This dissertation explores the liturgical work and influences of Methodist theologian Georgia Harkness in the broader context of mainline American Christianity and theological liberalism of the twentieth century. Through an examination of Harkness’s writing about worship as well as the resources she produced for worship, the thesis argues that her often overlooked liturgical work was central to her self-understanding as an applied theologian and shaped her theological interests and evolution throughout her career. This study begins by showing the centrality of prayer and worship in the personal and professional biography of Harkness. Through analysis of her many articles and sections of books on prayer and public worship, it leads to an assessment of Harkness’s own growing commitment to the liturgical life of the church and demonstrates how a self-described “evangelical liberal” built on her personalist foundations to help modern Christians reclaim the church’s liturgical tradition within new theological constructs. Further, by examining the prayers, worship services, and hymns that Harkness planned and wrote, the dissertation helps to explain how her theological understanding of worship and prayer was made manifest in the liturgical resources she created. This study also argues that Harkness’s growing commitment to the liturgical life of the church played a key role in her own theological evolution. Through her own immersion in worship and prayer, Harkness’s work became more theological, her theology became more Christocentric, and her ecclesiology deepened and developed a global and ecumenical conscience. As she delved deeper into the liturgical life of the church, she began drawing connections between liturgy, theology, and ethics, which presaged a central topic of modern-day liturgical studies. Finally, the dissertation claims that her work as an applied theologian at the intersection of various disciplines and communities makes her an excellent model for modern-day practical theology. This research and assessment contributes to existing scholarship by reclaiming an often-overlooked part of Georgia Harkness’s legacy. More broadly, it helps dispel the myth that theological liberalism was not interested in worship or devotion and gives a more nuanced understanding of the theological and liturgical landscape of mid-twentieth-century mainline Protestantism. / 2020-06-21T00:00:00Z

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This dissertation examines the contributions of Basil Manly Jr. to the congregational song of Southern Baptists. Chapter 1 provides an overview of the study, introduces the hymnals compiled by Basil Manly Jr., and identifies his contribution of original texts and tunes to the repertory of Southern Baptist hymnody. Chapter 2 focuses on the collaboration of Manly Jr. with Basil Manly Sr. in the compilation of The Baptist Psalmody (1850). The first Southern Baptist hymnal was developed in response to the dominance of The Psalmist (1843) in Northern states and the need for a comprehensive hymnal suited to congregational singing of Baptists in the South. The Psalmist's omission of popular hymns and the opposition to this hymnal are discussed in detail. "Standard hymns" among Southern Baptists of the mid-nineteenth century are identified through comparative analysis of the period's most significant Southern Baptist hymnals and tunebooks. The Manlys' editorial values are discussed and the contents of The Baptist Psalmody are contrasted with those of The Psalmist . Chapter 3 concerns Manly Jr.'s first musical compilation, Baptist Chorals (1859). It was intended to promote congregational singing among Baptists at large and designed to serve as a tune complement for both The Baptist Psalmody and The Psalmist . Notable aspects of Baptist Chorals include Manly Jr.'s philosophical preface on congregational song, the juxtaposition of old and new tunes with multiple texts at each opening of the hymnal, and a standardized musical format. Chapter 4 examines Manly's Choice (1891) and its musical edition, The Choice (1892), as compendiums of evangelical hymnody. Manly Jr.'s efforts to disseminate their repertories of historic texts and tunes among Southern Baptists of the late nineteenth century are discussed. Finally, the contents of The Choice are compared with Southern Baptists hymnals of the twentieth century. Chapter 5 draws conclusions on the significance of Basil Manly Jr. in the development of Southern Baptist hymnody. The twelve appendixes include first-line indexes and tune indexes to Manly Jr.'s hymnals, lists of "standard" hymns among nineteenth-century Southern Baptists, the complete prefaces to his hymnals, and a presentation of his original hymn texts and tunes. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

This study examines the sacred dance in the Nazaretha Church and Isaiah Shembe's hymns as “agency” and not “response” (Coplan, 1994: 27). A number of studies on the Nazaretha Church and Isaiah Shembe posit that Shembe created his popular texts (especially the sacred dance) as a response to colonialism and the oppression of black people. In countering such a proposition I argue that in exploring the sacred dance we need to look at the motivation for members to participate in the dance. With that view in mind, I examine the sacred dance and the hymns as examples of a popular culture which is both „transnational‟ and „transglobal‟, to use Hofmeyr‟s terms (2004). This is because it is common in the Nazaretha Church that members taking part in the sacred dance claim to be doing so on behalf of their dead relatives, as it is believed that ancestors are able to participate in those dances through the bodies of their living relatives. In return, those in the ancestral realm will reward the living performers by offering them „blessings‟. In the Nazarite Church, and through performances like the sacred dance, the physical and spiritual worlds are perceived to be integrated. I therefore examine these hymns and performances as examples of popular culture “that is more than sub- or trans-national, [that] is trans-worldly and trans-global” (Hofmeyr, 2004: 9). In other words, I examine the sacred dance as performances and the hymns as texts whose audience is not only living people but also people in heaven. This means my study goes beyond the view that Nazarite performances are rituals of empowerment for the members, a majority of whom are economically, socially and politically marginalised (Muller, 1999), to look at them as significant on their own account. In undertaking the abovementioned task, I examine these hymns and performances in relation to “oral testimony of their significance to the people who [perform] and [listen] to them” (White, 1989: 37). Oral testimony of dreams and miracles suggests that Nazarite members who take part in the sacred dance do so primarily because of the imagined relationship between the individual and divine power. As Mbembe states, “it is the subject‟s relation to divine sovereignty that serves as the main provider of meanings for most people” (2002: 270). I argue that Nazarite members take part in the sacred dance mainly as an attempt to “manage the „real world‟ on the basis of the conviction that all symbolisation refers primarily to a system of the invisible, of a magical universe, the present belonging above all to a sequence that opens onto something different” (270). / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

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

Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu. / The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal / Theology / D.Th. (Theology)

Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu. / The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal / Theology / D.Th. (Theology)

This thesis undertakes a study of some of the historical origins and developments of the Southern Baptist Convention in relation to its music.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese