Summaries in English and Afrikaans / This thesis embarked with the problem within the liturgy that tension exists in trying to minister justly according to the current context and trying to minister faithful to Scripture. A departing perspective is that the liturgy is the heartbeat in the congregation whereto and from where every aspect is networking. Also, that the emphasis can be on both proclaiming and celebrating in Protestant liturgies. Dialogical communication was chosen as theoretical approach together with communicative action for the sake of the gospel of Jesus Christ. The first and last chapters illustrate what is meant with the term liturgy. The problem is stated (and investigated) that liturgy is a complicated and central phenomenon, which ought to let Reformed theology as well as a postmodern context come to their own. It is also indicated that liturgical spirituality, liturgical communication and liturgical pastorate can better be used and improved during Sunday liturgies. For the liturgy in order to serve the Reformed tradition and the postmodern context, and to uplift the three liturgical aspects of spirituality, communication and pastorate, liturgical symbols and rituals are posed as timeless agents to better the liturgy. Attention was also given to symbolism in Scripture. This led to a model of application as a theory of praxis for the liturgical use of symbols and rituals. The core of this model or theory of praxis, is: I. The highest priority in liturgical symbolism will always be to promote the holy Trinity and Biblical principles. II. The supplementary use of right-brain components, such as experience, emotion and music. III. A high premium on active participation and repetition. IV. An approach of simplicity and soberness. V. Relevance to the culture and context of the day. VI. Services that take hold of total persons and focus on multiple senses and corporeality (bodily involvement). i VII. Room for transendence, imagination and mystic worship of God. VIII. Actions and services that embrace diversity, pluralism and generative variety. IX. Meetings where pastoral and therapeutic dimensions are included. X. Celebration and positive experiences in meetings. XI. The use of images, stories, metaphors and icons. XII. The use of meta-communicative principles such as attitude, intention and high validation of other people. / Hierdie proefskrif het vertrek met die probleem vanuit die liturgie dat daar binne die huidige konteks en die deurlopende poging tot getrouheid aan die Skrif toenemend spanning groei in die eredienspraktyk. Die proefskrif vertrek ook vanuit die perspektief dat die liturgie die hartklop en voedingsaar van die gemeente is van waaruit en waarheen die totale gemeente netwerk en dat die verkondigingsbenadering en die vierings-benadering altwee 'n legitieme plek in die Protestantse liturgiese tradisie het. As teoretiese vertrekpunt vir die liturgiese handelinge word dialogiese kommunikasie gekies saam met kommunikatiewe handelinge ter wille van die evangelie van Jesus Christus. In die eerste en laaste hoofstukke word verduidelik wat met die begrip liturgie bedoel word. Die probleem word gestel dat die liturgie 'n komplekse handeling en kardinale fenomeen is wat reg moet laat geskied aan die Gereformeerde teologie en aan 'n postmoderne konteks. Verder word uitgewys dat liturgiese spiritualiteit, liturgiese kommunikasie en liturgiese pastoraat in ons huidige tydgleuf meer benut en uitgebou kan word tydens die weeklikse liturgiee. Ten einde die liturgie in haar Gereformeerde tradisie en postmoderne konteks te dien en om die drie liturgiese fasette van spiritualiteit, kommunikasie en pastoraat te bevorder, word liturgiese simbole en rituele aangebied as tydlose en tydige agente om die liturgie mee te verryk. Om die ondersoeke af te rond, is daar ook aan simboliek in die Bybel aandag gegee. 'n Werkswyse is gevolg waar die Gereformeerde teologie en postmoderniteit ontleed is en in verband gebring is met simbole en rituele. Liturgiese spiritualiteit, liturgiese kommunikasie en liturgiese pastoraat is ook gedissekteer, ten einde dit beter te begryp, en in verband te bring met liturgiese simbole en rituele. Daarna het simboliek aan die beurt gekom en is simbole en rituele gedefinieer, ontleed en na aard, wese en toepassing bestudeer. Simboliek in die Bybel is afgetas om gewig te verleen aan die ondersoeke. Uit al die genoemde ontledings en bevindings wys die proefskrif uit dat simbole en rituele inderdaad uitnemend geskik is om die liturgie eer aan te doen in die eiesoortige soeke na voortreflike vlakke van spiritualiteit, kommunikasie en pastoraat binne Gereformeerde en postmoderne kontekste. Hieruit is 'n toepassingsmodel as omvattende praktykteorie aangebied vir die liturgiese gebruik van simbole en rituele as die bydrae van hierdie proefskrif. (5.4 en 5.5). Die kern van die model of praktykteorie vir die liturgiese toepassing van simboliek is: I. Dat die hoogste doelstelling en swaarwigtigste vergestalting met simboliek in die erediens altyd God Drie-Enig en Bybelse waardes en beginsels is. II. Dat aanvullende gebruikmaking en verrekening van regterbreinkomponente soos ervaring, emosie en musiek noodsaaklik is. Ill. 'n Doelbewuste hoe premie op handelende deelname en herhaling. IV. 'n Benadering van eenvoud en soberheid. V. Handelinge en momente wat spreek tot die kultuur en konteks van die dag. VI. Erediensmomente wat die totale mens betrek en infokus op veelsintuiglikheid en liggaamlikheid. VII. Ruimte vir transendensie, verbeelding en mistiek om God te aanbid. VIII. Handelinge wat diversiteit, pluralisme en generatiewe verskeidenheid omhels en vier. IX. Byeenkomste wat pastorale en terapeutiese roepings insluit. X. Samekomste waar feestelikheid en aangename ervarings beleef word. XI. Kommunikeerders wat beelde, verhale, metafore en ikone gebruik. XII. Handelinge waar ag geslaan word op metakommunikatiewe beginsels soos gesindheid, intensie en hoe waardetoekennings aan die ander persoon. / Practial Theology / D. Th. (Practical Theology)

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