Thesis (D.M.A.)--University of Texas at Austin, 2006. / Includes abstract and vita. Includes bibliographical references (leaves 110-112)

Disertacijos objektas yra XIX amžiaus pirmosios pusės Mažosios Lietuvos surinkimininkų giesmynų ir jų giesmių istorija tekstologiniu, lingvistiniu požiūriu. Tyrimo šaltiniai – giesmynai: „Visokios naujos giesmės arba evangeliški Psalmai“ (1817, Tilžė), „Mažos giesmių knygelės“ (1819, Tilžė), manoma parengti Kristijono Endrikio Mertikaičio. Šioje disertacijoje pirmą kartą išsamiai analizuojama giesmynų ir jų dalių sandara, kalba ir šaltiniai, apžvelgiami XVIII amžiaus Karaliaučiaus vokiški giesmynai, atskleidžiamas Halės pietizmo vaidmuo, sudarant vokiškų ir lietuviškų giesmynų repertuarą. Ištyrus lietuviškus giesmynus buvo prieita prie tokių išvadų: Mertikaitis, sudarydamas surinkimininkų reikmėms skirtą giesmyną „Visokios naujos giesmės arba evangeliški Psalmai“ (1817, Tilžė), iš principo laikėsi oficialiųjų bažnytinių giesmynų formavimo principų. Dalis verstų ir originalių giesmių (iš viso 52) tiesiog perimta iš lietuviškų šaltinių. Giesmyno „Visokios naujos giesmės arba evangeliški Psalmai“ (1817, Tilžė) giesmės kalbos požiūriu skirtinos į dvi grupes – pasauliečių ir dvasininkų giesmes. Kalbos tyrimai patvirtino istoriografų spėjimą, kad Mažos giesmių knygelės parengtos to paties asmens Mertikaičio. Nustatyta, kad vokiškieji giemynų šaltiniai yra Karaliaučiaus teologijos profesoriaus, pietisto Frantzo Alberto Schultzo 1752 metų giesmynas Kern Alter und Neuer geiſtreicher Lieder, Als der Ʒweyte Theil, jaunosios kartos Halės pietisto Ernsto Gottliebo Woltersdorfo sudarytas... [toliau žr. visą tekstą] / The subject of the dissertation is the history of the hymn books and hymns of the first half of 19th century Fellowship Movement in Lithuania Minor in textual and linguistic approach. The sources of the research are the hymn books „Visokios naujos giesmės arba evangeliški Psalmai“ (1817) and „Mažos giesmių knygelės“ (1819), supposedly composed by Kristijonas Endrikis Mertikaitis. For the first time, the detailed analysis of the structure, language and sources of the hymn books and their parts, the overview of the 19th century German hymn books from Königsberg, and the explanation of the role of Halle Pietism in composing the repertoire of the German and Lithuanian hymn books are provided in this dissertation. The examination of Lithuanian hymn books has led to the following conclusions: when composing the hymn book „Visokios naujos giesmės arba evangeliški Psalmai“ for the needs of Fellowship Movement, Mertikaitis essentially followed the official line for the formation of church hymn books. The portion of translated and original songs (52 in total) is simply taken from Lithuanian sources. The hymnal „Visokios naujos giesmės arba evangeliški Psalmai“ have to be divided linguistically into two groups - the hymns for laity and the hymns for clergy. Linguistic research confirmed the presumption of historians that hymn book „Mažos giesmių knygelės“ is composed by the same person, i. e. Mertikaitis. It was established that German sources of the hymn books are the hymn book „Kern... [to full text]

Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia. / Thesis (DMus)--University of Pretoria, 2005. / Music / DMus / Unrestricted