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'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV / An evaluation of the unofficial, informal song as sung during worship by congregations of the Dutch Reformed Church in the PWVPapenfus, Anna Francina 11 1900 (has links)
This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audience / The reformed churches have theological and musicological criteria for their hymns, which,
however, are not always unambiguous.
After the introduction of the Jeugsangbundel (1984) an informal song, with informal
accompaniment, entered the worship and forms a prominent part of the singing in Dutch
Reformed Churches today. Some congregations compile their own volumes of songs. This
study set out to identify these congregations by means of a questionnaire and evaluate the
songs. Other relevant information was also required from congregations.
21 % of the respondent congregations sing unapproved songs. They have a larger percentage of
young people than those singing official songs. Congregations prefer a balance of formal and
informal hymns and both are sung with equal enthusiasm. The melody is the strongest
characteristic of the informal song and edification the strongest of the formal hymn.
The evaluation, however, shows that a considerable number of songs do not meet the required
standard / Art History, Visual Arts and Musicology / M.A. (Musicology)
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Lobpreis- und Anbetungslieder – Eine kritisch-würdigende Analyse der aktuellen Hillsong-Lieder / Praise and worship songs : a critical analysis of popular Hillsong songsEhlebracht, Simon 10 1900 (has links)
Text in German with summaries in German and English / Die Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre
2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die
Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie
die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte
wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem
die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende
Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das
Individuum anstatt auf Gott.
Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt gerechtfertigt ist. Die
Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus
hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit
unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen
starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird
jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend
sind. Das liegt vor allem an der koinonialen Funktionen sowie der
Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder.
Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische
und pädagogische Funktion. / The master thesis examines the 20 most played Hillsong songs from 2016 in Germany.
Aspects examined are the main themes of the lyrics, the singer-/ addressee
perspective, the classification into the biblical narrative as well as the functions of
the songs within the worship service. Based on these aspects, the criticism directed
at the songs is met. Criticized are, among other things, the theological lack of substance
of the songs, the distorted image of God, missing topics like suffering, lamentation,
social justice or the focus on the individual instead of God.
The work proves that the criticism of lack of content is justified. In addition, the
songs communicate a one-sided image of God that strongly focuses on Jesus as
an addressee. It shows that the issues of suffering, lamentation and social justice
are underrepresented. On the grammatical level, the songs have a strong focus on
the individual. Examining the functions, however, shows that most of the songs,
despite a first-person perspective, are strongly community-building. This is mainly
due to the koinonial function and the combinations of diaconal and pastoral function
of some songs. In addition to these functions, the songs often take on the kerygmatic,
missionary and pedagogical function / Practical Theology / M. Th. (Practical Theology)
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Sumptuous Soul: The Music of Donny Hathaway Everything is Everything Donny Hathaway, 1970Hicks, Keisha 17 June 2014 (has links)
No description available.
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