Music in Christian Worship Today

Name: Music in Christian Worship Today | A Cross-Cultural Historical Study of Nigerian Examples
Brand: Tectum Wissenschaftsverlag
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A Cross-Cultural Historical Study of Nigerian Examples

Basil Chukwuka Okeke(Autor*in)

Tectum Wissenschaftsverlag

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Erschienen am 11. November 2022

350 Seiten

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978-3-8288-7937-9 (ISBN)

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Beschreibung

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Inhalt

Intro
Dedication
Abbreviations
Acknowledgements
Foreword
General Introduction
Part I Concepts, Perspectives and Principles
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
Part II Nigerian Multicultural Musical Standpoints
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
Part III A Cross-Cultural Study of Nigerian Examplesof Christian Worship Music
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

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