Church Music Research Papers - Academia.edu (original) (raw)

Collected from presentations during the first biennial Christian Congregational Music conference (congregationalmusic.org), this book explores the role of congregational music in Christian religious experience, examining how musicians and worshippers perform, identify with and experience belief through musical praxis. Contributors from a broad range of fields, including music studies, theology, literature, and cultural anthropology, present interdisciplinary perspectives on a variety of congregational musical styles - from African American gospel music, to evangelical praise and worship music, to Mennonite hymnody - within contemporary Europe and North America. In addressing the interconnected themes of performance, identity and experience, the volume explores several topics of interest to a broader humanities and social sciences readership, including the influence of globalization and mass mediation on congregational music style and performance; the use of congregational music to shape multifaceted identities; the role of mass mediated congregational music in shaping transnational communities; and the function of music in embodying and imparting religious belief and knowledge.

- by and +1
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- Christianity, Church Music, Ritual, Congregational Studies

This paper was presented at the 10th annual New Voice Educators Symposium at Indiana University on February 22, 2014. It surveys various authors' approaches to vocal pedagogy for the aging singer and ways of incorporating older singers... more

- by Katie T Moss
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- Church Music, Vocal Pedagogy
- by Jean-Paul C Montagnier
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- Church Music, French Baroque Music

Les messes polyphoniques en livre de chœur étaient omniprésentes dans la vie musicale des maîtrises d’Ancien Régime. Utilisés lors des dimanches et fêtes, ces livres étaient un outil pédagogique incontournable pour instruire les pueri chori et un stimulant non négligeable pour les maîtres de musique devant composer régulièrement sur le texte de l’Ordinarium missæ. Ces messes fournissaient des modèles à suivre et à imiter, à paraphraser voire à piller. Le genre de la messe polyphonique avait comme particularité d’être extrêmement contraignant : les gestes liturgiques du célébrant devaient être accompagnés par des formules incontournables depuis des siècles ; la forme générale de chaque mouvement était imposée par le texte de l’Ordinaire et par la tradition ancestrale ; la durée générale de l’œuvre ne devait pas dépasser trente minutes. En s’attaquant à ce genre polyphonique, l’apprenti-compositeur se trouvait face à une sorte de liberté réduite. La Missa Laudate pueri Dominum, « chef d’œuvre » de Pierre Hugard (18 ans) offre un bel exemple de premier opus officiel dans lequel Hugard employa en plusieurs endroits la « manière de composer en mosaïque » (dixit Grétry). Pour cette étude, seront encore convoqués la Missa Deus ultionum Dominus de Pierre Cheneveuillet (20 ans), la Missa Salva nos, Christe de Claude Mielle et quelques brouillons de Sébastien de Brossard.

- by Jean-Paul C Montagnier
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- Church Music, Music History, Musicology, Pedagogy
- by Jean-Paul C Montagnier
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- Church Music, French Baroque Music, Jean-Philippe Rameau
- by Christopher Preston
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- Music, Church Music, Worship, Worship & Preaching
- by Chiara Bertoglio
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- Church Music, Doctrine of Justification, Justification, Ecumenism

Dette essay præsenterer nogle overvejelser over de betingelser, inden for hvilke salmesang bliver til. I fokus er ikke så meget salmerne som tekstlige eller musikalske genrer, men i højere grad den gensidige afhængighed, som opstår mellem ord og toner i salmesangen. Et centralt greb i dette essay er at betragte salmesang som resultatet af noget, man gør. Det er en handling, som bliver til et sangligt udtryk. Hvis ingen gør noget, er der ingen salmesang. Det er med andre ord ikke en ting, ikke noget man kan læse eller se på. Man kan lytte til det, men det kræver, at man selv eller andre synger. Essayet tager udgangspunkt i, at salmesang er et praktisk-musikalsk fænomen, som (oftest) foregår i et sangligt fællesskab. Det sanglige udtryk må derfor være betinget af fællesskabet og de normer, som man bevidst eller ubevidst er blevet enige om. Der kan være nogle af de deltagende, der ikke kender normerne eller bare ikke vil følge dem. Salmesang som et sangligt fænomen er derfor i sig selv defineret af den mangfoldighed, som den forsamling, der synger sammen, repræsenterer. For at underbygge denne idé forfølger essayet en forestilling om, at salmer opstår som sangligt udtryk i en forhandling mellem det tekstlige og det musikalske.

- by Bjarke Moe
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- Music, Church Music, Music History, Reformation Studies

The power of music and its relationship to 'worship'.

- by Nick J Drake
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- Music, Church Music, Contemporary Music, Worship
- by Jean-Paul C Montagnier
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- Church Music, French Baroque Music
- by Siel Agugliaro
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- Church Music, Early Music, Baroque Music, Renaissance music
- by Jean-Paul C Montagnier
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- Church Music, French Baroque Music, Louis XIV, Oratorio
- by Tripp Hudgins
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- Music, Church Music, Culture, Music Industry

Ein reiches Programm mit Konzerten und Gottesdiensten, Referaten und Diskussionen prägte den 5. Internationalen Kirchenmusikkongress, der Ende Oktober 2015 in Bern stattfand. Dabei wurde das Verhältnis von Religion, Kirche und Liturgie zur Musik aus musikwissenschaftlicher, historischer und theologischer Sicht betrachtet. Der Kongressband enthält die Hauptreferate, aber auch Beiträge zu einigen der Workshops, die zwischen Reflexion und Praxis vermittelten – von Perspektiven des zukünftigen Orgelbaus bis zu Möglichkeiten des Zusammenwirkens von Musik und Liturgie.
Aufgenommen wurde auch eine Auswahl von Einblicken in die Arbeitsgebiete von Doktorandinnen und Doktoranden, die diese im Rahmen eines Forschungskolloquiums präsentiert hatten; zudem wird der Schlussgottesdienst des Kongresses im Berner Münster dokumentiert – mit der Predigt, Beiträgen zur Zusammenarbeit und zum Entstehungsprozess der Neukomposition von Lukas Langlotz und Gedanken von Teilnehmenden. Ergänzt wird der Band durch eine Übersicht über alle Veranstaltungen und einen Bericht zu den vorhergehenden Kongressen

- by Thomas Gartmann
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- Church Music, Musicology, Theology, Liturgy
- by Tosin Oje
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- Music, Church Music, Music And Religion, Traditional Music

Hugo Leichsenring (3. November 1896 – 3. November 1946) was organist and choir director in Hamburg after serving in WWI and following his studies at the Friedrich-Wilhelm University in Berlin from 1919-1922. He graduated in 1922 with a PhD in musicology that focused on the music history of Hamburg in the period before, during, and after the Reformation. His dissertation holds special importance, due to the near total destruction of Hamburg during World War II. An untold number of printed and handwritten resources that he investigated and reported on— from the archives of the major churches in Hamburg, to the city’s historical documents and those of the State & University Library—no longer exist and are therefore resources we would have no knowledge of were it not for his tireless search for primary sources.
It is for this reason I decided to edit and publish the Leichsenring dissertation, which exists in two typewritten exemplars—the original in Berlin and an onion-skin copy, complete with erasures and illegible passages, in Hamburg (see sample pages at the end of the book). A photocopy of his handwritten dissertation was graciously provided to me by his wife, Ella Leichsenring, and it was there that I discovered many passages that were not included in the typewritten originals, including half of the many music examples. In comparing the handwritten exemplar with the typewritten copy, I decided to use the former as the primary basis for this publication. No attempt was made to bring the work up to date. Major errors were tacitly corrected, and the Table of Contents, Bibliography, and Index were added by the editor.
Of particular interest is Leichsenring’s research into the functions and responsibilities of Hamburg’s church musicians—organists, cantors, choir directors, and instrumentalists—and his discussion of the structure of the liturgy. His in-depth dive into Hamburg’s history provided the names and dates of musicians from the earliest times to the seventeenth century. Of further importance are his detailed comparisons of Hamburg’s hymnbooks, not only among themselves, but with printed and handwritten hymnbooks throughout the country.
Due to his highlighting of the work of Hieronymus Praetorius, we learn for the first time that Praetorius was not only a composer of choral works, but also of compositions for organ. He stumbled across this when viewing an organ tablature that was on display at the 9th German Bach exhibit in Hamburg in June 1921. The manuscript was the Visby (Petri) organ tablature which is located in Visby (Gotland) Sweden. Leichsenring is the first to examine the Praetorius organ Magnificats, which he describes as full of “colorist” embellishments, and he is the first to transcribe a few sections from them into modern notation, eg., "Magnificat Septime toni," verses 1-4) and the "Alio modo Fuga" from the "Magnificat quarti toni." (See attachments [Anhäge] II and III taken from my edition of The Visby (Petri) Organ Tablature for the sake of legibility.) In addition to works by Hieronymus Praetorius, he noted the existence of works by Jacob Praetorius, Hieronymus’s son, and two works by Johann Bahr, the German organist who emigrated in 1630 to Sweden with this tablature in hand.
It is hoped that previously unknown bits of information will be of use to scholars of the twentieth century and beyond.

- by Jeffery T . Kite-Powell
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- Church Music, Johannes Bugenhagen, Hamburg, Heinrich Schütz

Régi és új együttélése a Belvárosi (pesti) ferences templomban A Pesti ferences templomhoz tartozó ferences rendház történetét egészen 1250–60-ig vezethetjük vissza. A középkorban a város terjeszkedése révén a templom jelentős lelki... more

- by Mónika Kecskés
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- Church Music
- by Oscar Valado
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- Music, Church Music, Liturgy, Catholic Church

Contemporary worship songs have been the subject of criticism over their lyrical quality. Objective assessment of the veracity of the criticisms has been difficult to achieve. This research seeks to address this issue by performing a textual analysis of the most popular hymns of the 19th and 20th centuries and contemporary popular worship songs and comparing the results. The research concludes that although there are differences in the lyrical content they are not crucial and that both contemporary worship songs and traditional hymns should find a home in congregational song.

- by Ian Hussey
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- Church Music, Congregational Studies, Songs
- by John Michael Cooper
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- Church Music, Choral Music, African-American Music, Sacred Music

This article examines Celebrating Grace Hymnal published in 2010 by Celebrating Grace, Inc., founded out of Mercer University in Macon, Georgia. I explore the musical and textual contents of the hymnal, compare it with its immediate predecessor, Baptist Hymnal (1991), place it in its historical context within twenty-first century Southern Baptist life, and highlight several important contributions it makes to the study of hymnody. I also reflect on its reception and adoption as a resource for congregational worship within its first five years of publication.

- by David Toledo
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- Church Music, Baptist Theology, Worship and Music, Hymnody

This book is the first to be dedicated to a study of the reception of a major European composer in Australia. Each of the eleven essays explores how J.S. Bach's music has enriched Australian cultural life, from private performances in the early nineteenth century to historically informed realisations in recent years. The authors outline the challenges of mounting and sustaining this repertoire in the face of underdeveloped musical infrastructure and limited resources, and how these challenges have been overcome with determination and insight. Championed by imaginative individuals such as Ernest Wood and Leonard Fullard in Melbourne, E.H. Davies in Adelaide and W. Arundel Orchard in Sydney, Bach's music has been a vehicle for the realisation of Australians' cultural aspirations and a means of maintaining connections with traditions that continue to be cherished today.

- by Denis Collins and +2
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- Music, Church Music, Music History, Musicology
- by Espace de Andrés-Missirlian Romainmôtier
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- Church Music, Early Music, Musicology, Organology

The marriage of popular music and Pentecostal worship is well documented. Its advocates point to meaningful experiences for the worshiper, or more broadly church growth and the younger demographics of Pentecostal congregations as evidence of its efficacy. Its opponents highlight popular music's secular or profane associations, or the contemporary congregational song (CCS) genre's commercialisation, individualisation, and lack of theological weight in its lyrics. These are the battle lines drawn for the " worship wars " of the 1990s and 2000s. While some of the more acrimonious contentions have dissipated in recent popular and academic literature, underlying presuppositions and arguments have not necessarily been resolved. This paper seeks to freshly reexamine the marriage of popular music and Pentecostal worship from the perspectives of Pentecostal theology and musicology. This paper begins by exploring popular music's somatic, emotive, and metaphysical qualities. Those qualities are also identified in the contemporary congregational songs (CCS) utilised in Pentecostal worship. Following this, the Pentecostal values of embodiment, experience, and encounter are introduced. An alignment will be drawn between somatic popular music and the Pentecostal theology of embodiment. Similarly, a link will be drawn between the emotive capacity of popular music, and the experiential orientation of Pentecostalism. Finally, popular music's unlanguable and liminal elements will be aligned with the Pentecostal theology of encounter. In so doing, this paper proposes a justification for the marriage of popular music and Pentecostal worship. At the same time, it raises the problematic nature...

Monique Ingalls ' essay, on the "British invasion" of U.K. contemporary evangelical congregational worship songs into the U.S. market, points to how a transnational musical network provides ways for powerful individuals within the music... more

- by Monique Ingalls
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- Church Music, Popular Music, Transnationalism, Music And Religion
- by John Witvliet
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- Church Music, Liturgy, Sacramental Theology, Liturgical Theology

Theologische Beilage zur STHPerspektive August 2015

- by Stefan Schweyer
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- Music, Church Music, Church singing, Singing

A crucial resource for Christians of all stages, and an essential reference for church leaders specifically, The Deliberate Church, by Mark Dever and Paul Alexander, covers all the basics (and then some) of church life. The authors have provided the church with an accessible, approachable and instructive resource that calls Christians back to a Christ-centered, Gospel-centered administration of church life.

- by Christopher Preston
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- Church Music, Preaching, Missiology and Mission Theology, Church History

I examined in this thesis the matter of the national church music in Romania, in the prewar period. The first part of my research (Chapter 3, “'Romanian national church music' in musicological writings") focused on the way in which the chanters, bishops, historians or musicologists regarded the Romanian church music before WW1. I showed that the image of this music changed in time—since the emergence of the Romanian modern state until today—not so much due to the discovery of new scientific evidence, as to the ideological and political changes.
In the next stage (Chapter 4, "A critical reading of some common opinions on Romanian national church music") I probed the validity of the contemporary musicologists’ statements—which are also supported by statements of the chanters before the Second World War—regarding the Romanian chant characteristics. The compared analysis of the Romanian chants with their Greek equivalents has shown that many of these assertions are false. I did not find in the creations and adaptations of the Romanian chanters any reduction of chromatic passages, any consistent abridgement of the chants or a preference for the syllabic style.
I showed then that pieces considered as examples for their national spirit prove devoid of the characters declared as specifically Romanian (conciseness, lack of melismas etc.) or reveal a foreign origin—Greek (e.g. the Palm Sunday Canon) or Western (tonal choral compositions).
I tried, in Chapter 5 ("The construction of the Romanian national church music"), to offer an alternative to this theory, taking into account the transformations that took place in the Romanian society and in its music in the 19th century (presented in Chapters 1 and 2) and the current theories regarding the nation (outlined in the Introduction).
I presented in detail the mechanisms for adapting the stichera in the first mode from three anastasimataria adapted by the most important Romanian chanters before 1860. The research explained the differences between the Greek and the Romanian versions and confirmed the statements of the chanters in this time period according to whom there was no essential difference between the Romanians’ chant and that in Greek.
National church music is thus not a creation of the chanters from the first half of the 19th century, but rather, it was constructed together with the Romanian nation, starting with the second half of the same century. The national chant was first imagined as an element of national identity, with specific features, distinct from those of the other nations, taking and reinterpreting myths present in the writings of chanters before 1860. Then, action was taken so that a number of pieces considered congruent with this image should be transposed in a “civilised” version in parts, and disseminated, in both forms, all over the country.

- by Costin Moisil
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- Church Music, Musicology, Nationalism, Romanian Studies

This essay will examine some of the areas of controversy in the history of the pre-Reformation church, and argue that, contrary to Col 3:16 in which Paul intimates that music is God’s gift to all Christians and is to be used as a medium for teaching, edifying and praising, the Church constrained and misused that gift and increasingly dictated the parameters of its use such that the ordinary Christian was silenced in worship.

- by Wendy Johnsen
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- Church Music

This book discusses the relationship between Greek Orthodox ecclesiastical music and laiko (popular) song in Greece. Laiko music was long considered a lesser form of music in Greece, with rural folk music considered serious enough to carry the weight of the ideologies founded within the establishment of the contemporary Greek state. During the 1940s and 1950s, a selective exoneration of urban popular music took place, one of its most popular cases being the originating relationships between two extremely popular musical pieces: Vasilis Tsitsanis's “Synnefiasmeni Kyriaki” (Cloudy Sunday) and its descent from the hymn “Ti Ypermacho” (The Akathist Hymn). During this period the connection of these two pieces was forged in the Modern Greek conscience, led by certain key figures in the authority system of the scholarly world. Through analysis of these pieces and the surrounding contexts, Ordoulidis explores the changing role and perception of popular music in Greece.

- by Nikos Ordoulidis
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- Music, Church Music, Music History, Popular Music

"Ha nagyvárosi aluljárókban sétálunk, gyakran találkozhatunk szintetizátorral, gi-tárral felszerelt evangelizáló csoportokkal, akik fennhangon hirdetik a körülöttük összegyűlt néhány fős 'tömegnek', hogy Jézus itt van köztünk. Közben egy-egy ka-tolikus templomban az előre meghirdetett i úsági gitáros miséken megtelnek a pad-sorok középkorú hívekkel, akik néha unokáik társaságában érkeznek és szokatlan lelkesedéssel éneklik kedvenc Jenő-számaik refrénjét. Ha ezek után kilátogatunk egy Hillsong vagy Jesus Culture dicsőítő koncertre, több ezer, eksztázisban ugráló atal közé keveredhetünk, akik a koncert befejeztével autogrammért állnak sorba kedvenc énekesüknél. A keresztény rock ellenzői minderre felzúdultan hangoztatják évtize-dek óta, hogy az egész rockzene a sátántól származik." Povedák Kinga nemzetközi viszonylatban is hiánypótló könyvében olvashatjuk ezeket a sorokat. A kutatónak olyan hihetetlenül tarka és gazdag zenei világ rejtjeleit kellett megfejtenie és ösz-szeolvasnia, amelyben egymás mellett és egymással ötvöződnek az egy szál gitárral a tábortűz melletti összejöveteleknél előadott dalok, a pünkösdi istentiszteleteken megszólaló professzionális, liturgikus dalok, amelyek más esetben már stadionokban rendezett dicsőítő koncerteken fordulnak elő. Ide érthetők továbbá a katolikus mi-séken megszólaló gitáros kórusok, de az elmélyülést, meditációt, szakrális kommu-nikációt elősegítő Taizéi-dalok mellett szinte mindenféle zenei alkotás a keresztény rocktól az apostagi ökumenikus könnyűzenei fesztiválon elhangzó keresztény me-tál különböző változatai, másképpen: a Pasolini Máté evangéliumában is felhang-zó Missa Lubá-tól a Jézus Krisztus szupersztár-on keresztül az akkor 17 éves Szilas Imre-a világon legelső-rock-miséjéig. Ahhoz, hogy a szerző megragadhassa a keresztény könnyűzenét mint a társadalmi változásokra adott, és az egyházban zajló nyelvújítást felgyorsító választ, valamint az erre érkező világi és egyházi válaszokat, komplex vallástudományi (csak a legfontosabb elemeit említve: vallástörténeti, val-lásantropológiai, művészet-és vallásszociológiai) kutatások eredményeire támaszko-dó, több szólamban olvasható könyvet kellett írnia, egyaránt megfelelve a tudomá-nyosságnak és a "laikus" érdeklődök olvasmány-igényeinek. Nyomatékkal érzékelteti a szerző, hogy a keresztény könnyűzene halálosan komoly dolog. Míg a pártállam puha diktatúrája idején a rezsim szerette volna elhallgattatni, ma viszont attól kell tartani, hogy ez a protestáló és egyházat megújító zene a keresztény-konzervatív rendszerrel ideológiai harmóniában együttműködő egyházban kurzuszenévé válik, pedig-gyelmeztet a szerző-a keresztény könnyűzene atalok közötti népszerűsé-ge és a katolikus atalok egyre csökkenő száma egymással párban jár. Kamarás István OJD

- by Kinga Povedak
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- Religion, Eastern European Studies, Music, Church Music
- by Derek K . Remeš
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- Church Music, Early Music, Music Theory Pedagogy, History of Music Theory

17th Century Notated Editions of Cithara Sanctorum – a Description and Comparison of the Monuments
In the 17th century Juraj Tranovský’s Cithara Sanctorum enjoyed 12 printed editions, including all the notated editions of the monument (1636, 1653, 1674, 1684, 1696), printed in Brewer’s printing office in Levoča. Speaking about their content, repertory, and above all typography each of the notated editions possesses its own characteristics. Progressive features are observed in the notation, however, we should not generalize when speaking about modernization; despite new elements used in the notography there are also instances of regress found. Although the notated print was still feasible in our territory, no printed notated edition of Cithara Sanctorum appeared in the 18th century.

- by Adriana Grešová-Sekelská
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- Church Music, Hymnology, Old prints

The organ is one of the most important elements of the church furnishings. The Kwidzyn Cathedral was one of the first in Prussia to have such an instrument. Over the next centuries, the organs in this church were subject to renovation or replacement. Today they are clearly associated with Wilhelm Sauer, organ builder from Frankfurt (Oder), performer of the famous instrument from 1864. The organ in the cathedral of St. John the Evangelist is not new, it has been studied by several organologists, including the author of this article. Despite the completion of these works, this issue still requires a lot of research. The article is therefore an attempt to collect the existing ones, juxtaposed with new archival discoveries.

- by Bartosz Skop
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- History, Church Music, Musicology, Art History

Influenced by Hellenistic philosophical traditions originating centuries before Christ’s birth, the music of historical Christianity exhibits an eclectic mix. And the oscillating pendulum of tension-and-release regarding the theory and practice of early church music—as witnessed throughout the first thousand years—is illustrative of an inherent ambivalence that still persists to this day.

- by Dave Thompson
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- Music, Church Music, Music History, Philosophy