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This thesis discusses the development of Hymnody in Zambian churches since Christian missions came to Zambia late in the 19th and early 20th centuries. It begins with a brief description of Zambia's geographical and political position, the establishment of major missions, and the history of some of the main Zambian hymn books: PEMS, LMS & CMML, UMCA, AMEC, BIC, RCZ, MMS and CCAP. Twenty hymnals from Europe and America from which translations of English hymns were developed, have been selected. These are compared with the Union Bemba hymnal published in 1932 for the LMS and the CMML in Zambia. This hymnal also shares many hymns in common with the four Zambian hymnals: (RCZ), (AMEC),(CCAP) and (UMCA), as illustrated in Appendix A. The thesis reviews the problems of translated hymnody in Zambia, as caused by problems of melody, intonation and metre, and the way in which language and cultural differences have resulted in loss or distortion of useful meanings of the original hymns. Despite early efforts made by some missionaries to contextualize worship in the country, missionary policy in general ignored the many valuable musical resources available among the Zambians. Nevertheless, there is a tradition of indigenous Zambian hymnody, exemplified in the Tumbuka hymns of Northern Zambia and Malaroi, the hymns composed by the school girls at Mbeleshi, the Ngwewa hymns and other indigenous hymns of the Methodist Church, the AME Church indigenous hymns and the Lumpa Church hymns. The thesis examines the process of revision of translated hymns, stating those hymns that, through revision work, have been transformed into Zambian hymnody, and those that have been omitted. It discusses the church choir movement in Zambia and the choir action songs with their prominent features, circulating in Zambian churches but which remain oral supplements to the translated hymns. The thesis explores the traditional resources on which Zambia's indigenous hymnody can draw, in form, content, and instru1nentation, such as Zambian traditional singers: such as royal singers, ceremonial singers and society oriented songsters; Occasion songs: such as entertainment and social songs, songs by preservationist traditional singers, funeral dirges and dedication songs; and modern folk singers, as well as Zambian instruments. The thesis ends with suggestions for a Composite Hymnal as a logical, economical and unifying tool for hymnody in Zambian churches, which Zambians themselves have a duty to create.

Florencio Segura, bilingual in Spanish and Quechua languages, belonged to the Andean culture of southern Peru spanning most of the 20th century. A convert to evangelical Christianity, Segura chose to identify with the Quechua world. The inculturation of the Bible into his Quechua milieu, interpreted from an evangelical perspective, was in large part due to his work. He used his own original hymns to teach the message in an oral culture, drawing on a rich legacy of traditions. He recognised that sung theology was the quickest way for the Quechua to incorporate a heart theology into their evangelical communities. The thesis focuses on Segura and his hymnody. It examines the man in his culture, his appropriation of that culture and his dismissal of certain areas of it, his use of Quechua including his interpolation of Spanish, and his teaching methods. It is a thesis about missiological communication and the medium of hymns as interpreters in that process. Chapter one examines how the Quechuas view their world in order to give the cultural framework for Segura’s biblical interpretation via hymns. Chapter two reviews the historical framework that influenced Segura - particularly the role of evangelical missionaries and the reasons for his commitment to evangelical rather than Roman Catholic Christianity. Chapter three undertakes an examination of Segura’s use of the biblical narrative, comparing and contrasting it with parallel literature in the Inca and Roman Catholic tradition and analysing the theology of the hymnody. The focus on the content of Segura’s hymnody allows the conclusion to reflect on the theological significance of Segura’s work and its implications for the continuing development of Andean hymnody.

Many scholars have recognized the communicative and emotive power of singing as a ritual performance, and some have argued that hymn singing has played a significant role as a medium of cultural and religious communication and exchange. To better understand how and why singing might facilitate such exchange, this essay explores as a case study, the role of hymn singing in the cultural contact between the Cherokees and the missionaries at Brainerd, near Chattanooga, TN. By examining accounts of ritual singing recorded by both missionaries and Cherokees, the project illuminates how these communities, respectively, may have understood the role of singing in ritual practice. From these different perceptions of ritual singing, one can better understand how the Cherokees may have experienced resonances with the missionaries’ practices, which would encourage cultural assimilation and exchange. In turn, this study contributes to a larger conversation about music and religious expression.

Spanning the first seven centuries of Christianity, this paper explores how Eastern Christian and Byzantine hymn chant was developed alongside pagan and Jewish worship traditions around the Near East. Comparison of hymns by Christian composers such as St. Romanos the Melodist and pagan poetry reveals many similarities in the types of metaphorical imagery used in both religious expressions. Common in Christian hymn texts, well-known metaphors, like the “Light of God,” are juxtaposed with pagan mythological gods, such as Apollo and Helios. This paper attempts to explain how and why Christians appropriated and adopted ancient pagan imagery into the burgeoning musical tradition of Christian hymn singing.

The United Methodist Hymnal includes many hymns which make use of ableist language. This paper sets forth an understanding of disability and ability so that the ableist language in United Methodist hymnody may be identified and, when needed, addressed through suggested revision or omission. Putting prominent themes of disability theology and hymnology into conversation with one another, this paper addresses the theological anthropology present in particular hymns with a particular focus on the difference between healing and curing, the metaphors of disability as sin, and images of disability in biblical texts.

Cette thèse se propose de transcrire et analyser dans le but de créer une typologie de l’hymnodie syriaque de l’Église Maronite selon la tradition de l’illustre chantre de l’Ordre Antonin Maronite Père Maroun Mrad. L’Église Maronite, étant une église catholique orientale, elle a conservé et l’union avec l’Église Universelle et son identité et tradition musicale et liturgique. L’objet de mes analyses est l’ensemble des hymnes enregistrées par la voix du Père Maroun Mrad, un des porteurs de la tradition orale au sein de l’Ordre Antonin Maronite. Cet enregistrement est produit par le Père Ivar Schmutz-Schwaller, de l’Université de Cologne, lors de son séjour au Liban en 1972. La méthodologie consiste à produire un diagramme musical de chaque pièce, qui contient toutes les informations utiles à l’analyse. En fait dans ce diagramme on voit l’ensemble de l’échelle utilisée et par conséquent le genre (Zalzalien, Hijaz ou Diatonique). Avec des signes adéquats, on met en relief les degrés d’appui de la pièce (note initiale, teneur, finale temporaire et finale) ainsi que le nombre demouvement (conjoint ou non, ascendant ou descendant) qui les lie. D’après l’ensemble des diagrammes, j’ai choisi la relation finale-teneur comme critère pour la typologie que l’on s’est promis d’établir. En effet, les pièces sont classés en type 1 si leur teneur correspond à leur finale, en type 2 si l’intervalle finale-teneur est une seconde, en type 3 si l’intervallefinale-teneur est une tierce, en type 4 si l’intervalle finale-teneur est une quarte ou en type 5 si cet intervalle est une quinte. Cette typologie sert à classifier ces hymnes pour mieux les repérer et analyser d’autres aspects. / This research wants to transcribe and analyze the Syriac Hymnody of the Maronite Church in order to create a typology. The Maronite Church has conserved its musical and liturgical identity along with its communion with the Universal Church. I based my work on some recording done by Father Ivar Schmutz-Schwaller, from the University of Cologne. In his field trip to Lebanon in 1972, he recorded Father Maroun Mrad, a cantor from the Antonine Maronite Order, while he was singing capella the whole repertoire of the Syriac hymns. The methodology applied here consists in creating a diagram of musical analysis that can summarize the whole piece and simplify the analysis. In fact, each diagram contains all the degrees of the scale and determines its genre (Zalzalian, Hijaz or Diatonic). With the help of some signs, we indicate the basic notes (initial, tenor, temporary ending note and the ending note of the piece) and the number of their movements. With the help of these diagrams, we chose to consider the relation between the “tenor” of the piece and its ending note as criteria for this classification. In fact the pieces that has their tenor equal to their ending note belong to type 1. In the type 2, the interval between the tenor and the ending note is a second, in type 3 a third, in type 4 a fourth and in type 5 a fifth. This typology would help us to better classify these hymns and, furthermore, to analyze other aspects of them.

This thesis undertakes a study of some of the historical origins and developments of the Southern Baptist Convention in relation to its music.

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This study considered indigenisation to involve a process of making the local people `feel at home' in their Church. The ministry of early catechists such as Bernard Mizeki and Frank Ziqubu was crucial in showing the fact that the Anglican Church was not necessarily a church for Europeans only, but for the indigenous people as well. After this first generation of catechists there were numerous indigenous catechists who also ministered in the Diocese of Mashonaland by way of preparing people for the different sacraments found in the Anglican Church. On the other hand the training of the indigenous people for the ordained ministry was also another significant step in the process of indigenisation in the Diocese of Mashonaland. In this regard theological institutions such as St Augustine's Seminary in Penhalonga Manicaland, St Peter's Seminary Rossettenville in Johannesburg and St John's Seminary in Lusaka provided the much needed training. This study also revealed that although the Diocese of Mashonaland had an indigenous person at its helm in 1981, it remained European in several facets of its life. Although translations as a form of indigenisation started from the beginning of the Diocese of Mashonaland and continued right up to 1981, it seems it actually crippled the local indigenous peoples' innovativeness and ingenuity. In addition indigenous musical instruments also took sometime before they could be accepted in divine worship. On the other hand local art and décor as well as local architectural expressions took time to be incorporated into the Diocese of Mashonaland. However few early European missionaries such as Arthur Shirley Cripps and Edgar Lloyd tried to implement local architecture and décor in their churches in Daramombe and Rusape respectively. This study has also established that although the Anglican Diocese of Mashonaland got indigenous leadership by 1981, its liturgy, theology as well as its Acts and Canons remained European. / Christian Spirituality, Church History and Missiology / D. Div. (Church History)