AFRIKAANS : Hendrik (“Henk”) Temmingh word vandag gereken as een van Suid-Afrika se mees toonaangewende orrelkomponiste. Hy het sy veelsydigheid bewys en veral gevestig geraak as ’n noemenswaardige figuur op die gebied van musiekwetenskap, improvisasiekuns en orrelmusiek. Die doel van die studie is om aan te toon dat Temmingh se oeuvre ’n volledige katalogus van die orrelwerke regverdig en om so ’n dokument saam te stel. Om ’n volledige en juiste biografie van die komponis op te stel, word ’n verdere leemte gevul. ’n Oorsig van Suid-Afrikaanse orrelmusiek en komponiste gee ’n blik oor hoe, waar en in watter mate Temmingh funksioneer as ’n ware Suid-Afrikaanse komponis, alhoewel hy in Nederland gebore is. Addisionele inligting, veral nuwe data oor Suid- Afrikaanse orrelkomponiste soos geboorte- en sterfdatums, word in die dokument genoem. Suid-Afrikaanse komponiste word volgens herkoms en nasionaliteit in drie groepe ingedeel. Eie terminologie word hieraan toegeken. Min bronne oor Temmingh is beskikbaar. Daarom is hierdie mini-verhandeling grootliks met die hulp van die komponis saamgestel. Die gebrek aan genoeg literatuur oor Suid-Afrikaanse orrelmusiek en -komponiste het ’n uitdaging gebied vir die skrywer. Met behulp van die chronologiese katalogus van Temmingh se orrelwerke kan ’n onmiddellike oorsig van sy bydrae as orrelkomponis verkry word. Dit behoort musiekbiblioteke en orreliste te help om hulle onvolledige versamelings aan te vul. Hierbenewens sal die nuut-toegekende katalogusnommers ’n aanduiding gee van waar die betrokke orrelwerke chronologies by Temmingh se oeuvre inpas. ENGLISH : Hendrik (“Henk”) Temmingh can be regarded as one of South Africa’s leading organ composers. He showed versatility and established himself as a significant figure in the field of musicology, improvisation and organ music. The aim of the mini-dissertation is to show how Temmingh’s oeuvre justifies a complete catalogue of the organ works, and to compile such a document. Putting together an accurate biography of the composer, will fill another gap. A survey of South African organ music and composers indicate how, where and to what extent Temmingh functions as a true South African composer, although he was born in the Netherlands. Additional information, especially new data regarding South African organ composers such as dates of birth and death, is mentioned in the document. South African composers are divided into three groups according to origin and nationality. Own terminology is allocated to these. Few sources concerning Temmingh are available. Therefore this mini-dissertation was mainly compiled with the help of the composer. The scarcity of enough literature on South African organ music and composers was a challenge for the writer. An immediate summary of Temmingh’s contribution as an organ composer can be obtained with the help of the chronological catalogue of Temmingh’s organ works. This will help music libraries and organists to supplement their incomplete collections. Apart from this, newly allocated catalogue numbers will give an indication of where the works concerned fit in chronologically in Temmingh’s oeuvre. / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

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