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A theological exploration of the role and use of music for worship in the Methodist Church of Southern AfricaVan de Laar, John William 11 1900 (has links)
A theology of Church music for worship has been conspicuous by its absence. The need is
clearly demonstrated in this thesis, as is the methodology to develop this theology. The
Biblical record of musical usage shows that theological principles can be uncovered to guide
theuse of music today. The same process can be applied to the use of music for worship in
church history. In order for these principles to have practical application, the challenges
facing the Methodist of Southern Africa today are examined. Finally, a theology of Worship
Music is developed under three headings. The first, Worship Music as Sacred Sound,
explores the inherent music making of God, and of humanity. The second heading, Worship
Music as Sacred Act, explores the way music is used as part of the Church's worship activity.
The third heading, Worship Music as Sacred Word, explains how music can communicate in
worship. / Philosophy, Practical & Sytematic Theology / M. Th. (Systematic Theology)
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A theological exploration of the role and use of music for worship in the Methodist Church of Southern AfricaVan de Laar, John William 11 1900 (has links)
A theology of Church music for worship has been conspicuous by its absence. The need is
clearly demonstrated in this thesis, as is the methodology to develop this theology. The
Biblical record of musical usage shows that theological principles can be uncovered to guide
theuse of music today. The same process can be applied to the use of music for worship in
church history. In order for these principles to have practical application, the challenges
facing the Methodist of Southern Africa today are examined. Finally, a theology of Worship
Music is developed under three headings. The first, Worship Music as Sacred Sound,
explores the inherent music making of God, and of humanity. The second heading, Worship
Music as Sacred Act, explores the way music is used as part of the Church's worship activity.
The third heading, Worship Music as Sacred Word, explains how music can communicate in
worship. / Philosophy, Practical and Sytematic Theology / M. Th. (Systematic Theology)
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'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV / An evaluation of the unofficial, informal song as sung during worship by congregations of the Dutch Reformed Church in the PWVPapenfus, Anna Francina 11 1900 (has links)
This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audience / The reformed churches have theological and musicological criteria for their hymns, which,
however, are not always unambiguous.
After the introduction of the Jeugsangbundel (1984) an informal song, with informal
accompaniment, entered the worship and forms a prominent part of the singing in Dutch
Reformed Churches today. Some congregations compile their own volumes of songs. This
study set out to identify these congregations by means of a questionnaire and evaluate the
songs. Other relevant information was also required from congregations.
21 % of the respondent congregations sing unapproved songs. They have a larger percentage of
young people than those singing official songs. Congregations prefer a balance of formal and
informal hymns and both are sung with equal enthusiasm. The melody is the strongest
characteristic of the informal song and edification the strongest of the formal hymn.
The evaluation, however, shows that a considerable number of songs do not meet the required
standard / Art History, Visual Arts & Musicology / M.A. (Musicology)
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'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV / An evaluation of the unofficial, informal song as sung during worship by congregations of the Dutch Reformed Church in the PWVPapenfus, Anna Francina 11 1900 (has links)
This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audience / The reformed churches have theological and musicological criteria for their hymns, which,
however, are not always unambiguous.
After the introduction of the Jeugsangbundel (1984) an informal song, with informal
accompaniment, entered the worship and forms a prominent part of the singing in Dutch
Reformed Churches today. Some congregations compile their own volumes of songs. This
study set out to identify these congregations by means of a questionnaire and evaluate the
songs. Other relevant information was also required from congregations.
21 % of the respondent congregations sing unapproved songs. They have a larger percentage of
young people than those singing official songs. Congregations prefer a balance of formal and
informal hymns and both are sung with equal enthusiasm. The melody is the strongest
characteristic of the informal song and edification the strongest of the formal hymn.
The evaluation, however, shows that a considerable number of songs do not meet the required
standard / Art History, Visual Arts and Musicology / M.A. (Musicology)
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