Auswahl der wissenschaftlichen Literatur zum Thema „Kera Hymns“

The contrafactum-practice which utilises secular melodies and/or texts as sources in the creation of sacred hymns, is an age-old tradition. This practice generated amongst others a few Protestant hymns (particularly in the German Reformed context), which are viewed today as important hymns in the hymn corpus. One example would be the hymn for lent, “Herzlich tut mich verlangen”. In several historic sources the use of secular melodies in church hymns is motivated: the fact that the melodies are already well-known amongst the congregation would make it easy to learn the new texts. Sources also confirm that this practice makes the songs more accessible for the youth. This article explores the development of selected hymns from the Liedboek van die Kerk (2001) (“Afrikaans Hymn book of the Church”) to determine their secular roots and describe how they developed into sacred hymns. It is pointed out that the utilisation of the melodies as settings for different sacred texts, illustrates their quality and flexibility and is instrumental in their acceptance as hymn tunes. It is also argued that historic distance between the secular source and the church hymn contributes to the weakening of the original secular association. The ongoing debate on the secular versus the sacred is also touched upon, and finally the renewed interest in contrafacta in the late 20th and early 21st century is discussed. Die kontrafaktuurpraktyk, waar sekulêre melodieë en/of tekste as bronne gebruik word in die skep van geestelike tekste en/of melodieë, kom al eeue lank in kerkliedere voor. Hierdie werkswyse het onder andere ʼn aantal Protestantse liedere opgelewer (veral in Duitse Reformatoriese verband), wat deesdae as groot liedere van die kerkliedskat geag word. Een voorbeeld is die lydenslied “Herzlich tut mich verlangen”. In verskeie historiese bronne word die gebruik van sekulêre melodieë by kerkliedtekste gemotiveer: die melodieë was reeds bekend en daarom kon die nuwe liedtekste makliker aangeleer word. Die toeganklikheid vir die jeug staan ook voorop. Hierdie artikel ondersoek enkele liedere in die Liedboek van die Kerk (2001) ten einde vas te stel wat die sekulêre wortels daarvan was. Voorts word aangetoon hoe die liedere as geestelike liedere ontwikkel het. Daar word verwys na die hergebruik van sekere melodieë by ʼn verskeidenheid tekste, wat dui op die aanpasbaarheid van die kontrafakmelodieë en die mate waarin dit inslag gevind het as kerkliedmelodieë. Verder word daar geredeneer dat historiese afstand tussen die sekulêre bron en die kontrafak daartoe bygedra het dat so ʼn lied sy sekulêre assosiasies mettertyd verloor het. In hierdie artikel kom die voortdurende debat waarin die geestelike teenoor die sekulêre musiek staan ten opsigte van gebruik in die erediens ook ter sprake. Die hernude belangstelling in en skepping van kontrafakte vanaf die laaste dekades van die 20ste eeu word ook ten slotte onder die soeklig geplaas.

Penelitian ini bertujuan untuk mendeksripsikan tahapan-tahapan daritradisi mangalahat horbo dalam upacara saurmatua, fungsi yang terkandungdalam tradisi mangalahat horbo dalam upacara saurmatua, nilai-nilai kearifanlokal yang terkandung dalam tradisi mangalahat horbo dalam upacara saurmatua.Teori yang digunakan dalam penelitian ini adalah teori speaking yang dikemukakan oleh Dell Hymes (1974), teori fungsi yang di ungkapkan oleh Leech(1992), teori kearifan lokal yang dikemukakan oleh Sibarani (2014). Adapunmetode yang digunakan dalam penelitian ini adalah metode kualitatif. Berdasarkan hasil penelitian yang dapat penulis simpulkan adalah (1) 3 tahapan persiapan dan 8 tahapan pelaksanaan dalam tradisi mangalahat horbo dalam upacara saurmatua, adapun tahapan tersebut adalah pasada tahi, mompo/manggopoi, marriaraja, tortor bius, tortor pangurason, tortor tunggal panaluana, pajonjong borotan, manogu horbo, mangalahat horbo, padalan jambar, sipitu dae. (2) terdapat/terkandung fungsi tahapan persiapan dan 8 tahapan pelaksanaan tradisi mangalahat horbo dalam upacara saurmatua. (3) terdapat 13 nilai-nilai kearifan lokal yang terkandung dalam tradisi mangalahat horbo dalam upacara saurmatua, yaitu, kesetiakawanan sosial, kerukunan & penyelesaian konflik, kesopansantunan, rasa syukur, kesejahteraan, pendidikan, pelestarian dan kreatifitas budaya, pengelolaan gender, kerja keras, pengendalian diri, gotong royong, disiplin, dan tanggung jawab.

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
Unrestricted

Summaries in Afrikaans, English and German
Text in Afrikaans
'n Ondersoek na die teologiese inhoud van die Evangeliese ; Gesange is geYnisieer nadat vasgestel is dat sodanige studie nog nie voorheen in Suid-Af rika in Geref ormeerde kringe onderneem is nie. Aangesien die geskiedenis en die f undering van die kerklied deur ander navorsers reeds volledig uitgewerk is, is hoofstuk 1 bloot 'n inleidende oorsig wat die agtergrond van die studie verskaf. In hoofstuk 2 is 'n kategorisering van die Gesange in extenso gedoen en in hoofstuk 3 is die inhoud van die kategoriee kortliks beskryf. Die doel hiermee is om vas te stel oor watter onderwerpe die meeste gesing word en waar die lakunes voorkom. Aan die hand van hierdie kategorisering is daar uiteindelik vyf onderwerpe afgebaken wat ooglopend Bybelsteologiese leemtes of selfs afwykings vertoon wat in die toekoms aangespreek behoort te word. Die onderwerpe is onderskeidelik: die Godsbeskouing, die skepping, die sonde, die doop en die toekomsverwagting. In hoof stuk 4 het hierdie onderwerpe af sonderlik ender die soeklig gekom. Daar is o.a. gevind dat die inhoud van die Gesange 'n duidelike reflektering is van die tradisionele kerkleer en dus nie volkome daartoe in staat is om die moderne mens (die jeug veral!) aan te spreek nie. Die gevolgtrekking waartoe die navorser geraak het, is dat liedere wat die eietyds geloofsproblematiek aanspreek 'n sine qua non geword het. Die navorsing oor die inhoud van die Gesange het voorts ook vreemde teologiese aksente uitgewys. So bv. is daar 'n duidelike invloed van die Grieks platonistiese dualisme te bespeur waar die Jenseitige teenoor die Diesseitige af gespeel word. Di t het veral aan die lig gekom met die bespreking oor die skepping. Eodem modo is daar spore van die Pietistiese individualisme in die Gesange aangetref waar die vertikale belewing met God (bekering, heiliging) die horisontale belewing van verantwoordelikheid, oorskadu! Hierdie sending, aanbevelings die godsdiens omgewingsbewaring) is in hoof stuk krities-waarderende opmerkings saamgevat.
Research into the theological content of the Evangelical Hymns was initiated after it was established that such a study had not been attempted in South Africa in Reformed circles. Since the history and grounding of the church hymn have already been discussed in full by other researchers, chapter 1 merely offers an introductory review which provides some background to the study. In chapter 2 a categorisation of the Hymns was done in extenso and chapter 3, in turn, deals with the contents of each specific category. The aim is to determine which subjects are prevalent in Hymns and which ones are not addressed at all. On the basis of this categorisation, five subjects were finally defined which revealed obvious biblical-theological lacunae, if not deviations, all of which need to be addressed in the future. The subjects are: the ways of thinking about God, the creation, sin, baptism and hopes for the future. In chapter 4 these subjects were examined in detail. It was proved, inter alia, that the contents of the Hymns clearly reflect the traditional church doctrine and consequently fail to a large extent to address modern man (especially the young people of our time). The conclusion reached by the researcher is that Hymns addressing the contemporary problematic nature of faith have become a sine qua non. Furthermore, research on the contents of the Hymns also revealed foreign theological accents such as clear influences of the Greek Platonistic dualism where the Jenseitige is compared to the Diesseitige. This became particularly evident in the discussion on the creation. Eodem modo traces of the Pietistic indiviudalism were detected in the Hymns, where the vertical experience of God (conversion, sanctification) completely overshadows the horizontal experience of religion (social responsibility, mission work, nature conservation)! Chapter 5 comprises these recommendations in the form of remarks of a criticalappreciation nature.
Eine Untersuchung in Bezug auf den theologischen Inhalt der Evangelischen Kirchenlieder wurde in die Wege geleitet nachdem festgestellt wurde, daB ein solches Studium noch nie vorhin in Ref ormierten Kreisen in Slidaf rika vorgenommen worden war. Da die Geschichte und die Fundierung des Kirchenliedes von andern Forschern schon in all en Einzelheiten ausgearbeitet worden sind, bietet Kapitel 1 bloB eine einleitende Ubersicht als Hintergrund flir das Studium. In Kapitel 2 wurden die Kirchenlieder in extenso nach Kategorien geordnet und in Kapitel 3 findet sich der Inhalt jeder einzelnen Kategorie vor. Es sollte festgestellt werden, welche Themen sich am meisten in den Kirchenliedern erkennen lassen und welche liberhaupt nicht berlihrt werden. An Hand dieser Anordnung in Kategorien wurden zum Schluss flinf Themen definiert, die augenfiillig biblisch-theologische Lucken, wenn nicht sogar Abweichungen, offenbaren; es sind Themen, denen in der Zukunft zweifellos einem gerechten Platz Gottesauffassung, die zukommen sollen. Die themen sind: Schopfung, Siinde, die Taufe und Zukunftserwartungen. In Kapitel 4 wurden diese Themen in allen Einzelheiten untersucht. Es stellte sich unter anderern heraus, das der Inhalt der Kirchenlieder eine klare Widerspiegelung der traditionellen Kirchenlehre ist und deshalb den Ansprilchen des modernen Menschen (vor allern der Jugend) nicht vollig gerecht werden konnen. Die schluflfolgerung des Forschers ist deshalb, das Lieder, welche den zeitgenossischen Glaubensproblernatik berilhren, eine sine qua non geworden sind. Die Forschung in Bezug auf den Inhalt der Kirchenlieder offenbarte weiterhin auch fremde theologische Akzente. Es laflt sich zurn Beispiel einen deutlichen Einfluss des griechisch-platonistischen Dualismus aufweisen wo das Jenseitige dern Diesseitigen gegenilbergestellt wird. Es wurde besonders deutlich in der Diskussion Uber die Schopfung. Eodem modo offenbarte sich Spuren eines pietistischen Individualismus in den Liedern wo das vertikale Gotteserlebnis (Bekehrung, Heiligung) das horizontale Erlebnis der Religion (soziale Verantwortung, Missionsarbeit, Naturbewahrung) vollig in den Schatten stelltl Diese Ernpfehlungen wurden in Kapitel 5 in der Form kritisch-bewertenden Anrnerkungen zusanunengefasst.
Philosophy, Practical & Systematic Theology
D. Th. (Systematic Theology)

Summaries in Afrikaans, English and German
Text in Afrikaans
'n Ondersoek na die teologiese inhoud van die Evangeliese ; Gesange is geYnisieer nadat vasgestel is dat sodanige studie nog nie voorheen in Suid-Af rika in Geref ormeerde kringe onderneem is nie. Aangesien die geskiedenis en die f undering van die kerklied deur ander navorsers reeds volledig uitgewerk is, is hoofstuk 1 bloot 'n inleidende oorsig wat die agtergrond van die studie verskaf. In hoofstuk 2 is 'n kategorisering van die Gesange in extenso gedoen en in hoofstuk 3 is die inhoud van die kategoriee kortliks beskryf. Die doel hiermee is om vas te stel oor watter onderwerpe die meeste gesing word en waar die lakunes voorkom. Aan die hand van hierdie kategorisering is daar uiteindelik vyf onderwerpe afgebaken wat ooglopend Bybelsteologiese leemtes of selfs afwykings vertoon wat in die toekoms aangespreek behoort te word. Die onderwerpe is onderskeidelik: die Godsbeskouing, die skepping, die sonde, die doop en die toekomsverwagting. In hoof stuk 4 het hierdie onderwerpe af sonderlik ender die soeklig gekom. Daar is o.a. gevind dat die inhoud van die Gesange 'n duidelike reflektering is van die tradisionele kerkleer en dus nie volkome daartoe in staat is om die moderne mens (die jeug veral!) aan te spreek nie. Die gevolgtrekking waartoe die navorser geraak het, is dat liedere wat die eietyds geloofsproblematiek aanspreek 'n sine qua non geword het. Die navorsing oor die inhoud van die Gesange het voorts ook vreemde teologiese aksente uitgewys. So bv. is daar 'n duidelike invloed van die Grieks platonistiese dualisme te bespeur waar die Jenseitige teenoor die Diesseitige af gespeel word. Di t het veral aan die lig gekom met die bespreking oor die skepping. Eodem modo is daar spore van die Pietistiese individualisme in die Gesange aangetref waar die vertikale belewing met God (bekering, heiliging) die horisontale belewing van verantwoordelikheid, oorskadu! Hierdie sending, aanbevelings die godsdiens omgewingsbewaring) is in hoof stuk krities-waarderende opmerkings saamgevat.
Research into the theological content of the Evangelical Hymns was initiated after it was established that such a study had not been attempted in South Africa in Reformed circles. Since the history and grounding of the church hymn have already been discussed in full by other researchers, chapter 1 merely offers an introductory review which provides some background to the study. In chapter 2 a categorisation of the Hymns was done in extenso and chapter 3, in turn, deals with the contents of each specific category. The aim is to determine which subjects are prevalent in Hymns and which ones are not addressed at all. On the basis of this categorisation, five subjects were finally defined which revealed obvious biblical-theological lacunae, if not deviations, all of which need to be addressed in the future. The subjects are: the ways of thinking about God, the creation, sin, baptism and hopes for the future. In chapter 4 these subjects were examined in detail. It was proved, inter alia, that the contents of the Hymns clearly reflect the traditional church doctrine and consequently fail to a large extent to address modern man (especially the young people of our time). The conclusion reached by the researcher is that Hymns addressing the contemporary problematic nature of faith have become a sine qua non. Furthermore, research on the contents of the Hymns also revealed foreign theological accents such as clear influences of the Greek Platonistic dualism where the Jenseitige is compared to the Diesseitige. This became particularly evident in the discussion on the creation. Eodem modo traces of the Pietistic indiviudalism were detected in the Hymns, where the vertical experience of God (conversion, sanctification) completely overshadows the horizontal experience of religion (social responsibility, mission work, nature conservation)! Chapter 5 comprises these recommendations in the form of remarks of a criticalappreciation nature.
Eine Untersuchung in Bezug auf den theologischen Inhalt der Evangelischen Kirchenlieder wurde in die Wege geleitet nachdem festgestellt wurde, daB ein solches Studium noch nie vorhin in Ref ormierten Kreisen in Slidaf rika vorgenommen worden war. Da die Geschichte und die Fundierung des Kirchenliedes von andern Forschern schon in all en Einzelheiten ausgearbeitet worden sind, bietet Kapitel 1 bloB eine einleitende Ubersicht als Hintergrund flir das Studium. In Kapitel 2 wurden die Kirchenlieder in extenso nach Kategorien geordnet und in Kapitel 3 findet sich der Inhalt jeder einzelnen Kategorie vor. Es sollte festgestellt werden, welche Themen sich am meisten in den Kirchenliedern erkennen lassen und welche liberhaupt nicht berlihrt werden. An Hand dieser Anordnung in Kategorien wurden zum Schluss flinf Themen definiert, die augenfiillig biblisch-theologische Lucken, wenn nicht sogar Abweichungen, offenbaren; es sind Themen, denen in der Zukunft zweifellos einem gerechten Platz Gottesauffassung, die zukommen sollen. Die themen sind: Schopfung, Siinde, die Taufe und Zukunftserwartungen. In Kapitel 4 wurden diese Themen in allen Einzelheiten untersucht. Es stellte sich unter anderern heraus, das der Inhalt der Kirchenlieder eine klare Widerspiegelung der traditionellen Kirchenlehre ist und deshalb den Ansprilchen des modernen Menschen (vor allern der Jugend) nicht vollig gerecht werden konnen. Die schluflfolgerung des Forschers ist deshalb, das Lieder, welche den zeitgenossischen Glaubensproblernatik berilhren, eine sine qua non geworden sind. Die Forschung in Bezug auf den Inhalt der Kirchenlieder offenbarte weiterhin auch fremde theologische Akzente. Es laflt sich zurn Beispiel einen deutlichen Einfluss des griechisch-platonistischen Dualismus aufweisen wo das Jenseitige dern Diesseitigen gegenilbergestellt wird. Es wurde besonders deutlich in der Diskussion Uber die Schopfung. Eodem modo offenbarte sich Spuren eines pietistischen Individualismus in den Liedern wo das vertikale Gotteserlebnis (Bekehrung, Heiligung) das horizontale Erlebnis der Religion (soziale Verantwortung, Missionsarbeit, Naturbewahrung) vollig in den Schatten stelltl Diese Ernpfehlungen wurden in Kapitel 5 in der Form kritisch-bewertenden Anrnerkungen zusanunengefasst.
Philosophy, Practical and Systematic Theology
D. Th. (Systematic Theology)

Text in Afrikaans
Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu.
The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal
Theology
D.Th. (Theology)

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)