Muzika, jungianti materialų pasaulį su žmogaus siela, gali skatinti maldos nuotaiką ir padėti dalyvauti krikščioniškoje liturgijoje. Pastaruoju atveju ji gali būti vadinama liturgine muzika. Liturginė muzika nereiškia muzikinio stiliaus, o daugiau (tinkamą liturgijai) formą. Tačiau forma gali daryti įtaką turiniui. Tarp jaunimo labiausiai paplitusi krikščioniška folk muzika, suprastina kaip naujasis liaudiškasis giedojimas, užpildo posovietinės Lietuvos bažnytinės muzikos paveldo spragas. Šio stiliaus giesmių bei „šlovinimo grupės“ termino tarp šv. Mišiose giedančio jaunimo atsiradimas liudija tam tikrą slinktį, galinčią reikšti tiek naujų tikėjimo išraiškos formų ieškojimą, tiek ir nesusimąstymą apie šv. Mišių slėpiniui deramą muzikinį repertuarą bei naudojimą žanrų, neatsižvelgiančių į liturgijos prasmę, apeigų dalis, liturginius metus. Tinkamos liturginės jaunimo katechezės užduotis – atliepti į šiuos iššūkius. Apibendrinant atlikto Kauno I dekanato jaunimo liturginės muzikos grupių katechezės būklės tyrimo rezultatus, teigiamu reiškiniu galima laikyti, kad Kauno bažnyčiose giedantis jaunimas atskiria Mišias nuo kitų momentų, kad giedojimą jose patiria kaip maldos momentą, tuo pačiu kartais jausdami poreikį ir nutilti, nurimti. Jiems svarbūs giesmių žodžiai ir jų atitikimas šv. Mišių dalims. Taip pat jiems svarbus ir kitų liturginės asamblėjos narių įsijungimas į giedojimą bei įvertinimas. Vilties teikia jaunimo mėgstamas gyvas muzikavimas bei jaučiamas gimtosios kalbos... [toliau žr. visą tekstą] / Music, which joins material world with human soul, evokes prayer in the heart and helps to participate in Christian liturgy. Thus, such music can be called liturgical music. Liturgical music does not mean a particular musical style, but rather a form of music suitable for liturgy - a form that can influence the content. Christian folk music, which is most popular with young people, should be understood as new folk singing which fills the gaps in post-Soviet Lithuanian Church music. The rise of this style of songs as well as coinage of the term “a worship group“, characterizing a group of young people singing during the Holy Mass, evidence a certain shift that can be described as a quest of new forms to express faith. However, it can also denote unreflecting about an appropriate musical repertoire suitable for the Mystery of the Holy Mass and using genres which make no reckoning of the meaning of the liturgy, the parts of the rite and the liturgical year. This is why there is an urge of an appropriate liturgical catechesis of young people. The results of the Survey on the Status of the Youth Groups of Liturgical Music in Kaunas 1st Deanery maintain that the young people who are singing in the churches of Kaunas dissociate Holy Mass from other moments as they consider their chant to be a moment of prayer at the same time sometimes feeling some need to be silent and quiet. They pay attention to the words of the hymns and their correspondence to the parts of the Holy Mass. It... [to full text]

Thesis (MPhil (General Linguistics))—University of Stellenbosch, 2009. / Members of churches commonly use the English terms salvation/saved and their isiZulu equivalents insindiso/ukusindiswa. Implied meanings seem to have become attached to these terms, especially in isiZulu, which could cause miscommunication due to the attitudes of superiority of the so-called “saved ones” (abasindisiwe) and consequent antagonism amongst certain ecclesiastical groupings. The question addressed by this study was whether or not the meaning of the term to be saved and its isiZulu translation ukusindiswa, as understood by a selection of isiZulu-speaking Christians, is unambiguous. A further question was whether – should it be the case that these terms are found to be ambiguous – to be saved and its isiZulu translation ukusindiswa could be rehabilitated. Nine people from various denominational backgrounds, both lay and ordained, were interviewed in order to discover how they understood the terms in question. The interviewees were asked ten question, including questions on the influence of cultural practices on the meaning of the terms. These cultural practices were in connection with ancestors, as experienced in Zulu culture, and the influence of their understanding of the terms on the permissibility of ancestral practices. The answers given by the interviewees revealed certain trends. One of them was that, for some isiZulu speakers, the meaning of the terms included the aspect of laying aside of all contact with the ancestors. Those who understood the terms in this manner were seen by the interviewees as having an attitude of superiority and as condemning members of more traditional churches for their adherence to Zulu culture. A sociolinguistic analysis of the terms salvation/insindiso and to be saved/ukusindiswa is presented based on the interviewees’ responses. A conclusion is that the terms are often used in a biased and/or “loaded” way, which is a principal cause of miscommunication and misunderstanding. Ways of reducing this misunderstanding are proposed, including the “rehabilitation” of the terms linguistically and theologically. Greater sensitivity to different ecclesiastical cultures should be shown, involving the use of inclusive language and the exercising of the skills of intercultural communicative competence. This study reveals that the church needs to work at the issues surrounding the terms in question, the use of which can cause a breakdown in intercultural communication.

I hope this study will bring hospitality into the communities of the Evangelical Presbyterian Church in South Africa (EPCSA) and will also bring the gospel to the people within their context. I hope this study will not only be fruitful to the EPCSA, but also to outside readers or other churches or congregations that might experience growth in their congregations that might come with language challenges. The principal aim of this research is to develop more inclusive liturgy praxis for the Evangelical Presbyterian Church in South Africa. The main focus of this study is the Sunday liturgy of the EPCSA, known as Magandzelelo Ekerekeni. Magandzelelo Ekerekeni is a Sunday liturgy for the EPCSA and is exclusively in the Tsonga language. It consists of five (5) Sunday orders of service, i.e. one for each Sunday of the month. Chapter 1 introduces the thesis and the church to the readers. The motivations for the chosen research are discussed as well as the relevance and the importance of the research. This chapter also states its aims and objectives of the research, the problems to be researched, methodologies and the expected outcomes. Chapter 2 introduces the history of the church (EPCSA), looks at the profiles of the founders of EPCSA and the possible influence they might have had on the Sunday liturgy of EPCSA. This chapter also considers the influence of the community on the development of the EPCSA in the past. Chapter 3 introduces the liturgy of EPCSA; it looks at John Calvin‘s view on liturgy and his influence in the EPCSA, discusses the historical development of the liturgy of EPCSA, analyses the liturgical inculturation in the township and city churches within EPCSA and concludes with a critical review of the liturgy. Chapter 4 shares Paul‘s theology of being inclusive and how South Africa‘s democracy helps us in this regard (Truth and Reconciliation Commission). This chapter also discusses Christology and inculturation from a biblical perspective and concludes with inculturation and liturgy. Chapter 5 concentrates on data collection and discusses the methodology considered, the ministers‘ view on the inculturation of the church‘s Sunday liturgy, compares the data collected from individual church members found in townships as well as in the villages, provides a brief detail on the meaning and methods of EPCSA and concludes with areas in the EPCSA in need of inculturation based on the collected data. Chapter 6 discusses the findings of the study and the challenges to the EPCSA liturgical team in the twenty-first century and multicultural context found in the church. To give the readers a brief idea on the structure, management and values of the church, I share a quotation from the general secretary‘s office. I found this to be very important to offer background to what I am working with and the kind of Presbyterian Church I am working with: Quote from the office of the general secretary of the church: “The Evangelical Presbyterian Church in South Africa —formerly known as the Tsonga Presbyterian Church —is the result of the work of the Swiss Mission in South Africa which that began in the Northern Transvaal in 1875. The gospel was first proclaimed to the Shangaans people by two Basotho evangelists, seconded by the Parish Evangelical Missionary Society. A Network mission station was established in the northern and eastern parts of the Transvaal. As Whilst the rapid growth of the mining industry drew many people to the towns, congregations were established in the Pretoria Reef and later the Welkom (Orange Free State) areas (Orange Free State) and also in Zululand. The church became autonomous in 1962, but still relied on the Swiss churches for financial support. Tsonga is the official language of the church. 1 The church confesses one universal faith, this faith being in Jesus Christ, the Son of God and Saviour of the World: the same Jesus whom God revealed Himself. The church, therefore, worships the ONE GOD, Father, Son and Holy Spirit. Under the guidance of the Holy Spirit, it strives to foster the advent of the Kingdom on earth and to prefigure God‟s new creation. I acknowledge her (EPCSA) dependence on the Word of God, as contained in the Scripture of the OLD and New Testament. This Word stands in judgment over the Church and constitutes the only foundation of faith and life. She (EPCSA) confesses the faith proclaimed by the early church as embodied in the declaration of the Ecumenical Synods and represented by the Apostles and Nicene Creeds. These are considered to constitute a witness and test of its faith, which the Lord Jesus Christ taught His disciples and are still confirmed by the Holy Spirit in the church. Activities and priorities:  Evangelism: planting of new churches;  Promoting of spiritual growth of the church;  Playing a leading role in health matters in the battle against HIV/AIDS,  malaria etc.;  Empowerment of ministers—lay preachers and administrative staff with management skills;  Health matters;  Addressing poverty and unemployment.” A quote such as the above from the general secretary of the EPCSA is informative for this research because it provides an understanding of what the church stands for and what its aims are. / Dissertation (MA)--University of Pretoria, 2014. / tm2015 / Practical Theology / MA / Unrestricted

Sacrosanctum concilium, the Second Vatican Council’s constitution on the liturgy, is often cited by scholars when assessing and commenting upon Roman Catholic liturgical music in the Council’s reception period, that is, the late-twentieth and early-twenty first centuries. The constitution, however, is only one of four constitutions promulgated by the Council that together create a vision for reform. Conciliar documents state principles which the Church’s teachers—the pope, bishops, pastors, and theologians—continually interpret for specific situations. This essay considers theological and historical factors that affected the Second Vatican Council’s statements about liturgical music. The Council’s overall concern was the Church’s effective proclamation of the Gospel in a world of diverse cultural settings facing modern problems. Liturgical music prior to the Second Vatican Council reflected the needs and concerns of a Church that, in a sense, no longer exists. Current theological methods begin by validating a congregation’s experience of God and placing it in dialogue with tradition. In this context, Gregorian chant and polyphony hold “pride of place” among a variety of musical styles that express the Church’s encounter with God. / text

This thesis aims to bring to wider attention the work of the Parisian theologian and philosopher Jean-Yves Lacoste (part of the so-called ‘theological turn’ in French phenomenology). Lacoste (whose most recent work, Etre en Danger (2011), articulates what he describes as a ‘phenomenology of the spiritual life’), has previously published monographs in the phenomenology of liturgy (Expérience et l’absolu: Questions disputées sur l'humanité de l'homme, 1994; ET: Experience and the Absolute: Disputed Questions on the Humanity of Man, 2004); hope and eschatology (Note sur le temps: essai sur les raisons de la mémoire et de l'espérance, 1990); philosophy and aesthetics (Le monde et l'absence d'oeuvre, 2000); and phenomenology and theology (Présence et parousie, 2006; Phénoménalité de Dieu, 2008). As a phenomenologist Lacoste is concerned with investigating the human aptitude for experience; as theologian Lacoste is interested in humanity’s potential for a relationship with the divine, what he terms the ‘liturgical relationship’ (where ‘liturgical’ implies more than simply worship writ large but refers instead to a specific anthropology, that of an existence lived and conducted ‘before God’, coram Deo). Beginning from the proposition that prayer is a theme that occurs throughout Lacoste’s writing, the dissertation employs that as a heuristic through which to view, interpret and critique his thought by offering a thematic study of prayer as it appears in his published works. It will look at issues that impact upon the ‘spiritual life’ such as boredom and fatigue, and include the following topics: ambiguity, rumour and the absurd; utopia and fantasy; body, flesh and spirit; silence; time, anarchy and flux. The dissertation is, in part, also an answer to the question as to what kind of theology might be written in response to and in dialogue with Lacoste, by examining some previously overlooked themes in and influences upon his work.

Cette étude vise à mettre en lumière les ressorts, pratiques et répertoires propres à l’usage des chants et de la musique au cours des convois et messes funèbres catholiques à Paris sous le régime concordataire (1802-1905). La solennisation cantorale et musicale de, ajoutée à et pendant la messe des morts (plain-chant, faux-bourdon, contre-point, musique figurée) est tout d’abord analysée au prisme de ses cadres d’organisation et de production : d’une part, les textes et rubriques relatifs aux rituels, cérémonies, prières et chants inscrits dans les livres de l’Église, suivant le rite romain ou le rite propre de Paris ; d’autre part, la législation, l’économie et l’administration de la messe funèbre tarifée suivant les barèmes officiels des pompes funèbres et le casuel paroissial, gradués par classes de convois. La fabrique de la pompe musicale extraordinaire est ensuite étudiée à travers l’analyse de quatre cas particuliers : la participation des militaires in et ex ecclesia, par le truchement des honneurs rendus par les troupes et de la mobilisation de musiques militaires ; les convois et célébrations funèbres à caractère officiel et national, de par leur financement, leur dimension symbolique et les lieux qu’elles investissent, voire les répertoires officiels qu’elles convoquent ou commandent ; les deuils de la communauté des gens de musique et de théâtre, impliquant non seulement une mobilisation spontanée et bénévole des musiciens, des choix singuliers quant aux œuvres exécutées, mais aussi un discours funèbre et honorifique produit par la musique même. / This thesis studies the motivations, practices and repertories of chant and music used in catholic funeral ceremonies at Paris under the Concordat (1802-1905). The singing and musical solemnization of, added to and during the Mass of the Dead (plain chant, false bourdon, counterpoint, music) is analyzed for its scopes of organization and production : on the one hand the texts and rubrics of the rituals, ceremonies, prayers and chants of the liturgical books (roman and parisian rites) ; on the other hand the legislation, economy and administration of the funeral mass the official fees regulation of “pompes funèbres” fees and parishes. Then the making of the extraordinary musical “pompe” is studied by means of four particular cases : the involvement of the soldiers in and ex ecclesia (military honours and music) ; official and national funeral ceremonies, with their financing, symbolic system, places and official musical repertories ; the mournings of the musical community, involving not only a voluntary summoning up of musicians, singular choices for the musical program, but also a funeral discourse through music.

<p>Eucharistic sacrifice is both a doctrine of the church and a sacramental practice. Doctrinally, it explains in what manner the sacrament is a sacrifice, or at least its sacrificial dimension; liturgically, it refers to the offering that is made in the church's celebration of the eucharist, that is, who and what is offered and by whom. Since the Reformation, Catholics and Protestants have been divided over of eucharistic sacrifice, and for most of its history after the death of the Wesleys, Methodism somewhat uncritically followed in the Protestant tradition. Now, after four decades of productive ecumenical dialogue, Catholics and Methodists seek to discern the points of convergence and divergence between them on this controversial doctrine. In short, where do Catholics and Methodists agree and disagree on eucharistic sacrifice? This dissertation is a work of systematic theology that draws from the insights of several related fields: liturgical theology, historical theology, sacramental theology, ecclesiology, and ecumenism. An investigation into what Catholics and Methodists have shared with each other to date in ecumenical dialogue serves to elucidate the state of affairs between the two churches. The traditioning voices of Thomas Aquinas and John Wesley provide instances of detailed teaching on eucharistic sacrifice. Aquinas' theology has continued to inform Catholic teaching, while Wesley's was largely forgotten in nineteenth century Methodism. His theology of eucharistic sacrifice anticipates significantly the convergence that the liturgical and ecumenical movements have achieved on this topic through their attention to the theology of the early church, yet only a handful of contemporary Methodist theologians have explored Wesley's theology of eucharistic sacrifice in detail, and fewer still from an ecumenical perspective. In recent decades, Catholic and Methodist churches have circulated official teaching on eucharistic sacrifice and made significant revisions to their eucharistic liturgies. An analysis of these texts demonstrates how each church currently articulates its doctrine of eucharistic sacrifice and celebrates it sacramentally. The analysis also allows for an assessment of the current degree of convergence between the two churches on eucharistic sacrifice. The conclusion is that, first, Methodism has begun to recover a strong doctrine of eucharistic sacrifice, and greater attention to its Wesleyan heritage can only strengthen it further. Second, the two churches share more on eucharistic sacrifice than is frequently appreciated; indeed, Methodism should recognize in Catholicism a doctrine and a liturgy with which it can fully agree. Third, eucharistic sacrifice necessitates a clearly-formulated ecclesiology, which is a topic in the dialogues where Catholics can continue to prompt Methodists for deeper reflection. Convergence on eucharistic sacrifice, if recognized by both churches, would constitute a significant step forward on the path to full communion between them.</p> / Dissertation

Thesis (S.T.L.)--Catholic University of America, 2008. / Includes bibliographical references (leaves 127-133).

Thesis (S.T.L.)--Catholic University of America, 2008. / Description based on Microfiche version record. Includes bibliographical references (leaves 127-133).

This project combines metalsmithing and calligraphy into an expressive art form through which the artist can celebrate and share both her understanding of life and the creative, loving God who motivates her art.The rich, calligraphic imagery of the Hebrew, Uncial (early Christian), and Italic alphabets was chosen as the design source.A solid understanding and skillful implementation of a variety of metalworking techniques and calligraphic skills were necessary to turn concept into form, idea into language.Designed and executed for this project were four liturgical objects, two non-functional forms, three functional forms, and nine pieces of jewelry. / Department of Art