This thesis is an interdisciplinary examination of the role religious music played in the formation of Protestant religious identities during the Elizabethan phase of the English Reformation. It is allied with current post-revisionist trends in seeking to explain how the population of sixteenth-century England adjusted to the huge doctrinal upheaval of the Reformation. It also seeks to move post-revisionism onwards, by suggesting that the synthetic patchwork of beliefs which emerged during the English Reformation was nonetheless distinctively Protestant, and that we must redefine our notion of what it actually meant to be Protestant in the context of post-Reformation England. The first of three sections, ‘Discourses’, explores the classical and religious discourses which underpinned sixteenth-century understandings of music, and its use in religious worship. Chapter one investigates the strengthening and importance of neo-classical notions of speculative music during the Renaissance, while chapter two explores how these notions affected the way Protestant reformers thought about, wrote about, and used music in public worship. Section two, ‘Sites’, looks at the practice of Church music in the parish and the cathedral church. Chapter three uses qualitative and quantitative data from churchwardens’ accounts to document changing patterns of musical expenditure in the Elizabethan parish, while chapter four focuses on the cathedral, and challenges received notions about the supposed dichotomy between parish and cathedral worship practices. The third and final section, ‘Identities’, shifts its attention to the people of Elizabethan England, and the ways in which music both served and shaped the processes of religious identity formation. Chapter five looks at music as a tool of pedagogy, propaganda and devotional piety, in church, schoolroom and home, while chapter six concentrates on the ways in which Church music both reinforced and complicated notions of communal and individual identity, acting as a source of both harmony and discord.

This doctoral thesis claims the vital significance of music in mission work, particularly from the Lutheran point of view. It, therefore, calls for a liturgical missiology which would positively affect missionary efforts, especially in the African mission context. After giving a theological foundation - the doctrine of the Trinity - and the concept of the missio Dei as its missiological basis, the thesis investigates its topic from different angles: Luther and music, music in the work of the Hermannsburg Mission in the region of the ELCSA-Western Diocese, the role of music in African culture and spirituality, some qualities of music relevant to mission and a few musical steps to approach the future of music in mission. These analyses corroborate music's importance in future Lutheran mission designed for the African context. Examining Luther's stance towards music, a strong affinity to music is recognised, both theoretically and practically. While interpreting music theologically, Luther employs music in his liturgical, educational and reforming efforts. However, the example of the Lutheran Hermannsburg Mission shows a usage of music without a proper theoretical foundation, as well as only partial efforts at contextualisation. In Africa, music plays a prominent role in the interpretation and expression of life and religion indicated in the Tswana choruses; music represents the wholeness of African existence symbolising the paradigm of harmony. Further, in mission, music's qualities, such as its cultural-social, symbolic, ritualistic and community-building qualities, support the integration of the convert into a fundamental relationship between the missio Dei and the missiones ecclesiae. With the help of a musica missionis, which includes missiological music and missionary music, the practice of future mission can be approached successfully; for instance, through the Africanisation of the Lutheran mission liturgy based on a context-musicology. Thus, a liturgically orientated theology of mission, meditating deeply on music's qualities (music being one essential element of Lutheran worship), has the potential to develop into a future liturgical missiology. This musical-liturgical approach to mission is encouraged by this thesis. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

This doctoral thesis claims the vital significance of music in mission work, particularly from the Lutheran point of view. It, therefore, calls for a liturgical missiology which would positively affect missionary efforts, especially in the African mission context. After giving a theological foundation - the doctrine of the Trinity - and the concept of the missio Dei as its missiological basis, the thesis investigates its topic from different angles: Luther and music, music in the work of the Hermannsburg Mission in the region of the ELCSA-Western Diocese, the role of music in African culture and spirituality, some qualities of music relevant to mission and a few musical steps to approach the future of music in mission. These analyses corroborate music's importance in future Lutheran mission designed for the African context. Examining Luther's stance towards music, a strong affinity to music is recognised, both theoretically and practically. While interpreting music theologically, Luther employs music in his liturgical, educational and reforming efforts. However, the example of the Lutheran Hermannsburg Mission shows a usage of music without a proper theoretical foundation, as well as only partial efforts at contextualisation. In Africa, music plays a prominent role in the interpretation and expression of life and religion indicated in the Tswana choruses; music represents the wholeness of African existence symbolising the paradigm of harmony. Further, in mission, music's qualities, such as its cultural-social, symbolic, ritualistic and community-building qualities, support the integration of the convert into a fundamental relationship between the missio Dei and the missiones ecclesiae. With the help of a musica missionis, which includes missiological music and missionary music, the practice of future mission can be approached successfully; for instance, through the Africanisation of the Lutheran mission liturgy based on a context-musicology. Thus, a liturgically orientated theology of mission, meditating deeply on music's qualities (music being one essential element of Lutheran worship), has the potential to develop into a future liturgical missiology. This musical-liturgical approach to mission is encouraged by this thesis. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)