Academic literature on the topic 'Music Religious aspects Lutheran Church'
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Journal articles on the topic "Music Religious aspects Lutheran Church"
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Marynchak, A. V. "Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 213–29. http://dx.doi.org/10.34064/khnum2-18.12.
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The objectives of the research. The article is devoted to the study of the main parameters of the Marian theme embodiment in the art of music, with highlighting the aspects of history and genre stylistics. It is noted that the choice of the topic is related to the study of the works by the Kharkiv composer of Polish origin Konstanty Antoni Gorski, who worked in Kharkiv for many years (1880–1910) and belongs to the founders of his academic musical culture. The article lays the methodological basis for studying interpretation of the Marian theme in the works by this author, for that the analysis of the relevant sources (theological, musicological, etc.) has been carried out to derive the genre-stylistic classifications for this phenomenon (confessional, genre, national classifications). The results of the study. It is noted that the Marian theme in music can be classified as one of its central themes. This is due to the general ethical and natural content of the European music of the academic layer, which itself, as it is known, originated from the Church music and retained the features of high contemplation inherent in the cult genres, which determined the prospect line for the subsequent development of the Christian world music. The study emphasizes that the image of the Blessed Virgin Mary acts as a part and an important component of the New Testament, where two her main hypostases are presented. The Virgin Mary is honored and praised, firstly, as the Mother of the Son of God, who experienced suffering with him for the good of humanity, and secondly, as the intercessor and guardian of people who believe in her divine power and destiny. Here, the two interpretations of the Blessed Virgin’s image should be borne in mind, which are implemented at the confessional level – in the Catholic and Orthodox liturgical service. The whole branch of knowledge, called Mariology, is devoted to the study of these issues in the European theology and art history. The musical aspects of this field, presented in the monograph by O. Nemkova (2013), are closely related to religious teachings, as well as to their secular reflection at the level of the genre, style and stylistics of the musical works. The musical interpretation of the Blessed Virgin’s image, coming from Catholicism is based on the postulates of Her Divine destiny, which is reflected in the canonical texts in Latin, among which two main ones stand out – “Stabat Mater” and “Salve Regina”. These texts are realized in the cantata genre, the basis of which is the style of da chiesa, that is, the concerto itself in the church that accompanies the service in honor of Virgin Mary. The latter takes place in such holidays: Conception of Mary by Her mother Anna, Nativity of Mary, Presentation of Mary, Annunciation, Dormition of the Mother of God. The prayer “Ave Maria” is also very popular, and it has become for many European authors the basis of both applied religious and secular works, an example of which is the music of Early Baroque, Romanticism and Modern times. The secularization processes that began in the music of the Christian world on the turn of the Late Renaissance and Baroque (the watershed here is the 1600 year, the official year of the opera genre birth), called to life two groups of works on Marian themes: 1) the compositions nearby to the canonical original, as a rule, Latin texts (they were distributed among Catholics by religion and in Catholic countries); 2) the works modified, based on translations and free narrations of canonical texts given in the national languages and in suitable stylistics of one or another national culture (this is characteristic of Protestantism, as well as of Orthodoxy). There is also a deep line of interpretation of the Blessed Virgin’s image, personifying the eternal idea of motherhood and femininity, which is equally characteristic of many national musical cultures, in particular, the non-religious wave that manifested itself in Slavic music, first at the turn of the 19th – 20th centuries, and then – during the last two decades of the 20th century. It is noted that Gorski, remaining a devout Catholic by the nature of his activity in such interfaith cultural center as Kharkiv in the late 19th – the first two decades of the 20th centuries, embodied in his work the traditions and demands coming from the Polish (Catholic) as well as the Ukrainian (Orthodox) and French and German (Lutheran, Protestant) musical cultures. On this basis, three of his opuses devoted to Virgin Mary arose: the Catholic cantata “Salve Regina” (for voice, violin and organ), the concerto-cantata in French “Salutation a la Sainte Vierge” (for soprano accompanied by choir, organ, string quintet and two French horns), and the choral concerto for the Orthodox mixed choir “Zriaszcze mia bezglasna” on the Old Slavonic text. Each of these works is a special genre form, with which Gorski works as with a standard model equipped with a lexical layer of a certain musical stylistics, primarily national. The Polish song and romanza sources are traced in the first of the works, along with the obvious influence of the opera arias. In the cantata on the French text, echoes of not only opera scenes are heard, but also the elements of the programme music, story-telling, characteristic of French musical style. Finally, the Orthodox choral Concerto on the Old Slavonic text demonstrates the typical genre of the Ukrainian music – the large form intended for collective choral performance that was the equivalent of a symphony in the Western European musical culture. Conclusion. It is proved that, guided by the world experience, Konstanty Antoni Gorski embodies all these models in three Marian works – the canonical church cantata, the larger-scale secular cantata, the a cappella choral concerto, while remaining a composer with original and unique intonational thinking. Gorski in these three compositions appears as a neoclassic, subordinating the original genres to his own creative intentions, which makes the music of these compositions comprehensible and accessible to a wide audience. It was that for the purpose to popularize the opuses by Gorski this article has been written.
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Robin, A. Leaver. "Motive and Motif in the Church Music of Johann Sebastian Bach." Theology Today 63, no. 1 (April 2006): 38–47. http://dx.doi.org/10.1177/004057360606300105.
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Johann Sebastian Bach stands in a long line of Lutheran composers who used musical forms to convey theological concepts that reaches back to Luther himself. Lutheran theologians and musicians used the Latin formula viva vox evangelii to define their understanding of music as the living voice of the gospel. Here is presented first an overview of this Lutheran tradition, and then an examination of specific examples from Bach's musical works that expound specific theological concepts such as the doctrine of the Trinity, the distinction between law and gospel, the nature of discipleship, and christological hermeneutics in general.
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Nikolajsen, Jeppe Bach. "Christian Ethics, Public Debate, and Pluralistic Society." International Journal of Public Theology 14, no. 1 (May 8, 2020): 5–23. http://dx.doi.org/10.1163/15697320-12341598.
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Abstract In all its diversity, Lutheran ethics places a pronounced emphasis on the universal aspects of theological ethics. This article argues that due to the increasing pluralization of many societies in recent decades, however, it is becoming more and more relevant to develop the particular aspects of theological ethics in the Lutheran tradition. Holding together both the universal and particular aspects of theological ethics constitutes a position of relevance for a pluralistic societal situation. Such a position enables the Christian church to maintain its distinctiveness and, at the same time, to be engaged in dialogue with other positions. In this way, the church will at once stand for a tradition-determined distinctiveness and be engaged in a tradition-transcending dialogue. Consequently, this position is characterized by both distinctiveness and openness.
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Hatzis, Nicholas. "The Church–Clergy Relationship and Anti-discrimination Law." Ecclesiastical Law Journal 15, no. 2 (April 10, 2013): 144–57. http://dx.doi.org/10.1017/s0956618x13000252.
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In its recent judgment in Hosanna-Tabor Evangelical Lutheran Church and School v EEOC, the United States Supreme Court held that the First Amendment precludes the application of anti-discrimination law to the employment relationship between a church and its clergy. In 2005 the House of Lords had reached the opposite conclusion, ruling, in Percy v Board of National Mission of the Church of Scotland, that the decision to dismiss an ordained minister was not a spiritual matter falling outside the scope of anti-discrimination legislation. This article argues that Percy largely neglected important aspects of church autonomy and that the reasoning in Hosanna-Tabor offers an opportunity to rethink whether secular law should be allowed to affect a religious group's decision to appoint or dismiss a minister.
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BORCHARDT, PIETRA, and MÔNICA DE FATIMA BIANCO. "MEANINGS OF VOLUNTEER WORK: A STUDY WITH MEMBERS OF A LUTHERAN INSTITUTION." RAM. Revista de Administração Mackenzie 17, no. 5 (October 2016): 61–84. http://dx.doi.org/10.1590/1678-69712016/administracao.v17n5p61-84.
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ABSTRACT Purpose: To understand the meanings of volunteer work among members of a lutheran protestant church. Originality/gap/relevance/implications: This research adds to the field of knowledge of the meanings of work, especially because of the specific context studied. In addition, it extends the discussion on volunteering, by entering the management of religious institutions that are supported by the help of volunteers. Key methodological aspects: A qualitative approach to research was adopted and data were gathered in documents, interviews, and non-participant observation of the board meetings of a lutheran church synod in Southeast Brazil. The perspective used to analyze data was that the production of meanings is also a means for interpreting. Besides, using associating ideas mapping technique allowed the identification of categories based on the content and logical sequence of discourse. Summary of key results: The study found eight meanings of work: identification with the lutheran ethics; integrity and image of the institution; unit; conditions and willingness to participate; incentive from others; relation with the profession; pleasant relationship between a board of directors; and monitoring, support, and recognition. Key considerations/conclusions: The study revealed a better understanding for volunteering at a religious organization on how to think about ways to manage it. Also, it was realized that the experiences and interaction with others shape the individual and his or her relationship with the church, and that the meaning of work has a different relationship to each religion.
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Saurama, Anna, and Titus Hjelm. "Jesus and Metal Music Don’t Mix? The Controversy over the ‘Metal Mass’ in Finland." Journal of Religion in Europe 12, no. 1 (November 18, 2019): 27–48. http://dx.doi.org/10.1163/18748929-01201002.
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In 2006, a Metal Mass—a regular Lutheran mass with accompanying metal music—was celebrated in Helsinki and created a controversy on several online forums. On the one hand, the focus was the appropriateness of metal music in the context of a Christian mass. On the other hand, the issue at stake was the appropriateness of Christianity in the context of metal music and culture. In this article, we concentrate on how the controversy over the boundaries of ‘good’ religion is constructed in discourse about the appropriateness of metal music in the context of a national church and its services. We argue that the controversy over the Metal Mass is a case of broader negotiation between the function and performance of religious actors in contemporary Finland, yet when it happens within a secularized context, the temporarily full pews turn out to be an anomaly rather than a sign of revival.
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Hulmi, Sini. "Liturgy: Local and Contextual or Controlled from Above? A Nordic Perspective: Liturgical Renewal and Development in the Evangelical Lutheran Church of Finland in the Past Three Decades." Studia Liturgica 49, no. 1 (March 2019): 111–21. http://dx.doi.org/10.1177/0039320718808942.
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Is the liturgy local and contextual and growing from below, or is it controlled from above? Does the liturgy belong to the people and to the congregation, and are they allowed to use it in their own way? Or is the liturgy the property of the Church, which gives strict orders for its use? Is it powerful men and women, meaning those people with authority, and the institutions (for example, the Church Synod and the Bishops’ Conference) who define the methods and ways in which liturgy is enculturated? Or do the ways of inculturation involve development from below, from the common people, even the poorest and most humble believers, at the congregational level? The balance between these two aspects—top-down and bottom-up worship—has repeatedly shifted over the last three decades, and there have been tensions between them in the Evangelical Lutheran Church of Finland. The goal of this essay is to clarify the reason for this confusing situation related to authority, fixed orders and the creative development of liturgical life.
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Dierken, Jörg. "Konfessionsbündische Unübersichtlichkeit oder unevangelische Zentralisierung?" Zeitschrift für Evangelische Ethik 47, no. 1 (February 1, 2003): 136–52. http://dx.doi.org/10.14315/zee-2003-0117.
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AbstractIn the current debate of possible ways to reform the structure and organisation of the protestant church in Germany (Landeskirchen, Konfessionsbünde, EDK) the general question has come up, whether concepts of the Lutheran church, which are founded on ecclesiology or protestant ecclesiastical law, in principle prohibit institutional changes or not. Regarding this problem, the essay discusses the institution of the Protestant church in aspects of theology and ecclesiasticallaw. The CA assumes that religious belief constitutes the church and gives structure to it as a means for spiritual communication between the faithful. Starting from this point the essay argues that the church is essentially non-institutional. Nevertheless it is a part of the dialectics of the concept of the institutionally organised church that even this non-institutionality gains itself an institutional structure. Because of this the essay pleads for a pragmatic view on church institutions: there are reasons to change or to cling to these structures, but these reasons are only pragmatic ones, when the concept of the church, which is derived from theology and protestant ecclesiasticallaw, is considered as given.
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Gregersen, Niels Henrik. "Protestantisme med kød og blod." Dansk Teologisk Tidsskrift 73, no. 4 (December 31, 2010): 253–70. http://dx.doi.org/10.7146/dtt.v73i4.106440.
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In this article, “Protestantism with blood and flesh”, it is argued that a Lutheran theology cannot and should not be reduced to general Protestant principles. Luther’s theology emerged as a result of renewed attentiveness to the basic expressions of the gospel: the audible word of God, the visible sacraments, the bodily aspects of communal life, and the evangelical signs of creation. The so-called Protestant Principles, at their best, are to be regarded as second-order and summarizing expressions of the primary life-utterances of the church, and of the corresponding experiences in ordinary life. Moreover, at a closer inspection the exclusive particles such as solo Christo and sola fide are to be taken as inclusive particles that provide a participation in God, enacted in faith, hope and love.
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Tervo-Niemelä, Kati. "The Clergy Work Orientation in Transition: An Analysis of the Structure and Change in Work Orientation Among the Finnish Lutheran Clergy." International Journal of Practical Theology 20, no. 2 (November 1, 2016): 222–41. http://dx.doi.org/10.1515/ijpt-2015-0025.
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Abstract The article focuses on the work orientation and changes therein among the clergy in Finland, and on its implications for practical church work. The article is based on a survey conducted among the clergy in Finland (N=878). The research shows that clergy make distinctions between various work tasks that are in line with the traditional distinction between “function” and “performance”. The results show that liberal theological orientation, which is linked to performance-orientation, is increasing. The aspects of work which seem to be most threatened are evangelization, missionary work, and reading and teaching the Bible. There are also many areas of work that are likely to remain stable and unite the clergy regardless of their gender, age or theological orientation.
Dissertations / Theses on the topic "Music Religious aspects Lutheran Church"
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Böttcher, Judith Lena. "Vowed to community or ordained to mission? : aspects of separation and integration in the Lutheran Deaconess Institute, Neuendettelsau, Bavaria." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:75ce64eb-5a38-4d36-84d7-c48071df089c.
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This study offers an overdue exploration of the early years of the deaconess community in Neuendettelsau from a gender perspective. Drawing on rich archival material, it focuses on the process of the formation of a distinctive collective identity. Central to this study is the assumption, drawn from the social sciences, that collective identity is a social construction which requires the participation of the whole group through identification and which is consolidated by developing specific rituals, symbols, codes and normative texts, which facilitate integration, and by constructing external boundaries, which separate from the world and wider church. The centrifugal forces which came into play when deaconesses were sent out in isolation were counterbalanced by a communal life which offered forms of participation and identification for the individual members and which consolidated their sense of belonging. The first chapter introduces the methodology. Chapter Two explores the social, cultural and theological context of the foundation of the Deaconess Institute, and offers a brief outline of the institution's historical development. The third chapter offers an in-depth analysis of the initiation ceremony as a rite which both admitted into the community and conferred an ecclesiastical office. Chapter Four analyses formative and normative texts that shed light on the community's norms, values, and expectations. In the fifth chapter, non-literary means of consolidating and affirming the deaconesses' collective identity are explored. This study concludes that the process of the emergence of a specific deaconess culture was pervaded by bourgeois norms, values, patterns of behaviour and notions about gender roles which measured out the women's radius of action and were at times difficult to reconcile with the deaconess profession.
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Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.
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Purba, Mauly 1961. "Musical and functional change in the gondang sabangunan tradition of the Protestant Toba Batak 1860s-1990s, with particular reference to the 1980s-1990s." Monash University, Dept. of Music, 1998. http://arrow.monash.edu.au/hdl/1959.1/8596.
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Katani, Archwells Moffat. "Traditional Malawian choral music : a liturgical-critical study within the Church of Central Africa Presbyterian (CCAP)-Nkhoma Synod." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019.1/1268.
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Epstein, Heidi. "The nature of the relationship between music and theology according to Oskar Söhngen and Oliver Messiaen /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59296.
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This dissertation investigates a "universal" question--what the exact nature of the relationship between music and theology is--by examining two particulars: (1) the music and thought of the French Roman Catholic composer Olivier Messiaen, and (2) the theology of music of Protestant theologian/musicologist Oskar Sohngen.It should be emphasized, however, that the main focus of the paper is upon the "particulars," since the primary objective of this study is to demonstrate the remarkable similarity of thought which exists between the theory of Sohngen and the musical practice of Messiaen. After an exposition of Sohngen's three categories of relationship between music and theology (music as science, as worship, and as creatura) there is an extensive examination of Messiaen's compositional techniques which reveals the latter's implicit use of these same three categories.
In the final chapter of this work, after a discussion of several problems which are inherent in each of the particular approaches to music and theology, there is a return to the universal question, in response to which a precise, working definition is finally established.
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Waters, Melville. "The Lutheran orthodoxy of J.S. Bach's Clavierübung III." 1988. http://web4.library.adelaide.edu.au/theses/09MUM/09mumw331.pdf.
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Lwilla, Saul Nehemia. "The challenge of economic development to the Evangelical Lutheran Church in Makete, Tanzania." Thesis, 1999. http://hdl.handle.net/10413/6088.
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This dissertation focuses on the involvement ofthe Lutheran Church in poverty alleviation in Makete,
Tanzania. My view is that the level of poverty is escalating at an alarming rate contrary to many
people's expectation that it would decrease. The causes for this poverty increase are many but the
obvious ones are the imbalance between population growth and production, mismanagement of land,
illiteracy, misappropriation of funds and ecological deterioration.
The study looks at what the church there ought to do as an agent for development. I believe that its
mandate comes from God. It was demonstrated in the creation narratives and later in the life and
work ofthe Jesus of history in Galilee. The mission of God aims at the comprehensive wellbeing of
humanity, that is, shalom. In this light, there is no way the church in Makete can become a living
church without being involved in the process of combating poverty. A number of suggestions are
made in regard to this task. These suggestions range from the church taking sides with the poor and
becoming their spokesperson to the state, to creating jobs and giving financial assistance to those
people who do everything in their power to fight poverty.
Finally, we look at the success and failure of the -Ujamaa policy implementation in Tanzania. The
author is of the opinion that the Ujamaa policy was and is a useful strategy for economic
development of all the people but there are many obstructions on its way to success. It was expected
that the Ujamaa policy would reduce the gap behveen the affluent and the poor in the country.Thesis (M.Th.)-University of Natal, Pietermartizburg, 1999.
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Msuku, Alick Stephen. "The church and environmental education : a model for the Evangelical Lutheran church in Malawi." Thesis, 2003. http://hdl.handle.net/10413/4442.
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Shemsanga, Eberhard Ngugi. "Divorce and remarriage among the Shambala Christians : the pastoral response of the church; Evangelical Lutheran Church in Tanzania, north eastern Diocese, southern district." Thesis, 2004. http://hdl.handle.net/10413/2097.
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This dissertation critically reflects the problem of divorce and remarriage within the North Eastern diocese of the Lutheran Church in Tanzania. A problem which has become rampant in the whole church. The situation became apparent to me as I was ministering in different parishes in the area of the research for five years. Divorcees are not accorded the full membership in the church because of their divorce status.Their failed marriages and criticism from church members makes them feel out of place in their own churches. They feel desperate, tending towards a sense of personal failure. The Shambala traditional customs whereby divorcees and/or remarried people are looked upon as outcasts make things even worse. Divorcees, makomanyumba 1., have no place in the Shambala Christian community. The goal of this dissertation therefore is to address divorcees' crisis through counselling. Many of these people are members of the church. I feel the church needs to face the biggest challenge to alleviate divorcees' crisis through counselling. I believe sincere pastoral care and counselling within the Lutheran Church in Tanzania will bring about healing, support, reconciliation and restoration of the hurt and deprived people, in this sense, the divorcees. Estardt (1997) believes that pastoral support is one of the services that persons committed to the church have the right to expect. He sees pastoral counselling as a relationship in which the minister assists the client in dealing with the difficulties, frustrations and tragedies of life. It is for this sense a new model of pastoral care and counselling is suggested for whole church. The model in which pastors in parishes are not the only solitary sources of counselling. The new model suggests that both trained and untrained laity is a good source for pastoral care and counselling. If these sources are fully utilised in parishes, a minister's counselling work might well be assisted, enhanced and improved by the parishioners. Referral counselling is also suggested in the new model.1.Makomanyumba - plural, divorcees. Komanyumba- singular, a divorcee.Thesis (M.Th.)-University of KwaZulu-Natal, Pietermaritzburg, 2004
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Chiloane, Caroline Fikile. "Healing in selected New Testament writings and the implications for the Evangelical Lutheran Church in Southern Africa." Thesis, 2001. http://hdl.handle.net/10413/2877.
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The title of this research is 'Healing in Selected New Testament Texts and the Implications for the Evangelical Lutheran Church in Southern Africa'. The texts that are looked at in this research are Mark 6:12-13, Luke 10:8-9 and James 5:13-16. The texts are exegeted and appropriated to Bohlabela Circuit of the Evangelical Lutheran Church in Southern Africa (B.C. ELCSA). On the basis of these texts, the historical background to healing and my research in some of the parishes of Bohlabela circuit, the researcher states some implications for B.C. ELCSA and makes some suggestions which serve as a way forward for an effective healing ministry in B.C. ELCSA. The researcher argues that B.C ELCSA should adopt an inculturated healing ministry and also maintains that B.C ELCSA should use local elements like water, ash and salt and African methods of healing in its healing ministry. However, the researcher highlights some of the dangers of inculturation. The danger is to adopt some of the symbols or healing practices that are incompatible with the gospel, e.g healing practices like the use of animal sacrifice and symbols like blood. Such need to be 'contested, purified, transformed or rejected in the light of the Bible which members of this circuit (B.C. ELCSA) value as the Word of God. Above all, there is also a need for discernment. The researcher suggests that the two basic ways of discernment described by Bate (2001:32) be adopted by B.C ELCSA. They are the criterion of faith and the criterion of fruits. The research revealed that the most common means of healing in B.C. ELCSA includes prayer with the patients or for patients, and the use of the Word and the Sacraments, specifically Holy Communion.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.
Books on the topic "Music Religious aspects Lutheran Church"
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1940-, Westermeyer Paul, and Cherwien Susan Palo, eds. Rise, O Church: Reflections on the church, its music, and empire. Fenton, MO: MorningStar Music Publishers, Inc., 2008.
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Gnadengegenwart: Johann Sebastian Bach im Kontext lutherischer Orthodoxie und Frömmigkeit. Stuttgart-Bad Cannstatt: Frommann-Holzboog, 2002.
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St. Olav Conference on Theology and Music (1997 Trondheim, Norway). Incarnation and creativity: St. Olav Conference on Theology and Music. Trondheim: Tapir, 1997.
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The school of the Church: Worship and Christian formation. Valley Forge, Pa: Trinity Press International, 1995.
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1634-1716, South Robert, ed. Evangelische Singe-Schule. Hildesheim: Georg Olms, 1991.
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The sound of worship: Liturgical performance by Surinamese Lutherans and Ghanaian Methodists in Amsterdam. Leuven: Peeters, 2011.
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Anselm, Steiger Johann, and Grossmann Burckhard 1575-1637, eds. Ein und fünfftzig [sic] gottselige christliche evangelische Andachten oder geistreiche Betrachtungen. Stuttgart-Bad Cannstatt: Frommann-Holzboog, 2001.
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Roger, Thomas. Religious music. Des Plaines, Ill: Heinemann Library, 1998.
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Evangelical Lutheran Church in America. Division for Church in Society. The church and human sexuality: A Lutheran perspective : first draft of a social statement. Chicago, Illinois: Department for Studies, Division for Church in Society of the Evangelical Lutheran Church in America, 1993.
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Church fellowship: Working together for the truth. Milwaukee, Wis: Northwestern Pub. House, 1996.
Find full textBook chapters on the topic "Music Religious aspects Lutheran Church"
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Varwig, Bettina. "Music in the Margin of Indifference." In Theology, Music, and Modernity, 129–46. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0007.
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This chapter considers the role of a specific Lutheran idea of freedom in the emancipation of sacred music from liturgy during the early modern period. It proposes that the Lutheran appropriation of the classical notion of ‘adiaphora’, as a stance of indifference towards practices and objects not essential for salvation, opened up a quasi-autonomous space for musical elaboration, within which music could gradually acquire its modern status as a self-sufficient artistic practice. The eighteenth-century tradition of Passion performances in Protestant Germany offers a rich test case for this process of ecclesiastical divestment, in particular J.S. Bach’s St. Matthew Passion of 1727, which made claims for music that clearly outstripped its functional remit, and Carl Heinrich Graun’s immensely popular setting of Karl Wilhelm Ramler’s Der Tod Jesu of 1755, which consolidated the genre’s move from the liturgy to the concert hall. Yet this migration outside the church walls by no means provides straightforward confirmation of a standard secularization narrative of Western modernity. Rather, in absorbing and retaining crucial aspects of sacrality, these musical repertories and practices reveal the rootedness of the modern aesthetic sphere in that Lutheran margin of indifference.
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Grimstad, Frank. "Institusjonelle rammer for kirkelig ledelse." In Kirkelig organisering og ledelse, 135–53. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.129.ch6.
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Management can hardly be understood irrespective of the context in which it unfolds. This is also the case with ecclesiastical leadership. Nevertheless, the management literature has rarely incorporated how different aspects of context affect management. This chapter thematizes the public frames and regulations civil society and church/religious organizations operate within and discusses how this affects leaders’ maneuvering space. An underlying premise of the chapter is that churches and religious organizations are institutions and that society as context is characterized by institutionalized frameworks framing religious organizations. Examples of this in a Norwegian context are the Working Environment Act and other laws governing working life, agreements negotiated between the parties in the labor market, and more specifically the Lutheran folk church tradition. Based on Scott’s (2008) analytical approach to analyzing institutionalization, regulatory, normative and cognitive/cultural norms, the chapter discusses how leaders’ maneuvering space is shaped by these mechanisms yet also has the ability to influence existing frameworks.
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Sprigge, Martha. "The Socialist Cemetery." In Socialist Laments, 75–131. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546321.003.0003.
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Chapter 2 charts the development of new mourning rites in East Germany, focusing on the role that music played in these ceremonies. Death rituals articulated a new death culture for the socialist state. This chapter examines three aspects of East German death culture: the reestablishment of ceremonies to honor communist heroes from the Weimar Republic, state burials for East German politicians, and manuals published for funeral planning intended for the general public. Visually and rhetorically, state ceremonies were political displays that marginalized the emotional needs of the mourning community. But the music in these services intoned the new country’s connections to customs that the ruling party were explicitly attempting to displace: the Nazis’ heroic burial customs and the mourning rituals of the Lutheran church. In early efforts to fashion a socialist sepulchral culture across multiple artforms, a gap emerged between political ideology and musical reality that allowed composers, performers, and audiences to enact the work of mourning through music.
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Manning, Jane. "JAMES PRIMOSCH (b. 1956)Three Sacred Songs (1989)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 248–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0069.
Full textAbstract:
This chapter takes a look at some examples of James Primosch’s sacred music. It shows how the solo song cycle Three Sacred Songs exemplifies his consistency, integrity, and technical skill. Here, assured craftsmanship is welded to sincere spiritual conviction—a winning combination, which communicates strongly and directly. Three widely contrasting movements form a satisfyingly balanced whole. The vocal writing is modal and mellifluous, and eminently practical, avoiding extreme demands of range or technical virtuosity. Sopranos, tenors, light mezzos, and even high baritones can take it on board. The piano parts supply a wealth of translucent, well-balanced textures, which are entirely idiomatic and lie comfortably under the hands. The general tone is radiant and joyful—a welcome antidote to the more melancholy aspects of religious music. The piece is ideal for a church recital, and a resonant acoustic will add bloom to its sonic beauty.