Music in Christian Worship Today

Schlagworte

Afrika Cross-Culturalism Kirchenmusik Nigeria Organology Social Sciences Traditional Music Worship Music Music Liturgy Worship Cross-Cultural Intercultural multicultural context Worship Music in Nigeria

• Chapter Expand | CollapsePage
• I–XXVI Titelei/Inhaltsverzeichnis I–XXVI Details
• 1–82 Part I Concepts, Perspectives and Principles 1–82 Details
  • Chapter One Music in Conversation with Social Sciences
    • 1.1 Introduction
      • 1.1.1 Early Concepts about Music
      • 1.1.2 A Shift in the Understanding of Music
      • 1.1.3 Towards A Broader Concept
    • 1.2 Music and Anthropology
      • 1.2.1 Method of Approach
      • 1.2.2 Two Sides of the Same Coin
    • 1.3 Anthropological Models for Music Study
      • 1.3.1. Human Musical Behaviour
      • 1.3.2. Human Musical Communications
      • 1.3.3 Music as Culture-Symbolizing
    • 1.4 Anthropology as Forerunner of Ethnomusicology
    • 1.5 Ethnomusicological Issues
      • 1.5.1 The Term ‘Ethnomusicology’
      • 1.5.2 Defining the Boundaries
      • 1.5.3 Ethnomusicological Fieldwork
    • 1.6 Conclusion
  • Chapter Two Music and the Church: Principles and Guidelines
    • 2.1 Introduction
    • 2.2 A Historical Path to Uniformity in Liturgical Chants
      • 2.2.1 Biblical Prelude
      • 2.2.2 The Roman Connection
        • 2.2.3.1 Development of Gregorian Tradition
        • 2.2.3.2 Gregorian Contributions
      • 2.2.3 Carolingian Reform
      • 2.2.4 Medieval /Renaissance Practice of Worship Music
        • 2.2.5.1 Medieval Faith
        • 2.2.5.2 Medieval Music Practice
        • 2.2.5.3 Medieval Compositional Technique
        • 2.2.5.4 Renaissance Polyphonic Innovations
        • 2.2.5.5 Magisterial Intervention on the New Art
      • 2.2.5 The Significance of the Council of Trent
        • 2.2.6.1 Immediate Cause
        • 2.2.6.2 Remote Cause
  • Chapter Three The Path to Multicultural Worship and Music
    • 3.1 Introduction
    • 3.2 The True Nature of Sacred Music
      • 3.2.1 The Role of Music in the Worship
      • 3.2.2 The Nobility of Worship
      • 3.2.3 The Epiphany of Sacred Texts
      • 3.2.4 The Unity of the Assembly
      • 3.2.5 The Beauty of Worship
      • 3.2.6 Participation in the Worship
    • 3.3 Ethonomusicology and Magisterium at Crossroads
      • 3.3.1 The Highlights
      • 3.3.2 The Point of Divergence
      • 3.2.3 The Point of Convergence
    • 3.4 New Conceptual Trends on Music, Worship and Culture
      • 3.4.1 Prospects and Challenges
      • 3.4.2 Clarification of Terms
        • 3.4.2.1 Multicultural
        • 3.4.2.2 Intercultural
        • 3.4.2.3 Transcultural and Hypercultural
        • 3.4.2.4 Cross-Cultural
    • 3.5 Conclusion
• 83–192 Part II Nigerian Multicultural Musical Standpoints 83–192 Details
  • Chapter Four Nigerian Musical Praxis in Historical Perspective
    • 4.1 Introduction
    • 4.2 Nigeria in Perspective
      • 4.2.1 Geographical Environment for Music
      • 4.2.2 Population Issue and Distribution
      • 4.2.3 Illustrative Map of Nigerian Ethnic Groups
      • 4.2.4 Ethnicity and Some Cultural Referents
      • 4.2.5 Linguistic Determinants
      • 4.2.6 Religious Contexts for Music
    • 4.3 Tracing the History of Worship Music in Nigeria
      • 4.3.1 Initial Period of Culture-Contact (15th to 18th Century)
      • 4.3.2 A Historical Hypothesis
      • 4.3.3 The Actual Sowing of the Seed (19th Century)
      • 4.3.4 The Budding of the Sown (From Late 19th to 20th Centuries)
    • 4.4 Conclusion
      • 4.4.1 Musical Benefits of Mission in Nigeria
      • 4.4.2 Early Setbacks to Development of Indigenous Worship Songs
      • 4.4.3 Towards Authentic Indigenous Worship Songs
  • Chapter Five Traditional Musics of Nigerian Cultures
    • 5.1 Introduction
    • 5.2 Search for Appropriate Terminology
      • 5.2.1 The Nature of African Traditional Music
      • 5.2.2 Nigerian Traditional Music
    • 5.3 Traditional Music Taxonomy
      • 5.3.1 Ethnic Terminologies for Music
      • 5.3.2 Traditional Thoughts und Beliefs underlying Music
    • 5.4 The Shaping of Nigerian Music Traditions
      • 5.4.1 Hausa Music Tradition
      • 5.4.2 Yoruba Music Tradition
      • 5.4.3 Igbo Music Tradition
    • 5.5 Performance Context and Classificatory Models
      • 5.5.1 Social Models
      • 5.5.2 Religious Models
      • 5.5.3 Historical Models
      • 5.5.4 Utilitarian Models
    • 5.6 Conclusion
  • Chapter Six Musical Symbolism and Analysis of Nigerian Organology
    • 6.1 Introduction
    • 6.2 Construction and Classification of Musical Instruments
      • 6.2.1 Construction
      • 6.2.2 Classification
        • 6.2.2.1 Idiophones
        • 6.2.2.2 Membranophones
        • 6.2.2.3 Aerophones
        • 6.2.2.4 Chordophones
    • 6.3 Instrumental Symbolisms
    • 6.4 Musical Structures and Analysis
      • 6.4.1 Text-Music Rapport
        • 6.4.1.1 Speech-Song Juxtaposition/Alternation
        • 6.4.1.2 Speech-Born Melody
      • 6.4.2 Melodic Forms
      • 6.4.3 Rhythmic Organizations
        • 6.4.3.1 Speech Rhythm
        • 6.4.3.2 Standard Rhythm
        • 6.4.3.3 Bell Rhythm
        • 6.4.3.4 Polyrhythm and Melorhythm
    • 6.5 Conclusion
• 193–324 Part III A Cross-Cultural Study of Nigerian Examplesof Christian Worship Music 193–324 Details
  • Chapter Seven Early Practice of Worship Music in Nigeria
    • 7.1 Introduction
    • 7.2 Christian Faith at Crossroads of Cultures
    • 7.3 Development of Christian Worship Music in Nigeria
      • 7.3.1 Translation
      • 7.3.2. Missionary Musical Practice
        • 7.3.2.1 Catholic Practice
        • 7.3.2.2 Protestant Practice
        • 7.3.2.3 Early Hymnals and Ecumenism
      • 7.3.3 Stylistic and Cultural Imports
        • 7.3.3.1 Culture of Hymnody
        • 7.3.3.2 Music Education through Mission Schools
        • 7.3.3.3 The Beginning of Music Writing
      • 7.3.4 Stylistic and Cultural Inconsistencies
        • 7.3.4.1 Textual Provenance and Variations
        • 7.3.4.2 Music-Text Coherence
        • 7.3.4.3 Content and structural Unsuitability
        • 7.3.4.4 Problems of Musical Notation
    • 7.4 Attempts at Indigenisation
      • 7.4.1 Parodied Indigenous Worship Songs
        • 7.4.1.1 Secular Melodies for Parody
        • 7.4.1.2 Parody with Traditional dance-Song Style
        • 7.4.1.3 Parody of Folk Song for Instruments
      • 7.4.2 Indigenous Short Responses and hymns
        • 7.4.2.1 Musicological Analysis
        • 7.4.2.2 Compositional Problems and Considerations
      • 7.4.3 Early Indigenous Sacred Hymns
        • 7.4.3.1 Musicological Analysis
        • 7.4.3.2 Compositional Problems and Considerations
      • 7.4.1.4 Compositional and Social Problems
    • 7.5 Conclusion
  • Chapter Eight Music in Christian Worship: Current Trends
    • 8.1 Introduction
    • 8.2 Nature and Types of Indigenous Worship Music
      • 8.2.1 Examples of Indigenous Liturgical Music
        • 8.2.1.1 Nigerian Mass
        • 8.2.1.2 Processional Songs
        • 8.2.1.3 Indigenous Ritual Songs
        • 8.2.2 Examples of Nigerian Religious Music
          • 8.2.2.1 Religious Music Terminologies
          • 8.2.2.2 Types, Styles and Instrumentation
    • 8.3 Textual Considerations
      • 8.3.1 Textual Sources
      • 8.3.2 Textual Analysis
    • 8.4 Musical Forms and Analysis
      • 8.4.1 Nigerian Concept of Form
      • 8.4.2 Musical Forms
      • 8.4.3 Musical Analysis
      • 8.4.4 Melodic Structure
      • 8.4.5 Compositional Technique
      • 8.4.6 Rhythmic Organization
    • 8.5 Development of Choir and Choral Culture
      • 8.5.1 Nature and types of Church Choirs
      • 8.5.2 Choir Rehearsal and Selection of Songs for worship
      • 8.5.3 Choir Competition
      • 8.5.4 Other Music Scenes from Nigeria
      • 8.5.5 Problems and Challenges
    • 8.6 Conclusion
  • Chapter Nine Evaluation and Conclusion
    • 9.1 Evaluation
      • 9.1.1 Research Findings
      • 9.1.2 Making a Correct Musical Judgement
      • 9.1.3 Pertinent Issues and Possible Resolutions and Recommendations
      • 9.1.4 Questionnaire and Feedback
        • 9.1.4.1 Method for Distributing the Questionnaires
        • 9.1.4.2 The Analysis of the Results from the questionnaire
        • 9.1.4.3 How much singing is done at Mass in Nigeria and who is doing it?
        • 9.1.4.4 The Extent of Music Reading Ability
        • 9.1.4.5 Language and Style of Music: Determinants in the Placement of songs for worship in Nigeria
        • 9.1.4.6 Summary of the Results
    • 9.2 General Conclusion
  • Bibliography
  • Appendix
  • Abstract
  • About the Author