How Do We Use the Body in Worship?
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The Reform of Baptism and Confirmation in American Lutheranism
LOGIA 1 Review Essay: The Reform of Baptism and Confirmation in American Lutheranism Armand J. Boehme The Reform of Baptism and Confirmation in American Lutheranism. By Jeffrey A. Truscott. Drew University Studies in Liturgy 11. Lanham, Maryland & Oxford: The Scarecrow Press, Inc., 2003. his book1 is a study of the production of the baptismal the church.” Thus the crafters of LBW greatly expanded T and confirmation rites contained in Lutheran Book of the “assembly’s participation in the baptismal act” (pp. Worship (LBW).2 The theology that underlies LBW 33, 205). These changes flow from a theology of action and its understanding of worship has significantly (liturgy as the work of the people), which emphasizes altered the Lutheran understanding of baptism and the fact that the church or the congregation is the confirmation. The theological foundation of LBW has mediating agent of God’s saving activity (p. 33).6 For influenced other Lutheran church bodies, contributing LBW the sacraments are understood significantly to profound changes in the Lutheran ecclesiologically—as actions of the congregation (pp. landscape. As Truscott wrote, those crafting the 205-206)—rather than soteriologically—as God acting baptismal liturgy in LBW would have to “overturn” old to give his people grace and forgiveness. This leads to an theologies of baptism, deal with “a theology that” emphasis on baby drama, water drama, and other believed in “the necessity of baptism for salvation,” and congregational acts (pp. 24–26, 220). This theology of “would have to convince Lutherans of the need for a new action is tied to an analytic view of justification, that is, liturgical and theological approach to baptism” (p. -
Praying with Body, Mind, and Voice
Praying with Body, Mind, and Voice n the celebration of Mass we raise our hearts and SITTING minds to God. We are creatures of body as well as Sitting is the posture of listening and meditation, so the Ispirit, so our prayer is not confined to our minds congregation sits for the pre-Gospel readings and the and hearts. It is expressed by our bodies as well. homily and may also sit for the period of meditation fol- When our bodies are engaged in our prayer, we pray lowing Communion. All should strive to assume a seated with our whole person. Using our entire being in posture during the Mass that is attentive rather than prayer helps us to pray with greater attentiveness. merely at rest. During Mass we assume different postures— standing, kneeling, sitting—and we are also invited PROCESSIONS to make a variety of gestures. These postures and gestures are not merely ceremonial. They have pro- Every procession in the Liturgy is a sign of the pilgrim found meaning and, when done with understand- Church, the body of those who believe in Christ, on ing, can enhance our participation in the Mass. their way to the Heavenly Jerusalem. The Mass begins with the procession of the priest and ministers to the altar. The Book of the Gospels is carried in procession to the ambo. The gifts of bread and wine are brought STANDING forward to the altar. Members of the assembly come for- Standing is a sign of respect and honor, so we stand as ward in procession—eagerly, attentively, and devoutly— the celebrant who represents Christ enters and leaves to receive Holy Communion. -
Martin Luther and the Wittenberg Reformation of Worship
Today’s “Worship Wars” in light of Martin Luther and the Wittenberg reformation of worship §1 Some scriptural guidance §1.1 Worship practices The Christian liturgy grows out of the practice of temple and synagogue Luke 4.16-21 Acts 2.42 Acts 13.1-3 Acts 13.14b-16a 1 Corinthians 14.40 Use of hymnody Philippians 2.5b-11 1 Timothy 3.16b 1 Timothy 2.11b.13a Revelation—the Great Te Deum §1.2 Offense/edification General Romans 14 1 Corinthians 8 Specific to the church’s worship 1 Corinthians 14.2-3 §1.3 Unity in the Faith Ephesians 4.1-6 §2 Fast forward: What our confessions teach—and a tension Augsburg Confession, Article 24 Our churches are falsely accused of abolishing the mass. For the mass is retained among us and celebrated with the highest reverence. Practically all the ceremonies that have as a rule been used (usitatae) are preserved, with the exception that here and there German canticles are mixed in with the Latin ones. For, chiefly for this reason is there need of the ceremonies, that they might teach the unlearned. And Paul commands that a language understood by the people be used in the Church. (AC 24.1-4, Lat.)1 It is laid upon our people with injustice that they are supposed to have done away with the mass. For it is well-known that the mass, not to speak boastfully, is held with greater devotion and seriousness among us than among our adversaries….Likewise in the public ceremonies of the mass no notable change has occurred except that in some places 1 “Falso accusantur ecclesiae nostrae, quod missam aboleant. -
Why Do Lutherans Make the Sign of the Cross?
Worship Formation & Liturgical Resources: Frequently Asked Questions Why do Lutherans make the sign of the cross? The worship staff receives a number of similar inquires on worship-related topics from across the church. These responses should not be considered the final word on the topic, but useful guides that are to be considered in respect to local context with pastoral sensitivity. The response herein may be reproduced for congregational use as long as the web address is cited on each copy. "In the name of the Father, and of the + Son, and of the Holy Spirit” or “Blessed be the Holy Trinity, + one God, who forgives all our sin, whose mercy endures forever.” These words begin the orders for Confession and Forgiveness in Evangelical Lutheran Worship. The rubric (directions in red italics) that accompanies these words says: “The assembly stands. All may make the sign of the cross, the sign marked at baptism, as the presiding minister begins.” As this invocation is made, an increasing number of Lutherans trace the sign of the cross over their bodies from forehead to lower chest, then from shoulder to shoulder and back to the heart; and others trace a small cross on their foreheads. The sign of the cross, whether traced over the body or on the forehead, is a sign and remembrance of Baptism. The Use of the Means of Grace, The Evangelical Lutheran Church in America’s set of priorities for the practices of word and sacrament, says of this gesture: These interpretive signs proclaim the gifts that are given in the promise of God in Baptism…The sign of the cross marks the Christian as united with the Crucified (28A). -
The Routledge Handbook of Early Christian Art Christian Sarcophagi
This article was downloaded by: 10.3.98.104 On: 29 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Handbook of Early Christian Art Robin M. Jensen, Mark D. Ellison Christian Sarcophagi from Rome Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315718835-3 Jutta Dresken-Weiland Published online on: 20 May 2018 How to cite :- Jutta Dresken-Weiland. 20 May 2018, Christian Sarcophagi from Rome from: The Routledge Handbook of Early Christian Art Routledge Accessed on: 29 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315718835-3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 CHRISTIAN SARCOPHAGI FROM ROME Jutta Dresken-Weiland Because they are so numerous, Christian sarcophagi from Rome are the most important group of objects for the creation and invention of a Christian iconography. -
Using Evangelical Lutheran Worship in a Contemporary Setting.Pmd
Using Evangelical Lutheran Worship in a Contemporary Setting Evangelical Lutheran Worship is designed for use in many different ministry settings and congregational contexts. Our unity in Christ is reflected in our gathering around the Word and the sacraments – the means of grace. Still, local worship practice among Lutherans in North America is increasingly varied. Evangelical Lutheran Worship celebrates our unity in ways that support variety. Evangelical Lutheran Worship continues to emphasize that “freedom and flexibility in worship is a Lutheran inheritance, and there is room for ample variety in ceremony, music, and liturgical form” (Lutheran Book of Worship, Introduction). And, through its design and through a variety of interpretive materials herein, it seeks to make more transparent the principle of fostering unity without imposing uniformity. — Evangelical Lutheran Worship, Introduction Why use this new resource? Evangelical Lutheran Worship goes beyond Lutheran Book of Worship and its predecessors in emphasizing freedom and flexibility in worship. It still draws from historic sources, features approaches to worship that have time-tested value for enhancing participation, and uses carefully crafted language and music. By design, it provides for local adaptation which may benefit communities of faith that use contemporary worship models. Contemporary worship leaders, praise teams, pastors who develop sermon series’, and others will find helpful insights and guidance within this new resource. Whether in a contemporary or traditional setting, people are called to worship, confess sins, and receive the promise of forgiveness. In all Christian assemblies we read from the Bible and encounter Christ Jesus in preaching. Baptism and the Lord’s Supper are central to every worshiping community. -
1 Crossing Bearing and Life in a Lutheran
Crossing Bearing and Life in a Lutheran Synod: What Can We Learn from Hermann Sasse? The Emmaus Conference Tacoma, Washington 1-2 May 2014 “The Lutheran Churches are still sunning themselves in the delusion that they have something to expect from the world other than the dear holy cross, which all those must carry who proclaim God’s Law and the Gospel of Jesus Christ to mankind. But this delusion will soon disappear”1 so wrote Hermann Sasse in March, 1949. While not exactly equivalent to synods in North American Lutheranism, Hermann Sasse 2(1895-1976) had his own experience with church governments as places for bearing the cross in Germany and later on in Australia. A son of a church of the Prussian Union, Sasse would become a member of the Evangelical Lutheran Church in Bavaria, and eventually he would leave that body to immigrate to Australia where he would become a member of the United Evangelical Lutheran Church in Australia and then after that body’s merger with the Evangelical Lutheran Church in Australia, the Lutheran Church of Australia. I propose that Sasse suggests not only a theology of the cross but an ecclesiology of the cross. As Udo Schnelle would put it: “The existence of the church itself is already an application of the theology of the cross.” 3Not long after re-locating to Australia, Sasse would write one of his “letters to Lutheran pastors” on the theologia crucis. This letter, a brilliant and concise introduction to Luther’s conceptuality of the theology of the cross; it also has ramifications for the theme of this paper, cross bearing in the life of a Lutheran Synod. -
Lutheran Worship
1 Lutheran Worship Description: It is not uncommon to hear the Lutheran style of worship being labeled. Do you know why Lutherans worship the way that they do? Did you know that there is a specific style and reason for each section in the worship service? Did you know that Lutherans use the Bible as their guide for worship? Project: Worship Study This project will give the Confirmand the opportunity to discover the pattern and reasoning Lutherans have for conducting worship in a particular way. This study could be on the history of worship, Worship in the Bible, a study on the different parts of the Worship Service, compare and contrast Lutheran worship with other denominations, compare and contrast worship at Good Shepherd with another Lutheran church, and so on. Information To Include: Identify and define each part of the Lutheran worship service and explain it’s theological (teaching in Scripture and application to Christian living) significance. (The Confirmand is not limited to just this information in their project, but should have these informational items included with the research gathered and final product.) Final Product: Three pages minimum, single-spaced, (text) 12 point Times New Roman, (title & name) 14 point Times New Roman bolded, Top/Bottom margins 1 inch, Left/Right margins 1 ½ inches. Resources to Use: Websites: The Lutheran Liturgy: Its Biblical Roots http://www.goodshepherd.nb.ca/liturgy/ The Lutheran Liturgy http://www.suite101.com/article.cfm/lutheranism/20125 The Lutheran Liturgy: http://en.wikipedia.org/wiki/Category:Lutheran_liturgy_and_worship -
The Christology of Bach's St John Passion
PARADOSIS 3 (2016) ‘Zeig uns durch deine Passion’: The Christology of Bach’s St John Passion Andreas Loewe St Paul’s Cathedral Melbourne Melbourne Conservatorium of Music Introduction On a wet, early spring afternoon, on Good Friday 1724, the congregants of Leipzig’s Nikolaikirche witnessed the first performance of Bach’s St John Passion.1 For at least a generation, Good Friday in Leipzig’s principal Lutheran churches—St Thomas’, St Nikolai and the ‘New’ Church—had concluded with the singing of Johann Walter’s chanted Passion.2 As part of the final liturgical observance of the day, the story of the death of Jesus would be sung, combining words and music in order to reflect on the significance of that day. Bach took the proclamation of the cross to a new level – theologically and musically. Rather than use a poetic retelling of the Passion story as his textual basis, Bach made use of a single gospel account, matched with contemporary poems and traditional chorales to retell the trial and death of Jesus. By providing regular opportunities for theological reflection, he purposefully created a “sermon in sound” and so, in his music making, he closely mirrors Lutheran Baroque homiletic principles. An orthodox Lutheran believer throughout his life, Bach’s Passion serves as a vehicle to invite his listeners to make their own his belief that it was “through Christ’s agony and death” that “all the world’s 1 Andreas Elias Büchner, Johann Kanold, Vollständiges und accurates Universal-Register, Aller wichtigen und merckwürdigen Materien (Erfurt: Jungnicol, 1736), 680. 2 As popularised in Gottfried Vopelius, ed., Neu Leipziger Gesangbuch/ Von den schönsten und besten Liedern verfasset/ In welchem Nicht allein des sel. -
Prayer and Piety: the Orans-Figure in the Christian Catacombs of Rome
PRAYER AND PIETY: THE ORANS-FIGURE IN THE CHRISTIAN CATACOMBS OF ROME M.A. Thesis by REITA J. SUTHERLAND Presented to the Department of Classics and Religious Studies UNIVERSITY OF OTTAWA Supervised by Dr. Jitse H.F. Dijkstra © Reita J. Sutherland, Ottawa, Canada, 2013 Table of Contents Table of Contents ................................................................................................................. i Acknowledgements ............................................................................................................ iii Abstract ............................................................................................................................ iv General Introduction .......................................................................................................... 1 The Development of Christian Art: Origins of the Genre .........................................5 Towards as Philosophy of Images ...........................................................................15 Outline of Work .......................................................................................................18 Chapter One: The Precursors of the Orans ....................................................................... 21 The Adorans ............................................................................................................24 The Pietas Orans .....................................................................................................27 Conclusion ...............................................................................................................35 -
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. -
The Orante and the Goddess in the Roman Catacombs
THE ORANTE AND THE GODDESS IN THE ROMAN CATACOMBS Valerie Abrahamsen ABSTRACT The Orante, or Orans, figure, a very common and important symbol in early Christian art, is difficult to interpret. Theories of what she meant to early Christians, especially Roman Christians who buried their dead in the catacombs, range from a representation of the soul of the deceased to a symbol of filial piety. In this article, I will attempt to show that the Orante figure originates with the prehistoric goddess, the all-encom- passing Nature deity worshipped for millennia throughout the Mediterranean world. While many early Christians super- imposed Christian meaning on her, it is likely that other Christians still viewed her in conjunction with the earlier Nature goddess of birth, life, death and rebirth, even as they worshipped God in male form. Introduction he Orante or Orans, generally a female figure with open eyes and upraised hands, is a pervasive symbol in early TChristian art, perhaps “the most important symbol in early Christian art.”1 Found frequently in the late second-century art in the Roman catacombs, as well as in sculpture, her head is almost always covered with a veil, and she wears a tunic. She exists both as a separate symbol and as the main figure in a number of Biblical scenes, but rarely in masculine form with male clothing. Instead, she frequently stands in for male figures in scenes of deliverance—she becomes Noah in the ark, Jonah in the boat and spewed out of the whale, Daniel between the lions, and the three young men in the fiery furnace.