Gather Into One: Praying and Singing GloballyWm. B. Eerdmans Publishing, 2003 - 308 pàgines This is a print on demand book and is therefore non- returnable. Series: Calvin Institute of Christian Worship Liturgical Studies (CICW) One of the benefits of the multicultural nature of Christianity has been the introduction of the Western church to worship music from around the world. However, while many songs from other parts of the world are now available in Western hymnal collections, little has been written to help church musicians and ministers understand, appreciate, and use these songs in worship. Gather into One fills this void. In this volume C. Michael Hawn explores the work of five of the most influential global church musicians found in North American hymnals: Pablo Sosa (Argentina), I-to Loh (Taiwan), David Dargie (South Africa), Patrick Matsikenyiri (Zimbabwe), and John Bell (Scotland). Hawn discusses the biographical background of each of these composer and elucidates the meaning of their music within their respective cultures. Having studied global song himself on-site throughout the world, Hawn sees this music as a valuable gift from other cultures to own -- sung prayers that can broaden the ways we pray and sing together in corporate worship. His extensive research leads to some intriguing proposals, with Hawn encouraging diverse expressions of worship, endorsing the church musician as a worship "enlivener," and making a case for "polyrhythmic worship" in our churches. A unique resource, Gather into One demonstrates the spiritual riches to be gained through multicultural worship and makes a concrete contribution toward realizing the worldwide unity of the Christian church. |
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Continguts
From Center to Spectrum Praying and Singing Globally | 1 |
Center versus Periphery Dichotomy | 2 |
Singing and Praying for the Sake of the World | 4 |
Distinguishing between Bias and Prejudice | 7 |
Diversity of Songs Unity of Spirit | 9 |
Purpose Delimitations and Methodology | 17 |
Related Literature | 21 |
Asking New Questions | 26 |
Andrew Tracer and Ethnomusicological Study | 115 |
Church Music Composition Workshops | 118 |
Church Music from South Africa | 120 |
The Hymns of Ntsikana | 128 |
What Is Liberation Hymnody? | 137 |
Conclusion | 146 |
The Spirit of Ngoma Patrick Matsikenyiri and Indigenous Song in Zimbabwe | 148 |
Brief History of Zimbabwe | 149 |
A Liturgical Trilemma | 30 |
The Fiesta of the Faithful Pablo Sosa and the Contextualization of Latin American Hymnody | 32 |
Growing Up in Argentina | 34 |
Argentine Ethnic Demographics | 35 |
Argentine Politics | 37 |
A Heritage of Popular Argentine Poetry | 40 |
Poet | 50 |
The Contextual Theologian | 59 |
Hymnal Editor and Recording Producer | 61 |
The Ecumenical Liturgist | 67 |
Decontextualizing Pablo Sosa | 69 |
Recontextualizing the Work of Pablo Sosa for the United States | 70 |
Sounds of Bamboo Ito Loh and the Development of Asian Hymns | 72 |
A Brief Biography | 74 |
Life as a Teacher Hymnologist and Ethnomusicologist | 79 |
An Analysis of Sound the Bamboo 1990 | 80 |
Asian Hymns in Western Hymnals | 84 |
Guidelines for the Publication of CrossCultural Music in the West | 87 |
The Process of Musical Inculturation and Sound the Bamboo 1990 | 88 |
Ito Lohs Contributions to Sound the Bamboo 1990 | 90 |
Sound the Bamboo 2000 | 99 |
Ito Lohs Work Today | 100 |
The Impact of Ito Lohs Work in Asia | 102 |
Singing Freedom David Dargie and South African Liberation Song | 104 |
A Vocational Response to Vatican II in Liturgy and Song | 107 |
The Making of a Musical Liberator | 109 |
Living in Old Mutare and Modern Mutare | 153 |
From Local Church Musician to Global Animateur | 159 |
Music in African Culture and Worship | 160 |
An African Conceptual Framework for Music | 164 |
The Songs | 171 |
Conclusion | 187 |
The Wild Goose Sings John Bell and the Music of the Iona Community | 189 |
The Iona of Saint Columba 52197 CE | 191 |
The Iona of George MacLeod 18951991 | 196 |
John Bell and Graham Maule and the Formation of the Wild Goose Worship Group | 204 |
Themes of Iona Liturgy and Music | 208 |
Conclusion | 221 |
Form and Ritual Sequential and Cyclic Musical Structures and Their Use in Liturgy | 224 |
Characteristics of Sequential Musical Structures | 225 |
Characteristics of Cyclic Musical Structures | 230 |
Musical Structures and Ritual | 234 |
The Church Musician as Enlivener | 241 |
Living in Liminality | 243 |
The Office of the Enlivener | 252 |
Mary Oyer | 260 |
Polyrhythmic Worship | 271 |
Bibliography | 279 |
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