[pt] A teologia litúrgica tem se interessado por reunir os conceitos de mistério, mistagogia e mística. Nosso trabalho quer contribuir para avançar os debates atuais. Para isso, pesquisamos a noção de mistério segundo a teologia desenvolvida nos artigos segundo, quinto e sexto da constituição sobre a sagrada liturgia do Concílio Vaticano II. Para a teologia conciliar, o mistério é a salvação do Pai, efetivada pelo Filho, comunicada pelo Espírito Santo, através da igreja em sua dupla missão: anúncio e celebração. Depois, apresentamos o trabalho de recuperação e atualização da experiência mistagógica no transcurso dos últimos anos. A mistagogia atual é abordada em chave catequética (catequese mistagógica e iniciação cristã), litúrgica (teologia litúrgica) e espiritual (mística litúrgica). Finalmente, nos dedicamos à compreensão do fenômeno da mística cristã em consonância com as noções teológico-pastorais do conceito de mistério e de mistagogia. A mística litúrgica cristã é aquela na qual os iniciados experimentam na sua vida a força comunicativoterapêutica do mistério pascal de Cristo. A conclusão obtida é que o trinômio mistério-mistagogia-mística, por serem indissociáveis, precisam penetrar e se consolidar na teologia e práxis eclesial. / [en] Liturgical theology has been interested in bringing together the concepts of mystery, mystagogy and mysticism. Our research wants to contribute to advance current debates. Therefore, we researched the notion of mystery according to the theology developed in the second, fifth and sixth articles of the Constitution on the sacred liturgy of the Second Vatican Council. Conciliar theology understands mystery as the salvation of the Father, accomplished by the Son, communicated by the Holy Spirit, through the church in its double mission: proclamation and celebration. Then we present the work of retrieving and updating the mystagogical experience over the last few years. The current mystagogy is approached in catechetical (mystagogical catechesis and christian initiation), liturgical (liturgical theology) and spiritual (liturgical mystic) view. Finally, we relate the understanding of the phenomenon of Christian mysticism in line with the theological-pastoral notions of the concept of mystery and mystagogy. Christian liturgical mysticism is one in which the initiates experience in their lives the communicative-therapeutic force of Christ s paschal mystery. The conclusion is that the mystery-mystagogymystical trinomial, because they are inseparable, needs to penetrate and be consolidated in ecclesial theology and praxis.

Worldwide liturgical music finds itself in a crisis. Liturgical music is made the scapegoat for everything that is wrong with liturgy, whereas the problems rather derive from the worship service as a whole, the theological thinking and the cultural environment in which the worship service is performed. Stereotyped liturgical forms, a cognitive verbalism, the demand for intelligibility, the loss of the poetic form of the liturgy, the disregard for symbols and rituals, the absence of visual and other art forms in the liturgy, the influence of the popular music culture and especially the lack of a profound theological reflection with regard to the essential place of music in the liturgy, are all contributing factors that have a negative influence on liturgical music. The worship service is surrounded by a postmodern culture, aspects of which might provide positive opportunities for the liturgy. A broader notion of rationality that includes the affective, non-cognitive dimensions of being human, opens up possibilities for the aesthetic, as well as the religious experience. The recognition of symbols, images, imagination and metaphors opens up new horizons for the worship service as Gesamtkunstwerk. Anti-foundationalistic thinking demands an open canon with regard to the liturgy and liturgical song. Ecumenicity as an expression of the postmodern 'global village' renders a plurality of liturgical and musical possibilities. Aspects that might influence the reception of liturgical songs and songbooks, such as a spirit of anti-authoritarianism must be borne in mind. The liturgical training of ministers of religion, especially with regard to their aesthetic formation must be given due attention. The reflection on liturgy with regard to the role of art and music as communicative acts, based on new theological insights, must come into full swing. Liturgical music can only be fully appreciated where liturgical renewal takes form in a comprehensive way and where theologically the space is opened up for music as a form of art that has the ability to communicate symbolically, especially that which defies clearcut definition - as such being a communicative act serving the gospel. / Liturgiese musiek verkeer wereldwyd in 'n krisis. Kritiek word dikwels slegs voor die deur van die musiek gele, terwyl die probleem verband hou met die erediens as geheel, die teologiese denke en met die kulturele omstandighede waarbinne die erediens plaasvind. Geykte liturgiese vorms, 'n kognitiewe-verbalisme, die oorbeklemtoonde eis om verstaanbaarheid, 'n verlies aan die kunsgestalte van die erediens, 'n miskenning van die simboliese waarde van rituele en handelinge, die gebrek aan visuele en ander kunsvorme, die invloed van die omringende musiekkultuur en veral die gebrek aan 'n grondige teologiese besinning ten opsigte van musiek in die erediens, bring die funksie, aard en wesenlike plek van liturgiese musiek in gedrang. Die erediens staan binne 'n · postmodernistiese denkkultuur waarvan sekere aspekte positiewe moontlikhede ten opsigte van die erediens kan bied. Die breer rasionaliteitsbegrip, wat ruimte open vir die affektiewe en nie-kognitiewe dimensies van menswees, skep nuwe ruimte vir die estetiese ervaring en die rol van ervaring in die geloofsproses. Die erkenning van simbole, simboolwerelde, metafore, beelde en verbeelding, bied nuwe moontlikhede vir die erediens as Gesamtkunstwerk. Die oog vir die heropname van die historiese en die simboliese bied ook geleentheid vir die herstel van die tradisionele lied. 'n Gees van anti-fundamentalisme vereis 'n oop kanon ten opsigte van die liturgie en die liturgiese lied. Ekumenisiteit as vorm van die postmoderne global village bied 'n pluraliteit van liturgiese en musikale moontlikhede. 'n Nie-outoritere tydsgees en die ontkenning van 'n 'kundigheidsgroep' deur die postmodernisme, moet verreken word as faktore wat 'n rol kan speel by die resepsie van liedere en gesangboeke. Die liturgiese opleiding, veral met betrekking tot die estetiese vorming van predikante, moet grondig aandag kry. Die besinning rondom die liturgie met betrekking tot die rol van kuns en musiek as kommunikatiewe handelinge moet op grond van nuwere teologiese insigte tereg kom. Die tese van hierdie studie is dat die kerklied, oud of nuut, eers daar tereg sal kom waar van liturgiese vernuwing in die omvattende sin sprake is en waar teologies die ruimte vir musiek as kunsvorm met die vermoe tot simboliese vergestalting - as sodanig dus kommunikatiewe handeling in diens van die Evangelia - verreken word. / Philosophy, Practical & Systematic Theology / D. Th. (Practical Theory)

Worldwide liturgical music finds itself in a crisis. Liturgical music is made the scapegoat for everything that is wrong with liturgy, whereas the problems rather derive from the worship service as a whole, the theological thinking and the cultural environment in which the worship service is performed. Stereotyped liturgical forms, a cognitive verbalism, the demand for intelligibility, the loss of the poetic form of the liturgy, the disregard for symbols and rituals, the absence of visual and other art forms in the liturgy, the influence of the popular music culture and especially the lack of a profound theological reflection with regard to the essential place of music in the liturgy, are all contributing factors that have a negative influence on liturgical music. The worship service is surrounded by a postmodern culture, aspects of which might provide positive opportunities for the liturgy. A broader notion of rationality that includes the affective, non-cognitive dimensions of being human, opens up possibilities for the aesthetic, as well as the religious experience. The recognition of symbols, images, imagination and metaphors opens up new horizons for the worship service as Gesamtkunstwerk. Anti-foundationalistic thinking demands an open canon with regard to the liturgy and liturgical song. Ecumenicity as an expression of the postmodern 'global village' renders a plurality of liturgical and musical possibilities. Aspects that might influence the reception of liturgical songs and songbooks, such as a spirit of anti-authoritarianism must be borne in mind. The liturgical training of ministers of religion, especially with regard to their aesthetic formation must be given due attention. The reflection on liturgy with regard to the role of art and music as communicative acts, based on new theological insights, must come into full swing. Liturgical music can only be fully appreciated where liturgical renewal takes form in a comprehensive way and where theologically the space is opened up for music as a form of art that has the ability to communicate symbolically, especially that which defies clearcut definition - as such being a communicative act serving the gospel. / Liturgiese musiek verkeer wereldwyd in 'n krisis. Kritiek word dikwels slegs voor die deur van die musiek gele, terwyl die probleem verband hou met die erediens as geheel, die teologiese denke en met die kulturele omstandighede waarbinne die erediens plaasvind. Geykte liturgiese vorms, 'n kognitiewe-verbalisme, die oorbeklemtoonde eis om verstaanbaarheid, 'n verlies aan die kunsgestalte van die erediens, 'n miskenning van die simboliese waarde van rituele en handelinge, die gebrek aan visuele en ander kunsvorme, die invloed van die omringende musiekkultuur en veral die gebrek aan 'n grondige teologiese besinning ten opsigte van musiek in die erediens, bring die funksie, aard en wesenlike plek van liturgiese musiek in gedrang. Die erediens staan binne 'n · postmodernistiese denkkultuur waarvan sekere aspekte positiewe moontlikhede ten opsigte van die erediens kan bied. Die breer rasionaliteitsbegrip, wat ruimte open vir die affektiewe en nie-kognitiewe dimensies van menswees, skep nuwe ruimte vir die estetiese ervaring en die rol van ervaring in die geloofsproses. Die erkenning van simbole, simboolwerelde, metafore, beelde en verbeelding, bied nuwe moontlikhede vir die erediens as Gesamtkunstwerk. Die oog vir die heropname van die historiese en die simboliese bied ook geleentheid vir die herstel van die tradisionele lied. 'n Gees van anti-fundamentalisme vereis 'n oop kanon ten opsigte van die liturgie en die liturgiese lied. Ekumenisiteit as vorm van die postmoderne global village bied 'n pluraliteit van liturgiese en musikale moontlikhede. 'n Nie-outoritere tydsgees en die ontkenning van 'n 'kundigheidsgroep' deur die postmodernisme, moet verreken word as faktore wat 'n rol kan speel by die resepsie van liedere en gesangboeke. Die liturgiese opleiding, veral met betrekking tot die estetiese vorming van predikante, moet grondig aandag kry. Die besinning rondom die liturgie met betrekking tot die rol van kuns en musiek as kommunikatiewe handelinge moet op grond van nuwere teologiese insigte tereg kom. Die tese van hierdie studie is dat die kerklied, oud of nuut, eers daar tereg sal kom waar van liturgiese vernuwing in die omvattende sin sprake is en waar teologies die ruimte vir musiek as kunsvorm met die vermoe tot simboliese vergestalting - as sodanig dus kommunikatiewe handeling in diens van die Evangelia - verreken word. / Philosophy, Practical and Systematic Theology / D. Th. (Practical Theory)

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

Amen is the Hebrew word best known and most widely used in world religions even today. Its importance as a meaningful expression throughout biblical texts is given thorough study as well as its transmission throughout religious history. It has been transliterated and integrated into the prayers and liturgy of about every Christian church. In this thesis amen is traced down to its usage in Old Testament texts selected according to their liturgical setting. After examining the three sets of texts, progressive development stages have been produced. The first text of Deuteronomy 27 was basically a ceremony of civil nature for a Covenant commitment. All tribes of Israel were present and the amen response was stipulated to confirm their allegiance to Yahweh and to acknowledge the curses threatened. The second stage in the development of amen in Old Testament worship is an expected, not stipulated response to answer a doxology or a prayer. At this stage amen was pronounced by the worshipping congregation in cultic situations in general, particularly in the Psalms. A third and more developed liturgical response can be found in the spontaneous double amen spoken by the returnees from exile gathered for the reading of the Law session at Nehemiah's time. Amen had become a thriving force and a joyful outburst - not demanded, not simply expected, but spontaneous in the believers' response to Yahweh's guidance and love. The New Testament and Christians of all times inherited and adopted the same Hebrew word and sound of amen as confirmation and praise. A proposal is made in this study to set amen as a causal connection with the One who loved mankind first. The proposed derivation of amen from the Hiphil Imperative remits its origin to a causative plea, and persuades people to believe in what they have just heard or said, namely, that Jesus Christ is God's amen for the salvation of all mankind. Christians of all times and places should join in the praise of God through the same faith in His Amen. Thus amen becomes a binding concept for ecumenical understanding. / Biblical and Ancient Studies / D. Th. (Old Testament)

The two most prominent cultures that continue to have a defining influence on the socio-political developments in a multi-cutural South African society, are the Western and African cultures. Because of the differences between these two cultures and the respective roles members of each culture have played in the socio-political history of South Africa (especially with regard to the rise and fall of apartheid), conflict and alienation in most cases define the relationship between members of these cultures. Not only does it negatively impact on the multi-cultural society of South Africa as such, it also has far-reaching Implications for the continent as a whole, seeing that South Africa Is regarded as the economical and political powerhouse of Africa upon which are pinned the hopes of millions for a better life. As a result, the importance of reconciliation and unity in the multi-cultural South African society cannot be overemphasized. It is a Biblical imperative that all members of society should live together in peace and harmony. To this end, the church is commanded to serve the reconciliation of Christ to the world (2 Corinthians 5:11-21). One of the instruments to the dlsposal of the reformed churches in South Africa for the completion of this mission, is the liturgical song. The reformed liturgical song consists of poetry (text) and music (melody) which are woven together in such a way that the text of the song is carried directly into the heart of the singer or listener. The combined power of poetry and music provides the church with a powerful therapeutic and communicative instrument by which the truth of the gospel of Christ can effectively be proclaimed to the world. A closer look at the current situation in the multi-cultural South African society reveals that the reformed churches in South Africa (of both Western and African backgrounds) haven't as yet properly played their part in the attaining of reconciliation and unity in society. The central question for research in this study, therefore, is the following: In what way can the reformed liturgical song contribute to the attainment of the ideal of reconciliation and unity in the multi-cultural South African society? The research in this study is structured according to the model for Practical Theology that was developed by Zerfass (1974:164-177). This model entails that specific base theoretical principles are compared with meta-theoretical perspectives to eventually arrive at a theory of practice from which is derived a new set of practical guidelines. In Part 1 of this study, research centres around the base-theoretical principles with regard to culture, multi-culturality, reconciliation, unity, reformed worship and liturgical song, In Part 2 meta-theoretical perspectives are given with regard to culture and multi-culturality in South Africa, reconciliation and unity in the South African context, as well as reformed worship and the use of liturgical song in the multi-cultural South African society. In Part 3 a theory of practice is articulated in which a new set of practical guidelines for the use of the reformed liturgical song towards the attaining of reconciliation and unity in the multi-cultural South African society is given. Finally it is concluded that, with certain adjustments, the reformed liturgical song can effectively be used as an instrument for attaining reconciliation and unity in the multicultural South African society. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2007

The thesis paper is devoted to phonetic analysis of the Glagolitic Missal which was compiled by Vojtěch Tkadlčík. The attention is mainly paid to the differences between Glagolian sounding and the Latin transcription of the text. In the introduction of the paper the Czech type of the New Church Slavonic language is characterised and the structure of the Glagolitic Missal is presented. In the main part of the paper, which is based on the work with analysed texts, some phonetic phenomena and graphic specialities of the New Church Slavonic of the Czech type are described. Examples illustrate the places where Tkadlčík draw from the phonetics of South Slavonic languages or Eastern Slavonic languages and where he tried to make the text sound genuinely Czech. In the conclusion of the paper characteristic traits of the New Church Slavonic language of the Czech type are summarized.

Presented work has in its first part tried to evaluate both textual and theological development of the liturgy in the Czechoslovak (Hussite) church. It has focused on Farsky's translation of the Roman Mass from 1919, first liturgical reforms of the young church, liturgical diversification and unifiction in newly conceived liturgy by Karel Farsky in 1923. The work further follows development of such liturgy, especially its revision in 1939 and attempts of liturgical renewal in seventies and eighties of the twentieth century. The final conclusion of the thesis resides in stating that revision was crucial for blurring certain parts of Farsky's liturgy. It was not conciliated with Učení, official doctrinal document of the Church, and also didn't stay in line with its origin. The main part of the work is focused on analysis of singular parts of Second Liturgy s it was adopted by Assembly in 1991. We attempt to compare this liturgy with earlier versions as mentioned above. This thesis particularly states, that recent version of the Second Liturgy presents two parts of the liturgy of the Word,when the first reading is sharply distinguished from the rest. Furthermore, Opening antiphon (Introit) and Communium antiphon (Communio) are misleadingly placed. In fact, only Offertory antiphon (Offertorium) is located...

The diploma thesis consists of three parts. The first one describes the historical role of psalms during masses from their origin until presence. It illuminates the new role of psalms in the Cathlolic liturgy after the second Vatican council and outlines how these liturgical changes projected into Czech Catholic enviroments. The second part introduces significant Czech psalters and their authors. The psalters were created for liturgical needs and in reaction to the conclusions of the 2VC for liturgical needs. The third, main part of the thesis consists of detailed analysis of 1992 Karel Sklenička's psalter Responsoriální žalmy pro neděle a významné dny liturgického roku. The analysis of harmonic and melodic procedures of individual tones serves as a basis for the practival part of the thesis which is an extension of existing Sklenička's psalter to all days of liturgical year. The new psalter preserves the music component composed by Karel Sklenička and also preserves the way of work with the liturgical text in new psalms following the pattern of Karel Sklenička. The new psalter keeps strictly to the liturgically prescribed texts for individual liturgical occasions like the psalter from 1992.

[pt] Pessoas reunidas sob uma convicção religiosa comum, para o exercício de alguma atividade cúltica, é fato recorrente nas mais diversas tradições religiosas. Para o cristianismo, entretanto, a reunião dos cristãos alcança um significado de todo particular e reveste-se de uma responsabilidade ímpar. Ela é sacramento – sinal evocativo, mas, ao mesmo tempo, experiência daquilo que é evocado – da própria salvação. Sua realidade está tão entranhada na trama do acontecimento salvífico, que não lhe cabe ser considerada à parte, nem é possível conhecê-la verdadeiramente por uma razão fechada às possibilidades da fé. Esta dissertação propõe-se, então, a perseguir e desenvolver as indicações que apontam para uma teologia da assembleia litúrgica, tendo em vista o lugar que, desde o Concílio Vaticano II, vem sendo reservado à realidade assembleal. A impostação da pesquisa é histórico-salvífica e sacramental: reunindo elementos de teologia bíblica e de eclesiologia litúrgica, conectados por incursões no quadro histórico, nosso trabalho apresenta a assembleia como lugar mistérico onde se revela e consuma o desígnio divino de salvação. Ao celebrar o memorial da Páscoa de Cristo e os outros sinais irradiadores da graça do mistério pascal, a assembleia manifesta e ratifica sua condição sacramental e sacerdotal, ministerial e participativa, contingente e teologal, histórica e escatológica. Responde, finalmente, àquele chamado trinitário soprado na criação, verbalizado no Sinai e encarnado no Cristo. / [en] People gathered under a common religious belief, to the exercise of any cultic activity, is a recurring fact in various religious traditions. For Christianity, however, the meeting of the Christians reaches a very particular significance and a special responsibility. It is the sacrament – an evocative sign and, at the same time, experience of what is evoked – of salvation. Its reality is so ingrained into the net of the salvific event, it cannot be considered separately, nor is it truly known by a reason closed to the possibilities of faith. Then, this dissertation proposes to pursue and develop the indications that point to a theology of the liturgical assembly, considering the place that has been destined to the assembleal reality. The approach of our research is historical-saving and sacramental: bringing together elements of biblical theology and liturgical ecclesiology, connected by incursions into historical context, our work shows the assembly as the mysterical place where is revealed and consummated the divine plan of salvation. Celebrating the memorial of Christ’s Passover and the other signs of the Paschal Mystery, the assembly expresses and confirms its sacramental and priestly, ministry and participative, historical and eschatological condition. Answers, finally, the Trinity’s call, blown in creation, verbalized in Sinai and embodied in Christ.