Browsing by Author "Kwon, Yongjun"
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- Item“… as we sing …” Lex canendi as the practical-theological mode of doing liturgy(Stellenbosch : Stellenbosch University, 2023-03 ) Kwon, Yongjun; Cilliers, Johan; Stellenbosch University. Faculty of Theology. Dept. of Practical Theology and Missiology.ENGLISH ABSTRACT: A study on various conflicts in worship (e.g. traditional vs. contemporary, reason vs. emotion, and rituals vs. life) is not new. However, existing studies have often treated various liturgical conflicts as individual problems which are incommensurable with each other. This research aims to find the common factors which organically bind liturgical conflicts and to suggest a liturgical formula which helps solve them holistically. In order for this, this research adds lex canendi (the musical dimension or pattern of singing) to the existing liturgical formula of lex orandi, lex credendi, lex vivendi, which refers to a hermeneutical circle of reciprocity between the ritual dimension, theological dimension and living dimension. The expanded formula is then as follows: Lex canendi, lex orandi, lex credendi, lex vivendi (i.e. COCV). Thus, this research suggests the musical dimension (lex canendi) as the practical (lex vivendi)-theological (lex credendi) mode of doing liturgy (lex orandi). Lex canendi consists of the following elements that are needed by music, and thus, exhibit a strong family resemblance to each other: music, singing, art, aesthetics, beauty, body, human beings as God’s artworks, imagination, understanding, ambiguousness, metaphor, symbol, the senses, feeling, emotion, affection, play, contemporary, freedom, pop culture, and transcendence, etc. The research begins with the assumption that the false interaction between lex canendi and the existing members of the lex (lex orandi, lex credendi, lex vivendi) makes lex canendi narrowly excluded or uncritically accepted, and as a result, it causes the following three major liturgical conflicts (or, in its broad sense, worship wars): 1) a conflict between what is traditional, serious and sublime (lex orandi) and what is contemporary, entertaining and popular (lex canendi), i.e. the dualism between traditionalism and contemporary-ism; 2) a conflict between what is intellectual, conceptual, manifest and doctrinal (lex credendi) and what is emotional, existential, ambiguous and empirical (lex canendi), i.e. the dualism between dogmatism and sentimentalism; and 3) a conflict between what is immanent, realistic and practical (lex vivendi) and what is transcendent, imaginative and aesthetic (lex canendi), i.e. the dualism between anti-aestheticism and aestheticism. To confirm this assumption, the researcher observes the specific problematic phenomena of the three liturgical conflicts that are related to the false lex canendi, and cross-disciplinarily traces the direct and indirect reasons for them. As a result, this study shows that diverse problematic phenomena of the liturgical conflicts (or, in its broad sense, worship wars) are not incommensurable with each other but they have common features (i.e. the false relationship between lex canendi and the existing three members of the lex), and thus, they can be understood and solved organically and holistically. Therefore, the researcher concludes by providing a wholesome hermeneutical circle of reciprocity between lex orandi, lex credendi, lex vivendi and lex canendi, i.e. the COCV model, as an integrated solution to the liturgical conflicts. More specifically, this research proposes that the COCV model can be useful in the quest for solving the liturgical conflicts by making the following three types of liturgical coexistences (or tensions): 1) the coexistence between the ritual dimension and the musical dimension (lex orandi, lex canendi) which implies liturgical tensions between what is divine and what is human, between order and freedom, and between diverse tastes in music/culture; 2) the coexistence between the theological dimension and the musical dimension (lex credendi, lex canendi) which implies liturgical tensions between the body and the mind, between concepts/explanation and existence/understanding, and between manifestness and ambiguousness; and 3) the coexistence between the living dimension and the musical dimension (lex vivendi, lex canendi) which implies liturgical tensions between worshippers’ autonomy from reality and their society, and between the transcendence of God’s kingdom and the immanence of the kingdom.
- ItemIn search of a holistic music ministry in the South Korean context : a liturgical investigation(Stellenbosch : Stellenbosch University, 2018-03) Kwon, Yongjun; Cilliers, Johan; Stellenbosch University. Faculty of Theology. Dept. of Practical Theology and Missiology.ENGLISH ABSTRACT: This research proposes a holistic reciprocity between the work of the Spirit, human activities and the role of music and the dynamic interconnectedness between liturgy, theology, music and Christian lives in the South Korean music ministries. Although studies on the roles of the Spirit, of human beings and of music in the music ministry have been conducted, little attention has been given to reciprocity among these three elements. Thus, this research was begun by examining the holistic relationship of the Spirit, human beings and music in the Korean music ministry. In order to do this, this study, as point of departure, undertook a survey analysis of some problematic phenomena in the South Korean music ministry that result from non-reciprocity between the pneumatological, anthropological, and musicological dimensions. From the survey analysis, it became clear that non-reciprocity in the work of the Spirit, human activities and the role of music in the Korean music ministry occurred due to a combination of some Western ideas that were brought into the Korean church with the modernisation of South Korea (i.e. the Enlightenment, deism, consumerism, mere conservationism, occasionalism, and soul-body dualism) and the particular Korean context (i.e. Mu-Kyo [Korean shamanism]). Among ideas applied to understand the problematic phenomena, were Walton’s notion of ‘make-believe’, Marx’s notion of ‘commodity fetishism’, Beck’s theory of ‘zombie categories’, Ritzer’s notion of ‘McDonalization’ and autistic echolalia. In order to resolve the problematic phenomena, the researcher provides a formula that suggests that the musical elements should be surrounded by the human elements and both the musical and human elements should be based on the work of the Spirit. It is referred to as a holistic music ministry within the pneumatological, anthropological and musicological dimensions. This formula is suggested in the light of contributions from theologicans such as Bohren, Edwards and Begbie. The research study concludes with providing another formula for the music ministry that acts as a hermeneutical continuum with the first formula (a holistic music ministry), namely, a hermeneutical circle of reciprocity between lex orandi, lex credendi, lex canendi, lex vivendi. This formula describes a right correlation with liturgy (lex orandi), theology (lex credendi), music (lex canendi) and life (lex vivendi). The correlation between the four elements is based on the Latin axiom ‘lex orandi, lex credendi’ that describes the dialectic relationship between liturgy and theology. In order to explain this correlation, the voices of some liturgists are considered, for instance, Wainwright, Schmemann and Kavanagh. Moreover, in order to suggest a hermeneutical circle of reciprocity, the voices which distinguish true aesthetics from kitsch aesthetics from the theological perspective are listened to, for instance, Kierkegaard, Cilliers and Campbell. The two formulas may be useful as tools to solve problematic phenomena in the South Korean music ministry and to shape true worshippers, true theologians, true musicians and true believers.