“… as we sing …” Lex canendi as the practical-theological mode of doing liturgy

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dc.contributor.advisorCilliers, Johanen_ZA
dc.contributor.authorKwon, Yongjunen_ZA
dc.contributor.otherStellenbosch University. Faculty of Theology. Dept. of Practical Theology and Missiology.en_ZA
dc.date.accessioned2023-03-01T10:03:55Z
dc.date.accessioned2023-05-18T07:04:17Z
dc.date.available2023-03-01T10:03:55Z
dc.date.available2023-05-18T07:04:17Z
dc.date.issued2023-03
dc.descriptionThesis (PhD)--Stellenbosch University, 2023.en_ZA
dc.description.abstractENGLISH 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. en_ZA
dc.description.abstractAFRIKAANSE OPSOMMING: ‘n Studie in die konflikte rondom verskillende vorme van aanbidding (o.a. tradisioneel v. kontemporêr, rede v. emosie, en rituele v. lewe) is niks nuuts nie. Hoewel bestaande studies meestal verskeie liturgiese konflikte as individuele probleme behandel wat onvergelykbaar is met mekaar. Hierdie navorsing beoog om die gemene faktore te vind wat liturgiese konflikte organies verbind en ‘n formule voor te stel wat help om hulle holisties op te los. Om dit te bewerkstellig, is hierdie navorsing se doel om lex canendi (die musikale dimensie of patroon van sing) by te voeg by die bestaande liturgiese formule van lex orandi, lex credendi, lex vivendi, wat na ‘n hermeneutiese sirkel van wedersydsheid tussen die rituele dimensie, teologiese dimensie en geleefde dimensie verwys. Die uitgebreide formule is dan soos volg: Lex canendi, lex orandi, lex credendi, lex vivendi (byv. COCV). Dus suggereer hierdie navorsing die musikale dimensie (lex canendi) as die praktiese- (lex vivendi) teologiese (lex credendi) mode van uitvoering van liturgie (lex orandi). Lex canendi bestaan uit die volgende elemente wat nodig is vir musiek, en dus ‘n sterk familieooreenkoms met mekaar toon: musiek, sang, kuns, estetika, skoonheid, lyflikheid, die mens as kunswerk van God, verbeelding, insig, dubbelsinnigheid, metafoor, simbool, die sinne, gevoel, emosie, toegeneentheid, spel, vryheid, kontemporêr, pop kultuur, en transendensie, ens. Die navorsing begin met die aanname dat die valse interaksie tussen lex canendi en die bestaande lede van die lex (lex orandi, lex credendi, lex vivendi) veroorsaak dat lex canendi nouliks uitgesluit of onkrities aanvaar word, en as ‘n gevolg, lei dit na die volgende drie hoof liturgiese konflikte (of, in ‘n breë sin, aanbiddingsoorloë): 1) ‘n konflik tussen dit wat tradisioneel, ernstig en verhewe (lex orandi) is en wat kontemporêr, vermaaklik en populêr (lex canendi) is, onder andere die dualisme tussen tradisionalisme en kontemporêr-isme; 2) ‘n konflik tussen dit wat intellektueel, konsepsueel, openbaar en doktrinêr (lex credendi) is en dit wat emosioneel, eksistensieel, dubbelsinnig en empiries (lex canendi) is, onder andere die dualisme tussen dogma en sentimentaliteit; en 3) ‘n konflik tussen wat innerlik, realisties en prakties (lex vivendi) is en dit wat transendent, verbeeldend en esteties (lex canendi) is, onder andere die dualisme tussen anti-estetika en estetika. Om hierdie aanname te bevestig, bestudeer die navorser die spesifieke problematiese fenomene van die drie liturgiese konflikte wat verwant is aan die valse lex canendi, en spoor kruis-dissiplinêr die direkte en indirekte redes daarvoor na. Gevolglik, wys die studie dat diverse problematiese fenomene van die liturgiese konflikte (of, in ‘n breë sin, aanbiddingsoorloë) nie onvergelykbaar met mekaar is nie, maar dat hulle gemene kenmerke het (onder andere die valse verhouding tussen lex canendi en die bestaande drie lede van die lex) , en daarom, kan hulle organies en holisties verstaan en opgelos word. Daarom, lei hierdie navorser af dat deur ‘n heilsame hermeneutiese sirkel van wedersydsheid te verskaf tussen lex orandi, lex credendi, lex vivendi en lex canendi, die COCV model, dit ‘n geïntegreerde oplossing vir die liturgiese konflikte bied. Meer spesifiek, stel hierdie navorsing voor dat die COCV model bruikbaar is in die soeke na oplossing van die liturgiese konflikte deur die volgende drie tipes liturgiese medebestaan (of spanning): 1) die medebestaan van die rituele en musikale dimensies (lex orandi, lex canendi) wat liturgiese spanning impliseer tussen dit wat goddelik en dit wat menslik is, tussen orde en vryheid en tussen diverse smaak in musiek/kultuur; 2) die medebestaan van die teologiese en die musikale dimensies (lex credendi, lex canendi) wat liturgiese spanning impliseer tussen lyf en verstand, tussen konsepte/verduidelikings en bestaan/insig, en tussen openbaring en dubbelsinnigheid; 3) die medebestaan van die lewende en musikale dimensies (lex vivendi, lex canendi), wat liturgiese spanning impliseer tussen die outonomie van die aanbidder van die werklikheid en hulle gemeenskap, en tussen die transendensie van God se koninkryk en die immanensie van die koninkryk. af_ZA
dc.description.versionDoctoralen_ZA
dc.format.extentxv, 568 pages : illustrations (some color)
dc.identifier.urihttp://hdl.handle.net/10019.1/127100
dc.language.isoen en_ZA
dc.publisherStellenbosch : Stellenbosch Universityen_ZA
dc.rights.holderStellenbosch Universityen_ZA
dc.subject.lcshLiturgicsen_ZA
dc.subject.lcshChurch musicen_ZA
dc.subject.lcshUCTDen_ZA
dc.title“… as we sing …” Lex canendi as the practical-theological mode of doing liturgyen_ZA
dc.typeThesisen_ZA
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Doctoral Degrees (Practical Theology and Missiology)