Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 245-250).

This thesis contends that the individualisation, privatisation and spiritualisation of the concept of salvation in the church in general and in The Evangelical Lutheran Church in Namibia [ELCIN] in particular, where salvation is confined to the soul and its escape from this evil world into a blessed heaven at some future date after death, with the result that church members are reluctant to strive for the quality of the present life as believers, must be overcome. This study must be seen against the background of increasing secularism in Namibia. This encroachment constitutes a serious challenge to the Namibian Lutheran Churches of which ELCIN is the largest. The secularisation of a community renowned for its Christianity seems to indicate deficiencies in the core message of the church. The concept of salvation must be formulated in response to current deficiencies in the overall wellbeing of humanity and reality as a whole. Such a paradigm of salvation may be enriched by the holistic Pauline-Lutheran concept of salvation. The Lutheran message of salvation needs contextualisation and Africanisation in order to pick up valid concerns of the Owambo tradition for African Lutherans on this side of the grave. There is, therefore, an urgent need for theologians in ELCIN to revisit their concept of salvation and to redefine it in the light of the original Pauline-Lutheran concept of salvation on the one hand, and of the Owambo traditional concerns for human wellbeing on the other. This study recommends that ELCIN must integrate her message ofeschatological salvation with her practical services so that it becomes obvious to her members that the latter is, in fact, the consequence of the former and both are indispensable to shalom, that is comprehensive salvation. Such an integration will be her highest token of gratitude for the message of salvation which she received from the Finns albeit in the vessels of their own culture; the convincing sign of her theological maturity, and the best possible way to maintain her relevancy at all times. / Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1997.

The purpose of the study was to present and analyze the music in the Slovak Lutheran Divine Liturgy from three twentieth-century liturgical settings: (1) Liturgicky Zpev ("Sung Liturgy") attached to the Braxatoris Agenda, 1922, (2) Liturgicke napevy ("Liturgical chants") attached to the Chramova Agenda, 1933, and (3) the Slovenska' Liturgia (the new "Slovak Liturgy") prepared by the Commission on Worship at the Bratislava School of Theology, 1965. The study included the hymnody in the liturgy for Holy Week as it is applied to the Holy Passion book, the Svate Pagie.The study revealed that the Slovak Lutheran liturgy was influenced by Martin Luther's German Masses that were based on parts of the ordinary and Proper of the Roman Mass and Offices, and parts of the Byzantine-Slav Divine Liturgy. Music in the liturgy was derived from Slav, Latin, Czech, and German sources.The liturgy for Sundays and festival days included: three Introit-hymns, K ie and vernacular Kyrie-hymns, Glorias, Salutations, Antiphons based on Scripture texts, chanted Collects, chanted Epistle and Gospel Lessons, the optional use of Psalm tunes, and the Aaronic Benediction. The solemn Divine Liturgy for Holy Communion consisted of combinations of liturgical Items: Preface (Sursum corda), Sanctus, the Lord's Prayer, Words of Institution, Agnus Dei, and the Thanksgiving--the Post-Communion Canticle of Simeon. Music for the liturgical settings was fairly similar.The Eastern (Slavic) qualities in the music were based on the style of Byzantine ecclesiastical music and the construction of Byzantine melodies. Intervals of a minor third were prominent. Melodic progressions were often built upon tetrachordal and pentachordal-tonal units. The Lenten Passion hymns featured hymns by the Czech Brethren that consisted of folk style structures and the use of the tripartite Bar form. Eleven of-the twenty-one Passion hymns and tunes were adaptations and translations of German chorales. Latin hymns were also translated and incorporated in the liturgy.

Thesis (MEd)--University of South Australia, 1997

Thesis (S.T.M.)--Concordia Seminary, 1989. / Includes bibliographical references (leaves 147-152).

Thesis (S.T.M.)--Concordia Seminary, 1987. / Includes bibliographical references (leaves 168-184).

Thesis (Th. D.)--Concordia Seminary, 1997. / Includes bibliographical references (leaves 122-128).

Thesis (S.T.M.)--Trinity Lutheran Seminary, Columbus, Ohio, 1999. / Includes bibliographical references (leaves 153-155).

Thesis (S.T.M.)--Concordia Theological Seminary, Ft. Wayne, 1988. / Includes bibliographical references (leaves 94-97).

Thesis (D. Min.)--Concordia Theological Seminary, Ft. Wayne, 2001. / Includes bibliographical references (leaves 170-172).