Aniol - Hymnody of the Church 2 Two Roads Diverged (original) (raw)
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Psalms, Hymns, and Spiritual Songs: Assessing the Debate
The New Testament contains very little explicit information concerning singing in Christian churches, and yet debate about what kind of songs may be sung in worship is perhaps one of the most controversial matters facing churches today. For this reason, participants on all sides of contemporary worship debates look to two parallel NT passages as fodder for their views: Ephesians 5:19 and Colossians 3:16. Of particular note in interpretations of these passages are the three musical terms Paul employs: ψαλμοῖς (psalmois), ὕμνοις (hymnois), and ᾠδαῖς (ōdais). What these terms exactly mean has been a matter of disagreement since the church fathers, and worship warriors frequently use dogmatic, and often unsupported , assertions concerning their meaning to defend their arguments. The purpose of this paper is to examine popular and scholarly discussions of the terms in these passages to determine, if possible, their exact meaning and what implications for contemporary practice may be drawn therefrom. The grammatical construction of the phrases in both Ephesians 5:19 and Colossians 3:16 are nearly identical, 2 and thus I will treat discussions of the meaning of these terms without distinction between the two appearances. I will survey only recent treatments of these texts for two reasons. First, recent discussions will reflect the most current scholarship in biblical studies. Second, contemporary scholars will take into account and interact with any relevant older scholarship, so there is little need to specifically explore the older treatments. By examining the arguments for the predominant views of the meaning of these terms, I will show that ψαλμοῖς, ὕμνοις, and ᾠδαῖς in Ephesians 5:19 and Colossians 3:16 should not be taken as clearly defined categories of congregational song but should rather be seen as overlapping near synonyms.
THE VALUE OF SINGING HYMNS IN CHRISTIAN WORSHIP
Music in and Out of Culture: Musical Arts Education Perspectives (a Festschrift for Isaac Ovabohrene Idamoyibo), Chapter 23, Ile-Ife: Malthouse. pp.459-476., 2021
This paper examines the value of singing Christian hymns in public worship with a focus on evangelical churches in Benin City, Edo State, Nigeria. It identifies the problem of lack of interest of youths in the singing of traditional hymns and their preferences for contemporary gospel music in Christian worship. It stresses the value of singing of hymns towards Christian maturation. Using participants observation and interviews with carefully selected worshippers in the area, the study examined the perceptions of Christians on the role of hymn singing public worship towards Christian maturation. It argued that Church Music is focused on fulfilling the mandate of Christ towards Church growth. That the primary essence of church music is not for commercial purposes or for entertainment, nor for other material gains, rather, it exists for spirit-filled and truthful worship, for ministry, and for Christian maturation. The paper highlights some values of singing hymns in Christian worship and concludes that church leaders have a duty to continually incorporate theologically appropriate hymns for use in worship to strengthen its values for nurture, fellowship, and for ministry. The paper recommends deliberate actions in choosing relevant hymns for liturgical process, more creative use of hymns in the liturgy of the churches, and the need to create avenues for more training of music leaders through music conferences and workshops.
Bulletin of the Hymn Society of Great Britain, Nos 272 & 273, Volume 20, 2012
It is claimed that the classic English hymn can have no place in the Mass of the Roman Rite? But there exists time honoured precedence for the use of metrical hymns, and the Ordinary Form allows for this officially in the rubrics. But instead of supplanting the integral Proper of the Mass with either classic hymnody or modern liturgical songs, it would be possible to complement it with hymns in a liturgical way. The body of metrical hymnody stands as a kind of Proper in its own right. Judicious selection from it and knowing how to set it to the Eucharistic liturgy alongside the Proper of the Mass constitutes a science. This is part of the patrimony of the Anglican tradition with its long tradition of music at Eucharistic worship in the vernacular that can be offered to Catholic celebrations by the Ordinariates. Furthermore, the corporate singing of metrical hymns is not only a deep-rooted tradition within English-speaking Christianity that offers an exchange of gifts and spiritual ecumenism if rightly received and applied, it can also be a means to realising the objective of participation actuosa - the faithful's active participation together in the action of the Eucharistic liturgy.