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Journal articles on the topic 'Hymns and songs of the church'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Peno, Vesna. "Communion songs not regulated by the typicon in the recent tradition of Serbian church singing." Muzikologija, no. 4 (2004): 121–52. http://dx.doi.org/10.2298/muz0404121p.

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In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced fr

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2

Koryshev, Mikhail V. "On the subgenre system in medieval German catholic hymnography." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 54–59. http://dx.doi.org/10.20339/phs.6-20.054.

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This paper is an analysis of church hymns in the folk language using medieval German-speaking Catholic hymnography as a case study. Understudied by literary scholars, this phenomenon used to be in the center of attention of liturgics scholars. The only exceptions included philological and historical studies of ancient writings in the German language. The existence of church chant (German Kirchenlied) is manifested by a separate genre, which, in contrast to the views of Germanic language philologists in Germany is not a special case of the spiritual song (German Geistliches Lied). In relation t

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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were i

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Groenewald, H. C. "The role of political songs in the realisation of democracy in South Africa." Literator 26, no. 2 (2005): 121–36. http://dx.doi.org/10.4102/lit.v26i2.231.

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The issue this article attempts to explore is whether a form of oral art – political songs – played a part in achieving democracy in South Africa, and, if so, how this aim was achieved. In this regard it should be kept in mind that political songs form part of the large, vibrant body of oral art in South Africa. An aspect of oral art that is particularly relevant to political songs is that it is often performed to be efficacious, that is, it is performed to achieve a desired result. Equally important is the attribute of performance. It is obvious that the political song derived much of its pow

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Žičkienė, Aušra, and Kristina Syrnicka. "Funeral Hymns of Lithuanians and Vilnius Region Poles’: General Features and Trends of the Repertoire." Vilnius University Open Series, no. 5 (December 4, 2020): 163–88. http://dx.doi.org/10.15388/vllp.2020.8.

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The article discusses the key features and trends of the repertoire of Catholic funeral hymns, functioning in Lithuania in both Polish and Lithuanian; at the same time attempts are made to grasp the possible causes of mutual interactions and influences. In combining literary and ethnological approaches, field research data, historical sources, printed and manuscript hymns are analysed and interpreted, related scientific literature is examined. The conclusion is reached that the similarity and commonalities of the Lithuanian and Vilnius Region Poles’ folk piety funeral repertoire were, and stil

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Lon, Yohanes S., and Fransiska Widyawati. "Adaptasi dan Transformasi Lagu Adat dalam Liturgi Gereja Katolik di Manggarai Flores." Jurnal Kawistara 10, no. 1 (2020): 17. http://dx.doi.org/10.22146/kawistara.45244.

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Manggarai, a community in Flores, Eastern Indonesia is known for its rich culture of folk songs with unique rhythm and lyrics. There are various types of folk songs for different purposes such as traditional chants, harvest celebrations, lamentation of the dead, war anthems, children songs, and other profane functions. When European missionaries started Catholic evangelization in Manggarai in the beginning of the 20th century, many of these folk songs were prohibited due to their use in rituals deemed idolatry. However, some missionaries saw the potential of folk songs for evangelization and e

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7

Høirup, Henning. "Nekrolog over Uffe Hansen." Grundtvig-Studier 46, no. 1 (1995): 18–25. http://dx.doi.org/10.7146/grs.v46i1.16174.

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Uffe Hansen 14.12. 1894 - 11.9. 1994By Henning HøirupThe obituary begins with a description of Uffe Hansen’s background as an Independent Congregation clergyman (from 1925) to the Grundtvigian Independent Congregation (Danish valgmenighed, i.e. a congregation within the National Church, claiming the right to employ their own minister) of Ubberup, where the prominent clergymen V.J.Hoff and Carl Koch were his predecessors. Carl Koch’s extensive writings, theologically erudite, but .popular. in their language, and thus accessible to the layman, were to become the model for Uffe Hansen’s studies i

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Müller, Alfons. "Message Becomes Incarnate in Song: Church Hymns in the Diocese of Kenge." Mission Studies 7, no. 1 (1990): 76–86. http://dx.doi.org/10.1163/157338390x00100.

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AbstractAs one cannot dance without music, so there is no music without dancing - so goes the popular thinking in Zaire. The Zairean Catholics have shown in the past admirable patience to imported European melodies and imposed language structures and their songs, robbed of their natural rhythm, were stilled until vernacular liturgy was approved in 1965. There is now music in the land, rich in the variety of various African traditions. The Catholic Church in Zaire is at last able to express itself in its own culture, and the Christian message becomes incarnate in songs and hymns.

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Wild-Wood, Emma, and Peter Wood. "'One Day we Will Sing in God's Home': Hymns and Songs Sung in the Anglican Church in North-East Congo (drc)." Journal of Religion in Africa 34, no. 1-2 (2004): 145–80. http://dx.doi.org/10.1163/157006604323056750.

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Abstract'Songs preach a lot' claim members of the Anglican Church in North-East Congo (DRC). This article analyses what these songs preach and how they convey their message. It examines the theology of the texts as sung in their musical and social context. The songs fall into two broad categories: western hymns translated by missionaries and contemporary songs often composed locally or nationally. They have different but overlapping theologies and functions within worship. Heaven emerges as a central motif in both categories, presenting an eschatological oral theology, which offers comfort, es

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10

Kruger, Daleen. "“Mein Gmut ist mir verwirret”: contrafactum-practice in the Liedboek van die Kerk (“Afrikaans Hymn book of the Church”)." Koers - Bulletin for Christian Scholarship 81, no. 2 (2016): 61–79. http://dx.doi.org/10.19108/koers.81.2.2252.

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The contrafactum-practice which utilises secular melodies and/or texts as sources in the creation of sacred hymns, is an age-old tradition. This practice generated amongst others a few Protestant hymns (particularly in the German Reformed context), which are viewed today as important hymns in the hymn corpus. One example would be the hymn for lent, “Herzlich tut mich verlangen”. In several historic sources the use of secular melodies in church hymns is motivated: the fact that the melodies are already well-known amongst the congregation would make it easy to learn the new texts. Sources also c

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11

Tucker, Karen B. Westerfield. "Congregational Song as Liturgical Ordo and Proper: The Case of English-Language Hymns and Hymnals." Studia Liturgica 28, no. 1 (1998): 102–20. http://dx.doi.org/10.1177/003932079802800106.

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Hymns are for us Dissenters what the liturgy is for the Anglican. They are the framework, the setting, the conventional, the traditional part of divine service as we use it. They are, to adopt the language of the liturgiologists, the Dissenting Use. That is why we understand and love them as no one else does. You have only to attend Anglican services to discover that the Anglican, though he can write a hymn, cannot use it. It does not fit the Prayer Book service. 1 1 Bernard Lord Manning, The Hymns of Wesley and Watts (London: Epworth Press 1942) 133-4. It is therefore surprising to find the s

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Thunberg, Lars. "Grundtvig og de latinske salmer - et teologisk perspektiv." Grundtvig-Studier 43, no. 1 (1992): 67–92. http://dx.doi.org/10.7146/grs.v43i1.16076.

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Grundtvig and the Latin Hymns - A Theological PerspectiveBy Lars ThunbergA number of scholars have devoted attention to Grundtvig’s hymns, as they are represented in his magnificent Sang-Værk. The hymns form a kind of corona of Christian poetry, intended for the congregation to use in its worship and outside the church. A number of them are congenial renderings of hymns from other traditions: the Greek, the Latin, the Anglo-Saxon, beside the Lutheran. As far as the Greek and the Latin material is concerned, Jørgen Elbek, the literary historian, has made a remarkable contribution. This article

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Sema, Daniel. "MODUS DORIAN: SEBUAH ALTERNATIF BAGI PENCIPTAAN HYMN." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (2019): 48–62. http://dx.doi.org/10.37368/tonika.v2i1.42.

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In today's Indonesian churches there are two types of music in worship, namely: hymnal songs or hymn (which are still used in mainstream Protestant churches) and contemporary Christian songs (used in Pentecostal and Charismatic churches). Nevertheless, contemporary Christian singing began to be accepted by some Protestant Christians and its existence increasingly dominated and urged the hymn. In order for the hymn to not be easily abandoned and felt contemporary, the author offers a new alternative to the creation of the hymn that has based itself on the major-minor mode for centuries. The alt

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Kalvāne, Skaidrīte. "SEARCHING FOR THE SOURCES OF 18TH AND 19TH CENTURY LATGALIAN RELIGIOUS SONGS." Via Latgalica, no. 7 (March 22, 2016): 172. http://dx.doi.org/10.17770/latg2015.7.1218.

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<p><em>Latgalian </em><em>„</em><em>svātuos dzīsmis”</em><em> (‘sacred songs’) were not only sung in the church in the 18<sup>th</sup> and 19<sup>th</sup> centuries. These songs became integral and necessary components of both home and spiritual life.</em></p><p><em>Some publications of spiritual song and prayer books written by the Latvians of Latgale have been preserved until today: </em><em>„</em><em>Nabożeństwo” (1771, 1786, etc.) and </em><em>„</em><

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Stølen, Marianne. "Om Grundtvigs sanges liv i Nordamerika." Grundtvig-Studier 59, no. 1 (2008): 170–93. http://dx.doi.org/10.7146/grs.v59i1.16532.

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Om Grundtvigs sanges liv i Nordamerika[On the life of Grundtvig’s songs in North America]By Marianne StølenThe article discusses three important conditions for that rich life which Grundtvig’s songs have enjoyed among Danish-Americans in North America. Treated first is the songbook of Frederik Lange Grundtvig, Sangbog for det danske Folk i Amerika [Songbook for the Danish folk in America] (1888), commonly known as “the red one,” with focus upon F. L. Grundtvig’s selection of familiar and unfamiliar songs and hymns gathered from his father’s treasury of song and his reworking of some of these w

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Van Dyken, Tamara J. "Worship Wars, Gospel Hymns, and Cultural Engagement in American Evangelicalism, 1890–1940." Religion and American Culture: A Journal of Interpretation 27, no. 2 (2017): 191–217. http://dx.doi.org/10.1525/rac.2017.27.2.191.

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AbstractThis article argues that gospel hymnody was integral to the construction of modern evangelicalism. Through an analysis of the debate over worship music in three denominations, the Methodist Episcopal Church, the Christian Reformed Church, and the Reformed Church in America, from 1890–1940, I reveal how worship music was essential to the negotiation between churchly tradition and practical faith, between institutional authority and popular choice that characterized the twentieth-century “liberal/conservative” divide. While seemingly innocuous, debates over the legitimacy of gospel hymns

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Bodenhamer, K. W. "Dwelling together: Psalm 133 and the Songs of Ascents." Review & Expositor 116, no. 2 (2019): 219–24. http://dx.doi.org/10.1177/0034637319856344.

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Psalm 133 is the penultimate psalm of a collection within the Psalter entitled the “Songs of Ascents.” Its idyllic picture of community comes at the close of a collection of hymns and prayers in which the reader is invited to praise, lament, contemplate the past, and gather together for worship. In considering the issue of polarization in the church and in society, this psalm collection offers one model for dwelling together in a world in which fracturing is the easier path, arguing that in order to dwell together, we must first do the difficult work of journeying together.

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Wang, Xingrong, and Lei Zhang. "A comparative study of interpersonal meanings of traditional hymns and contemporary Christian songs in China." Text & Talk 39, no. 6 (2019): 775–96. http://dx.doi.org/10.1515/text-2019-0240.

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Abstract Contemporary Christian songs (CCSs) are gaining more favor in Chinese churches than traditional hymns (THs) nowadays; however, many scholars have criticized the intimate relationship established with God in CCSs from the perspective of theology. This study aims to explore whether the God-human relationship built in THs and CCSs has experienced a change by carrying out a comparative analysis of their respective constructed interpersonal meanings. Combining Halliday’s framework with judgment in Martin and White’s Appraisal system, this study compares 100 CCSs and THs from the aspects of

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19

Nocoń, Arkadiusz. "Poeta poranka i wieczoru. Hymny św. Ambrożego w Liturgii godzin." Vox Patrum 57 (June 15, 2012): 437–51. http://dx.doi.org/10.31743/vp.4144.

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Following the example of the Lord, who frequently sang hymns with his disciples, and encouraged to sing by St Paul, the early Christians praised God in music and song. The first Latin hymns were composed by Hilary of Poitiers. Their metrical complexity and content discouraged their liturgical use by the Church. Thus, St. Ambrose of Milan is considered the first „official” Latin hymnodist. He composed several hymns, still used in the Liturgy of the Hours, which were musicated by himself. These hymns come from the particular circumstances of the Arian controversy and derive, in the main, from

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20

Balslev-Clausen, Peter. "Verdenssyn og menneskesyn i Grundtvigs salmedigtning." Grundtvig-Studier 41, no. 1 (1989): 46–65. http://dx.doi.org/10.7146/grs.v41i1.16018.

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The World Picture and the View of Man in Grundtvig’s Hymns.By Peter Balslev-ClausenThis lecture for the Degree in Divinity at the Faculty of Theology in Copenhagen is a summary of the writer’s studies in the hymns, written by Grundtvig over the years from 1810 to 1872, with a view to determining the overall view of human life and Christianity that constitutes their background. The lecture discusses central concepts in these hymns, taking the point of departure in the word, i.e., speech as expressing the fact that man was created in God’s image. Hymn-singing is seen as man’s reply to God’s addr

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Taylor, Yvette, Emily Falconer, and Ria Snowdon. "Sounding Religious, Sounding Queer." Ecclesial Practices 1, no. 2 (2014): 229–49. http://dx.doi.org/10.1163/22144471-00102006.

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This paper explores the role music plays in ‘queer-identifying religious youth’ worship, including attitudes to ‘progressive’ and ‘traditional’ musical sounds and styles. It looks at approaches taken by inclusive non-denominational churches (such as the Metropolitan Community Church, mcc), to reconcile different, and at times conflicting, identities of its members. Focusing on ‘spaces of reconciliation’ we bring together the embodied experience of Christian congregational music with the ‘age appropriate’ temporality of modern music, to examine the complex relationship between age, music, faith

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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.

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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this ex

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Brits, Hans J. "’n Ondersoek na ’n gemeente se aanbiddingsvoorkeure om lidmaatdeelname ten opsigte van sang en musiek te bevorder binne die raamwerk van ses aanbiddingsmodelle." STJ | Stellenbosch Theological Journal 2, no. 2 (2016): 153–79. http://dx.doi.org/10.17570/stj.2016.v2n2.a08.

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Examining the worship preference of a congregation in order to enhance worshippers’ participation in song and music within the framework of six worship modelsThe important role of music and singing within the dialogue of the liturgy should never be underestimated. It is imperative for any congregation to understand its members’ preference to liturgical song and music. Knowledge gained from this understanding can assist congregations to make informed decisions with regard to the different forms and genres of church music and hymns which may enhance worshippers’ participation. This article refle

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DJOKOVIĆ, Predrag. "Towards perfect unity: himnography and some musical reinterpretations within Serbian chanting practice." Fontes Slaviae Orthodoxae 1, no. 1 (2019): 71–79. http://dx.doi.org/10.31648/fso.3042.

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This paper explains the musical treatment of the hymnographic genres within the Serbian chanting practice. As it is known, the original Byzantine poetic structure written in verse — which was in perfect unity with the Byzantine chant concerning the rhythm and meter — was lost in Church-Slavonic translations. The Slavonic hymnography in prose inevitably caused modification of the music language, i.e. establishing of the new bond between the word and a tone. Accordingly, a creative practise of “tailoring” the church melodies to the structure and semantics of the particular hymnographic genre occ

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Engelbrecht, B. J. "'n Nuwe ekumeniese geloofsbelydenis?" HTS Teologiese Studies / Theological Studies 43, no. 1/2 (1987): 72–85. http://dx.doi.org/10.4102/hts.v43i1/2.5727.

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A new ecumenical confession of faithRecently theologians, church leaders and even churches from all over the world expressed the desirability of a new confession of faith, preferably an ecumenical confession. The Reformed Church in America proposed a new confession with their Song of Hope. They still maintain large parts of their 16th century reformed confessions but the following motives played a role in their desire for a new confession:• The necessity to correct the existing, 'old' confessions in the light of modem scientific Bible-research, e g on the doctrine of predestination.• The need

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Basson, Willem Diederick, and Daleen Kruger. "Persepsies oor die sinodebesluite en aard van die psalms binne die GKSA." Koers - Bulletin for Christian Scholarship 81, no. 3 (2016): 2–9. http://dx.doi.org/10.19108/koers.81.3.2261.

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Perceptions regarding synod decisions and the nature of psalms in the RCSA. Since its inception in 1859, the Reformed Church in South Africa has been singing only psalms, scriptural hymns and Biblical songs. Currently, there are two official versifications of the psalms in use within the Reformed Church, namely the so-called Totius versification of 1936 and the 2001 rhymed version of psalm texts, mainly by T.T. Cloete. A study of members’ perceptions of synod decisions and the nature of the psalms in the Reformed Church shows that the psalms are not fully utilised. Synods decide what type of s

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Lebaka, Morakeng Edward Kenneth. "Integration of Vocal Music, Dance and Instrumental Playing in St Matthews Apostolic Church: Maphopha Congregation." European Journal of Interdisciplinary Studies 4, no. 2 (2018): 34. http://dx.doi.org/10.26417/ejis.v4i2.p34-44.

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There are a number of different approaches to determining the functions of music. Members of St Matthews Apostolic church – Maphopha congregation in Sekhukhune district – Limpopo Province in South Africa identify themselves by their music and allow music to become a representation of themselves. In responding to a song, to a hymn, they are drawn into affective and emotional alliances. Their relationship to music is inevitably based upon their emotions and internal connection to a particular song. Emotionally intense songs are even used during funerals to cue specific emotions from the audience

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Stallsmith, Glenn. "Protestant Congregational Song in the Philippines: Localization through Translation and Hybridization." Religions 12, no. 9 (2021): 708. http://dx.doi.org/10.3390/rel12090708.

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Historically, the language of Protestant congregational song in the Philippines was English, which was tied to that nation’s twentieth-century colonial history with the United States. The development of Filipino songs since the 1970s is linked to this legacy, but church musicians have found ways to localize their congregational singing through processes of translation and hybridization. Because translation of hymn texts from English has proven difficult for linguistic reasons, Papuri, a music group that produces original Tagalog-language worship music, bypasses these difficulties while relying

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Pérez, Elizabeth. "Spiritist Mediumship as Historical Mediation: African-American Pasts, Black Ancestral Presence, and Afro-Cuban Religions." Journal of Religion in Africa 41, no. 4 (2011): 330–65. http://dx.doi.org/10.1163/157006611x604760.

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Abstract The scholarship on Afro-Atlantic religions has tended to downplay the importance of Kardecist Espiritismo. In this article I explore the performance of Spiritist rituals among Black North American practitioners of Afro-Cuban religions, and examine its vital role in the development of their religious subjectivity. Drawing on several years of ethnographic research in a Chicago-based Lucumí community, I argue that through Spiritist ceremonies, African-American participants engaged in memory work and other transformative modes of collective historiographical praxis. I contend that by inse

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Běhalová, Štěpánka. "The Journey of the Spiritual Song Pozdvihni se duše z prachu [Raise, Thou Soul, Thyself from the Dust] from a Printed Broadside to a Hymn Book." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 58–64. http://dx.doi.org/10.1515/amnpsc-2017-0007.

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The article deals with the publication of the song for the Holy Mass with the incipit Pozdvihni se duše z prachu [Raise, Thou Soul, Thyself from the Dust] in the 19th century. The author of the text of this song is the Premonstratensian Eugen Karel Tupy, also known under the pseudonym Boleslav Jablonsky. This song for the Holy Mass is included in the current unified hymn book in the section of the Ordinary and common chants of the Mass as number 517. In the 19th century, the song was published in several types of printed media. Its earliest extant edition is a broadside from 1845, which was fo

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Auken, Sune. "Sangværket som udviklingsroman. Om Randi Habersaat Rodes bog Barneglad og engleklog." Grundtvig-Studier 50, no. 1 (1999): 195–207. http://dx.doi.org/10.7146/grs.v50i1.16340.

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The Song-Work as Bildungsroman About Randi Habersaat Rode’s book Barneglad og engleklog (1996)By Sune AukenThe article recognizes that with the book Barneglad og engleklog Randi Rode has made a significant contribution to Grundtvig research. The book is important for two reasons, partly because it is the first major work in literary scholarship on Grundtvig for a very long time, and partly because in its attempt to conceive of the first 146 hymns in Grundtvig’s Song-Work to the Danish Church as a coherent whole, it provides a thorough study of a text corpus which in previous Grundtvig scholars

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ORUJOV, İgbal, and Taravat ORUJOVA. "ORTA ÇAĞ DÖNEMİ’NDE NEFESLİ ENSTRÜMANLAR SANATI." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 26 (2021): 85–95. http://dx.doi.org/10.31623/iksad072607.

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Medieval musical instruments are closely related to the types of palace and city culture that were active at that time. Church rituals, music, song, and dance styles of the urban settlements were based on the vocal and instrumental skills of the musicians. The emergence of new instrument types compared to the heritage of antiquity was due to several factors. The most important change in the social status of the musician: the traveling artists are replaced by an instrumentalist striving for "establishedness". This trend led to the formation of professional-musicians working in the service of th

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Thodberg, Christian. "Grundtvig og Gammel Testamente - den danske Bibel eller Septuaginta." Grundtvig-Studier 49, no. 1 (1998): 61–80. http://dx.doi.org/10.7146/grs.v49i1.16268.

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Grundtvig and the Old Testament - the Danish Bible or the SeptuagintBy Christian ThodbergThe article begins with an account of Grundtvig’s attitude to the Old Testament (OT). Gmndtvig does not have to presuppose the New Testament when dealing with OT, but can read it freely: it is the same God that acts in both books of the Bible, though in different ways, according to how he leads and maintains his people. The same freedom finds expression in Gmndtvig’s sermons where he moves about effortlessly in the whole of the Biblical universe.Some of these sermons are dominated by a solemn, Old Testamen

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Rikhter, Nina P. "Musical Education in Urban Primary Schools of Russia in the Second Half of the 19th – Early 20th Centuries." Musical Art and Education 7, no. 3 (2019): 151–62. http://dx.doi.org/10.31862/2309-1428-2019-7-3-151-162.

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In this article, in order to find ways to develop modern music education, the experience of musical education of pupils in primary schools in the second half of the 19th – early 20th centuries, in particular, in urban primary schools under the “Regulation of 1872”, is examined. Despite the fact that singing and playing musical instruments were not included in the curriculum of urban schools and were taught outside the classroom time, various examples of teaching singing and playing musical instruments to pupils of urban schools in different regions of Russia are given in the work. The work sho

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Jones, Ian, and Peter Webster. "Anglican ‘Establishment’ Reactions to ‘POP’ Church Music in England, 1956–C.1990." Studies in Church History 42 (2006): 429–41. http://dx.doi.org/10.1017/s0424208400004125.

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The use of popular styles of music in the Church has often proved contentious, and perhaps particularly so in the later twentieth century. Anecdotal evidence abounds of the debate provoked in churches by the introduction of new ‘happy-clappy’ pop-influenced styles, and the supposed wholesale discarding of a glorious heritage of hymnody. In addition, a great deal of literature has appeared elaborating on the inappropriateness of such music. Welcoming a historical study of hymnody in 1996, John Habgood lamented the displacement of traditional hymn singing by ‘trivial and repetitive choruses’. Li

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Sorochuk, Ludmyla. "CULTURAL AND EDUCATIONAL MISSION OF MYKHAYLO VERBYTSKY IN THE CONTEXT OF NATION-BUILDING." Almanac of Ukrainian Studies, no. 26 (2020): 77–81. http://dx.doi.org/10.17721/2520-2626/2020.26.11.

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The creative activity of Mykhailo Mykhailovych Verbytsky, as one of the brightest representatives of the national elite of the period of the Ukrainian cultural revival of the XIX century, was traced. The importance of the social-cultural mission of the artist, a priest of the Greek Catholic Church, a public figure, the founder of professional music in Galicia and the founder of the national school of composition in Ukraine was emphasized. A representative of the artistic elite, the famous composer M. Verbytsky was a model of professionalism in music and, very importantly, a bearer of national

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Aasen, Kristi. "»Helt kun i mand og kvinde«. Grundtvigs tanker om den fruktbare dobbelthet." Grundtvig-Studier 42, no. 1 (1991): 86–95. http://dx.doi.org/10.7146/grs.v42i1.16060.

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»Whole Only in Man and Woman«. Grundtvig’s thoughts about the fruitful doublenessBy Kirsti AasenGrundtvig lived in the Age of Enlightenment, a time worshipping reason, which he was strongly opposed to. His conviction after a long life was that real and true reason has its source in emotion. As against reason, thinking and the intellect, which Grundtvig calls male values, he sees sympathy, susceptibility, and compassion as female characteristics. It was because of her openness and susceptibility that the Virgin Mary could embrace Jesus and give birth to him. And by virtue of her sympathy Mary M

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Pobuti, Kezia Inriyani, and Rohani Siahaan. "LAGU HIMNE KARYA CHARLES WESLEY DAN RELEVANSINYA BAGI PENGINJILAN MASA KINI." Voice of Wesley: Jurnal Ilmiah Musik dan Agama 4, no. 1 (2021): 1–19. http://dx.doi.org/10.36972/jvow.v4i1.60.

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Penulisan karya ilmiah ini dilatar belakangi dengan sebuah tujuan untuk melihat lagu hymn karya Charles Wesley memiliki relevansi di dalam sebuah penginjilan, yang dilakukan oleh Wesley bersaudara. Wesley bersaudara merupakan salah satu tokoh gerejawi yang mempunyai peran besar dalam berkembangnya pelayanan penginjilan di Inggris. Masing-masing diantara Wesley bersaudara mempunyai peran tersendiri ketika menjalankan pelayanan. John Wesley terkenal dengan khotbahnya yang membangun dan displin dalam iman kepada Yesus Kristus, sedangkan Charles Wesley terkenal dengan kemampuannya dalam menulis li

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Jakóbczyk-Gola, Aleksandra. "The Akathist Hymn to the Blessed Virgin Mary and Polish Marian Songs in Context of Performative Practices in Litany Tradition." Roczniki Humanistyczne 67, no. 1 (2019): 145. http://dx.doi.org/10.18290/rh.2019.67.1-10.

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The article analyses Akatyst ku czci Bogurodzicy [Akathist to the Mother of God], which, together with the accompanying icon, was one of the important components of the Marian Orthodox cult, whose influence went beyond the Orthodox Church, affecting among others also Polish lands. The aim of the article is not to develop a monograph on this phenomenon, but, focusing on the recognition of its complex media characteristics, to study various forms of its performance and to pay special attention to the performativity aspect. The purpose of this characterization is to bring out the complex function

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Fort, Gertrud von le, and Margret Chanler. "Hymns to the Church." Logos: A Journal of Catholic Thought and Culture 23, no. 2 (2020): 145–64. http://dx.doi.org/10.1353/log.2020.0012.

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Castle, Brian. "Hymns—More Than Songs of Praise." Theology 94, no. 758 (1991): 101–6. http://dx.doi.org/10.1177/0040571x9109400204.

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Knights, Chris. "Hymns—More Than Songs of Praise." Theology 94, no. 761 (1991): 354–55. http://dx.doi.org/10.1177/0040571x9109400508.

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Strolonga, Polyxeni. "From Choral to Monodic Hymns: Some Evidence from theHomeric Hymns." Trends in Classics 12, no. 1 (2020): 16–47. http://dx.doi.org/10.1515/tc-2020-0003.

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AbstractThis paper investigates internal evidence from the Homeric Hymns in order to trace the development from choral to monodic hymns. A study of the words humneo and humnos and the analysis of the embedded choral theogonic songs in the corpus of the Homeric Hymns show that women’s choral songs about gods are always identified as hymns, while the monodic theogonies, which are described in this corpus, are not identified as such. This division between choral and monodic hymns, reflected to some extent in the diction, is reconciled in the Homeric Hymn to Apollo, in which the poet, representing

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Laube, Matthew. "‘The Harmony of One Choir’? Music and Social Unity in Reformation Heidelberg*." Past & Present 248, no. 1 (2020): 41–86. http://dx.doi.org/10.1093/pastj/gtz059.

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Abstract: From early in the Reformation, Protestant leaders viewed music as a powerful tool not only for educating their followers, but also for forging unity within diverse and dispersed communities. Such a belief found expression in official and unofficial religious contexts, and left its mark on printed devotional material, congregational hymn books, public policies of church authorities, and the musical activities of individual churches. At the same time, the manner in which a person accessed, experienced and produced music in a Reformation urban environment was conditioned as much by soci

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Hussey, Ian. "The Songs We Sing: A Textual Analysis of Popular Congregational Songs of the 20th and 21st Century." Ecclesial Practices 6, no. 2 (2019): 217–34. http://dx.doi.org/10.1163/22144471-00602003.

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Contemporary worship songs have been the subject of criticism over their lyrical quality. Objective assessment of the veracity of the criticisms has been difficult to achieve. This research seeks to address this issue by performing a textual analysis of the most popular hymns of the 19th and 20th centuries and contemporary popular worship songs and comparing the results. The research concludes that although there are differences in the lyrical content they are not crucial and that both contemporary worship songs and traditional hymns should find a home in congregational song.

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Stulken, Marilyn. "Multicultural Hymns for the Church Year." Liturgy 11, no. 3 (1994): 45–58. http://dx.doi.org/10.1080/0458063x.1994.10392224.

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Davey, Cyril J. "The Junior Church. Stories of Hymns." Expository Times 96, no. 4 (1985): 111. http://dx.doi.org/10.1177/001452468509600406.

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Davey, Cyril J. "The Junior Church. Stories of Hymns." Expository Times 96, no. 11 (1985): 337. http://dx.doi.org/10.1177/001452468509601105.

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Davey, Cyril J. "The Junior Church. Stories of Hymns." Expository Times 96, no. 12 (1985): 364. http://dx.doi.org/10.1177/001452468509601205.

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Davey, Cyril J. "The Junior Church Stories of Hymns." Expository Times 97, no. 3 (1985): 79. http://dx.doi.org/10.1177/001452468509700305.

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