Text in Afrikaans / Musiekvideos is 'n integrerende deel van die (rock)-musiekbedryf, hoofsaaklik as reklame vir die kunstenaars en hul musiekopnames. Musiekvideos is verder 'n wesenlike deel van die massamedia, in so 'n mate dat daar verskeie spesialismusiektelevisiekanale is wat 24 uur per dag op al die kontinente uitsaai, wat 'n aanduiding gee van die omvang van musiekvideos. Hierdie videos speel veral 'n vemame rol by die jeug as sub-kultuurgroep. Ook christenmusikante gebruik musiekvideos, en hul videos word gereeld as deel van christelike programme uitgesaai. Dit is gewoonlik een van die oogmerke van christenkunstenaars om die evangelie deur hul musiek uit te dra, en in die geval van christelike musiekvideos dien hulle dikwels nie net as reklame nie, maar word daar ook 'n christelike boodskap oorgedra, veral in die geval van verhalende en konsepvideos. Daar word na die rol van hierdie videos in die konteks van die christene se benutting van die massamedia gekyk en daar word onder meer 'n teologiese fundering vir die gebruik van die massamedia in die algemeen, asook musiekvideos in die besonder gegee. 'n Aantal musiekvideos van kontemporere musiekkunstenaars soos Carman, Michael W. Smith, Steve Taylor, The Newsboys, en Steven Curtis Chapman word individueel beskryf en vanuit 'n teologiese perspektief beoordeel om te sien hoe suksesvol hulle in die oordra van 'n christelike boodskap is. Daar word 'n vergelyking getref tussen christelike en sekulere musiekvideos en hoe sekere onderwerpe benader word. Sekere tekortkominge, sowel as positiewe aspekte by christelike musiekvideos word as deel van 'n missiologiese reflektering uitgewys. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

Since most historical composers of Western art music were European Christians (or resided in areas that were primarily populated by Christians), a vast majority of the sacred choral-orchestral repertoire is based on major figures and themes from the most prominent denominations, including Catholicism, Lutheranism, and Anglicanism. As a corollary this is also the case for analytical, pedagogical, and exegetical literature related to the topic. However, in the late nineteenth century some composers began to look to other faith traditions for inspiration, which resulted in compositions based on texts that are less-familiar to Western audience members and performers. Despite the fact that many of these pieces are innovative and well-written, few, if any, have entered the standard repertoire. Because of this they are under-represented in both performance and extant music literature. The purpose of this study is to examine three compositions from this marginalized category in order to produce a guide that provides salient information on the religious/cultural background and musical aspects of each work. This guide will serve as a resource for conductors to facilitate an understanding of and connection with the text, allow informed programming decisions, and promote approaches that are appropriate and respectful to the religious source material. The pieces selected for investigation are Gustav Holst's Choral Hymns from the Rig Veda, Op. 26: First Group, Lili Boulanger's Vielle Prière Bouddhique (Old Buddhist Prayer), and Robert Cundick's The Redeemer.

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History shows that Johann Sebastian Bach (1685-1750) was a devout member of the Lutheran faith. Studying Bach’s life reveals that two sects of Lutheranism were the most influential to him, Orthodoxy and Pietism. A brief historical study of these two sects’ founders and their theology are presented in this document. All of Bach’s compositions are a reflection of his Christian beliefs but none is greater than his St. Matthew Passion. Although Bach is known to be a member of the Orthodox denomination, by observing the parallels between the beliefs of the two sects and the St. Matthew Passion, this document reveals Bach to take a more liberal view. This thesis intends to show that Bach’s St. Matthew Passion is a universal piece of Christian music that transcends religious denomination. Ultimately, Bach’s faith was centered on Jesus Christ and His message. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

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The ratiep is a peculiarly South African trance-linked art form characterised by stabbings with sharp objects to the arms and other bodily parts, the piercing of the ear-lobes, the cheeks and the tongue by alwaan (skewers), the performance of certain standard dhikr to the accompaniment of the rebanna and dhol, and a highly stylized movement. The ratiep art form is rooted in Sufi Muslim traditions. Similar trance-linked art forms, called the dabos and Sufi ceremonies, exist in Sumatra and Syria respectively. These are all linked to Abdul Kader al-Jilani, founder of the Qadiriyyah Sufi fraternity. The South African variant of the art form also characterised by unusual self-mutilating acts, has been practised for more than 200 years, and started amongst the Cape Muslims. The literature provides historical evidence of the controversy regarding its "Islamic" nature, which has existed since the latter half of the previous century amongst South African Muslims. It has become dissociated from Islamic practices generally, and is regarded as bidat (innovatory). The South African Indian ratiep performance relates to its Cape Muslim counterpart. Both subgenres show a special relationship to the different genres and styles of music constituting South African Islamic and 'Cape Malay' music which are unique outflows of the cultural heritage, the social milieu and the enslaved, deprived and indentured work circumstances of early South African Muslims. In its vocal style the khalifa performance relates to qiraat and the secular nederlandslied; the latter is a transitional form between the sacred orthodox qiraat and the secular homophonic oulied. A voorwerk and giyerwee sharif precede respectively the Cape Muslim performance and its Indian counterpart. Like the ratiep, they have well-defined textual and musical forms. Ratiep musical instruments. the characteristic movement, the praboes (sharp instruments) and the bank with its decorations of flags add to the totality of the ratiep performance. Metaphysical and medical considerations are important in understanding the nature and purpose of the ratiep performance and the absence of bleeding; the results achieved thus far are still inconclusive. Ratiep acts are often seen as skilful swordplay and exhibitionism, rather than a physical testimony of faith. / Thesis (Ph.D.)-University of Natal, 1993.

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Please read the abstract in the section 03back of this document / Dissertation (MA (Biblical and Religious Studies))--University of Pretoria, 2007. / Biblical and Religious Studies / unrestricted

Text in German / The study at hand proceeds from the assumption that there is a catechetical as well as a music pedagogical teaching tradition for young children. The touch points of the two disciplines emerge rather by chance than by design because one discipline uses the other as an approach. This study raises the key question if a music catechetics is possible. The term music catechetics is used to describe a learning process based on an equal balance of both music pedagogy and catechetics. The debate of this question requires interdisciplinary conversations. The answers can be found in developmental psychology as well as music psychology, music sociology, anthropology and ecclesiastical history. In the end this gives rise to practical theological criteria which can be used to answer and justify the question of music catechetics. / Die vorliegende Untersuchung geht von der Tatsache aus, dass es für Kleinkinder sowohl eine katechetische wie ein musikpädagogische Lehrtradition gibt. Die Berührungspunkte beider Disziplinen ergeben sich eher zufällig, indem sich die eine Disziplin der anderen Disziplin als Methode bedient. Diese Untersuchung stellt nun die zentrale Frage, ob eine Musikkatechese möglich ist. Unter einer Musikkatechese wird ein gleichberechtigter Lernvorgang verstanden, der sowohl Musikpädagogik als auch Katechetik erfasst. Um diese Frage zu erörtern werden interdisziplinäre Gespräche nötig. Sowohl die Entwicklungspsychologie, als auch Musikpsychologie, Musiksoziologie, Anthropologie und Kirchengeschichte werden befragt. Schließlich werden praktisch theologische Kriterien erhoben, aus denen heraus die Frage nach einer möglichen Musikkatechese beantwortet und begründet wird. / Practical Theology / M.Th. (Practical Theology)

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