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1
Maximova, Galina, e res cand@acu edu au. "Russian Orthodox Music in Australia: The translation of a tradition". Australian Catholic University. School of Arts and Sciences, 1999. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp217.04092009.
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For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999. The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors. Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.
2
Southcott, Jane Elizabeth, e mikewood@deakin edu au. "Music in state-supported schooling in South Australia to 1920". Deakin University, 1997. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104134.
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This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodologies, syllabi and materials of such music instruction, the provisions for teacher training in music, both preservice and as professional development for established teachers, and the place and function of music in schooling. Each of these themes will form the framework for a chronological narrative. Comparisons will be made with three neighbouring colonies/States concerning each of these themes and conclusions will be drawn. Finally, overall conclusions will be made concerning the initial contentions raised in this chapter in the light of the data presented.
Although this study is principally concerned with the establishment of music in state-supported schooling, there will be a brief consideration of the colony of South Australia from its proclamation in 1836. The music pedagogical context that prevailed at that time will be discussed and this will, of necessity, include developments that occurred before 1836. The period under consideration will close in 1920, by which time the music curriculum for South Australia was established, and the second of the influential figures in music education was at his zenith. At this time there was a new school curriculum in place which remained essentially unchanged for several decades.
As well as the broad themes identified, this thesis will investigate several contentions as it attempts to chronicle and interpret the establishment and development of music in state-supported schooling in South Australia up to 1920. The first contention of this thesis is that music in state-supported schooling, once established, did not change significantly from its inception throughout the period under consideration. In seeking a discussion of the existence and importance of the notion of an absence of change or stasis, the theory of punctuated equilibria, which identifies stasis as the norm in the evolutionary growth of species, will be employed as an insightful analogy. It should be recognised that stasis exists, should be expected and may well be the prevailing norm.
The second contention of this thesis is that advocates were and continue to be crucial to the establishment and continued existence of music in state-supported schooling. For change to occur there must be pressure through such agencies as motivated individuals holding positions of authority, and thus able to influence the educational system and its provisions. The pedagogical method introduced into an educational system is often that espoused by the acknowledged advocate. During the period under consideration there were two significant advocates for music in state-supported schools.
The third contention of this thesis is that music was used in South Australia, as in the other colonies/States, as an agent of social reform, through the selection of repertoire and the way in which music was employed in state-supported schooling. Music was considered inherently uplifting. During the nineteenth and early twentieth centuries, the music selected for school singing carried texts with messages deemed significant by those who controlled the education system. The repertoire was not that of the receiving class but came from a middle class tradition of fully notated art music in which correct performance and notational reading were emphasised. A sweet, pure vocal tone was desired, as strident, harsh, speaking tones were perceived as a symptom of incipient larrikinism which was not desired in schooling. Music was seen as a contributor to good order and discipline in schooling.
3
Hall, Margaret, e N/A. "Todays Song for Tomorrows Church: The Role Played by Contemporary Popular Music in Attracting Young People to Church". Griffith University. School of Popular Music, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070912.141700.
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This thesis is a phenomenology highlighting the phenomenon of declining youth attendance at mainstream churches where traditional church music is used in worship and the emergence of megachurches where young people are attending and contemporary popular styles of music is used in worship. An Australian Broadcasting Authority survey in 1999 revealed that music is a major influence in the lives of youth, assisting in their identity creation, in their making friends, and in relieving their stress. The survey also notes that youth prefer contemporary popular music and, in particular, rock. This is in stark contrast to the traditional music played and sung in mainstream churches, which tends to be neither meaningful nor relevant to youth, largely because they do not identify with it. An increasing proportion of youth are rejecting the mainstream traditional churches such as Anglican, Catholic, Baptist, Uniting Church. National Church Life Surveys in Australia show that by 2001, only fourteen percent of church attenders were young adults. Young non-attenders complained they found church services boring and unfulfilling. This declining youth membership does not auger well for the mainstream churchs future. It is clearly evident that, in Australian society a culture gap has emerged between the secular world and the mainstream Christian church. This thesis examines the role of contemporary popular music in attracting young people to church. Although, in comparatively recent times there has been some movement towards contemporizing worship services in mainstream churches, the change has met strong resistance, but that resistance is based on invalid arguments and the mainstream church is yet to respond effectively to the increasing culture gap and growing alienation of the young. Mainstream congregations are not adequately encouraged to participate in singing praise and thanks to God. Although the lyrics of songs that focus on thanks and praise can teach a Christian message, as well as promote an awareness of the presence of God, the importance of this aspect of worship appears to have been overlooked, even though music has always been a part of worship, with multiple biblical scriptures cementing its pivotal role. In 1980 twelve people began Christian City Church (CCC), a new church which was not one of the mainstream churches, with a vision to communicate the Christian message to the whole of Sydney. CCC used contemporary music as a vehicle to make their message relevant. That church has been strikingly successful, and had grown to five thousand members by 2004. This thesis focusses on a case study of the music of CCC to test a hypothesis that the use of contemporary popular styles of music, with a focus on thanks and praise, can play a significant role in attracting young people to join and remain as members, and that such music can be influential in communicating an experiential understanding of the Christian message. The aim of the case study was to discover whether the music was similar in style to young peoples preferred styles of music, whether they actively participated in its performance, whether it communicated to them, whether the lyrics conveyed a Christian message, and finally whether the congregation was both increasing and retaining young people as members. The songs examined in the study revealed that the music and paramusical aspects of the songs were similar to those of contemporary popular songs. The lyrics of the songs included themes of thanks and praise to God, and as such conveyed a Christian message. Thirty percent of the worship service was devoted to music praising God, and forty-nine percent of the churchs 5,000 members in 2004, were under twenty-five years. Further, the congregation participated enthusiastically in singing, an emphasis on belonging to small groups encouraged fellowship, and sermons addressed problems relevant to young people. It is proposed that CCC provides a pattern that mainstream churches could adapt, including the encouragement of congregational singing and worship, creation of effective small groups, relevant preaching, education opportunities, and culturally appropriate music. It is clear that contemporary and culturally appropriate music has played a significant and vital role in CCCs successful development. To attract and retain youth membership, music needs to be contemporary, and culturally appropriate, thereby filling the gap between the secular world and the church. Contemporary popular music could provide todays song for tomorrows church.
4
Tsounis, Demeter. "Rebetika music-making in Adelaide : diaspora musical style and identity /". Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09pht88195.pdf.
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McNamara, Laurence James. "Just health care for aged Australians : a Roman Catholic perspective /". Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phm1682.pdf.
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Hammond, Susan J. "Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians". Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.
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Pollard, Susan J. "An investigation of the Catholic Leadership Education Programme in South Australia /". Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09EDM/09edmp772.pdf.
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Thesis (M. Ed.)--University of Adelaide, Dept. of Education, 1992.Analyses the Catholic Leadership Education Programme in the archdiocese of Adelaide in terms of the work of Paulo Freire and Carl Jung. Spine title: The Catholic Leadership Education Programme. Includes bibliographical references (leaves 255-260).
8
Oswald, Murray. "The emergence of new low-fee Protestant independent schools in South Australia since 1972 /". Title page, summary and contents pages only, 1990. http://web4.library.adelaide.edu.au/theses/09ED.M/09ed.mo86.pdf.
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Evans, Ruth Lynette. "Picnics, principles and public lectures : the social, cultural and intellectual role of the Baptist Church in South Australian country towns /". Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09are919.pdf.
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Thesis (B.A.(Hons.))--University of Adelaide, Dept. of History, 1994?"Extensive use of written records including both minute books and published matter has been supplemented with oral histories." Tapes include conversations with members of various local communities, with an index to these: leaves 41-42. Includes bibliographical references (leaves 41-44).
10
Dennis, Simone J. "Sensual extensions : joy, pain and music-making in a police band". Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phd4115.pdf.
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Bibliography: leaves 210-226. Based on 18 months ethnographic fieldwork about the ways in which members of the South Australian Police Band make music. Studies their disconnection from the body of the community, acheived via an embodiment of emotional disconnection; the power of the Department to appropriate a particular order of emotion for the purposes of power; and, the misrecognition of the appropriation of emotion by members of the public who are open to the Department's emotional domination. The context material describes the reasons for the existence of the police band in the police view, while the core material of the thesis is concerned with describing what it is that police band members do, and what they do most of all is, in their own words, experience something that they call "the feel".
11
Stephenson, Mark H. "African music in the Methodist Church of Southern Africa : a case study in the Western Cape". Master's thesis, University of Cape Town, 1985. http://hdl.handle.net/11427/15673.
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This study is an appraisal of African Music within the Methodist Church of Southern Africa with particular reference to the Western Cape. I develop and amplify a pilot study 4 in order to provide a model for further research into African Music in the Methodist Church of Southern Africa. The subject has a certain topical relevance. Many Churches are not only producing new hymn books but are also experimenting with new ways of communicating the gospel through music. 5 More recently, the Africanisation committee of the C.U.C. (Church Unity Commission) directed by its convenor the Rev. E. Baartman (President Elect of the Methodist Church of Southern Africa) recommended that the C.U.C. co-ordinate research into "Black theology, African liturgy and furthermore, at the Fifth Annual Symposium on Ethnomusicology, 30 August 1984 - 1 September 1984, Alain Barker reported that "while all agreed that the international perspective the Conference provided was of great value, serious debate on how the subject should be dealt with in this country was limited to a brief discussion at the end" . Some critics felt more practical involvement in African Music should have been a part of the Conference. In other words an academic assessment needs to be grounded in practice. (a) My purpose is to determine the meaning of African Music in the Methodist Church of Southern Africa, and to show that African Music is a contact point between Church and Culture, facilitating cultural liberation. (b)I have erected a framework to order the results of my research. It may be claimed that the method of approach is in many ways novel. Field work, recording and documentation on African Music in the Methodist Church of Southern Africa has to my knowledge never been published. This research is an attempt to make a start. We need to listen to Africa. As a fourth generation Methodist Minister, where else could I begin other than in the Methodist Church? As can be expected in an exploratory study, these findings point to areas which need more investigation. African Music articulates the most viable approach to respond to both the demands of the Gospel and African Culture. The aim of this study is to promote and teach people an appreciation of African Music within the broader context of the Church. (c) In the light of this, I have attempted four things: (i) African Music in the Methodist Church of Southern Africa is located in its broader African context by an examination of the roots of the Church within the Protestant tradition. (ii) Oral evidence was collected as a basis for critical reflection. (iii) A critical reflection is undertaken on some of the issues implicit in the words and music. (iv) An attempt is made to suggest ways and means of developing African Music within the life of the Church.
12
Booth, Anna. "Buildings as historical documents : a study of church buildings within the southern inland agricultural area of South Australia /". Title page, contents and introduction only, 1989. http://web4.library.adelaide.edu.au/theses/09AR/09arb725.pdf.
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Thesis (B.A. (Hons))--University of Adelaide, 1990.Illustrations consist mainly of coloured photographs. Figure 9 & 10 are black and white photocopies. Includes bibliographical references (leaves 39-41).
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Burley, Stephanie. "None more anonymous? : Catholic teaching nuns, their secondary schools and students in South Australia, 1880-1925 /". Title page, contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09EDM/09edmb961.pdf.
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Harris, Christine. "An investigation of the content and process of learning Spanish flamenco music at the Flamenco Centre of South Australia /". Title page, contents and preface only, 1991. http://web4.library.adelaide.edu.au/theses/09MUB/09mubh313.pdf.
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Campbell, Colin Archibald 1970. "Music ministry in the missional worship service of the Dutch Reformed Church in South Africa / Colin Archibald Campbell". Thesis, North-West University, 2013. http://hdl.handle.net/10394/8998.
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This thesis investigated the approach to, and the conducting of worship services in ten missional faith communities of the Dutch Reformed Church in South Africa during the period 2004 – 2009. It investigated the shift in theological paradigm (towards mission) taking place in the Dutch Reformed Church from 2002 onwards, and the effects thereof on liturgy and music in the worship domain.
In order to contextualise the liturgical developments emanating from the case studies, the history and liturgy of the Dutch Reformed Church in South Africa were traced back to the early Dutch pastors arriving with the first settlers at the Cape Colony in 1652. The historical events leading to the Dutch Reformed Church being labelled as the state church and its sanctioning of the apartheid ideology were placed in perspective as a result of the successes of missionary work in South Africa.
The missional paradigm was unpacked according to the missio Dei. God is the primal agent in mission and calls His church into mission, and sending the church to restore society. Created in the imago Dei, human beings have a responsibility towards contextual society in everyday life. Missional worship therefore becomes a paradigmatic way of life. God is the focal point in worship and liturgy: it is all about God.
The core of the research revolves around the ten missional faith communities, eight of which were part of the initial Southern African Partnership for Missional Churches project. Unstructured interviews were conducted with pastors, musicians and persons involved in the focussed missional activities within these congregations. Having an insider's perspective on the project, the researcher included his own narrative in order to further underline the changes taking place in the worship domain.
Liturgy in the faith communities under investigation was found to be shifting towards ecumenical models: the gathering, the service of the Word, the service of the Table, and the sending. A trend to celebrate the Eucharist/Holy Communion more frequently than the tradition dictated was also noted in the communities. In general, a more creative approach towards the planning and execution of liturgy has been observed – this freedom allowing for the Holy Spirit to move the faith community during worship, and was vastly different to the cognitive historical liturgy.
The music ministry has developed into a new paradigm from the historical role of the organist. Music was found to become a focal point, manifesting as liturgical art, pointing towards God and enabling the faith community to meet God in worship. This led to the change in the role of the church musician in terms of scope and spiritual/religious value. The shift towards leading the liturgy and shaping the faith community through music has been noted – thus establishing a music ministry.
The Eucharist/Holy Communion is presented as a metaphor, the underlying basis for a model in music ministry. Music ministry is now defined under the theological lens as being sacramental in nature. In closing, recommendations are made to address the re-education of church musicians and theologians to deal with the theological changes taking place in worship.Thesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.
16
Neel, W. Stephen. "Evaluating the use of selected performance arts in public worship at South Columbia Baptist Church". Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Keenan, Anthony Michael. "The Boys' Reformatory Brooklyn Park : a history, 1898-1941". Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09ED.M/09ed.mk26.pdf.
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Foale, Marie Therese. "The Sisters of St. Joseph : their foundation and early history, 1866-1893". Title page, table of contents and abstract only, 1986. http://web4.library.adelaide.edu.au/theses/09PH/09phf649.pdf.
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Jarrett, Jennifer Ann. "Catholic bodies a history of the training and daily life of three religious teaching orders in New South Wales, 1860 to 1930 /". Connect to full text, 2003. http://hdl.handle.net/2123/5673.
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Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom". Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.
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The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
21
Steley, Dennis. "Unfinished: The Seventh-day Adventist mission in the South Pacific, excluding Papua New Guinea, 1886-1986. (Volumes I and II)". Thesis, University of Auckland, 1990. http://wwwlib.umi.com/dissertations/fullcit/9100749.
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The Seventh-day Adventist Church, incorporated in the United States in 1863, was driven by the belief that it was God's 'remnant church' with the work of warning the world of the imminent return of Christ. When that mission was finished the second coming would occur. In 1886 following a visit by an elderly layman, John I Tay, the whole population of Pitcairn Island desired to join the SDA church. As a result in 1890 Adventist mission work began in the South Pacific Islands. By 1895 missions had been founded in six island groups. However difficulties, both within and without the mission's control, ensured that membership gains were painfully slow in the first decades of Adventist mission in Polynesia. However before World War II the Solomons became one of the most successful Adventist mission areas in the world. After 1945 Adventism also prospered in such places as Fiji, Samoa and Tonga. Education provided the key to the gaining of accessions in a number of countries, while in others a health-medical emphasis proved important in attracting converts. Since World War II public evangelism and the use of various programmes such as welfare, radio evangelism, and the efforts of lay members contributed to sharp membership gains in most countries of the region. Of no small consequence in hindering Adventist growth was the opposition of other churches who regarded them as pariahs because of their theology and 'proselytizing'. Adventist communities tended to be introverted, esoteric and isolationist. Nevertheless Pacific islanders adapted aspects of the usually uncompromising Adventist culture. Unity of faith, practice and procedure was a valuable Adventist asset which was promoted by a centralized administration. After a century in the Pacific region its membership there has a reputation among other Adventists for its continued numeric growth and for the ferver its committment to Adventism. Nevertheless Adventism in the region faces a number of problems and its aim of finishing the Lord's work remains unfinished.Subscription resource available via Digital Dissertations
22
Ritchie, Samuel Gordon Gardiner. "'[T]he sound of the bell amidst the wilds' : evangelical perceptions of northern Aotearoa/New Zealand Māori and the aboriginal peoples of Port Phillip, Australia, c.1820s-1840s : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts History /". ResearchArchive@Victoria e-Thesis, 2009. http://researcharchive.vuw.ac.nz/handle/10063/928.
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Lagerwall, Renée. "Contemporary attitudes towards music in South African Protestant churches". Diss., 1996. http://hdl.handle.net/10500/17161.
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This dissertation examines the attitudes of people regarding the worship music that is being used in South African Protestant churches during the last decade of the twentieth century. The research is aimed at the man-in-the-pew to identify general trends across a variety of denominations. 4920
questionnaires were sent to 980 churches countrywide and completed anonymously. Questions are divided into three categories: personal information, church related, personal opinions. Every question has space for comments.
Chapter one is a general discussion on people's opinions and attitudes and the aim and method used.
Chapter two is an historical synopsis.
Chapter three is an analysis of the questionnaire including hypotheses, graphs, results and comments.
Chapter four, the conclusion, identifies general trends regarding formality and informality, choirs and music groups, background music, traditional versus contemporary, education and influence of leaders, the need for policies, use of media and instruments. Proposals are suggested.Art History, Visual Arts & Musicology
M. Mus.
24
Moses, Roland Hansel. "Pentecostal church music praxis : Indians in the Durban region, 1994-2011". Thesis, 2015. http://hdl.handle.net/10500/22677.
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The first indentured Indians arrived in South Africa in 1860. Their importation was a consequence of the British, who wanted cheap labour from their colony, India, to serve the Empire’s needs in South Africa. Several of these Indians, upon completion of their term of their indenture, chose South Africa as their new ‘motherland’. They settled in Durban and its surroundings with some migrating inland. Consequently, the largest community of Indians in South Africa is still located in the Durban area.
Indian communities globally show clear socio-economic development coupled with a strong association to religion and worship. The South African Indian diaspora is no different. Religion is deeply embedded in the fabric of this community. Rooted within most Indian religious practices are strong ties with music.
The immigrants who arrived in South Africa shared common religious associations with India, the major religions being Hinduism, Islam and Christianity. Christianity in South Africa includes established and mainline church denominations such as Roman Catholic, Anglican, Methodist, Baptist, Presbyterian, Lutheran and Pentecostal movement. The Pentecostal movement includes the Full Gospel Church of God, Assemblies of God and Apostolic Faith Missions. Music, a subsidiary to worship within the Pentecostal church movement, provides certain unique dimensions to the religious service as opposed to the traditional repertoire and instrumentation (hymns being sung with organ accompaniment) of the mainline churches. To date, little is known about the music education, performance practice and music praxis in these churches. The lack of data on the latter provides the basis for this current investigation into Church Music praxis within the Pentecostal movement.
A mixed method research approach which integrates both the qualitative as well as quantitative is adopted for this study. This approach allows for greater insight into the target population and their phenomena. The qualitative phase which consisted of informal structured interviews and a review of literature, provided in-depth knowledge and thematic data that informed the quantitative phase. The sample population used in the
quantitative phase draws on six of the largest churches in the predominantly Indian areas of Durban. A questionnaire was developed specifically for this study, submitted for review to an expert, and administered to the sampled population. The results were coded and entered into a statistics database (SPSS) for analysis. Findings suggest that there is a unique stylistic development and performance tradition within these churches.
Results reveal that the majority of Pentecostal church musicians in the Durban area have no formal training in music, yet are able to function as musicians within their congregations. Many musicians indicated their inability to read music as their greatest challenge. Consequently, this led to a great deal of time being spent on learning music. In almost all of the latter cases this occurred either autodidactally, communally and/or simply aurally. Musicians also indicated that financial difficulties were a setback, in that several were unable to purchase instruments and the necessary equipment to engage with their core music functions within the church. Many relied heavily on church support to assist with this need. These musicians possess an ability to perform technically and musically challenging music repertoire that demands advanced music skills and knowledge. This phenomenon attests to the power of informal music education. Many of these musicians go on to pursue successful careers as musicians and music educators.Art History, Visual Arts and Musicology
D. Litt. et Phil.
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Battams, Craig. "Church and school as community: an ecclesiological study of the relationship between the Adelaide Catholic Archdiocese and its secondary schools". 2002. http://arrow.unisa.edu.au:8081/1959.8/58168.
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This thesis is an applied ecclesiological study of the relationship between the Adelaide Catholic Church and its secondary schools. The specific focus is on the interplay between theological confession and historical reality. The theological confession with which I have been concerned is the understanding that the church is a community. The Archdiocese of Adelaide has been described as a community of people called into mission in and for the world. Catholic schools have also been regularly described as communities that exist within the wider church community. This study has examined how and to what extent this theological confession has informed and been informed by the contemporary historical reality of Adelaide's Catholic secondary schools and their relationship with the local church.
26
Van, de Laar John William. "A theological exploration of the role and use of music for worship in the Methodist Church of Southern Africa". Diss., 2000. http://hdl.handle.net/10500/16248.
Texto completo da fonteResumo:
A theology of Church music for worship has been conspicuous by its absence. The need is
clearly demonstrated in this thesis, as is the methodology to develop this theology. The
Biblical record of musical usage shows that theological principles can be uncovered to guide
theuse of music today. The same process can be applied to the use of music for worship in
church history. In order for these principles to have practical application, the challenges
facing the Methodist of Southern Africa today are examined. Finally, a theology of Worship
Music is developed under three headings. The first, Worship Music as Sacred Sound,
explores the inherent music making of God, and of humanity. The second heading, Worship
Music as Sacred Act, explores the way music is used as part of the Church's worship activity.
The third heading, Worship Music as Sacred Word, explains how music can communicate in
worship.Philosophy, Practical & Sytematic Theology
M. Th. (Systematic Theology)
27
Steinert, Claudio. "Towards a "liturgical missiology": perspectives on music in Lutheran mission work in South Africa". Thesis, 2003. http://hdl.handle.net/10500/1774.
Texto completo da fonteResumo:
This doctoral thesis claims the vital significance of music in mission work, particularly from the Lutheran point of view. It, therefore, calls for a liturgical missiology which would positively affect missionary efforts, especially in the African mission context.
After giving a theological foundation - the doctrine of the Trinity - and the concept of the missio Dei as its missiological basis, the thesis investigates its topic from different angles: Luther and music, music in the work of the Hermannsburg Mission in the region of the ELCSA-Western Diocese, the role of music in African culture and spirituality, some qualities of music relevant to mission and a few musical steps to approach the future of music in mission. These analyses corroborate music's importance in future Lutheran mission designed for the African context.
Examining Luther's stance towards music, a strong affinity to music is recognised, both theoretically and practically. While interpreting music theologically, Luther employs music in his liturgical, educational and reforming efforts. However, the example of the Lutheran Hermannsburg Mission shows a usage of music without a proper theoretical foundation, as well as only partial efforts at contextualisation. In Africa, music plays a prominent role in the interpretation and expression of life and religion indicated in the Tswana choruses; music represents the wholeness of African existence symbolising the paradigm of harmony. Further, in mission, music's qualities, such as its cultural-social, symbolic, ritualistic and community-building qualities, support the integration of the convert into a fundamental relationship between the missio Dei and the missiones ecclesiae. With the help of a musica missionis, which includes missiological music and missionary music, the practice of future mission can be approached successfully; for instance, through the Africanisation of the Lutheran mission liturgy based on a context-musicology.
Thus, a liturgically orientated theology of mission, meditating deeply on music's qualities (music being one essential element of Lutheran worship), has the potential to develop into a future liturgical missiology. This musical-liturgical approach to mission is encouraged by this thesis.Christian Spirituality, Church History and Missiology
D.Th. (Missiology)
28
Papenfus, Anna Francina. "'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV". Diss., 1994. http://hdl.handle.net/10500/15739.
Texto completo da fonteResumo:
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 audienceThe 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)
29
Calitz, Coenie (Coenraad Josepheus). "The free song (hymn) as a means of expression of the spirituality of the local congregation with specific focus on the situation of the Dutch Reformed Church in South-Africa". Thesis, 2011. http://hdl.handle.net/2263/28490.
Texto completo da fonteResumo:
The presence of at least two prominent streams of church music within the DRC is evident – this is also true of most other Protestant and Reformed churches. There is tension between the ‘old music’ and the ‘new music’; traditional church music and contemporary church music; the official repertoire of church music and the utilized repertoire of songs. Liturgical singing often includes various free songs (songs outside the official hymnal). Songs from various traditions are cut and pasted or copied and merged into liturgy through a process of bricolage. Within bricolage liturgy there is a growing tendency towards bricolage liturgical singing. A brief overview of the history of church music illustrates the complexities regarding church music. The official song of the temple was often complimented by the ecstatic song of individuals. The more formal and official song of the church often stood in contrast to the song and music that were played and sung in houses and elsewhere. Christian believers in different eras expressed themselves in different forms and genres of music. The Bible does not support a blueprint for church music. There is no Biblical church music, mainly because no ‘melodies’ could be preserved (cf. Mowinckel 2004:9). The latter is further complicated by the culture-bound nature of Biblical music and songs. The Biblical data mostly provides snapshots of instances where God’s people utilized music and singing in their interaction with the Almighty and covenantal God. Certain principles and guidelines for church music could be drawn from these, although the danger of fundamentalism, relativism and subjectivism remains. A study of liturgy illustrates the important role of music and singing within the dialogue of the liturgy. Recent studies emphasize that church music could function as a ritual symbol within a specific cultural or sub-cultural community. As such church music is closely related to the culture (or sub-culture) of a given community and can never be evaluated apart from that culture. Within a postmodern culture, church music will be greatly influenced and coloured by the values and attitudes of postmodernism. The latter have major implications for musical styles, genres, repertoires and the sanctification of church music. Within postmodernism the borders between sacred and secular are not so clear, neither between sacred (liturgical) music and secular music. Within Western culture and postmodernism there is a growing need for an inculturated and an inter-culturated song, expressing the smaller narrative(s) of the local congregation in idioms, language, metaphors and styles true to the local culture. Church music is closely related to the spirituality of the local congregation. The dominant type of spirituality will necessarily have a sound influence on the musical genres, accompaniments, styles and repertoire of the local congregation. The growing phenomenon of popular spirituality has definite implications for church music. At least three circles of spiritualities must find expression in the song of the local congregation, namely an ecumenical spirituality, a denominational spirituality and a congregational spirituality. Where the official song (Liedboek van die Kerk) gives expression to the denominational or Reformed spirituality as well as the meta-narrative, the free song often gives expression to the congregational spirituality as well as the smaller narrative. It is argued that the freely chosen song is an important means of expressing the spirituality of the local congregation (culture). In this sense, it does not threaten the official church song but compliments it. These two could stand in a positive and creative tension. Regarding liturgical singing, the DRC is presently moving from a societas through a phase of communitas to a new societas. It is impossible to predict the outcome of this process. As Burger (1995:31) indicates, a communitas-phase releases a lot of new energy that could be of great value to the church. Church music, as folk music and cultural music, will have to be faithful to the culture and spirituality of God’s people living in the twenty first century within a given context. The age-old tradition must continue hand in hand with a new song. Vos (2009:5) summarizes accurately: “However, each generation of believers must interpret the ancient sources and traditions of the Church anew, within the demands of their time, without being unfaithful to the traditions in which a definitive liturgy exists”.Thesis (PhD)--University of Pretoria, 2011.
Practical Theology
unrestricted
30
Fourie, Francois Paul. "'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde Kerk". Thesis, 2000. http://hdl.handle.net/10500/18047.
Texto completo da fonteResumo:
Text in AfrikaansDie 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)
31
McLachlan, Christine. "'Doing hope': mentoring with people doing care, working and dealing with trauma in a township in South Africa". Diss., 2007. http://hdl.handle.net/10500/537.
Texto completo da fonteResumo:
Working in a township is a challenging but also rewarding way of living. In this dissertation the researcher, in collaboration with the co-searchers, explore ways to mentor one another as they learn how to deal with trauma, either by experiencing trauma directly or witnessing secondary trauma. This leads to new ways of being 'in the moment', coping with trauma, forming a community of care and learning to be in an aware and empowered position. The responsibility of practical theology and the commitment to pastoral care are explored in the context of theology, and spesifically feminist theology, contributing to 'do hope' in Mamelodi.Philosophy, Practical & Systematic Theology
M.Th. (Pastoral Therapy)
32
Zdrálek, Vít. "Mapování individuálního hudební zkušenosti v post-apartheidní Jižní Africe. Bio-etnografie obyvatele townshipu Lesiby Samuela Kadiaky". Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-266160.
Texto completo da fonteResumo:
The dissertation is a biographical ethnography of an individual, ordinary musician and Mamelodi township dweller, Lesiba Samuel Kadiaka (*1962) in South Africa. It is based largely on fieldwork totalling more than 12 months conducted in five periods over six years between 2006 and 2011. It examines the possibilities of studying an average (rather than 'leading') musician ethnographically and their implications and consequences for wider ethnomusicological and South African music research. It makes a practical contribution to the wider debate about the relationship between individual, social, and cultural structures, and breaks new ground in its focus on the previously little known music and practices of Mr. Kadiaka's church, the Zion Christian Church. The research consisted mainly of ethnographic observations of various kinds of musical activities in which Mr. L. S. Kadiaka was involved in as a solo musician (songwriter and song singer) and as a member of the ZCC, on the one hand, and of deep interviews over the time span of six years, on the other. It consists of a biographical part dealing with his narratives about childhood in rural Ga-Mphahlele and his later life in Mamelodi township. Iconographic historical sources of a private nature are use too. The second part describes in three large...