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The purpose of the study was to examine nineteenth century church music practices. This was done by 1) studying the attitudes displayed in the church periodical of The Wesleyan Methodist Connection (later, Church) of America; 2) locating and analyzing 44 tunes suggested in Miriam's Timbrel, a hymnal published for the Connection in 1853. This church was formed by people who seceded from a number of different denominations over the issue of slavery. It therefore represented the music practices of several American Protestant groups of the time.Findings1. Vocal music dominated music worship practices.2. Congregational singing was emphasized; every worshipper was urged to participate.3. Choirs were permitted but were often criticized and many thought their membership and music should be carefully regulated.4. There was much controversy over instrumental music; from 1845 to 1899 the church Discipline recommended that congregations dispense with its use.5. The history of each suggested tune was studied. Sources were discovered to be primarily European, either by actual composition or by influence.6. The tunes were grouped in categories according to origin: 1) the "better music" school of Lowell Mason and his coworkers, twelve tunes; 2) parlor songs by known composers, twelve; 3) folk song origin, nine; 4) European sacred sources, six; 5) European secular sources, four; 6) early American hymn tune, one.Similar characteristics were discovered among the tunes.The majority displayed:A 6- or 7-tone scaleMelodic range o f a 7th-9thFour or eight line stanzasConjunct melody linesSyllabic or slightly neumatic settings Common duple, triple, or quadruple meters Repetitive rhythmic patternsGenerally slow harmonic rhythm Simple harmonic structuresMajor keys with less than four sharps/flatsNon-traditional poetic meters.The tunes were relatively simple, easily learned, and in the popular styles, sacred and secular, of the nineteenth century.

This thesis examines the types of creation imagery used in the Psalms, looking at the historical and cultural influences that affected the Old Testament concepts encapsulated in this Psalmody, and at how traditional creation hymnody has incorporated and modified these concepts. The first chapter examines creation psalmody and argues that there is an overall inclusiveness to be found in such Psalms, where God is viewed as working through the whole of creation and that such Psalms are generally less anthropocentric than some other Biblical texts. This immanent approach is particularly evident through the Old Testament concept of Creator Spirit. Creation hymns are discussed in the three chapters that follow, focusing firstly on hymns of seed-time and harvest, secondly on hymns of the Holy Spirit, and thirdly on hymns with a christological perspective that deal with the main Christian Festivals around Christmas and Easter. In examining rogation-tide hymns and May Day carols, the seedtime and harvest chapter finds many similarities to the images used in creation psalmody, as well as imagery from the old traditional May Day festivals which pre-date Christianity in Britain but which contain a similar kind of natural spirituality to the Old Testament concepts of Creator Spirit. The Harvest Festival hymns, on the other hand, tend to take a more anthropocentric approach, but nevertheless do contain some of the immanent approaches from the Old Testament, in particular the Hebrew Harvest Festival. Chapter 3 examines hymns of the Holy Spirit, and I argue that it is in these hymns that we can find a more fully developed immanent type of theology. Chapter 4 looks at the christological perspectives to the natural world to be found in traditional hymnody, examining in more detail the areas of transcendence and immanence and the implications of the inevitable anthropocentric viewpoint to be found in these texts. I argue in this chapter that it is possible to take a wider and more contemporary theological interpretation of this type of hymnody, and that by doing this we find these hymns amenable to a more inclusive approach to creation as a whole. The thesis concludes by considering the implications of this analysis for worship in the twenty first century.

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 work examines the construction of suffering in the hymns of Charles Wesley, co-founder of the Methodist movement. Wesley wrote thousands of hymns, many of which focus on the experience of overwhelming pain. As eighteenth-century men and women sang or read Wesley's hymns, they were encouraged to adopt a distinctive approach to suffering, one which drew on long-standing elen1ents within Christian tradition as well as new patterns in eighteenth-century English culture. Identifying the construction of suffering in the hymns illuminates the culture of early Methodism and its complex relationship to its eighteenth century English context. / My analysis places the hymns within the broader ‘narrative culture’ of early Methodism, which encouraged individuals to interpret their lives and experiences within a story of great spiritual significance. The hymns engaged men and women with a spiritual drama of conviction, conversion, sanctification and heavenly reward. I argue that suffering was central to Wesley's depiction of this drama. I examine his construction of the suffering of Christ, the suffering of Christians and of Christian responses to the suffering of others, den10nstrating that each of these had an important place in his depiction of the normative Christian experience. Those who read or sang the hymns were exhorted to embrace and endure suffering as an experience that offered opportunities for intill1acy with, and imitation of, Christ. / Recognising Wesley's construction of suffering does not explain exactly how Methodist men and Women responded to affliction, but it does illuminate their responses. I explore the implications of Wesley's construction of suffering for early Methodist understandings of the self, spirituality, charity and gender, as well as specific kinds of pain such as childbirth and bereavement. These understandings contributed to a Methodist identity that was both related to, and distinct from, the eighteenth-century English culture in which the hymns were written.

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.

This work examines the construction of suffering in the hymns of Charles Wesley, co-founder of the Methodist movement. Wesley wrote thousands of hymns, many of which focus on the experience of overwhelming pain. As eighteenth-century men and women sang or read Wesley's hymns, they were encouraged to adopt a distinctive approach to suffering, one which drew on long-standing elen1ents within Christian tradition as well as new patterns in eighteenth-century English culture. Identifying the construction of suffering in the hymns illuminates the culture of early Methodism and its complex relationship to its eighteenth century English context. / My analysis places the hymns within the broader ‘narrative culture’ of early Methodism, which encouraged individuals to interpret their lives and experiences within a story of great spiritual significance. The hymns engaged men and women with a spiritual drama of conviction, conversion, sanctification and heavenly reward. I argue that suffering was central to Wesley's depiction of this drama. I examine his construction of the suffering of Christ, the suffering of Christians and of Christian responses to the suffering of others, den10nstrating that each of these had an important place in his depiction of the normative Christian experience. Those who read or sang the hymns were exhorted to embrace and endure suffering as an experience that offered opportunities for intill1acy with, and imitation of, Christ. / Recognising Wesley's construction of suffering does not explain exactly how Methodist men and Women responded to affliction, but it does illuminate their responses. I explore the implications of Wesley's construction of suffering for early Methodist understandings of the self, spirituality, charity and gender, as well as specific kinds of pain such as childbirth and bereavement. These understandings contributed to a Methodist identity that was both related to, and distinct from, the eighteenth-century English culture in which the hymns were written.

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

Summaries in Afrikaans, English and German / Text in Afrikaans / 'n Ondersoek na die teologiese inhoud van die Evangeliese ; Gesange is geYnisieer nadat vasgestel is dat sodanige studie nog nie voorheen in Suid-Af rika in Geref ormeerde kringe onderneem is nie. Aangesien die geskiedenis en die f undering van die kerklied deur ander navorsers reeds volledig uitgewerk is, is hoofstuk 1 bloot 'n inleidende oorsig wat die agtergrond van die studie verskaf. In hoofstuk 2 is 'n kategorisering van die Gesange in extenso gedoen en in hoofstuk 3 is die inhoud van die kategoriee kortliks beskryf. Die doel hiermee is om vas te stel oor watter onderwerpe die meeste gesing word en waar die lakunes voorkom. Aan die hand van hierdie kategorisering is daar uiteindelik vyf onderwerpe afgebaken wat ooglopend Bybelsteologiese leemtes of selfs afwykings vertoon wat in die toekoms aangespreek behoort te word. Die onderwerpe is onderskeidelik: die Godsbeskouing, die skepping, die sonde, die doop en die toekomsverwagting. In hoof stuk 4 het hierdie onderwerpe af sonderlik ender die soeklig gekom. Daar is o.a. gevind dat die inhoud van die Gesange 'n duidelike reflektering is van die tradisionele kerkleer en dus nie volkome daartoe in staat is om die moderne mens (die jeug veral!) aan te spreek nie. Die gevolgtrekking waartoe die navorser geraak het, is dat liedere wat die eietyds geloofsproblematiek aanspreek 'n sine qua non geword het. Die navorsing oor die inhoud van die Gesange het voorts ook vreemde teologiese aksente uitgewys. So bv. is daar 'n duidelike invloed van die Grieks platonistiese dualisme te bespeur waar die Jenseitige teenoor die Diesseitige af gespeel word. Di t het veral aan die lig gekom met die bespreking oor die skepping. Eodem modo is daar spore van die Pietistiese individualisme in die Gesange aangetref waar die vertikale belewing met God (bekering, heiliging) die horisontale belewing van verantwoordelikheid, oorskadu! Hierdie sending, aanbevelings die godsdiens omgewingsbewaring) is in hoof stuk krities-waarderende opmerkings saamgevat. / Research into the theological content of the Evangelical Hymns was initiated after it was established that such a study had not been attempted in South Africa in Reformed circles. Since the history and grounding of the church hymn have already been discussed in full by other researchers, chapter 1 merely offers an introductory review which provides some background to the study. In chapter 2 a categorisation of the Hymns was done in extenso and chapter 3, in turn, deals with the contents of each specific category. The aim is to determine which subjects are prevalent in Hymns and which ones are not addressed at all. On the basis of this categorisation, five subjects were finally defined which revealed obvious biblical-theological lacunae, if not deviations, all of which need to be addressed in the future. The subjects are: the ways of thinking about God, the creation, sin, baptism and hopes for the future. In chapter 4 these subjects were examined in detail. It was proved, inter alia, that the contents of the Hymns clearly reflect the traditional church doctrine and consequently fail to a large extent to address modern man (especially the young people of our time). The conclusion reached by the researcher is that Hymns addressing the contemporary problematic nature of faith have become a sine qua non. Furthermore, research on the contents of the Hymns also revealed foreign theological accents such as clear influences of the Greek Platonistic dualism where the Jenseitige is compared to the Diesseitige. This became particularly evident in the discussion on the creation. Eodem modo traces of the Pietistic indiviudalism were detected in the Hymns, where the vertical experience of God (conversion, sanctification) completely overshadows the horizontal experience of religion (social responsibility, mission work, nature conservation)! Chapter 5 comprises these recommendations in the form of remarks of a criticalappreciation nature. / Eine Untersuchung in Bezug auf den theologischen Inhalt der Evangelischen Kirchenlieder wurde in die Wege geleitet nachdem festgestellt wurde, daB ein solches Studium noch nie vorhin in Ref ormierten Kreisen in Slidaf rika vorgenommen worden war. Da die Geschichte und die Fundierung des Kirchenliedes von andern Forschern schon in all en Einzelheiten ausgearbeitet worden sind, bietet Kapitel 1 bloB eine einleitende Ubersicht als Hintergrund flir das Studium. In Kapitel 2 wurden die Kirchenlieder in extenso nach Kategorien geordnet und in Kapitel 3 findet sich der Inhalt jeder einzelnen Kategorie vor. Es sollte festgestellt werden, welche Themen sich am meisten in den Kirchenliedern erkennen lassen und welche liberhaupt nicht berlihrt werden. An Hand dieser Anordnung in Kategorien wurden zum Schluss flinf Themen definiert, die augenfiillig biblisch-theologische Lucken, wenn nicht sogar Abweichungen, offenbaren; es sind Themen, denen in der Zukunft zweifellos einem gerechten Platz Gottesauffassung, die zukommen sollen. Die themen sind: Schopfung, Siinde, die Taufe und Zukunftserwartungen. In Kapitel 4 wurden diese Themen in allen Einzelheiten untersucht. Es stellte sich unter anderern heraus, das der Inhalt der Kirchenlieder eine klare Widerspiegelung der traditionellen Kirchenlehre ist und deshalb den Ansprilchen des modernen Menschen (vor allern der Jugend) nicht vollig gerecht werden konnen. Die schluflfolgerung des Forschers ist deshalb, das Lieder, welche den zeitgenossischen Glaubensproblernatik berilhren, eine sine qua non geworden sind. Die Forschung in Bezug auf den Inhalt der Kirchenlieder offenbarte weiterhin auch fremde theologische Akzente. Es laflt sich zurn Beispiel einen deutlichen Einfluss des griechisch-platonistischen Dualismus aufweisen wo das Jenseitige dern Diesseitigen gegenilbergestellt wird. Es wurde besonders deutlich in der Diskussion Uber die Schopfung. Eodem modo offenbarte sich Spuren eines pietistischen Individualismus in den Liedern wo das vertikale Gotteserlebnis (Bekehrung, Heiligung) das horizontale Erlebnis der Religion (soziale Verantwortung, Missionsarbeit, Naturbewahrung) vollig in den Schatten stelltl Diese Ernpfehlungen wurden in Kapitel 5 in der Form kritisch-bewertenden Anrnerkungen zusanunengefasst. / Philosophy, Practical & Systematic Theology / D. Th. (Systematic Theology)