AFRIKAANS: Hierdie studie poog om deur 'n omvattende eksegetiese ondersoek van Psalms 9 en l0 op literêre - , semantiese - en sosiologiese vlak tot 'n verantwoordbare verstaan van die vyand in Psalms 9 en 10 te kom. Die eksegetiese ondersoek maak gebruik van die mees resente navorsing op die gebied van die literatuurwetenskap. Die eksegetiese resultate van die twee psalms word met mekaar vergelyk en word dan as basis gebruik om 'n semantiese analise te doen van die woordveld 'vyand'. Die studie toets die hipotese dat daar nie soos in die verlede net gevra moet word na die identiteit van die vyand in die betrokke psalms nie, maar of die vyand nie eerder 'n funksionele en teologiese rol vervul nie. Insigte vanuit die sosiologie word bygewerk om groter lig te werp op die omstandighede waarin die psalms afspeel. Hier is dus gekies vir 'n komplementêre benadering waar insigte uit verskillende dissiplines sinergisties kan bydrae tot 'n beter verstaan van die rol van die vyand. In die studie het dit duidelik geword dat Psalms 9 en 10 'n afgeronde en weldeurdagte struktuur vertoon. Dit het verder duidelik geword dat die woordvelde 'JHWH', 'regverdige' en 'vyand' in beide psalms in 'n driehoeksverhouding staan. Hierdie navorsing het die hipotese bevestig dat dit nie soseer om die identiteit van die vyand gaan nie, maar eerder om die funksie wat die vervul in terme van die regverdige se verhouding ten opsigte van JHWH en van sy gemeenskap. In hierdie driehoeksverhouding het dit nie om 'n ewewigsverhouding gegaan nie, maar was die vyand 'n middel tot 'n doel om veral die regverdige se posisie te verstewig. Belangrike gevolgtrekkings waartoe gekom is, is dat allerlei strategieë aangewend word om digotomies-ideologiese kategorisering teweeg te bring waardeur 'n polariteit bewerkstellig is tussen JHWH en die vyand, en die regverdige en die vyand. Daar is gevolglik 'n skerp dissosiasie met die vyand. Die digter skets homself as getrou aan JHWH en soek sodoende gemeenskaplikheid met JH WH. Deur hierdie strategie bewerk hy ook ‘n simpatie by sy nabye gemeenskap. Die sosiologiese ondersoek het hierdie resultate bevestig. Geen teks funksioneer in 'n vakuum nie. Aan die een kant dra die teks die stem en funksie van die sosiale realiteit waarin dit gebed is, en aan die ander kant is dit ook 'n teenstem teen die konvensionele en die ideologies-gemanipuleerde realiteit. Psalms 9 en 10 breek dus deur die huidige sosiale ervaring en poog om 'n nuwe realiteit te skep. Die realiteit is ook 'n funksie en 'n gevolg van die teks. Dit is dus nie net die omstandighede wat die teks bepaal nie, maar die teks het ook ten doel om die omstandighede van die regverdige te bepaal. Die twee psalms is 'n politieke daad om 'n nuwe sosiale moontlikheid vir die digter te skep. Die sosiale kernwaardes van 'eer' en 'skande' speel 'n baic belangrikc rol binne die driehoeksverhouding van Psalms 9 en 10. JHWH se eer is op die spel. Binne die verbondsverhouding waarin die regverdige lojaal aan JHWH is, het JHWH die vcrantwoordelikheid om die rcgverdige te verlos van sy krisis en sy sosiale status te versterk. JHWH moet die vyand tot skande maak om sodoende groter eer te verkry en die verbond te bevestig. ENGLISH: This study attempts to reach a justifiable understanding of the enemy in Psalms 9 and 10 by way of a comprehensive exegetic exploration on a literary, semantic and sociological level. The exegetic exploration uses the most recent research in the field of literature. The results of this exegesis of the two psalms are compared with each other and then used as a basis for a semantic analysis of the semantic field 'enemy", The study tests the hypothesis that one should not simply ask, as was done in the past, about the identity of the enemy in the particular psalms, but whether the enemy does not in fact fulfil a functional and theological role. Sociological insights are included to illuminate the circumstances in which the psalms are set. A complementary approach has therefore been chosen. Insights from various disciplines contributed synergistically to a better understanding of the role of the enemy. It became clear during the study that Psalms 9 and 10 show a well thought-out, rounded-off structure. Furthermore, it became clear that the semantic fields 'YHWH', 'righteous" and 'enemy' are in a triangular relationship. This research has confirmed the hypothesis that the function of the enemy is rather to be sought in terms of the relationship of the righteous with YHWH and his community and that the identity of the enemy is not so important. This triangular relationship is not a balanced one. The enemy is a means to an end to strengthen the position of the righteous, An important conclusion reached is that a variety of strategies were applied to establish dichotomic-ideological categorizing. From this a polarity is established between YHWH and the enemy on the one hand, and the righteous and the enemy on the other. There is thus a sharp disassociation from the enemy. The poet shows himself as true to YHWH and looks for common ground with YHWH. By using this strategy, he also manages to evoke sympathy from his close community. The sociological research confirmed these results. No text functions in a vacuum. On the one hand the text carries the voice and function of the social reality in which it is embedded. On the other hand, it is also a vote against conventional and ideologically manipulated reality. Psalms 9 and 10 therefore break through their current social experience and try to create a new reality. The social core values of 'honour' and 'shame' play an important role within the triangular relationship of Psalms 9 and 10. YHWH's honour is at stake. Inside the covenant relations where the righteous is loyal to YHWH, YHWH has a responsibility to liberate the righteous from his crisis and strengthen his social status. YHWH has to shame the enemy in order to gain greater honour and confirm the covenant relationship. / Dissertation (MA (Semitic Languages))--University of Pretoria, 2005. / Ancient Languages / unrestricted

This dissertation is a study of the styles shown in Reubke's The 94th Psalm. As a student of Hermann Bonicke, Theodor Kullak, and Adolf Marx, Reubke was trained in the masters of the Baroque and Classical traditions. Written after his study with Franz Liszt in the newer style, The 94th Psalm is a crystallization of these various influences into his own personal style, a remarkable achievement at age twenty three. It is a synthesis of two different styles of organ music at the time; the traditional and conservative represented by Mendelssohn and Schumann, and the progressive by Liszt. Reubke's unique approach to the sonata fomi in the "double function" unified three individual movements into one musical entity by the use of the cyclic theme. The harmony and the tonality are advanced and anticipate the late nineteenth-century style. As the first programmatic organ music in the nineteenth century, The 94th Psalm is an idiomatic organ work which employed the virtuoso piano technique of the time. In spite of Reubke's young age, The 94th Psalm demonstrates his great maturity. His wish to express himself is realized in the work in profound depth and imagination. Through the psalm text he poured out his mind and soul with tremendous energy. In addition to the prevailing concept of the dominant influence of Liszt on the work, the study discusses in detail other aspects which are equally significant to The 94th Psalm, particularly the classical organ tradition of the time and Adolf Marx's influence. After the introduction in Chapter I, Chapter II describes Reubke's family, his life including musical training and his works. Chapter II discusses the influences on The 94th Psalm; organ composition of the mid-nineteenth-century Germany, the influential teachers and their works. Chapter IV presents an analysis of the work, the programmatic feature, the characteristic harmony, and the cyclic use of the theme. Chapter V deals with the performance of The 94th Psalm: the characteristics of the mid-nineteenth-century organ in Germany, the registration, dynamic and expression marks, and published editions. The final Chapter VI is a conclusion.

Up to now there has been no attempt by Biblical scholars to compare the book of Psalms in the Old Testament with Pedi psalm-like songs. This study aims to fill that gap in the research and so contribute to the development of the African cultural heritage – especially that of the Pedi culture, by using indigenous knowledge systems. The research commences with a descriptive analysis of the various genres within the Book of Psalms. A variety of psalms types are discussed, including: Hymns of praise; Thanksgiving songs (communal and individual); Laments (communal and individual); Royal psalms; Hymns of Zion; Psalms of Yahweh’s kingship; Wisdom psalms; Liturgical psalms; Entrance liturgies; Judgement liturgies; Psalms of trust; Imprecatory psalms; Creation psalms; Torah (Law)-psalms; and Festival psalms. Each of these genres is described with reference to structural elements, characteristics and function(s). Then follows a descriptive assessment of numerous types and specific examples of Pedi Psalm-like songs via the provisioning of text, translation and a detailed commentary pertaining to contents and function. These include: Songs of Praise (e.g. Kgoparara); Thanksgiving songs (e.g. Mogale wa marumo - thanksgiving birth poem); Lament songs (e.g. Madi a manaba - a funeral song); Royal songs (e.g. Kgoshi - an inauguration song) Liberation songs (Ga e boe Afrika - a liberation song); Wisdom songs (Mokgoronyane - initiation song for boys and Kgogedi - initiation song for girls); Prayers of trust (e.g. Salane - a song of trust); Imprecatory songs (e.g. Leepo - song with irony); Law songs (e.g. Bana ba Modimo, thaetsang melao ya Modimo ka badimo - instruction song); Feasts (e.g. Ngwana malome nnyale - a lobola song and Hela Mmatswale, tlogela dipotwana - a wedding song). Finally the thesis provides a critical comparision between biblical psalms and Pedi psalm-like songs. The research demonstrates that, on the one hand, there are numerous interesting similarities between the two cultures’ songs with regard to a variety of aspects. On the other hand, the assessment also reveals substantial differences between the two musical traditions pertaining to an equally great number of issues. / Thesis (PhD)--University of Pretoria, 2009. / Biblical and Religious Studies / unrestricted

Vertonung von Psalm 104 (in Auszügen) für vierstimmigen gemischten Chor a cappella, mit freundlicher Genehmigung des Concertino-Musikverlags

Der Dresdner Psalm für sechsstimmigen Chor und sechs Blechbläser entstand als letzte gemeinsame Arbeit mit dem 2006 verstorbenen Dresdner Theologen und Schriftsteller Dietrich Mendt aus Anlass des Dresdner Stadtjubiläums 2006. Der Text des Werkes reflektiert Geschichte und Gegenwart der Stadt Dresden im Stil eines Psalmgebets. Werkdauer ca. 17 Minuten

Spirituality of Psalms in the Context of Antonín Dvořák's Biblical Songs. The aim of this work is an introduction with general pieces of informations about psalms, about their primary theological scope, about spiritual world and spiritual aspects, because they in fact include the human life in all circumstances. Fundamental commission is to introduce musical work of the czech composer Antonín Dvořák (1841─1904) Biblical Songs. This work includes ten songs. Lyrics of these songs elected Antonín Dvořák himself from the Book of Psalms. This book is a part of the Old Testament. The psalms are not only a prayer of a person. The psalms are a perspective and a dialogue of person and God and the psalms make a relationship with God. Subject matter of this work will be to find a communication between a person and God and the reception of the words of God too. Very important in this case is the state of mind in thoughts and in emotional feelings. The emotional feelings and thoughts are a part of the composer's aith. The composer receives the faith from God and the musical work of art, Biblical Songs, is the answer to God. Keywords Psalm, prayer, spiritual formation, Biblical Songs, Antonín Dvořák, musicology

Auf Anregung von Prof. Renate Altmann und Prof. Julius Severin komponierte Matthias Drude 1986 und 1987 drei Vertonungen von Psalmen für vierstimmig gemischten Chor und Orgel. Die drei Vertonungen sind in ihrer überwiegend homophonen Setzweise der musikalischen Romantik verpflichtet und für leistungsfähige Laienchöre geeignet. (überarbeitet und Computer-Notensatz (SIBELIUS): Mai-Juni 2020), Siehe auch: Der 91. Psalm (1987) und Der 121. Psalm (1986)

Auf Anregung von Prof. Renate Altmann und Prof. Julius Severin komponierte Matthias Drude 1986 und 1987 drei Vertonungen von Psalmen für vierstimmig gemischten Chor und Orgel. Die drei Vertonungen sind in ihrer überwiegend homophonen Setzweise der musikalischen Romantik verpflichtet und für leistungsfähige Laienchöre geeignet. (überarbeitet und Computer-Notensatz (SIBELIUS): Mai 2020), siehe auch: 'Der 23. Psalm' (1986) und 'Der 121. Psalm' (1986)

Auf Anregung von Prof. Renate Altmann und Prof. Julius Severin komponierte Matthias Drude 1986 und 1987 drei Vertonungen von Psalmen für vierstimmig gemischten Chor und Orgel. Die drei Vertonungen sind in ihrer überwiegend homophonen Setzweise der musikalischen Romantik verpflichtet und für leistungsfähige Laienchöre geeignet. (überarbeitet und Computer-Notensatz (SIBELIUS): Juni 2020), siehe auch: 'Der 23. Psalm' (1986) und 'Der 91. Psalm' (1987)

The aim of the diploma thesis "The Shepherd as the Anthropomorphism of God" is to clarify the role of the shepherd in antiquity and today and to present this knowledge in the use of the shepherd's anthropomorphism in biblical texts by means of literary research and comparison of texts, exegesis and reflection of own experience. In the introductory chapters we focus on the person of the shepherd, his characteristics, where special attention is paid to the shepherd's staff, as it also has an abundant biblical metaphorical use. The role of the shepherd in antiquity, in biblical texts and today is also discussed. Attention is also paid to the metaphor of the shepherd in ancient mythology, the use of this metaphor in various religious cults and its content. From a similar point of view, grazing animals are viewed, especially sheep, and special attention is paid to the role of the lamb in biblical texts. But we also talk about pigs and goats as pastoral animals. The following chapters first deal with anthropomorphisms in general, followed by chapters from specific biblical books where anthropomorphism is used. The texts are divided according to their inclusion in the Bible - first, Tanach texts are discussed, where the most common occurrence of anthropomorphisms is in the prophetic books. The next...