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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 from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.
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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 to the German Middle Ages, the emergence is described of church hymns as a genre represented by the most ancient artifacts of the German language. A borderline is drawn between seemingly similar phenomena: translations of Latin hymnography into German, which did not always have liturgical / paraliturgical significance, and actual church chants. Analysis of the writings (more than one and a half thousand texts) suggests a six-part subgenre system in medieval German Catholic hymnography (translated hymns, acclamations, leisen, canticles, antiphonic chants, church readings and macaronic songs). The peripheral role of German-speaking church chants in medieval pre-reformation Germany is highlighted.
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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 (August 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 in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.
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Groenewald, H. C. "The role of political songs in the realisation of democracy in South Africa." Literator 26, no. 2 (July 31, 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 power from the dynamics of performance. Political songs evolved from church hymns with obscure references of suffering to power singing with an overt and belligerent political message. The conclusion arrived at is that political songs played a vital role in forging democracy from below.
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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 still are, a result of similar cultural conditions. The basis of the old repertoire is primarily determined by trends, influences, and themes coming from Poland, while the areas of the modern repertoire’s influence are much broader: both general international trends and a broad mutual influence can be noted.In Lithuania’s villages and cities it is still common practice to invite a group of hymn-singers to a funeral wake and burial ceremony. Singing of funeral hymns is an old tradition, likely coming from the 17th c., from Poland, slowly covering also the territory of modern-day Lithuania and gradually settling down, gaining distinct regional features. However, we do not have any accounts as to whether a folk piety funeral repertoire existed in Lithuanian – it likely formed later.The texts of funeral songs can be divided into several groups according to their origin and function: some are adapted from church liturgies and are traditional church hymns, while others were created at different times by either anonymous local authors or well-known songwriters. Some hymns, for a long time, functioned as part of the liturgy of death and funerals, they established themselves in the practice of folk piety, while others became part of the funeral repertoire when they came into it from various thematically-fitting church calendar holidays or they were created by known or (more often) anonymous songwriters, then spreading among the people.The similarities of the repertoire of Lithuanian and Polish funeral songs are first of all a result of close cultural conditions. The texts of the oldest repertoire of funeral hymns were usually translated from Polish to Lithuanian, with the former taking root in the practices of folk piety much earlier. The melodies of hymns also mostly came from Poland; many are of liturgical origin, although over the centuries they grew into the local musical environment and gained a distinctive tone.The trends of the formation of the new hymns (from the beginning of 20th c. until now), on the one hand, are a continuation of the previous ones; however, on the other hand, local (Lithuanian) features, resulting from the faster and wider spread of information, become clearer, as well as various international influences. A certain group of hymns exists only in Lithuania, we can clearly see the influence of the Lithuanian environment on the poetry and melodics of Polish-language funeral hymns. This repertoire spreads only through writing down by hand the texts, while melodies are learned by ear; they are not published in any hymnals approved by the Church.
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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 (April 22, 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 empowered local artists to arrange Catholic liturgical songs based on these traditional songs. Eventually, many folk songs were adapted and transformed into Catholic hymns. This paper explores this irony through socio-historical research to understand the relationship dynamics between the Catholic Church and the Manggaraian culture. This research has discovered that there is a dialectical encounter between Catholicism and the Manggaraian culture which has shaped a unique identity of the Catholic Church in Manggarai
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Høirup, Henning. "Nekrolog over Uffe Hansen." Grundtvig-Studier 46, no. 1 (January 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 in Grundtvig’s hymnwriting. Through his membership of the Hymn Book Commission of the free Grundtvigian congregations (HYMNS. Independent Congregations and Free Church Congregations, 1935), Uffe Hansen was motivated to realize his plan of a complete account of the whole of Grundtvig’s hymn writing in the book Grundtvig’s Hymn Writing. Its History and Content I. 1810-1837, published in 1937. In the following years Uffe Hansen was absorbed in organizational work (Grundtvigian Convent, the »No More War« organization) and by his membership of the Grundtvigian Hymn Book Committee (The Danish Hymn Book. A Grundtvigian Proposal, 1944). In the 1940s efforts were made to unite the hymn tradition of the re-united Southern Jutland with the traditions of the Kingdom, i.e. the old Danish treasury of hymns and the Grundtvigian hymns. Uffe Hansen became a member of the Hymn Book Commission which published the proposal The Danish Hymn Book in 1951. More than anybody else, Uffe Hansen is responsible for the large number of Grundtvig hymns in this proposal, often with verses from the original versions of the hymns added to them. In spite of vehement criticism on this point The Danish Hymn Book was authorized in 1953. Grundtvig remained the predominant contributor, even though significant Grundtvig hymns, expressing his church view, were omitted, much to Uffe Hansen’s regret. The Hymn Book includes Uffe Hansen’s own translation of the Latin antiphone Oh, Grant Us Peace, Our Lord. While this debate was going on, the continuation of Uffe Hansen’s work, Grundtvig9s Hymn Writing II. 1837-1850 appeared in 1951, an important contribution to a comprehensive interpretation of Grundtvig’s work to renew the Danish hymnody. However, Uffe Hansen’s main achievement as a hymn researcher was his work as a co-editor of Grundtvig’s Song-Work I-VI, 1944-1964. This new edition was worked out on scientific principles, and the hymns were brought in chronological order, as far as it was possible. The edition included a critical variant apparatus, compiled by Uffe Hansen. Concurrently with this work, Uffe Hansen participated in the compilation of a Register of Grundtvig’s Posthumous Papers 1-IXXX, 1956-1964, and, while engaged on this, found several hitherto unknown hymns, which were included in the new edition of the Song-Work.Here Uffe Hansen’s abilities as a researcher and scholar were amply demonstrated. Then, in 1966, came his finalwork, Grundtvig’s Hymn Writing III. 1851-1872, which, like the other volumes, testify to Uffe Hansen’s talent for combining erudition with easy comprehensibility. In his last years Uffe Hansen lived in Holland; he was laid to rest from the Independent Congregation Church of Ubberup.
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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, escape and social comment.
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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 (October 31, 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 confirm that this practice makes the songs more accessible for the youth. This article explores the development of selected hymns from the Liedboek van die Kerk (2001) (“Afrikaans Hymn book of the Church”) to determine their secular roots and describe how they developed into sacred hymns. It is pointed out that the utilisation of the melodies as settings for different sacred texts, illustrates their quality and flexibility and is instrumental in their acceptance as hymn tunes. It is also argued that historic distance between the secular source and the church hymn contributes to the weakening of the original secular association. The ongoing debate on the secular versus the sacred is also touched upon, and finally the renewed interest in contrafacta in the late 20th and early 21st century is discussed. Die kontrafaktuurpraktyk, waar sekulêre melodieë en/of tekste as bronne gebruik word in die skep van geestelike tekste en/of melodieë, kom al eeue lank in kerkliedere voor. Hierdie werkswyse het onder andere ʼn aantal Protestantse liedere opgelewer (veral in Duitse Reformatoriese verband), wat deesdae as groot liedere van die kerkliedskat geag word. Een voorbeeld is die lydenslied “Herzlich tut mich verlangen”. In verskeie historiese bronne word die gebruik van sekulêre melodieë by kerkliedtekste gemotiveer: die melodieë was reeds bekend en daarom kon die nuwe liedtekste makliker aangeleer word. Die toeganklikheid vir die jeug staan ook voorop. Hierdie artikel ondersoek enkele liedere in die Liedboek van die Kerk (2001) ten einde vas te stel wat die sekulêre wortels daarvan was. Voorts word aangetoon hoe die liedere as geestelike liedere ontwikkel het. Daar word verwys na die hergebruik van sekere melodieë by ʼn verskeidenheid tekste, wat dui op die aanpasbaarheid van die kontrafakmelodieë en die mate waarin dit inslag gevind het as kerkliedmelodieë. Verder word daar geredeneer dat historiese afstand tussen die sekulêre bron en die kontrafak daartoe bygedra het dat so ʼn lied sy sekulêre assosiasies mettertyd verloor het. In hierdie artikel kom die voortdurende debat waarin die geestelike teenoor die sekulêre musiek staan ten opsigte van gebruik in die erediens ook ter sprake. Die hernude belangstelling in en skepping van kontrafakte vanaf die laaste dekades van die 20ste eeu word ook ten slotte onder die soeklig geplaas.
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Tucker, Karen B. Westerfield. "Congregational Song as Liturgical Ordo and Proper: The Case of English-Language Hymns and Hymnals." Studia Liturgica 28, no. 1 (March 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 statement that hymns are “particularly associated with [the] Anglican church” under the entry “Hymn” in Michael Kennedy, The Oxford Dictionary of Music, 2nd edn, Oxford and New York: Oxford University Press 1994
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Thunberg, Lars. "Grundtvig og de latinske salmer - et teologisk perspektiv." Grundtvig-Studier 43, no. 1 (January 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 follows up Elbek’s intentions.In his Sang-Værk Grundtvig follows the principle that his collection of hymns should reflect what is given - to Christendom as a whole, and the Danish congregation specifically - through the seven historical traditions: the Hebraic, the Greek, the Latin, the English, the German, the Nordic (= Danish) and possibly a seventh, not yet fully discovered. Theoretically Grundtvig develops this idea in his late work Christenhedens Syvstieme, where an Indian congregation is indicated as the seventh one. Elbek has shown that - against this background - Grundtvig wanted to give to the Danish Church a collection of hymns, expressing the unison hymnody of the present day Danish congregation..Among the classical traditions, the Latin ‘congregation’ occupies a particular place. This particularity, however, is a problem to Grundtvig at the same time. Elbek has underlined that Grundtvig was aware of the fact that no Christian is basically able to speak on behalf of the universal Church. Thus, this is also true of Grundtvig himself in his translation/rendering of Greek or Latin hymns. His translation of them into present-day Danish involves a contextualisation, which means that they are at the same time felt to be close and familiar as well as distinct from their original setting. They become songs of praise, integrated into the Danish contemporary situation.However, it is characteristic of Grundtvig that he is very faithful to his Latin originals (which he studied in different versions and very carefully), and at the same time feels free to render them according to his own understanding of what is of importance to his own Danish Church. This combination of faithfulness and freedom is a genuine expression of Grundtvig’s unique ability as a hymn writer. He uses it to express his very personal feeling of what is - as a matter of fact - universal Christian belief.In the article these principles of Grundtvig are illustrated through a short analysis of his rendering of the following 14 Latin hymns: Conditor alme siderum, Veni redemptor gentium, Puer natus in Bethlehem, Vexilla regis prodeunt, Salve crux arbor, Stabat mater dolorosa, Salve mundi salutare, Mane prima sabbad, Mundi renovatio, Zyma vetus expurgetur, Laus tibi Christi, Beata nobis gaudia, Urbs beata Ierusalem and Pange lingua gloriosi.
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Sema, Daniel. "MODUS DORIAN: SEBUAH ALTERNATIF BAGI PENCIPTAAN HYMN." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 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 alternative is the use of church mode, namely the Dorian mode as the basis for the creation or arrangement of a hymn. For this reason, the author tries to present a hymn arrangement for the song "Holy, Holy, Holy" by Reginald Heber in the SATB format in Dorian mode.
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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><em>Dzismies Swatas” (1801, etc.). Of these are both first editions and reissues. These compilations represent the basic core of 19<sup>th</sup> century spiritual songs in conjunction with the book </em><em>„</em><em>Piļneigajā gruomotā lyugšonu” (“The Complete Book of Prayers”) published in the latter half of the century. Psalms which were written well before the birth of Christ are among the oldest religious songs. Psalms of penance and prayers for the dead were first published in Latgalian in the 1786 edition of </em><em>„</em><em>Nabożeństwo”.</em></p><p><em>The diversity of genres of songs is surprising: songs using scriptural texts, hymns of the Fathers of the Church, sequences and antiphonies. The progress of the liturgical year was supported by additional processionary hymns, hour songs (godzinkas), descriptions of the lives of saints set to music, catechism songs and prayers which are written as prose but given a melody in order to be sung. Directly arrhythmic language and certain metrical text used for worship in prayers made it unclear exactly how many texts were in fact songs.</em></p><em>It is not possible to determine the authors of all songs. Text recognition is also hampered by the lack of a printed Polish source – the work that the Jesuits translated to create the hymnals has not been found. Thus, for comparison of these texts it is necessary to find them in various books or consult the wider body of 19<sup>th</sup> century songs, wherein the content of songs is usually altered. The “sacred songs” examined and analyzed in this article were selected at random. The majority of songs so far sourced are from „Nabożeństwo”, but identification work continues at present.</em>
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Stølen, Marianne. "Om Grundtvigs sanges liv i Nordamerika." Grundtvig-Studier 59, no. 1 (January 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 with regard to their relevance for use among the Danish immigrants. Next is described the production of songs among the migrants, especially the Danish pastors, with examples of the word-choice which reveals an assimilation of key conceptwords from Grundtvig’s writings along with readily recognisable echoes of lines from the Grundtvig classics. There follows a description of the Hymnal for Church and Home (1927) and the Danish-American A World of Song (1941), each of which in its way collaborated in building a bridge between successive generations of users. Particular attention is drawn to the translations contributed to the songbook by the Danish-American translator and pastor S. D. Rodholm, with use of examples from Grundtvig’s authorship.Finally a glimpse is offered into the role played today by Grundtvig’s songs in the song-repertoire of Danish-American conventions and among the present members of two singing groups in the Pacific Northwest.
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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 in congregational worship were a significant aspect of the increasing theological, social, and cultural divisions within denominations as well as between evangelicals more broadly. Gospel hymnody became representative of a newly respectable, nonsectarian, and populist evangelicalism that stressed individualized salvation and personal choice, often putting it at odds with doctrinal orthodoxy and church tradition. These songs fostered an imagined community of conservative evangelicals, one whose formation rested on personal choice and whose authority revolved around a network of nondenominational organizations rather than an institutional body. At the same time, denominational debates about gospel hymnody reveal the fluid nature of the conservative/liberal binary and the complicated relationship between evangelicalism and modernism generally. While characterizations of “liberal” and “conservative” tend to emphasize biblical interpretation, the inclusion of worship music and style complicates this narrow focus. As is evident through the case studies, denominations typically categorized as theologically liberal or conservative also incorporated both traditional and modern elements of worship.
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Bodenhamer, K. W. "Dwelling together: Psalm 133 and the Songs of Ascents." Review & Expositor 116, no. 2 (May 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 (November 26, 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 modality, judgment, mood and projected roles with the help of UAM Corpus Tool 3.0., with some changes of the original categories of judgment system due to the specific nature of the judged subject in the data. The semantic analyses show that the God-human relationship constructed in hymns has changed, with the encompassing view of God narrowed to one focused on love, the sinful nature of humans replaced by their incapability, and the assurance in and reverence to God outweighed by closeness and intimacy with Him. Some cultural realities and the situation of the church are referred to as a way of explaining this change.
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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 the necessity of encouraging „orthodox” Christians in their defence of the Basilica Porziana in Milan. They were designed to guide their prayer at different times of the day. The Author’s text-critical analysis of two of these hymns – Aeterne rerum conditor, sung at dawn (in gallicinium) and Deus, creator omnium, sung at dusk as the lamps were lit (ad horam incensi) – well testifies to the literary and pastoral genius of the Bishop of Milan as he transforms the complex theological reflection of his time into poetry and music, while not only retaining the integrity of the depth of that reflection but also enhancing its aesthetic profile by drawing on a repertoire of images based on the parallelism of cosmic reality and human reality. St Ambrose’s corpus of hymns, together with his prose works, was admired both by his contemporaries and by successive generations. They promoted the flowering of a merciful Christocentricity which, according to the experts, is the most original and attractive feature of his poetry. As is clearly seen in the hymns received into the Divine Office, Ambrose’s singular ability effectively to stimulate the soul to prayer through a powerful and insuperable lyrical inspiration, is capable literally of transforming the daily hours into songs of praise, and explains Petrarch’s habit of rising during the night to sing hymns to the Lord.
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Balslev-Clausen, Peter. "Verdenssyn og menneskesyn i Grundtvigs salmedigtning." Grundtvig-Studier 41, no. 1 (January 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 address, partly in the church service, partly in the daily prayers, as it is evidenced by the hymn "Congregation of God, Sing Secret Songs of Praise to Our Creator" (Guds menighed, syng for vor skaber i l.n (1847)). This hymn was composed during Grundtvig’s work on a collection of popular ballads, and is modelled on the ballad about hr. Villemand, who, by playing his harp, forces the merman of the river to give his bride back to him.The lecture concentrates on the Mosaic-Christian view of the world and of man, considered, consciously, by Grundtvig to be the contrast to the scientific picture of the world and idea of man of his own age. It is claimed that the new world-picture as Grundtvig saw it, made impossible any notion of a connection between God and man, heaven and earth, creation and consummation, and that without this connection man would lose his identity and his companionship with others. Grundtvig, accordingly, retained the Biblical calendar.Especially after meeting his second wife, Marie Toft, in 1845, and the breakthrough for congregational singing of his hymns in Vartov Church on Christmas Day the same year, Grundtvig came to think of the woman and the human heart as the essence of human nature, in contrast to the rationalistic concept of man, which Grundtvig regarded as a product of Antichrist.Grundtvig was aware that his picture of the world and his view of man was not acceptable to the majority, at least not in the academic world. But he considered it necessary to maintain it, both for the sake of the Mosaic-Christian way of thinking and the Christian faith.The first five years after the meeting with Marie Toft were a turbulent time of regeneration in Grundtvig’s personal life, as it is reflected for example in the hymn "The Clouds Are Turning Grey, and the Leaves Are Falling" (Skyerne gråner og løvet falder). The crisis resolved itself in a new sense of wholeness in life, which is expressed in the series of adaptations of older hymns which did not acquire their final form until the 1850s, such as "O, Christian Faith" (O Kristelighed), "The Sun Now Shines in All its Splendour" (I al sin glans nu stråler solen) and "The Lord Has Visited His People" (Herren, han har besøgt sit folk).Since even today Grundtvig’s hymns are used as existential expressions of the lives of the congregation, the question arises whether they can still be used when his presuppositions no longer apply. Precisely by his strangeness, Grundtvig insists that his reader and participant in the hymn-singing is entirely responsible for acquiring an existential experience of a hymn, on the basis of the assumptions that belong to each individual and are determined by the time he or she lives in.
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Taylor, Yvette, Emily Falconer, and Ria Snowdon. "Sounding Religious, Sounding Queer." Ecclesial Practices 1, no. 2 (October 10, 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 and sexuality. Young queers did not always feel ill at ease with ‘tradition’ and in fact many felt pulled towards traditional choral songs and hymns. Embodied and affective responses to congregational music emerged in complex and multiple ways: faith infused creativity, such as singing practice, enables queer youth to do religion and Christianity and be a part of ‘sounding religious, sounding queer’.
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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 examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.
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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 (December 31, 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 reflects on a study that was conducted at a Dutch Reformed congregation to investigate the worship preferences with specific reference to church music and hymns, based on six worship models. The study is performed from a reformed perspective and can be used as a conceptual framework by congregations that have a similar need to ensure improved worship participation.
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DJOKOVIĆ, Predrag. "Towards perfect unity: himnography and some musical reinterpretations within Serbian chanting practice." Fontes Slaviae Orthodoxae 1, no. 1 (February 12, 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 occurred within Serbian chanting practise. Eventually, many songs from the Octoechos, General Chanting, as well as certain songs of the Festal Chanting, gained the status of the “fixed” chants, the proof of which are the first Serbian chanting collections from the 19th century written in staff notation. In these chants semantics and music are set in a specific manner and they represent a model by which the chanters govern themselves while singing other church hymns. Ideal unity of hymnography and music in the fixed chants is reflected in coinciding of textual and music phrases. Such an ideal balance contributes to the clear transmission of the hymnographic content to the faithful. However, sticheras, irmoses, troparions and kontakions which lack the ideal balance, may cause the hymnographic narration and, at some places, even the theological points to be incomprehensible and imprecise. To creative chanters it is an opportunity to “tailor”, i.e. to reinterpret the chants in order to compensate for these imperfections. Such a creative interpretation is possible only by skilled chanters who, above all, thoroughly understand the meaning and structure of a particular hymnographic work. Amongst such chanters were some of the bishops and patriarchs of the Serbian Orthodox Church. Certain chants related to this problem are examined in this paper.
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Engelbrecht, B. J. "'n Nuwe ekumeniese geloofsbelydenis?" HTS Teologiese Studies / Theological Studies 43, no. 1/2 (June 29, 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 for additional confession-pronouncements on modern-day issues and experiences, unknown to the church in the 16th century.• The desirability of a new form (language) to communicate with modem man.• The sensitivity of the churches of today towards church-unity and the trends living in the oikouménè, e g their social awareness.We then proceed to treat the motives why a reformed Church überhaupt needs and forms a confession. In the light of these motives the question arises whether our Church really needs a new confession today; is the exposition of the existing confessions in theology, catechesis, preaching and modem church-hymns not enough to translate and communicate the existing confessions to modem man and to address modern-day issues?
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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 (December 15, 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 songs, type of songs, including psalms, are approved, are approved for use. Members believe that many psalms are no longer suitable for the 21st-century churchgoer, that synod decisions appear to be out of touch with members’ musical needs and that synods oppose musical innovation. The purpose of this article is to give an overview of ministers, organists/music leaders and parishioners’ perceptions regarding the nature and use of psalms during worship in the Reformed Church of South Africa as well as synod decisions pertaining to the psalms. Die Gereformeerde Kerke in Suid-Afrika sing vanaf die kerk se ontstaan in 1859 slegs psalms, Skrifberymings en Skrifgetroue liedere. Tans is daar twee amptelike psalmberymings in gebruik binne die Gereformeerde Kerk, naamlik die sogenaamde Totius-beryming van 1936, asook die 2001-omdigting met psalmtekste deur hoofsaaklik T.T. Cloete. ’n Studie van lidmate se persepsies oor sinodebesluite en die aard van die psalms binne die Gereformeerde Kerk toon aan dat die psalms nie optimaal benut word nie. Sinodes besluit watter tipe liedere, insluitend psalms, vir gebruik goedgekeur word. Lidmate glo dat talle psalms nie meer geskik is vir die 21ste-eeuse lidmaat nie, dat sinodebesluite uit voeling is met lidmate se musikale behoeftes en dat sinodes musikale vernuwing teenwerk. Die doel van hierdie artikel is om ’n oorsig te gee van die persepsies van predikante, orreliste/musiekleiers en gemeentelede met betrekking tot die aard en gebruik van die psalms binne die erediens van die Gereformeerde Kerke van Suid-Afrika, asook sinodebesluite wat hiermee verband hou.
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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 (July 24, 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 for suspense, heartbreak, or a peaceful resolution. Songs, then, become an active ingredient in their lives as they find ways to employ music as a tool to share in their life experiences and bring them to a desired emotional state. The purpose of this study was to contribute towards documenting and describing the integration of vocal music, dance and instrumental playing in this church. To achieve this aim, the study employed a naturalistic approach and data was collected through video recordings of church services, interviews and observations. The primary question the study addressed is: how is collective identity formed through music and how does religious music serve as a core part of culture? The results have shown that in this church, music is manipulated to serve congregational purposes. The investigation has also shown that identity is largely related to musical preference, and the congregants use music to understand who they are and define themselves internally as well as externally.
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Stallsmith, Glenn. "Protestant Congregational Song in the Philippines: Localization through Translation and Hybridization." Religions 12, no. 9 (August 31, 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 heavily on American pop music styles. Word for the World is a Pentecostal congregation that embraces English-language songs as a part of their theology of presence, obviating the need for translation by singing in the original language. Day by Day Ministries, the third case study, is a congregation that translates beyond language texts, preparing indigenous Filipino cultural expressions for urban audiences by composing hybridized songs that merge pre-Hispanic and contemporary forms.
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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 inserting gospel songs, church hymns, and spirituals into the musical repertoire of misas espirituales, my interlocutors introduced a new group of beings into an existing category of ethnically differentiated ‘spirit guides’. Whether embodied in ritual contexts or cultivated privately through household altars, these spirits not only personify the ancestral dead; I demonstrate that they also mediate between African-American historical experience and the contemporary practice of Yorùbá- and Kongo-inspired religions.
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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 followed by similar editions from 1849 and 1850, 1854, 1855, 1859 and another two undated. In 1852, the author himself included it in the second edition of the prayer book Růže sionská [The Rose of Zion], although it is not part of the first edition from 1845. In the same year, the song was included in the hymn book Písně ke mši svaté pro školní mládež [Songs for the Holy Mass for School Children] and three years later in a hymn book from the same printing house Písně ke mši svaté, k úžitku osady Hostounské a Únětické [Songs for the Holy Mass to Be Used in the Settlements of Hostouň and Unětice] and in 1860 in the Zpěvník pro chrám, školu i dům [The Hymnal for Church, School and Home]. At that time, it also appeared in the contemporary Perla pravých křesťanů [A Pearl of True Christians], compiled by František Křenek and published in 1860, as well as in the prayer book Květinná malá zahrádka [A Small Flower Garden], published in the printing house of Alois Josef Landfras and his son in Jindřichův Hradec around 1860. The song was also included in Písně a modlitby pro studující katolickou mládež [Songs and Prayers for Young Catholic Students] by Blahorod Čap, who had the collection printed in Litomyšl in 1869. The penetration of the text of the song by a renowned poet and writer from broadsides to hymnals and prayer books provides interesting and rare evidence of the journey of an artificial song to the unified hymn book.
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Auken, Sune. "Sangværket som udviklingsroman. Om Randi Habersaat Rodes bog Barneglad og engleklog." Grundtvig-Studier 50, no. 1 (January 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 scholarship has never been dealt with as a series of connected texts.At the same time, however, the article takes a doubtful look at the fundamental approaches in the book. Two features are questioned in the article: the method of the book and its treatment of the ma-terial. Barneglad og engleklog subscribes to the intertextual method which examines the connections between different texts, but the article argues that the book overlooks a series of important distinctions relating to intertextuality, and that consequently a number of the conclusions drawn in the book on the background of its method become dubious. Furthermore, the article questions the attempt made in the book to point out a sequential pattern in the first 146 hymns of the Song-Work to the Danish Church. A few of the interpretations contained in the book are taken up, and in each case it is concluded that the connections which Barneglad og engleklog professes to see are more than doubtful.The article concludes with regret that if the Song-Work to the Danish Church is carefully composed, that composition is different from the one presented in Barneglad og engleklog.
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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 (February 20, 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 the city magicians and performing their duties in terms of "music economy". The oldest medieval musical instrument was the human voice. The spread of Christianity in the Dark Ages and early Middle Ages led to the popularity of hymns and secular songs. Many musical instruments of the Middle Ages were the predecessors of modern musical instruments. Wind instruments are the oldest type of musical instruments from the Ancient Ages to the Middle Ages. However, in the process of development and formation of medieval Western civilization, the scope of application of wind instruments greatly expanded: for example, some instruments such as the olifant belonged to the palaces of the nobility, others - the flutes - were used both in the folk setting and among professional musicians, while others such as trumpets were only become military musical instruments.
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Thodberg, Christian. "Grundtvig og Gammel Testamente - den danske Bibel eller Septuaginta." Grundtvig-Studier 49, no. 1 (January 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 Testament tone, especially those that follow a triadic stmcture: first the Old Testament prophecy is mentioned, in the middle its fulfilment in and with the coming of Christ is described, and finally follows the most important part, the fulfilment of the prophecy in the present, Grundtvig not failing to place his activity in the centre - but as a stage, naturally, in the course of the history of salvation.In Grundtvig’s hymns, too, this structure recurs, as in Blomstre som en Rosengaard, in which the triadic structure is connected with the so-called Vstructure, the right side of the »V« of the hymn describing the fulfilment of the prophecy. By means of the V-structure Thodberg shows how baptism is the focus of the hymn, and also that in his interpretation of Isaiah 35 as a prediction of baptism Grundtvig leans on the Septuagint rather than the contemporary Danish Bible translation. In the Danish Hymn Book, Blomstre som en Rosengaard is only a torso - baptism is not the essential thing here.The article mentions a number of other examples of influence from the Septuagint on Grundtvig’s hymns and sermons. Among these the hymn Hyggelig, rolig stands out since it contains a large number of phrases that refer to the Septuagint. This applies to stanza 4 in which Grundtvig shows how even the person most troubled by doubts and most deeply bereaved will have a foretaste of the Kingdom of God when approaching Heaven in his or her heart on the tone ladder of songs of praise. This is a rendering of Psalm 84 in the Septuagint. The article concludes that from the 1830s Grundtvig makes extensive use of the Septuagint when quoting from OT. The background is that Grundtvig regarded the Septuagint as more poetical than the Danish translation from 1736, and - more importantly - that in preferring the Septuagint Grundtvig follows Irenaeus by relying on the Bible of the New Testament and the Old Church.
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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 shows that in a number of schools, for example, in Moscow urban schools, serious attention was paid to music education, singing was a compulsory subject. In some schools, for those who wish, in addition to basic subjects and more often for a small fee, training in playing musical instruments was organized. The article addresses the purpose, content, methods, forms of teaching singing, teaching aids, the use of musical instruments in the lessons, the educational level of teachers, analyzes the change in the status of the subject of singing in the process of reforming the primary education system and transforming urban schools into higher primary schools. The study shows, for example, that one of the main goals of the training was to develop and strengthen the morals of pupils. The content of the training was composed of church chants, prayers, hymns, secular patriotic songs, folk songs, and musical deed. This article may be may be interesting to music education historians, scientists and teachers, university students.
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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’. Lionel Dakers, retired Director of the Royal School of Church Music, also saw choruses and worship songs as ‘in many instances little more than trite phrases repeated ad nauseam, often with accompanying body movements’. This paper investigates the reactions of the musical and ecclesiastical establishments to the use of popular music in public worship in the Church of England from 1956 to c. 1990. The period began with a new wave of experimentation epitomized by Geoffrey Beaumont’s Folk Mass and the controversy surrounding it, and ended in the early 1990s, by which time the pop-influenced worship music of the renewal movement had become firmly established in some sections of the Church, with its own figure-heads and momentum.
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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 and cultural ideas. The article raises the question of the significance of the creation of the anthem song "Ukraine is not dead yet": the words of P. Chubynsky, the music of M. Verbytsky. The famous musicial composition, the words and melody of which united more than one generation, united Ukrainians around the world, influenced the formation of identity and awakened national consciousness. Working on the creation of a majestic song, the authors realized that the songs-hymns encode political levers, which reveal the potential for democratic development of the nation and the consolidation of citizens. After Ukraine gained independence, the text of the anthem was approved, with simultaneous editing, and in March 2003, the Verkhovna Rada of Ukraine adopted the Law "On the National Anthem of Ukraine" to the music of V. Verbytsky, P. Chubynsky's words "Ukraine is not dead yet, and Glory, and Will "– is one of the most important state symbols. Emphasis is placed on the fact that M. Verbytsky is the author of music for the National Anthem of Ukraine and his life choice, active social activity and creative work carried out a social-cultural mission. The talented composer, spiritual mentor, patriot M. Verbytsky realized the value of what he was doing, worked selflessly and sacrificially, promoting the position of self-affirmation of Ukrainians as free and self-sufficient people.
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Aasen, Kristi. "»Helt kun i mand og kvinde«. Grundtvigs tanker om den fruktbare dobbelthet." Grundtvig-Studier 42, no. 1 (January 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 Magdalene was the first one to hear the news of the resurrection and to pass it on.The sensitivity of a woman rarely qualifies her as a communicator. At a time when the very idea was unthinkable, Grundtvig goes so far as to claim the necessity of female deans. On the whole, he encourages the woman to use her intellectual abilities, i.e., the male qualities, which are also part of her. But even more, he calls on the man to recognize the emotional and female part of himself. For .the Heart is always a Woman., he says in one of his hymns. Thus he manages to say that the basic human feature in both woman and man is emotion, residing in the heart.When Grundtvig emphasizes the female values so strongly, it is because he recognizes that they have been suppressed, not in order to disparage the male values. He is convinced that the male and female features together constitute what is truly human - a conviction he finds substantiated in the Bible (in Paul’s 1 Corinthians, 11,11-12).Hence, Grundtvig concludes that God must be both woman and man, and so is every human being, created in his image. And the relationship between Creator and creation is above all a relationship of the heart.The man-woman theme remains with Grundtvig through his whole life. But undoubtedly it is strengthened through impressions he received from East European culture. The indirect openness to the Greek is probably due to his interest in the Church Father, Irenaeus, who, in the struggle with the Gnostics, became a defender of natural human life. But more directly, we know that the Greek church service manual »Leiturgikón«, which Grundtvig borrowed from the Royal Library in January 1837, fascinated him so as to leave traces in his sermons and hymns. In an article (p. 225 in .Vision and Song - Poetry and Theology in Grundtvig., Gad 1989), Christian Thodberg points out how the Greek church makes more of the women in the New Testament than does the Western European church, something that deepens his preoccupation with the natural and the emotional. And Kaj Thaning claims (p. 214 in .Man First - Grundtvig’s Struggle with Himself., Gyldendal, Copenhagen 1963) that it was a woman whom Grundtvig met during his visit to England as early as 1830 who came to have a decisive importance in this context. Thaning maintains that it was this Greek-oriented woman who really opened Grundtvig’s eyes, enabling him to understand the doubleness in human life, so that a reconciliation became possible for him between spirit and heart, thought and emotion. As Grundtvig had to borrow a foreign culture and a woman’s eye to discover the fruitful doubleness in life - and hence its wholeness, so our contact with Eastern Europe today may open our eyes to a rediscovery of ideas which we have so long overlooked in our worship of reason and our materialism.
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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 (February 10, 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 lirik lagu. Metode penelitian yang digunakan dalam penulisan karya ilmiah ini adalah dengan menggunakan metode kualitatif. Dan untuk melakukan metode penelitian tersebut hal yang akan dilakukan, yaitu: Pertama, pengambilan dan pengumpulan data melalui buku, jurnal, dan skripsi online yang berkaitan dengan judul yang dibahas dalam karya tulis ini. Kedua, observasi lagu-lagu ciptaan Charles Wesley. Dalam karya ilmiah ini, penulis mencoba untuk membuktikan bahwa lagu hymn karya Charles Wesley mempunyai relevansi di dalam penginjilan Wesley bersaudara berperan sejauh mana nyanyian yang diciptakan oleh Charles Wesley, mendukung khotbah dari John Wesley, dan pelayanan penginjilan yang dikerjakan menghasilkan makna baru. Setiap syair mengandung makna yang mendalam dalam menggugah hati jemaat, sehingga lewat nyanyian mampu membuat jemaat bertobat, dan mengalami peneguhan iman di dalam Yesus kristus.The writing of this scientific work was motivated to see the role of a song in evangelism, carried out by the Wesley brothers. The Wesley brothers were one of the ecclesiastical figures who had a large role in developing evangelistic services in England. Each of the Wesley brothers has its role when running services. John Wesley is famous for his constructive preaching and discipline in faith in Jesus Christ, while Charles Wesley is famous for writing song lyrics. The research method used in writing this thesis is to use qualitative methods. And to do the research method, the things that will be done are: First, data collection and collection through books, journals, and online thesis related to the title discussed in this paper. Second, observation of songs by Charles Wesley. In this scientific work, the author tries to prove that the role of singing in the Wesley evangelization of brothers plays the extent to which the song was created by Charles Wesley, supporting John Wesley’s sermon. Each poem contains a profound meaning in moving the congregation's hearts so that singing can make the church repent and experience the confirmation of faith in Jesus Christ.
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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 (July 4, 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 functions that the Akathist performed, serving the purposes of memory – having also a heterogeneous character, realised in various ways and playing different roles. The analysis encompasses selected research fields – history of literature, religion and culture from the perspective of changes in the media of words, as well as art history.The second part of the article shows analogous phenomena in the Polish Marian song and traces its relations to the Akhatist to the Mother of God. In particular, the analysis focuses on the song O przenasławniejsza panno czysta... The structure of the akhatist icon was reflected in the Gothic altar stands in Lesser Poland, in which the image of the Virgin Mary of the type of Madonna Piekarska was centrally placed, surrounded by other representations.The key concept for the article is the litany tradition, which is understood here broadly, i.e. including specific language formulas, the communication strategy, issues of presence, mnemonic formulas, the ideas of spatial relations, movement and performance. In conclusion, the article attempts to define the multi-aspectual character of this phenomenon, with particular focus on the dynamics of this tradition, the need to act and recall using memory.
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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 (March 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 (September 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 (June 25, 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 a different genre, addresses and praises the Delian Maidens – the choral singers par excellence. As the Homeric Hymns evolve from cultic, choral hymns, they turn the local praise of gods into panhellenic encomia. Such transition is also alluded to in other sources, in which hymns are disseminated and adapted by male performers, as a result of a female chorus’ instruction.
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Laube, Matthew. "‘The Harmony of One Choir’? Music and Social Unity in Reformation Heidelberg*." Past & Present 248, no. 1 (July 29, 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 social factors such as age, gender, social station and personal contacts, as by confessional affiliation and policy. Using a corpus of previously unexploited sources from the Protestant city of Heidelberg, this article challenges the rhetorical and outdated binary notions of social ‘harmony’ and ‘discord’. It argues that music in a Reformation city — whether congregational song in churches, secular song in taverns, inns and streets, or domestic devotional song — could function as a powerful platform for emphasizing rather than dissolving a range of meaningful social differences, even as it created new kinds of unity across urban society.
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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 (November 26, 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 (January 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 (January 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 (July 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 (August 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 (December 1985): 79. http://dx.doi.org/10.1177/001452468509700305.
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