Thesis advisor: John F. Baldovin / The Liturgical Movement of the twentieth century had a great impact on the liturgical life of much of Western Christianity, particularly Roman Catholicism and mainline Protestantism. Many of the early pioneers of this movement drew inspiration for their efforts from the liturgical forms and theology of the Christian East, primarily from late antiquity (i.e. third to eighth centuries). The question is, “Were the Eastern Christian Churches that trace much of their liturgical expression to this period themselves affected by this movement?” At first glance, the answer might appear to be negative. However, this dissertation aims to show that the Liturgical Movement did have an influence in some quarters of the Eastern Christian Church. In particular, it analyzes one community’s attempt to adapt the scholarship and principles of the movement to Eastern Christian worship, specifically focusing on the liturgical reform efforts of New Skete Monastery, a community of Eastern Orthodox monastics located in upstate New York. The dissertation begins with a discussion of the meaning of reform and an historical overview of the scholarship and principles of the Liturgical Movement in both the Christian West and East, focusing primarily on those aspects that will become relevant to the future liturgical reform efforts of New Skete. It then introduces the communities of New Skete, including a brief history of the communities, how they understand liturgy and the place it has in their lives, how they understand liturgical reform, why they think such reform is necessary, their principles of reform, and how they understand the authority for their reform. The bulk of the dissertation chronicles the liturgical reform efforts of the community over their fifty-year history for the communal services of the monastery and analyzes them in detail. Since the study of liturgy is not just textual, this dissertation also includes a presentation and cursory analysis of the architecture of the worship space and its iconic program, the calendar of saints, the music of the service, and other performative aspects of the celebration. The work concludes with a summary of the reception of their efforts gathered from an interview project that explored their liturgical life. / Thesis (PhD) — Boston College, 2017. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

JURČOVÁ, Mária. The attitude of Slovak Evangelical Churches to Liturgy. [Master thesis] / Mária Jurčová. - Charles Univerzity in Prague. Hussite Theological Faculty; - Supervisor: prof. ThDr. Pavel Procházka, PhD. - Degree: Master. - Prague : HTF UK, 2011. 83 p. This Master thesis "The attitude of Slovak Evangelical Churches to Liturgy" deals with current shape of Sunday worship in Slovak evangelical churches. This study shows liturgical tension which generates our changing culture and also asks a question how can we form liturgy in this new culture. The purpose of this thesis is to describe current situation and liturgy in Slovak evangelical churches and outline assumes of liturgical renewal in changing times. The first chapter is short introduction to the terminology. The second chapter focuses on the New Testament point of view regarding questions of the liturgy. The third chapter deal with new cultural transformation in the world and in Slovakia and is also focused on impact of these changes on evangelical liturgy. New culture, known as postmodernism, shows new styles of liturgy. The fourth chapter brings empirical results of evangelical liturgy research. This thesis wants to contribute for present discussion about liturgical renewal in evangelical churches. Keywords: Liturgy - Worship -...

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...

Au lendemain de la Seconde Guerre mondiale émerge en France un mouvement de renouveau de l’architecture religieuse et de l’art sacré sous l’impulsion d’un clergé soucieux de repositionner l’Église au cœur de la création contemporaine. S’appuyant sur une liturgie réformée, la communauté religieuse s’engage dans l’édification de nouveaux lieux de culte, qui sont une occasion de mettre en œuvre des formes audacieuses par l’emploi de techniques constructives innovantes. Particulièrement meurtrie par la guerre, la Lorraine devient le site d’une modernité réinventée, un territoire riche d’expérimentations architecturales, formelles, constructives et typologiques, pour lesquelles les réalisations de l’entre-deux-guerres en Suisse et en Allemagne font figure d’avant-garde. Ce travail de thèse analyse les liens entre les aspirations de l’Église catholique, les contraintes imposées par le contexte de la Reconstruction et de l’urbanisation accélérée des territoires, et la réponse formelle et matérielle proposée par les concepteurs de l’époque. Le corpus général concerne la production de cent dix-sept projets et réalisations conçus en Lorraine entre 1945 et 1975. Il se concentre sur les architectures les plus novatrices, tout en répondant à la volonté de proposer une palette d’objets diversifiés, tant du point de vue de leur histoire que de celui de leur matérialité. Les églises du corpus sont l’œuvre d’architectes d’origines géographiques variées et à la notoriété multiple. En outre, ces réalisations, d’une envergure plus ou moins grande, s’inscrivent dans divers contextes géographiques : urbain, périurbain et rural. Croisant les approches quantitative et qualitative, ce travail s’articule autour de trois principaux champs de recherche :- les conditions de production de l’objet architectural : accès à la commande, financements, acteurs, etc. ;- les influences et la question de la réception, notamment au travers d’une étude des revues spécialisées et de la presse catholique ;- enfin, la matérialité de l’objet et sa réalité constructive. / In the aftermath of the Second World War in France, an iconic renewal of sacred art and religious architecture was triggered by the clergy being concerned to set the Church as the cornerstone of contemporary creation. Given the significant changes in religious rites at the time, the Christian community decided to build new places of worship giving them the opportunity to introduce bold designs based on innovative construction techniques. As one of the major battlegrounds of the Second World War, the Lorraine region then appeared to be the perfect field for rethinking modernity through a wealth of architectural, formal and building experiments inspired by groundbreaking creations made in Switzerland and Germany in the interwar period. Our research work analyses the links between the Catholic Church’s ambitions, the constraints resulting from the post-war Reconstruction and urban sprawl context, and both formal and material suggestions made by contemporary designers. The whole corpus includes one hundred and seventeen projects and productions created in Lorraine between 1945 and 1975. It focuses on the most pioneering buildings while offering a wide range of objects, be it for their historical background or their materiality. The selected churches were designed by architects from diverse regions and with variable fame. In addition, they differed in scopes and geographical contexts – urban, suburban and rural. Taking both quantity and quality perspectives into account, our study revolves around three main lines of research :– In which conditions were the architectural objects produced (ordering process, funding, stakeholders, etc.) ?– What influenced their production and how were they received ? This has been observed through the analysis of trade papers and the Catholic press.– Eventually, how to describe their material nature and their reality as construction products ?

Made available in DSpace on 2016-04-29T14:27:30Z (GMT). No. of bitstreams: 1 Fabio de Souza Leao.pdf: 903622 bytes, checksum: 7b0d41966cb796d2892255d71df22db1 (MD5) Previous issue date: 2010-06-01 / ADVENIAT / This thesis written by Fabio de Souza Leão has as title: The liturgical formation in Brazil from Sacrosanctum Concilium. The main objective of this research is to analyze, although in general, why the catholic communities in Brazil did not find a satisfactory way in the liturgy, the source of their spirituality, even after the renewal of council with the promulgation of the constitution on the liturgy in 1963. This scientific research is justified by the deficiency of liturgical formation of the brazilian clergy even after the Second Vatican Council. The changes in the liturgy could not produce the expected results, in other words, a spiritual renovation of the liturgy in the minds and hearts of the priests. Many times they understood the liturgical constitution more like reform that renovation, a much more comprehensive aspect than reformer, because it requires a new style of liturgical life able to promote the active, full, conscious, fruitful and pious participation, which are requirements of own essence of liturgy. The primary hypothesis of this research indicates that the liturgical formation of clergy as vertex of problem in active participation in communities is deficient. His nonassimilation of the renewed liturgy affects communities, and this has direct involvement in the pastoral of the church.The theoretical research, a method followed in this work, comes to important results for the Church in Brazil: the priests are not yet imbued with the spirit and strength of the liturgy and its theological-liturgical training is weak, they had not caught the spirit of the liturgical renovation and many of them still remain on the periphery of the cult of the Christian mystery. They are bounded on liturgical rules, devotionals and celebrationshow; it misses initiation in the liturgical life and a better organization for an effective liturgical formation at the parish level / Esta dissertação, de autoria de Fábio de Souza Leão, traz como título: A formação litúrgica no Brasil a partir da Sacrosanctum Concilium. O principal objetivo da pesquisa é analisar, ainda que de modo geral, o porquê das comunidades católicas do Brasil não encontrarem, satisfatoriamente na liturgia, a fonte de sua espiritualidade, mesmo após a renovação conciliar com a promulgação da Constituição sobre Liturgia, em 1963. Esta investigação científica tem como justificativa a deficiente formação litúrgica do clero brasileiro, precisamente, após o Concílio Vaticano II. As mudanças na liturgia não conseguiram produzir os frutos esperados, isto é, uma renovação do espírito da liturgia na mente e no coração dos padres. Por vezes, entenderam a Constituição Litúrgica mais como reforma do que renovação, aspecto muito mais abrangente do que reforma, porque exige um novo estilo de vida litúrgica capaz de promover a participação ativa, plena, consciente, frutuosa e piedosa, exigências da própria natureza da liturgia. A hipótese primária desta pesquisa indica a deficiente formação litúrgica do clero como o vértice do problema da participação ativa das comunidades. A sua não assimilação da liturgia renovada atinge as comunidades; e isto tem implicâncias diretas na pastoral da Igreja. A pesquisa teórica, método seguido nesse trabalho, chega a resultados importantes para a Igreja do Brasil: os padres ainda não se encontram imbuídos do espírito e da força da liturgia e sua formação teológico-litúrgica é fraca; não captaram o espírito da renovação litúrgica e muitos ainda permanecem na periferia do culto do mistério cristão, presos a regras litúrgicas, devocionismos e a celebrações show; falta iniciação à vida litúrgica e uma melhor organização para uma formação litúrgica eficaz a nível paroquial

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