The Wake of Imagination: Toward a Postmodern Culture

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World Of Music

During services of the Reformed Churches of South Africa (RCSA), certain psalms and Biblical hymns are used frequently, while others are almost never used. The objective of this study is to determine how the Psalter of 2003 can be used optimally. The model of Zerfass is used for the investigation. The final results of the study are presented in the form of a model that can enrich the optimal use of the Psalter 2003 as means of communication in the liturgy of the RCSA. In Chapters 2 and 3, a basic-theoretical investigation is conducted, with reference to perspectives from Scripture and history. The investigation reveals that music and songs had already played an important role in the church of the Old Testament, and that the Psalms had had a significant influence on the liturgy and the faith. In the New Testament, new hymns are found that supplement those from the Old Testament. The form in which these hymns were composed, was closely connected to the context whence these songs arose. The communication that a hymn effects, is achieved jointly by word and music, in the church of the New Testament and subsequently. Since the Reformation, a degree of separation arose between the songs used in the church and outside, but mutual influences are observed. In Chapters 4 and 5, attention is paid to metatheoretical perspectives, first in communication science, then in hymnology. It is in their singing that the congregation participates in the worship of a church service. Such singing is indeed the basic form of participation, which promotes communication among members of the congregation. In judging a metrical version of a Psalm, attention should especially be paid to the content, style of the text and the melody. In the empirical investigation, qualitative and quantitative methods are used. The investigation proceeds in three phases. In the first phase, information is obtained about the hymns that were sung in a number of congregations in the course of a year. In the second phase, a questionnaire was set and sent to ministers, organists and members of congregations. In the final phase, interviews were conducted with ministers and organists from five congregations. The data show that the hymn occupies an important place in the liturgy. However, the investigation reveals that this point of departure is not fully realised in practice, and some shortcomings are identified. In particular, there is a need for extension of the hymnody, especially by hymns from the New Testament. In Chapter 7, an indication is given of the factors that constrain the optimal use of the Psalter 2003 as means of worship in the church service. The most important problems are: • the incomplete utilisation of the full collection of hymns in the Psalter, • the underuse of the 2001 metrical version, • the repeated use of a small subset of hymns, • problems with the melodies and liturgical usefulness, • limitations in the training of ministers and organists, • resistance to the 2001 metrical version, • a lack of proper programmes to practice the new hymns, and • inadequate support and encouragement by church councils in respect of improving the skills of organists. In view of these problems, a model is proposed, which identifies the relationships among the role players / elements necessary to promote worshipping through singing: • the users of the Psalter 2001, viz. Ministers, organists and members of the congregations, together with the role of the church council, • the Psalter 2003 as hymn book, and • the possible extension of the current corpus of hymns.

Die Psalmboek 2003 as kommunikasiemiddel in die liturgie van die erediens in die Gereformeerde Kerke in Suid-Afrika : 'n himnologiese studie

A Missiological study on the perspectives and function of prayer in the AICs

Lament in liturgy : a critical reflection from an URCSA perspective

Hymns are commonly sung in the public space of worship. They often also function in other public as well as private spheres. Religious singing in publicspaces forms bridges between personal faith, the church, and public Christianity, while at the same time also forming bridges to a pluralist,secular, and post-secular society. I depart from the premise that the singing of hymns in the public sphere constitutes a form of religion lived in public.When the singing is reflected upon and discussed in public, also in social media, it can be seen as a form of public theology. Aspects of the receptionhistories and narratives of hymns, functioning in the wider public sphere in various countries and in various contexts and times, are discussed with regardto the possible functions that the singing could fulfil in these contexts. It is shown that hymnody forms a part of the beliefs, self-concepts, values,symbols, identities, ideologies, instruments of power, sets of myths, and the collective cultural memory of people

/pdf/singing-and-sounding-the-sacred-the-function-of-religious-371rrnrb18.pdf

Singing and Sounding the Sacred - the Function of Religious Songs and Hymns in the Public Sphere

The way we are affected by music in general and the role of association, as well as the way association influences the forming of criteria for the evaluation of music and how these criteria would apply to church music, are discussed. The essence of liturgy and the function of music, as part of the liturgy are established. The conclusion is made that 'variety' is the key for the renewal of liturgical singing.

/pdf/liturgical-music-worship-or-war-1as687qxwx.pdf

Liturgical music: Worship or war?

Liturgical choral song as a form of ecclesiastical proclamation: A fundamental reflection from a hermeneutical-homiletical perspective Certain reformed churches have, traditionally, disapproved of choral singing. This has been due either to one-sided or inconsistent theological arguments, or to overreaction to bad choral singing. This article strives to show that, in principle, there is no difference between the kerugma of preaching and that of a choral work, and that liturgical choral singing can be regarded as a form of church proclamatioru Proclamation is examined from a hermeneutical-homiletical point of view, in order to show that there are no fundamental differences between the ‘hearing’ of a choral work and listening to an ‘ordinary’ spoken sermon.

https://hts.org.za/index.php/hts/article/download/2572/4385

Liturgiese koorsang as wyse van kerklike verkondiging: ’n Prinsipiële besinning vanuit hermeneutieshomiletiese perspektief

After an introduction and views on inculturation (i.e. adapting the liturgy to the context within which it is ‘performed’ or the context influencing the liturgy), the focus shifts to ‘incarnation’ and ‘contextualisation’ in a broader sense, to also include the transformation and adaptation of the ‘sacred’ for the secular or political sphere. Practices of performing faith through texts and music within diverse liturgical, spiritual, cultural and political contexts in South Africa are discussed. Aspects taken into account are the possible influence of landscape or seasons on the expression of faith and the possible sacro-soundscapes that could come from different contexts, such as the impact of the Karoo landscape on Khoisan descendants singing the sacred; performances in a contextualised music idiom, such as the Genevan Psalms in a Khoi music idiom; and celebrating the Church Year in different hemispheres. The discussion focuses also on contextualising within political contexts – that is, where political space is ‘sacralised’ through sacred songs and where sacred songs are given political meaning or changed for the political sphere. The article closes with the possibility of songs from Africa being sung in other countries and the meaning it could have, or could be given. It is argued that contextualisation from one context to another context of the sacred, or from a ‘secular’ to a sacred context, as well contextualising the sacred into the public (‘secular’) or political sphere, could lead to contexts and spaces being changed, enrich the performance of the sacred, stimulate creativity, allow for new processes of attributing meaning, change values and motivate people, form new identities and thus also could lead to changed communities.

/pdf/performing-the-sacred-aspects-of-singing-and-3gd11odh0n.pdf

Performing the sacred – Aspects of singing and contextualisation in South Africa

Actions in the worship service: Enriching liturgy through music The worship service in the Reformed Churches in South Africa has of late come under pressure. On the one hand it is experienced as too rigid and “traditional”. On the other hand superficial forms of renewal create tension. In this article the worship service and the meaning of the liturgical actions in the worship service of the Afrikaans Reformed Churches are discussed, and related to world-wide ecumenical tendencies. It is argued that certain liturgical actions are a necessary part of the ritual of the worship service. The structure needs inner logic, although there should also be some degree of flexibility. Hymns and music offer the means for a more creative presentation of liturgical actions and traditional forms. Suggestions to enrich the liturgy through the use of hymns and liturgical forms in the Liedboek van die Kerk (2001) are offered.

https://hts.org.za/index.php/hts/article/download/446/345

Elsabé Kloppers

Papers

Singing and Sounding the Sacred - the Function of Religious Songs and Hymns in the Public Sphere

Liturgical music: Worship or war?

Liturgiese koorsang as wyse van kerklike verkondiging: ’n Prinsipiële besinning vanuit hermeneutieshomiletiese perspektief

Performing the sacred – Aspects of singing and contextualisation in South Africa

Handelinge in die erediens : die verryking van die liturgie deur musiek