Vir die Musiekleier: 2019 Jaargang 39
http://hdl.handle.net/10394/36442
2024-03-29T13:20:37ZGROSSER GOTT, WIR LOBEN DICH
http://hdl.handle.net/10394/36463
GROSSER GOTT, WIR LOBEN DICH
Kloppers, Elsabé
The birth of Ignaz Franz (1719-1790) three hundred
years ago, was commemorated in 2019. He was
the writer of the German text of the hymn, Grosser
Gott, wir loben dich. Two Afrikaans texts, based
on this text, were published for the first time in an
official hymnal of the Dutch Reformed churches
in South Africa in 1978. It gained immediate
popularity. The background to the German text of
the hymn, its publication in various hymnals, a short
discussion of the texts in the Afrikaans language,
the background to the melody, different notations
and the communicative role of the tune, are various
aspects discussed in this article. The ongoing
working of the hymn (Wirkungsgeschichte) in various
contexts is then discussed and related to historic
assumptions regarding ‘protestant’ and ‘catholic’,
some of which still prevail in the thought of people,
but which often go unnoticed. Showing how this
particular hymn has crossed divides and functions
as an ecumenical hymn par excellence, a plea is
made that one-sided and dividing views should be
reflected upon, set aside and that the ecumenical
treasure of song should be promoted.
2019-01-01T00:00:00ZTHE EXPERIENCE OF SPIRITUALITY OF MUSIC LEADERS WITHIN FAITHBASED COMMUNITIES
http://hdl.handle.net/10394/36450
THE EXPERIENCE OF SPIRITUALITY OF MUSIC LEADERS WITHIN FAITHBASED COMMUNITIES
van Loggerenberg, Marius; Wort, Albert
Music leaders play a key role within faith-based
communities as they help to shape the culture
and spirituality of those communities. Despite
functioning in said faith-based environments where
the spiritual well-being of the community is of the
utmost importance, music leaders often neglect
to tend to their personal spirituality. Much has been researched and written about the personal
experience and spirituality of spiritual leaders
(pastors) of faith-based communities yet there is a
dearth of research relating to the experience of
music leaders. The purpose of this study is to explore
and describe the experience of their (music leaders’)
personal spirituality. Furthermore, how to develop
guidelines to assist music leaders in integrating their
personal spirituality into their role as music leaders.
2019-01-01T00:00:00ZPETR EBEN’S ORGAN CYCLE THE LABYRINTH OF THE WORLD AND THE PARADISE OF THE HEART
http://hdl.handle.net/10394/36448
PETR EBEN’S ORGAN CYCLE THE LABYRINTH OF THE WORLD AND THE PARADISE OF THE HEART
Nell, Mario; Lüdemann, Winfried
John Amos Comenius (1592-1670; known in
Czech as Jan Ámos Komensky´), was a bishop and
spiritual leader of the Bohemian Brethren (Unitas
Fratrum), a grouping of Czech Protestants dating
back to the fifteenth century. In addition, he was a
widely respected and highly influential philosopher,
writer, educational theorist and theologian.
His book The Labyrinth of the World and the
Paradise of the Heart (first published in Czech in
1631) is the story of a fictional spiritual journey,
but it is also a reflection of the author’s personal
suffering during the Thirty Years’ War.2 It is about
a pilgrim who wanders through a metaphorical
world characterised by vanity and pointlessness in search of the deeper meaning of human existence.
2019-01-01T00:00:00ZMESSIAEN AS TEOLOOG: VERKONDIGING EN LOFPRYSING IN DIE ORRELWERK “DIEU PARMI NOUS”
http://hdl.handle.net/10394/36446
MESSIAEN AS TEOLOOG: VERKONDIGING EN LOFPRYSING IN DIE ORRELWERK “DIEU PARMI NOUS”
Viljoen, Martina
Olivier Messiaen (1908-1992) was one of the
most influential 20th-century composers, teachers
and performers. For him, the proclaiming nature of
his music was its most important and most noble
aim. Despite this fact, his sacred works, including
those for organ, were controversial from the
outset, and they have often been experienced
as inaccessible. In this article, the degree to
which radical and exotic compositional means
may be understood as proclamation and praise
in the large-scale work for organ, “Dieu Parmi
Nous”, the final piece in his cycle La Nativité
du Seigneur (1935), is investigated. It is found
that the said aspect of the work may only be
interpreted via contextualisation, whereby the
composer’s own elucidation plays a crucial role.
Non-conformist aspects of the work point to
Messiaen’s ecumenically enriched views on faith.
2019-01-01T00:00:00Z