind symphony depicting my ancestors and their role as part of the history of The Church of Jesus Christ of Latter-day Saints. The movements represent their spiritual experiences, labors, times of joy, persecution, migration, and finally their arrival and success in their new homeland. The piece is organized in seven movements. Each movement represents a different portion of history leading to the western migration of my ancestors. The programmatic music contains a variety of symbols depicting the experiences of the pioneers. In the paper, each chapter addresses an individual movement. For each movement, the following information is provided: the historical events that inspired the piece, the musical symbols that characterize the program, and an analysis of the function of the music.

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Treacy, Susan. "English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.

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Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).

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Recek, Andrea. "Shaping Hagiography through Liturgy: Music for the Patron Saints of Three Cathedrals in Medieval Aquitaine." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404611/.

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While the development of hagiography over time has long attracted the attention of medievalists, scholars have not fully explored the critical role of the liturgy in prompting and transmitting these changes. This dissertation examines the liturgies for the patron saints of three musical and ecclesiastical centers in medieval Aquitaine: the cathedrals of Saint-Trophime in Arles, Saint-Just-et-Saint-Pasteur in Narbonne, and Saint-Étienne in Toulouse. Through the music, texts, and ritual actions of the liturgy, the clerical communities of these three institutions reinforced some aspects of their patron saint's legendary biography and modified others. Yet the process unfolded differently at each cathedral, revealing the particular preferences of the canons of each community as well as their changing circumstances during the Middle Ages. In Arles, the office for St. Trophime, which was likely composed at the cathedral, shows dramatic changes in the saint's hagiography. The clerics in Narbonne also composed an office for their patron saints but did not substantially change the details of Justus and Pastor's legendary biography. In Toulouse, the canons selected from among the preexisting repertoire of chants and texts available for St. Stephen, crafting liturgies that were particular to Saint-Étienne within a clearly Aquitanian context. By revealing the ways in which the clerics of Saint-Trophime, Saint-Just, and Saint-Étienne shaped the legendary biographies of their patron saints, my work provides new insights into the ways in which clerical communities throughout Latin Christendom shaped and reshaped the hagiographic portraits of their patron saints through the creation, compilation, and celebration of new liturgies.

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Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.

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The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.

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Blomberg, Sigrid Margrete. "Primärsånger : En empirisk studie om andliga barnsånger i Jesu Kristi Kyrka av Sista Dagars Heliga." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-17831.

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Syftet med studien är att få en djupare inblick i om informanternas trosuppfattning harpåverkats av barnsångerna de fick sjunga i Jesu Kristi Kyrka av Sista Dagars Heliga då de varsmå, och i så fall hur detta har påverkat dem.Sex informanter som alla gick i Primär (kyrkans organisation för barn) har valts ut ochintervjuats. Informanterna är i åldrarna 19 till 32 och är från Sverige och USA. Studieninnehåller även en del om kyrkans musiktradition och kultur, samt analys av en primärsång.En av studiens slutsatser är att primärsångerna har varit ett medel för informanterna att lärasig mera om evangeliet, känna den Helige Anden och därigenom utveckla deras personligatro. Informanterna kommer fortfarande ihåg sångerna i vuxen ålder och kan på så sätt fortsättasjunga och fördjupa sig i sångernas religiösa budskap.

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Robb, Stuart James. "To begin, continue and complete : music in the wider context of artistic patronage by Pope Alexander VI (1492-1503) and the hymn cycle of CS 15." Thesis, University of Manchester, 2011. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:122374.

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This thesis takes as its area of exploration the papal chapel choir and its repertory, alongside the papacy and its patronage of the arts at the end of the fifteenth century. It draws on previous research concerning the singers, polyphonic manuscripts and artistic culture of the Vatican, but places Pope Alexander VI as the central figure of the thesis, showing schemes of patronage that shaped his reign. The research presents a transcription and analysis of the hymn cycle contained within the manuscript Cappella Sistina 15, alongside an assessment of the polyphonic music collection and places these against accounts of music making and evidence of music copying at the papal chapel during Alexander’s reign. The thesis also considers the environment of secular music making at Alexander’s court. In order to provide a context in which to understand this information, the life of Alexander VI is examined, tracing his artistic patronage and involvement with music both prior to his election and afterwards. Of particular note is the engagement of the artist Pintoricchio to decorate the papal apartments. Here, the artist’s representation of music as part of the seven liberal arts is analysed, providing a unique, contemporary and important insight into music practices in Alexander’s court. Three classifications of patronage are identified for Alexander’s reign, while also showing that these were strategies that he had used before he became pope. The music culture at the papal chapel is shown to be part of this strategy, through the consolidation of old music and the introduction of new music into the repertory, ending a task that had taken approximately 60 years. It shows that Alexander’s reign was an important period musically, that instituted new musical traditions and created an environment that prepared the way for the golden ages of patronage of Julius II and Leo X.

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Owen, Ceri. "Vaughan Williams, song, and the idea of 'Englishness'." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117f2c64-3b63-43aa-9dd3-15a7ce2f9339.

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It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.

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CHEN, SHUN-FAN, and 陳蕣方. "The Benefit of Music Therapy Combined Hymns and Depression ──A Study of the Elderly Praise Songs Fellowship of a Hualien Church." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/wug7ys.

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碩士
基督教台灣浸會神學院
基督教神學研究所
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The Benefit of Music Therapy Combined Hymns and Depression ── A Study of the Elderly Praise Songs Fellowship of a Hualien Church Student: Shun Fan Chen Advisor: Yi Nuo Shih Taiwan Baptist Christian Seminary Master of Divinity Thesis Abstract Every person may encounter some difficulties, pressures and unexpected challenges in his lifetime and then fall into the morass of depression. Though sometimes, it is not him but his relatives or friends fell into depression, and need help. This research would like to study the effectiveness of ameliorating the degree of depression by combining hymns with music therapy. Hopefully, with positive results from this research, the method can be used in communities for families with members having depression. Through this, Gospel can be brought into these homes. And in the future, through churches, this kind of music ministry can serve those families in need. This study was to investigate the influence of Christian hymns and music on people’s depression, particularly for older people. The author specially designed a trial with an eight lessons pluralistic and lively music course. Before the first lesson, the elderly are asked to fill out a Geriatric Depression Scale (GDS). Then, teach them the lessons for weeks. The lyrics of hymns are expected to help their physical and mental health. And, through the music and the scriptures, the message of Christian faith may help them express their feeling and improve their memory. Finally, using Christian hymns and music may bring them peace and joy help them express their emotions, and bring healing to their depressive heart. After the completion of these eight music lessons, they were then asked to fill the GDS again. The GDS results of before and after the eight lessons were compared by using social science statistics software SPSS t – test analysis. The significance of the differences was analyzed. If the results shows highly significant, that means the combination of Christian hymns music with music therapy have significant benefits of improving the depressed person. In this study, the significant value of t – test is 0.057, almost a statistically significant value. This means combining Christian hymns and music with music therapy, indeed can improve the depression. Participants in their feedback form, also considered that the poetry music can bring them the spiritual consolation, and can relieve their depressions and anxiety. The results confirmed that soothing hymns and music is a medicine to anxious depression. Based on the research results, the author is convinced that the combination of hymns and music and therapy music will be able to achieve these goals: to ameliorate the degree of depression, to restore and improve the health of body and soul. Through music and hymns, people will receive comfort, healing and renewal of life. And besides all these benefits, with better understanding of biblical truth, their mind will be set free. 【Key Word】Depression, Music Therapy, Hymns, Geriatric Depression Scale(GDS)

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Dissertations / Theses on the topic 'Hymns and songs of the church'

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