The problem this research addresses is: How are people to deal with the dilemma of facing suffering in life with a body that offers restrictions both within itself and without? Can meaning be brought to the seemingly hopeless situation people find themselves in, that is, in the frailty of their lives/bodies? These and other questions arise when worshippers of God see themselves within the limited boundaries that their bodies hold for them physically, emotionally, socially and religiously. To ask these questions is to come to terms with the issue of pain and suffering of the human race in the face of a loving and caring God. Psalm 39, with its confessions of a suffering person, properly illustrates the point. Psalm 39 is analyzed by means of a socio-rhetorical approach with the emphasis on the inner, the social and cultural and the sacred textures of the text. The worshipper is characterized as a ‘holy person’ with a special relationship with Yahweh. He is also seen to have serious questions before God about life in general in the light of the severe distress/pain he experiences. He calls out for change within himself and his society. His experiences, attitude and behaviour may generically be applied to our lives today. God’s characterization has revealed that He initiates change as He deals with the root cause of the worshipper’s distress, his sin. The symbolization of God is significant in that, to a large extent, God is symbolized in this psalm in such a way as to fit the immediate needs of the worshipper. The struggle/tension that exists between the worshipper and God is a reality for us today and is a bodily issue. Often we are faced with similar difficult situations. God seems to be standing aloof while we experience severe distress that appear to originate from Him or that He allows. The answer offered by Psalm 39 is that balance in life can be found in understanding the frailty of life/the body, and experiencing the hope of salvation from Yahweh as a reality of life. / Prof. J.H. Coetzee

Psalm settings by German Baroque composers are comprised of meaningful texts illuminated by expressive music and have much to offer today’s choir. The composers of these settings were inspired by the Old Testament psalm texts and wrote choral works that incorporated both historical techniques adapted from types of psalmody and the expressive techniques of their day. Despite the significance of psalm settings, no detailed study exists on this music as a body of work. Additionally, Baroque music provides challenges to the conductor regarding performance practice choices. Both of these problems are addressed in this study. First, I establish a lineage of compositional development from Medieval chanted psalms to Baroque psalm settings and analyze the techniques composers used to express the text in specific examples. Then, I use the insights gleaned to make performance practice recommendations for each piece. By drawing on primary sources by Michael Praetorius (ca. 1571-1621) and Heinrich Schütz (1585-1672) and secondary sources by contemporary scholars Dennis Schrock, Helmuth Rilling, and Robert Donington, I provide an overview of German Baroque performance practices that includes instrumentation, tempo, dynamics, articulation, and ornamentation. Special emphasis is given to performance principles that are applicable to the psalm settings explored in subsequent chapters. I also draw on dissertations, books, and articles by Baroque scholars to provide highlights of the composers’ careers and details about the pieces studied. The six pieces included in this disquisition are “Wie lieblich sind deine Wohnungen,” SWV 29 from Psalmen Davids (1619) by Heinrich Schütz (1585-1672), Alleluja! Lobet den Herrn in seinem Heiligtum (1620) by Johann Hermann Schein (1586-1630), “Schaffe in mir Gott ein reines Herz” from Fest- und Zeit-Andachten (1671) by Andreas Hammerschmidt (1611-1675), Der Herr ist mit mir, BuxWV 15 (ca. 1687) by Dieterich Buxtehude (ca. 1637-1707), Gott, sei mir gnädig (1705) by Johann Kuhnau (1660-1722), and Lobet den Herrn, alle Heiden (n.d.), BWV 230 by Johann Sebastian Bach (1685-1750).

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Thesis advisor: Brian P. Dunkle / The reception of the Mosaic Law was a source of perplexity for ancient Christians. The New Testament cites several of the laws set forth in the Books of Exodus, Leviticus, Numbers, and Deuteronomy (Mt 5:27, Lk 10:25-27, and 1 Cor 9:9-10). Yet the New Testament also suggests that the Mosaic legislation has been mitigated or abrogated (Acts 10, Rom 7:14, and Heb 10:1). Justin Martyr and Irenaeus of Lyon recount second century debates with Marcionites and Valentinians concerning the status of the Mosaic Law in ancient Christianity. This dissertation analyzes how similar debates played out in third and fourth-century interpretations of Psalm 118, an alphabetical acrostic whose 176 verses praise God’s laws (νόμος), commandments (ἐντολή), ordinances (δικαίωμα), testimonies (μαρτύριον), and judgments (κρίμα). Judith Lieu’s question – “Whose Marcion?” – provides a critical point of departure for this study, which focuses on how patristic authors conceptualized and attacked their own conceptions of “Marcion,” rather than on Marcion as an historical figure. Thus, Origen’s extant fragments from his commentary on Psalm 118, the earliest that survives, should be read within the context of his anti-Marcionite, Caesarean, exegetical homilies on the Books of Exodus, Leviticus, and Numbers. Using hermeneutical methods that systematize his attacks on Marcion, Origen inaugurated the anti- Marcionite tradition of interpretating Psalm 118 by emphasizing the figurative interpretation of the Mosaic Law, God’s role in teaching it, and the possibility of spiritual progress through understanding and acting on it. Origen, drawing on Philo of Alexandria’s figurative interpretations of the Pentateuch, responds to the Marcionite challenge by describing the contemplation of the Mosaic Law as a foundation for Christian ethics. During the fourth century, two western bishops – Hilary of Poitiers and Ambrose of Milan – received and developed Origen’s anti-Marcionite interpretation of Psalm 118. This study argues that both Hilary and Ambrose retain the anti-Marcionite orientation of Origen’s commentary and respond to the emergent threat posed by the Manichaeans, who in turn received and developed the Marcionites’ antinomian challenge. Hilary builds on Origen’s exegesis of Psalm 118 by describing divine law as a remedy for infirmitas. Hilary’s Tractatus on Psalm 118 recapitulates the main themes of Origen’s interpretation while giving greater emphasis to themes of theological anthropology. Rather than contemplation, Hilary calls for “exercise” (μελέτη/exercitiō) in the law as a means of Christian formation. Unlike his predecessors, Ambrose explicitly attacks Marcion in his Expositio on Psalm 118, unveiling the anti-heretical bearings of the tradition inaugurated by Origen. Ambrose comments on Psalm 118 within the liturgical context of offering post-baptismal catechesis to neophytes. Ambrose builds on Origen’s exegesis of Psalm 118 by describing David – the author of the Psalter – as an exemplary exegete of the figurative sense of the Mosaic Law. For the benefit of the neophytes, Ambrose contrasts David’s understanding of the Mosaic Law with the misunderstandings of the Marcionites, Manichaeans, and Jews. This study shows that the anti-Marcionite tradition of commenting on Psalm 118 was ultimately overshadowed in the fifth century and afterwards by Augustine’s anti-Pelagian Enarratio in Psalmum 118. Yet the anti- Marcionite tradition – which teaches Christians to read and profit spiritually from the Mosaic Law – is worthy of recovery. / Thesis (PhD) — Boston College, 2024. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

abstract: Abstract   Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts by Georg Michael Telemann based on his corrections to the autograph score. There are currently at least seven editions of this work readily available, none of which fully agrees with the autograph manuscript or original parts. The editions also differ substantially from one another: for example, two of them are in a different key from the others. This clearly points to the need for a new edition. Further, the additions and corrections by Georg Michael Telemann are interesting. These fall into several categories: changes made to correct errors or clarify ambiguities in Georg Philipp Telemann’s original, changes made to reflect performance practice that Georg Philipp might have assumed but that were no longer customary in Georg Michael’s time, adjustments to melody and rhythm that may reflect Georg Michael’s personal taste and preference, and the addition of parts for oboe and viola, along with significant changes to the second violin part that suggest that Georg Michael’s version was intended for performance by a chorus and orchestra, whereas Georg Philipp’s original could be performed as a chamber work, with one singer and instrumentalist per part, or by a larger ensemble. A discussion of the piece, along with scores of both the original version and Georg Michael’s version, provides both scholars and performers with greater insight into this brief but significant work. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Dieser Vortrag setzt sich mit der Rezeption von Psalm 58 in den talmudischen Erzählungen auseinander. / This lectures deals with Ps. 58 and its reception in the Talmudic stories.

This study probes the state of psalm-singing in the Nederduitse Gereformeerde Kerk (Dutch Reformed Church) in South Africa and Namibia during 2007-2008. First, the history of psalm-singing, from its Old Testament origin to its contemporary use in South Africa, is researched. Highlights of its development, as well as low points where congregational psalm-singing all but died out, are researched in order to establish the causes of the current situation. The essence of the study involves an empirical study to determine the frequency of use and functionality of psalms. The results of different approaches all show that to a large extent, psalms have fallen in disuse in this church and that, with the exception of only a small number of psalms, they are becoming extinct. However, in criticism against the Liedboek van die Kerk (Songbook of the Church) (2001) a number of important problems were emphasised, according to which conclusions and recommendations are made. The most prominent cause of the problem is identified as the cultural difference between the existing psalm tradition and the intelligibility of the members of the church. The reason for this problematic situation is traced back to the one-sided application of fixed norms. Based on these, research is done to determine which factors should be taken into account in terms of the receptiveness of church-goers to accommodate these norms as adaptable norms. These factors are explained, ways to apply them are discussed and recommendations are made accordingly. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2009.

This study probes the state of psalm-singing in the Nederduitse Gereformeerde Kerk (Dutch Reformed Church) in South Africa and Namibia during 2007-2008. First, the history of psalm-singing, from its Old Testament origin to its contemporary use in South Africa, is researched. Highlights of its development, as well as low points where congregational psalm-singing all but died out, are researched in order to establish the causes of the current situation. The essence of the study involves an empirical study to determine the frequency of use and functionality of psalms. The results of different approaches all show that to a large extent, psalms have fallen in disuse in this church and that, with the exception of only a small number of psalms, they are becoming extinct. However, in criticism against the Liedboek van die Kerk (Songbook of the Church) (2001) a number of important problems were emphasised, according to which conclusions and recommendations are made. The most prominent cause of the problem is identified as the cultural difference between the existing psalm tradition and the intelligibility of the members of the church. The reason for this problematic situation is traced back to the one-sided application of fixed norms. Based on these, research is done to determine which factors should be taken into account in terms of the receptiveness of church-goers to accommodate these norms as adaptable norms. These factors are explained, ways to apply them are discussed and recommendations are made accordingly. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2009.

In spite of the beauty of Psalm 139, it is notorious for its extreme exegetical divide. Research to date has put exceptional focus on Psalm 139 and its unity and/or division. This study, attempts to come to a clearer insight into Psalm 139. To accomplish this, a twofold approach is taken. First, we let the text speak for itself by exploring the textual and poetic features. These results will then be put in the wider context of the Psalter, specifically Book V of the Psalter. The placement of Psalm 139 within the context of the theology of Book V of the Psalter is seriously considered and attention is drawn to the relationship that Psalm 139 has with other texts in its immediate context. / Dissertation (MTh)--University of Pretoria 2018. / Old Testament Studies / MTh / Unrestricted

The Book of Psalms has occupied a privileged place in Christianity from its earliest years, but it was not until the sixteenth century that metrical versifications of the Psalms became popular. Because of the notable influence of Martin Luther and John Calvin, the musical phenomenon of metrical psalm singing spread throughout Protestant circles on the European mainland and in Britain. These versifications knew no boundaries among Protestants: reformers and parishioners, kings and laypeople, men and women, young and old memorised and sang the metrical psalms. In England and Scotland, the versifications written by Thomas Sternhold and John Hopkins became the most popular, as editions of these texts were printed in England from 1549 to 1828. The present study considers these metrical versifications and their melodies as they were printed and performed in England and Scotland from their inception until the final Scottish edition appeared in 1640. In particular, this study asserts that the years from 1560 to 1640 saw the development and reinforcement of two distinct ecclesiastical psalm cultures, one in England and the other in Scotland. Though based on a common foundation in the Sternhold and Hopkins texts, English and Scottish metrical psalmody preserved their distinct natures. However, both traditions also influenced their counterparts. The present study considers these cross‐influences and their effect on the tensions between conformity with foreign influences and fidelity to established practice in both countries. This study finally seeks to fill two significant gaps in current scholarship. It first compares the developments in English and Scottish metrical psalmody in the sixteenth and seventeenth centuries. Secondly, it considers the relationships between psalm tunes and their texts, with a closer musical analysis of the tunes than has previously been attempted.