DOCSLIB.ORG

The Musical Heritage of the Church

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Musical Heritage of the Church Volume VII Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The Musical Heritage of the Lutheran Church Volume VII Table of Contents Publisher’s Foreword O. A. Dorn Editor’s Preface Theo. Hoelty-Nickel Foreword Elmer E. Foelber The Authors Church Music and Theology Theo. Hoelty-Nickel, Valparaiso University Worship from Luther to Lutheranism Helge Nyman, Abo, Finland The Hymnody of the Reformation, Then and Now Mandus Egge, Minneapolis, Minnesota Church Music and the Ecumenical Scene Charles Anders, Northfield, Minnesota Luther and the Composers of His Time Charles Anders, Northfield, Minnesota New Concepts of Hymnody and Polyphony Heinz Werner Zimmermann, Berlin, Germany “Word” and “Tone” in Three Different Musicae Novae M. Geerink Bakker, Hilversum, Holland The Place of Religious Music in Broadcasting M. Geerink Bakker, Hilversum, Holland Christian Culture and the Cultured Christian Leader Walter E. Buszin, Omaha, Nebraska Has the Lutheran Hymn Run Its Course? Friedrich Hofmann, Neumarkt/Obf., Germany Luther and the New Song Martin J. Naumann, Springfield, Illinois What Makes It Lutheran? E. Theo. DeLaney, St. Louis, Missouri From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Aesthetics of Music Joachim Widman, Munich, Germany International Cooperation in Church Music Willem Mudde, Den Haag, Holland The Problem of Expression in Music Donald Ferguson, Minneapolis, Minnesota Heinrich Schütz and Johann Sebastian Bach in the Protestant Liturgy Leo Schrade †, University of Basel, Switzerland From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Publisher’s Foreword Once again Concordia Publishing House is pleased to make available a volume in The Musical Heritage of the Church series, containing essays delivered at the Valparaiso University Church Music Seminars. The present volume is the seventh in the series. Since 1944 these seminars, under the able leadership of Dr. Theodore Hoelty-Nickel, have been held regularly to discuss church music, Christian worship—especially in its Lutheran understanding—and related problems. The papers presented at the meetings have had wide influence in church music circles both within the Lutheran church and also in other denominations. Previous volumes in the series have been eagerly sought after both by church music scholars and also by practical church musicians in this country and abroad. The present volume contains essays on a variety of topics. Several strike at the very heart of church music and its relation to Christian worship. Others are of a technical, practical, or historical nature. All will be of value to the conscientious church musician. O. A. Dorn Editor’s Preface The essays contained in this volume were for the most part presented at the Valparaiso University Church Music Seminars. They are being published as Volume VII of The Musical Heritage of the Church series. It has been our policy to publish this material as it was presented at our conferences. The opinions expressed are those of the writers and do not necessarily reflect our point of view. The editor wishes to express his appreciation to Dr. O. A. Dorn of Concordia Publishing House for making possible the publication of this volume. He would also like to thank Professor Elmer Foelber and the Editorial Department of Concordia Publishing House for many editorial suggestions. The editor also wishes to express his heartfelt appreciation to the Aid Association for Lutherans, Appleton, Wis., for their continuous interest in our program of studies in the field of church music and their generous financial support of our Church Music Seminars. Theo. Hoelty-Nickel August 31, 1969 Foreword No other group, I am certain, has contributed more to the welfare of the Lutheran Church for the past 25 years than the Valparaiso University Church Music Seminar. Founded by Dr. Theodore Hoelty-Nickel and led by him, it has quietly but effectively roused the Lutherans of the U.S.A. to serious study of their marvelous musical heritage. In addition, this group has successfully urged that the Lutheran Church become more creative and strive to increase the treasure that it has. Evidence of the work carried on by this group is before you in the anthology of 16 essays prepared for and read at the annual conferences. As the table of contents indicates, we find here breadth and depth dwelling together under one roof. This collection will, no doubt, be the finest and most lasting offering for the anniversary celebration to take place 2–5 April 1970 at Valparaiso University. The tone for The Musical Heritage of the Church is set by editor Hoelty-Nickel in his introductory essay. He points out that truly Lutheran music is consistently anchored to the three great solas: sola gratia, From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII sola Scriptura, sola fide. Or, to put it another way: neither the Scriptures nor the Lutheran Confessions (Book of Concord) have become museum pieces but proclaim authentically and authoritatively the Word of God (Law and Gospel) to every age and every condition of man. For maximum profit, the essays should be read, if possible, at one sitting to get hold of the sweep of the presentations as a whole. They should then be read again one at a time. Whereupon the reader will engage in constructive criticism, self-evaluation, and creative reflections of his own. Both he and the church will be the better for it. Hearty congratulations are in order to Hoelty-Nickel and his fellow protagonists. Blessings from on High on these servants of the Lord Jesus Christ! Elmer E. Foelber House Editor Concordia Publishing House St. Louis, Mo. The Authors Professor Helge Nyman is professor of theology at the University of Abo, Finland. He is chairman of the International Conference on Church Music. The Reverend Mandus A. Egge is executive director of the Commission on Worship and Church Music of the American Lutheran Church, Minneapolis, Minnesota. Professor Charles Anders is professor of church music at St. Olaf College, Northfield, Minnesota. Doctor Heinz Werner Zimmermann is director of the Kirchenmusik Hochschule in Berlin-Spandau, Germany. Drs. M. Geerink Bakker is a director at the Nederlandes Christeluke Radio-Vereniging, Hilversum, Holland. Doctor Walter E. Buszin is professor emeritus of Concordia Seminary, St. Louis, Missouri. He is now residing in Omaha, Nebraska. Dekan Friedrich Hofmann, Neumarkt, Germany, is chairman of the Association of Evangelical Church Choirs in Germany. The Reverend Dr. Martin J. Naumann is professor of Old Testament at Concordia Seminary, Springfield, Illinois. The Reverend E. Theodore DeLaney is executive secretary of the Commission on Worship, The Lutheran Church–Missouri Synod. Doctor Joachim Widman is Landeskirchenmusikdirektor in Munich. Doctor Willem Mudde is Kantor at the Evangelical Lutheran Church, The Hague, Netherlands, and director of the Utrecht Motet Society. From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Doctor Donald Ferguson is professor emeritus at the University of Minnesota, Minneapolis, Minnesota. He is the author of The History of Musical Thought. Doctor Leo Schrade†, University of Basel, Basel, Switzerland. From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Church Music and Theology Theo. Hoelty-Nickel God’s glorious creation was and still is for man, as presumptuous as that may sound to one who is accustomed to the quantitative view of man so prevalent today. God’s cosmos was placed at the disposal of man on the day God’s creation was complete and perfect. This relation of man to the world, yes, to the whole universe, would have resulted in a development of the powers and a use of the orders of God reaching a perfection that man, now fallen man, cannot even begin to estimate. The glorious God, being the gracious God, still left eyes for man to see the world and ears to hear the praise of God in nature, still left man his senses and his reason, still left the cosmos as man’s domain, but with one great difference and distinction in men, a tremendous alternative: to see it as the area of man’s redemption in the Seed of the woman or forever to see it as a testimony to man’s fall and damnation. So, as Werner Elert points out, Matthias Claudius and Goethe see the same moon and have similar sentiments for its magic presence, but while one feels it lead his thoughts to God, the other thinks of death and hopeless longing. Because Goethe and every man with him is essentially an egoist, he makes the whole cosmos an egocentric one, disturbing thereby every relation to the orders of God’s creation. The man of God, the regenerated man in Christ, knows of the cosmos as God’s cosmos, God’s universe, and knows that God loved the world and sent His Son into the world to restore to man lost sonship and a lost heritage. And as man is renewed by the Spirit, he sees with enlightened eyes and receives with new gratitude the immeasurably rich treasures of God’s gifts and orders. So tremendous is the treasure offered to our senses and powers that even the believer is overwhelmed by the wealth and number of opportunities to serve God and his fellowmen in this creation.
Recommended publications
  • Now Let Us Come Before Him Nun Laßt Uns Gehn Und Treten 8.8

    Now Let Us Come Before Him Nun Laßt Uns Gehn Und Treten 8.8

    Now Let Us Come Before Him Nun laßt uns gehn und treten 8.8. 8.8. Nun lasst uns Gott, dem Herren Paul Gerhardt, 1653 Nikolaus Selnecker, 1587 4 As mothers watch are keeping 9 To all who bow before Thee Tr. John Kelly, 1867, alt. Arr. Johann Crüger, alt. O’er children who are sleeping, And for Thy grace implore Thee, Their fear and grief assuaging, Oh, grant Thy benediction When angry storms are raging, And patience in affliction. 5 So God His own is shielding 10 With richest blessings crown us, And help to them is yielding. In all our ways, Lord, own us; When need and woe distress them, Give grace, who grace bestowest His loving arms caress them. To all, e’en to the lowest. 6 O Thou who dost not slumber, 11 Be Thou a Helper speedy Remove what would encumber To all the poor and needy, Our work, which prospers never To all forlorn a Father; Unless Thou bless it ever. Thine erring children gather. 7 Our song to Thee ascendeth, 12 Be with the sick and ailing, Whose mercy never endeth; Their Comforter unfailing; Our thanks to Thee we render, Dispelling grief and sadness, Who art our strong Defender. Oh, give them joy and gladness! 8 O God of mercy, hear us; 13 Above all else, Lord, send us Our Father, be Thou near us; Thy Spirit to attend us, Mid crosses and in sadness Within our hearts abiding, Be Thou our Fount of gladness. To heav’n our footsteps guiding. 14 All this Thy hand bestoweth, Thou Life, whence our life floweth.
  • The Musical Heritage of the Lutheran Church Volume I

    The Musical Heritage of the Lutheran Church Volume I

    The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945).
  • Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation

    Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation

    Johann Sebastian Bach’s St. John Passion from 1725: A Liturgical Interpretation MARKUS RATHEY When we listen to Johann Sebastian Bach’s vocal works today, we do this most of the time in a concert. Bach’s passions and his B minor Mass, his cantatas and songs are an integral part of our canon of concert music. Nothing can be said against this practice. The passions and the Mass have been a part of the Western concert repertoire since the 1830s, and there may not have been a “Bach Revival” in the nineteenth century (and no editions of Bach’s works for that matter) without Felix Mendelssohn Bartholdy’s concert performance of the St. Matthew Passion in the Berlin Singakademie in 1829.1 However, the original sitz im leben of both large-scaled works like his passions, and his smaller cantatas, is the liturgy. Most of his vocal works were composed for use during services in the churches of Leipzig. The pieces unfold their meaning in the context of the liturgy. They engage in a complex intertextual relationship with the liturgical texts that frame them, and with the musical (and theological) practices of the liturgical year of which they are a part. The following essay will outline the liturgical context of the second version of the St. John Passion (BWV 245a) Bach performed on Good Friday 1725 in Leipzig. The piece is a revision of the familiar version of the passion Bach had composed the previous year. The 1725 version of the passion was performed by the Yale Schola Cantorum in 2006, and was accompanied by several lectures I gave in New Haven and New York City.
  • Robert M. Andrews the CREATION of a PROTESTANT LITURGY

    Robert M. Andrews the CREATION of a PROTESTANT LITURGY

    COMPASS THE CREATION OF A PROTESTANT LITURGY The development of the Eucharistic rites of the First and Second Prayer Books of Edward VI ROBERT M. ANDREWS VER THE YEARS some Anglicans Anglicanism. Representing a study of have expressed problems with the Archbishop Thomas Cranmer's (1489-1556) Oassertion that individuals who were liturgical revisions: the Eucharistic Rites of committed to the main tenets of classical 1549 and 1552 (as contained within the First Protestant theology founded and shaped the and Second Prayer Books of Edward VI), this early development of Anglican theology.1 In essay shows that classical Protestant beliefs 1852, for example, the Anglo-Catholic were influential in shaping the English luminary, John Mason Neale (1818-1866), Reformation and the beginnings of Anglican could declare with confidence that 'the Church theology. of England never was, is not now, and I trust Of course, Anglicanism changed and in God never will be, Protestant'.2 Similarly, developed immensely during the centuries in 1923 Kenneth D. Mackenzie could, in his following its sixteenth-century origins, and 1923 manual of Anglo-Catholic thought, The it is problematic to characterize it as anything Way of the Church, write that '[t]he all- other than theologically pluralistic;7 nonethe- important point which distinguishes the Ref- less, as a theological tradition its genesis lies ormation in this country from that adopted in in a fundamentally Protestant milieu—a sharp other lands was that in England a serious at- reaction against the world of late medieval tempt was made to purge Catholicism English Catholic piety and belief that it without destroying it'.3 emerged from.
  • Concordia Journal

    Concordia Journal

    CONCORDIA JOURNAL Volume 28 July 2002 Number 3 CONTENTS ARTICLES The 1676 Engraving for Heinrich Schütz’s Becker Psalter: A Theological Perspective on Liturgical Song, Not a Picture of Courtly Performers James L. Brauer ......................................................................... 234 Luther on Call and Ordination: A Look at Luther and the Ministry Markus Wriedt ...................................................................... 254 Bridging the Gap: Sharing the Gospel with Muslims Scott Yakimow ....................................................................... 270 SHORT STUDIES Just Where Was Jonah Going?: The Location of Tarshish in the Old Testament Reed Lessing .......................................................................... 291 The Gospel of the Kingdom of God Paul R. Raabe ......................................................................... 294 HOMILETICAL HELPS ..................................................................... 297 BOOK REVIEWS ............................................................................... 326 BOOKS RECEIVED ........................................................................... 352 CONCORDIA JOURNAL/JULY 2002 233 Articles The 1676 Engraving for Heinrich Schütz’s Becker Psalter: A Theological Perspective on Liturgical Song, Not a Picture of Courtly Performers James L. Brauer The engraving at the front of Christoph Bernhard’s Geistreiches Gesang- Buch, 1676,1 (see PLATE 1) is often reproduced as an example of musical PLATE 1 in miniature 1Geistreiches | Gesang-Buch/
  • 500Th Anniversary of the Lutheran Reformation

    500Th Anniversary of the Lutheran Reformation

    500TH ANNIVERSARY OF THE LUTHERAN REFORMATION L LU ICA TH EL ER G A N N A S V Y E N E O H D T LUTHERAN SYNOD QUARTERLY VOLUME 57 • NUMBERS 2 & 3 JUNE & SEPTEMBER 2017 The journal of Bethany Lutheran Theological Seminary ISSN: 0360-9685 LUTHERAN SYNOD QUARTERLY VOLUME 57 • NUMBERS 2 & 3 JUNE & SEPTEMBER 2017 The journal of Bethany Lutheran Theological Seminary LUTHERAN SYNOD QUARTERLY EDITOR-IN-CHIEF........................................................... Gaylin R. Schmeling BOOK REVIEW EDITOR ......................................................... Michael K. Smith LAYOUT EDITOR ................................................................. Daniel J. Hartwig PRINTER ......................................................... Books of the Way of the Lord The Lutheran Synod Quarterly (ISSN: 0360-9685) is edited by the faculty of Bethany Lutheran Theological Seminary 6 Browns Court Mankato, Minnesota 56001 The Lutheran Synod Quarterly is a continuation of the Clergy Bulletin (1941–1960). The purpose of the Lutheran Synod Quarterly, as was the purpose of the Clergy Bulletin, is to provide a testimony of the theological position of the Evangelical Lutheran Synod and also to promote the academic growth of her clergy roster by providing scholarly articles, rooted in the inerrancy of the Holy Scriptures and the Confessions of the Evangelical Lutheran Church. The Lutheran Synod Quarterly is published in March and December with a combined June and September issue. Subscription rates are $25.00 U.S. per year for domestic subscriptions and $35.00 U.S. per year for international subscriptions. All subscriptions and editorial correspondence should be sent to the following address: Bethany Lutheran Theological Seminary Attn: Lutheran Synod Quarterly 6 Browns Ct Mankato MN 56001 Back issues of the Lutheran Synod Quarterly from the past two years are available at a cost of $10.00 per issue.
  • Through the Church the Song Goes on ALCM 25Th Anniversary Hymn Festival Reflections

    Through the Church the Song Goes on ALCM 25Th Anniversary Hymn Festival Reflections

    Through the Church the Song Goes On ALCM 25th Anniversary Hymn Festival Reflections Reflection 1 – Mark P. Bangert “While we own the mystery”< and for a moment there it seemed like we did have our bodies wrapped around it through soaring sounds of voice and instrument. It’s convenient, if not satisfying, to imagine ourselves owners, as if mystery were artifact. If it were true, if we indeed can own the mystery, even for a moment, then could we just call it quits right now, content with our contribution to the waking praise hours from morn to set of sun? Are we done? The problem is that we don’t own the mystery; rather, the mystery owns us. Can we call it quits now? No, because we never have or own the mystery, we are given to be known by it. We have just begun to enter that intricate braid of relationships revealing what it means to BE in the name of the Father, and of the Son, and of the Holy Spirit. Could we call it quits now? I doubt it. Holy Father, Holy Son, Holy Breath have been roused. They are owning us. We could never even have begun without the Creator giving us, as Luther reminds us, “my body and soul, eyes, ears, . house, home, life,” and, in this moment, voice— all gifts. Nor could we know that all those things are gifts without any merit on our part, were it not for the Son, the Word, who, “just as he is risen from the dead lives” (now, here) “and reigns” (now, here) “eternally”.
  • Luther's Hymn Melodies

    Luther's Hymn Melodies

    Luther’s Hymn Melodies Style and form for a Royal Priesthood James L. Brauer Concordia Seminary Press Copyright © 2016 James L. Brauer Permission granted for individual and congregational use. Any other distribution, recirculation, or republication requires written permission. CONTENTS Preface 1 Luther and Hymnody 3 Luther’s Compositions 5 Musical Training 10 A Motet 15 Hymn Tunes 17 Models of Hymnody 35 Conclusion 42 Bibliography 47 Tables Table 1 Luther’s Hymns: A List 8 Table 2 Tunes by Luther 11 Table 3 Tune Samples from Luther 16 Table 4 Variety in Luther’s Tunes 37 Luther’s Hymn Melodies Preface This study began in 1983 as an illustrated lecture for the 500th anniversary of Luther’s birth and was presented four times (in Bronxville and Yonkers, New York and in Northhampton and Springfield, Massachusetts). In1987 further research was done on the question of tune authorship and musical style; the material was revised several times in the years that followed. As the 500th anniversary of the Reformation approached, it was brought into its present form. An unexpected insight came from examining the tunes associated with the Luther’s hymn texts: Luther employed several types (styles) of melody. Viewed from later centuries it is easy to lump all his hymn tunes in one category and label them “medieval” hymns. Over the centuries scholars have studied many questions about each melody, especially its origin: did it derive from an existing Gregorian melody or from a preexisting hymn tune or folk song? In studying Luther’s tunes it became clear that he chose melody structures and styles associated with different music-making occasions and groups in society.
  • M-Pythian Games

    M-Pythian Games

    THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE M - Pythian Games by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 M Maarath For this site Mr. Tyrwhitt Drake proposes (Quar. Statement of the "Pal. Explor. Fund," April 1874, page 76) the Mons Mardes where St. Euthymius found ruins (Acta Sanctorum, 2:306), now Khirbet Mird, near Mar Saba, on a round, isolated hill, containing the remains of an aqueduct, wells, and cisterns (Memoirs to the Ordnance Survey, 3:212); but Lieut. Conder suggests (Quar. Statement, January 1875, page 13) an ancient site near Beit Ainum, where a valley has the corresponding Arabic name, Wady el-Moghair. This latter ruin is laid down on the Ordnance Map, two miles north-east of Hebron, without any name attached. Later, however, Lieut. Conder suggests (Tent Work, 2:338) Beit Ummar, six miles north of Hebron, probably the Betumair of Eusebius (Onomast. s.v. Baalthamar). It is "a small but conspicuous village, standing on the watershed, and visible from some distance on the north. An ancient road passes through it. Halfa mile north-east is a good spring, Ain Kufin. The mosque has a small tower to it. The surrounding neighborhood is covered with brushwood" (Memoirs to Ordnance Survey, 3:303).
  • The Age of Reformation

    The Age of Reformation

    CHAPTER 13 The Age of Reformation CHAPTER OUTLINE • Prelude to Reformation: The Northern Renaissance • Prelude to Reformation: Church and Religion on the Eve of the Reformation • Martin Luther and the Reformation in Germany • Germany and the Reformation: Religion and Politics • The Spread of the Protestant Reformation • The Social Impact of the Protestant Reformation • The Catholic Reformation • Conclusion FOCUS QUESTIONS • Who were the Christian humanists, and how did they differ from the L Protestant reformers? • What were Martin Luther’s main disagreements with the Roman Catholic church, and why did the movement he began spread so quickly across Europe? • What were the main tenets of Lutheranism, Zwinglianism, Calvinism, and Anabaptism, and how did they differ from each other and from Catholicism? • What impact did the Protestant Reformation have on the society of the sixteenth century? • What measures did the Roman Catholic church take to reform itself and to combat Protestantism in the sixteenth century? N APRIL 18, 1520, a lowly monk stood before the emperor and princes of Germany in the city of Worms. He had been Ocalled before this august gathering to answer charges of heresy, charges that could threaten his very life. The monk was confronted with a pile of his books and asked if he wished to defend them all or reject a part. Courageously, Martin Luther defended them all and asked to be shown where any part was in error on the basis of “Scripture and plain rea- son.” The emperor was outraged by Luther’s response and made his own position clear the next day: “Not only I, but you of this noble Ger- man nation, would be forever disgraced if by our negligence not only heresy but the very suspicion of heresy were to survive.
  • The LHP Newsletter

    The LHP Newsletter

    /LWXUJ\ +\PQRG\ Volume 1, Issue 1, Advent 2004 You may be thinking, “Right. That’s what they Welcome said last time.” “The Common Service (Divine Service I), familiar to all Lutherans, is carried This is the inaugural issue of Liturgy & forward with no great changes…” (LW Hymnody, a publication of the Wyoming Introduction, p. 6.) This time, there are only District of the Lutheran Church—Missouri minimal changes. Synod. TLH page 15 shows up in LSB as Divine Our goal is to Service, Setting Three. The sung portions of + Foster appreciation for the Lutheran the familiar liturgy remain intact, complete with heritage in Christian Worship “Holy Ghost,” “We praise Thee,” “And with thy spirit,” and “Praise be to Thee, O Christ.” The + Advise and counsel congregations Familiar four-part harmony supports the text the way it always has. The only musical change is and pastors in the use of appropriate that the Kyrie and Gloria have been lowered one worship resources and material step to allow for easier singing and an easier key for the organist. + Provide specific helps to ease the transition from The Lutheran Hymnal, Spoken text in Divine Service, Setting Three has Lutheran Worship, and Hymnal been gently updated. For example, “I, a poor, Supplement 98 to the forthcoming miserable sinner, confess unto You all my sins Lutheran Service Book (hereafter LSB), and iniquities with which I have ever offended expected to be released in fall 2006 You and justly deserved Your temporal and eternal punishment…” The LCMS Commission on Worship TLH page 5, “The Order of Morning Service website, http://worship.lcms.org Without Communion” is not printed separately has electronic files of LSB material in LSB, to save space.
  • The Liturgical Reception of Isaiah 6

    The Liturgical Reception of Isaiah 6

    Worship as Interpretation: The Liturgical Reception of Isaiah 6 Sebastian Yosef Selvén Wolfson College, Cambridge June, 2017 This dissertation is submitted to the University of Cambridge for the degree of Doctor of Philosophy ▪ This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. ▪ It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text ▪ It does not exceed the prescribed word limit for the relevant Degree Committee. 2 This dissertation is an investigation into how the Hebrew Bible is used in (Rabbinic) Jewish and Christian liturgical settings, and how this impacts biblical scholars. I argue against the neglect of liturgy and ritual in reception studies and make the case that liturgy is one of the major influential forms of biblical reception. I do this by taking Isa. 6:3 as my example. My liturgical material is the qedushah liturgies in Ashkenazi Judaism and the Sanctus in three church traditions; (pre-1969) Roman Catholicism, Anglicanism (the Church of England) and Lutheranism (Martin Luther, and the Church of Sweden).