The two most prominent cultures that continue to have a defining influence on the socio-political developments in a multi-cutural South African society, are the Western and African cultures. Because of the differences between these two cultures and the respective roles members of each culture have played in the socio-political history of South Africa (especially with regard to the rise and fall of apartheid), conflict and alienation in most cases define the relationship between members of these cultures. Not only does it negatively impact on the multi-cultural society of South Africa as such, it also has far-reaching Implications for the continent as a whole, seeing that South Africa Is regarded as the economical and political powerhouse of Africa upon which are pinned the hopes of millions for a better life. As a result, the importance of reconciliation and unity in the multi-cultural South African society cannot be overemphasized. It is a Biblical imperative that all members of society should live together in peace and harmony. To this end, the church is commanded to serve the reconciliation of Christ to the world (2 Corinthians 5:11-21). One of the instruments to the dlsposal of the reformed churches in South Africa for the completion of this mission, is the liturgical song. The reformed liturgical song consists of poetry (text) and music (melody) which are woven together in such a way that the text of the song is carried directly into the heart of the singer or listener. The combined power of poetry and music provides the church with a powerful therapeutic and communicative instrument by which the truth of the gospel of Christ can effectively be proclaimed to the world. A closer look at the current situation in the multi-cultural South African society reveals that the reformed churches in South Africa (of both Western and African backgrounds) haven't as yet properly played their part in the attaining of reconciliation and unity in society. The central question for research in this study, therefore, is the following: In what way can the reformed liturgical song contribute to the attainment of the ideal of reconciliation and unity in the multi-cultural South African society? The research in this study is structured according to the model for Practical Theology that was developed by Zerfass (1974:164-177). This model entails that specific base theoretical principles are compared with meta-theoretical perspectives to eventually arrive at a theory of practice from which is derived a new set of practical guidelines. In Part 1 of this study, research centres around the base-theoretical principles with regard to culture, multi-culturality, reconciliation, unity, reformed worship and liturgical song, In Part 2 meta-theoretical perspectives are given with regard to culture and multi-culturality in South Africa, reconciliation and unity in the South African context, as well as reformed worship and the use of liturgical song in the multi-cultural South African society. In Part 3 a theory of practice is articulated in which a new set of practical guidelines for the use of the reformed liturgical song towards the attaining of reconciliation and unity in the multi-cultural South African society is given. Finally it is concluded that, with certain adjustments, the reformed liturgical song can effectively be used as an instrument for attaining reconciliation and unity in the multicultural South African society. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2007

Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2007.

The two most prominent cultures that continue to have a defining influence on the socio-political developments in a multi-cutural South African society, are the Western and African cultures. Because of the differences between these two cultures and the respective roles members of each culture have played in the socio-political history of South Africa (especially with regard to the rise and fall of apartheid), conflict and alienation in most cases define the relationship between members of these cultures. Not only does it negatively impact on the multi-cultural society of South Africa as such, it also has far-reaching Implications for the continent as a whole, seeing that South Africa Is regarded as the economical and political powerhouse of Africa upon which are pinned the hopes of millions for a better life. As a result, the importance of reconciliation and unity in the multi-cultural South African society cannot be overemphasized. It is a Biblical imperative that all members of society should live together in peace and harmony. To this end, the church is commanded to serve the reconciliation of Christ to the world (2 Corinthians 5:11-21). One of the instruments to the dlsposal of the reformed churches in South Africa for the completion of this mission, is the liturgical song. The reformed liturgical song consists of poetry (text) and music (melody) which are woven together in such a way that the text of the song is carried directly into the heart of the singer or listener. The combined power of poetry and music provides the church with a powerful therapeutic and communicative instrument by which the truth of the gospel of Christ can effectively be proclaimed to the world. A closer look at the current situation in the multi-cultural South African society reveals that the reformed churches in South Africa (of both Western and African backgrounds) haven't as yet properly played their part in the attaining of reconciliation and unity in society. The central question for research in this study, therefore, is the following: In what way can the reformed liturgical song contribute to the attainment of the ideal of reconciliation and unity in the multi-cultural South African society? The research in this study is structured according to the model for Practical Theology that was developed by Zerfass (1974:164-177). This model entails that specific base theoretical principles are compared with meta-theoretical perspectives to eventually arrive at a theory of practice from which is derived a new set of practical guidelines. In Part 1 of this study, research centres around the base-theoretical principles with regard to culture, multi-culturality, reconciliation, unity, reformed worship and liturgical song, In Part 2 meta-theoretical perspectives are given with regard to culture and multi-culturality in South Africa, reconciliation and unity in the South African context, as well as reformed worship and the use of liturgical song in the multi-cultural South African society. In Part 3 a theory of practice is articulated in which a new set of practical guidelines for the use of the reformed liturgical song towards the attaining of reconciliation and unity in the multi-cultural South African society is given. Finally it is concluded that, with certain adjustments, the reformed liturgical song can effectively be used as an instrument for attaining reconciliation and unity in the multicultural South African society. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2007

In this study it is assumed from a central theoretical argument that the Bible based, scripturally true liturgical song, possesses an exceptional bonding structure. The set literary archetypes of the dramatic, epic and lyric - or the dramatical, epical and lyrical - are woven together to form the canvas for the hymnical praise of the worshipping community. The aim of the study is to dissect the relationship in which the archetypes stand to one another and to establish which trans–generical phenomena and movements can be detected in order to determine what their meaning is for liturgical songwriting. This is done on the basis of an analysis of the Book of Revelation, specifically pertaining to the hymnographical corpus in the book. To do this the most obvious meta–theory of this study is the literary theory, while the basis, principles and guidelines of the hymnographical basistheory are determined by theological biblical science. In the first main chapter (meta–theory) of the study the questions of what literature is and whether the Bible is literature, are explored and answered. The conclusion to this is that the Bible is true literature and that this religious script plays a central, unique and prominent role in the progression of the christian–western cultural world. In the process of determining the different approaches to the study of literature, note was taken of the various theoretical assumptions and theories and of the influence that each has and can have on theological biblical scientifical research. In the second main part (inter–disciplinary theoretical aspects) the investigation proceeds from the study of meta–theoretical literary terrain identification to the determining of the connection, link, sym–biosis and synergy between the literary meta–theory and the theological basistheory of this study. Shared and partly overlapping study terrains of the literary sciences and the bibilical sciences are explored. This leads to the demarcation of both an inter–disciplinary and multisubdisciplinary field of study, for which an approach and a method to further explore had to be developed. In the third main part (basistheory) the perspectives gained in the first two parts are unlocked to the advantage of the biblical scientifical study of Revelation. The last book of the Bible is analysed macro–structurally by means of a narratological reading and accompanied by a cursory–exegetic explanation, after which the meaning of the corpus of hymnical microtexts in their context within the macro–structure are further unlocked by means of detailed exegesis. In this way basis–theoretical hymnographical priniciples in Revelation can be identified. These are integrated in the fourth and last main part and are then concretised, using a song as example, in guidelines for hymnography. In this final main part (the outcome of the study) the investigation reaches its set aims as well as the overall goal in that it could be verified that the canvas of the liturgical song should be integrated successfully not only wordperfect, but also Wordperfect in all its facets through literary quality and biblical–principled motivation. This should allow the flame (= liturgical song) of the sacrifice of thanksgiving (= worship) to burn brightly in a time of diverse positions on church song. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2012.

In this study it is assumed from a central theoretical argument that the Bible based, scripturally true liturgical song, possesses an exceptional bonding structure. The set literary archetypes of the dramatic, epic and lyric - or the dramatical, epical and lyrical - are woven together to form the canvas for the hymnical praise of the worshipping community. The aim of the study is to dissect the relationship in which the archetypes stand to one another and to establish which trans–generical phenomena and movements can be detected in order to determine what their meaning is for liturgical songwriting. This is done on the basis of an analysis of the Book of Revelation, specifically pertaining to the hymnographical corpus in the book. To do this the most obvious meta–theory of this study is the literary theory, while the basis, principles and guidelines of the hymnographical basistheory are determined by theological biblical science. In the first main chapter (meta–theory) of the study the questions of what literature is and whether the Bible is literature, are explored and answered. The conclusion to this is that the Bible is true literature and that this religious script plays a central, unique and prominent role in the progression of the christian–western cultural world. In the process of determining the different approaches to the study of literature, note was taken of the various theoretical assumptions and theories and of the influence that each has and can have on theological biblical scientifical research. In the second main part (inter–disciplinary theoretical aspects) the investigation proceeds from the study of meta–theoretical literary terrain identification to the determining of the connection, link, sym–biosis and synergy between the literary meta–theory and the theological basistheory of this study. Shared and partly overlapping study terrains of the literary sciences and the bibilical sciences are explored. This leads to the demarcation of both an inter–disciplinary and multisubdisciplinary field of study, for which an approach and a method to further explore had to be developed. In the third main part (basistheory) the perspectives gained in the first two parts are unlocked to the advantage of the biblical scientifical study of Revelation. The last book of the Bible is analysed macro–structurally by means of a narratological reading and accompanied by a cursory–exegetic explanation, after which the meaning of the corpus of hymnical microtexts in their context within the macro–structure are further unlocked by means of detailed exegesis. In this way basis–theoretical hymnographical priniciples in Revelation can be identified. These are integrated in the fourth and last main part and are then concretised, using a song as example, in guidelines for hymnography. In this final main part (the outcome of the study) the investigation reaches its set aims as well as the overall goal in that it could be verified that the canvas of the liturgical song should be integrated successfully not only wordperfect, but also Wordperfect in all its facets through literary quality and biblical–principled motivation. This should allow the flame (= liturgical song) of the sacrifice of thanksgiving (= worship) to burn brightly in a time of diverse positions on church song. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2012.