'Anything But Conventional' : Faith and Folk Idioms in Dvorak's Biblical Songs

<p>In the nineteenth century considerable ambiguities arose regarding sacred and secular categories in music. Although such ambiguities have often been discussed in relation to the mass, this study uses the genre of the lied - in particular, Dvorak's Biblical Songs - as a means of examining the interaction between these categories. The problems inherent in the idea of 'sacred lieder' are discussed, including case studies of Schubert's 'Die Allmacht' and Wolf's 'Nun wandre, Maria' from the Spanisches Liederbuch. The Biblical Songs are located within Dvorak's biography, to show the great extent to which they were a reflection of his personal situation. In-depth analysis of the music and texts of the songs, both individually and as a cycle, reveals that they are representative of a point of interaction between secular lieder for concert performance, and devotional lieder for a domestic context. A comparison with Brahms and his Four Serious Songs reveals two very different responses to biblical texts: whereas Brahms's solution places emphasis on secular love, Dvorak's songs show a progression from doubt and confusion about God through to faith and rejoicing. Furthermore, whereas the Four Serious Songs demonstrate a highly individualistic solution to the pessimism expressed earlier in the cycle, Dvork's use of folk idioms at key locations in the Biblical Songs places emphasis on communality and tradition. However, the cycle also reveals a more complex expression of faith than is often assumed of Dvorak.</p>

'Anything But Conventional' : Faith and Folk Idioms in Dvorak's Biblical Songs

<p>In the nineteenth century considerable ambiguities arose regarding sacred and secular categories in music. Although such ambiguities have often been discussed in relation to the mass, this study uses the genre of the lied - in particular, Dvorak's Biblical Songs - as a means of examining the interaction between these categories. The problems inherent in the idea of 'sacred lieder' are discussed, including case studies of Schubert's 'Die Allmacht' and Wolf's 'Nun wandre, Maria' from the Spanisches Liederbuch. The Biblical Songs are located within Dvorak's biography, to show the great extent to which they were a reflection of his personal situation. In-depth analysis of the music and texts of the songs, both individually and as a cycle, reveals that they are representative of a point of interaction between secular lieder for concert performance, and devotional lieder for a domestic context. A comparison with Brahms and his Four Serious Songs reveals two very different responses to biblical texts: whereas Brahms's solution places emphasis on secular love, Dvorak's songs show a progression from doubt and confusion about God through to faith and rejoicing. Furthermore, whereas the Four Serious Songs demonstrate a highly individualistic solution to the pessimism expressed earlier in the cycle, Dvork's use of folk idioms at key locations in the Biblical Songs places emphasis on communality and tradition. However, the cycle also reveals a more complex expression of faith than is often assumed of Dvorak.</p>

Persepsies oor die sinodebesluite en aard van die psalms binne die GKSA

Perceptions regarding synod decisions and the nature of psalms in the RCSA. Since its inception in 1859, the Reformed Church in South Africa has been singing only psalms, scriptural hymns and Biblical songs. Currently, there are two official versifications of the psalms in use within the Reformed Church, namely the so-called Totius versification of 1936 and the 2001 rhymed version of psalm texts, mainly by T.T. Cloete. A study of members’ perceptions of synod decisions and the nature of the psalms in the Reformed Church shows that the psalms are not fully utilised. Synods decide what type of songs, type of songs, including psalms, are approved, are approved for use. Members believe that many psalms are no longer suitable for the 21st-century churchgoer, that synod decisions appear to be out of touch with members’ musical needs and that synods oppose musical innovation. The purpose of this article is to give an overview of ministers, organists/music leaders and parishioners’ perceptions regarding the nature and use of psalms during worship in the Reformed Church of South Africa as well as synod decisions pertaining to the psalms. Die Gereformeerde Kerke in Suid-Afrika sing vanaf die kerk se ontstaan in 1859 slegs psalms, Skrifberymings en Skrifgetroue liedere. Tans is daar twee amptelike psalmberymings in gebruik binne die Gereformeerde Kerk, naamlik die sogenaamde Totius-beryming van 1936, asook die 2001-omdigting met psalmtekste deur hoofsaaklik T.T. Cloete. ’n Studie van lidmate se persepsies oor sinodebesluite en die aard van die psalms binne die Gereformeerde Kerk toon aan dat die psalms nie optimaal benut word nie. Sinodes besluit watter tipe liedere, insluitend psalms, vir gebruik goedgekeur word. Lidmate glo dat talle psalms nie meer geskik is vir die 21ste-eeuse lidmaat nie, dat sinodebesluite uit voeling is met lidmate se musikale behoeftes en dat sinodes musikale vernuwing teenwerk. Die doel van hierdie artikel is om ’n oorsig te gee van die persepsies van predikante, orreliste/musiekleiers en gemeentelede met betrekking tot die aard en gebruik van die psalms binne die erediens van die Gereformeerde Kerke van Suid-Afrika, asook sinodebesluite wat hiermee verband hou.

'What These Cryptic Symbols Mean': Quotation, Allusion, and John Darnielle's Biblical Interpretation

The Mountain Goats' repertoire of biblically-themed songs displays a salutary resistance to oversimplifying dichotomies. Their catalogue defies the imperative to fit into the "Christian rock"-vs.- mainstream "secular rock" market niches while at the same time it does not fit conveniently into the biblical-critical world's fascination with characterising certain interpretive methods as "legitimate" and others as "illegitimate." The Mountain Goats' songs don't challenge these dichotomies head-on, but they demonstrate the allusive richness available to an interpreter freed from rigid obeisance to these idols of the market and the library. Whereas in many popular interpretations, the Bible figures as an oracular repository of sacred law, or as a textbook of science and metaphysics, or a sourcebook for general spirituality, the Mountain Goats' biblical songs draw on the Bible as an all-too-human expression of how the world is (and will be), even when the appearances suggest otherwise. In cultivating a wide range of songs that reflects the Bible's characteristic underdetermination, the Mountain Goats make the moral and theological ambivalence of the Bible audible again without resolving that ambivalence into consoling or deplorable platitudes, theological dogmas or historical facts.

Ons kerklied: Prinsipiële en praktiese oorwegings

The church hymn: A consideration of fundamental and practical nature. This study expresses the conviction that the liturgy, hymns and music of the church serve a necessary function and makes an appeal for their regeneration in the church. Such regeneration would, as a consequence of the relection on and experience of the depth and wealth arising from Biblical songs, foster a deeper love for the hymns and songs of the church. However, at the same time, this study also protests against the tendency, Under the pretext of renewal and in unison with the spirit of the times, to render the ministry, liturgy as well as the hyms of the church supericial. This study wishes to make an appeal: that we, on the grounds of a better knowledge of the songs of the Bible and the hymns sung throughout the ages, arrive at stronger church songs applicable to present times.