The secularisation of Hymnody: A crytical reading of selected texts

Abstract

Abstract This article gives an overview of different models of postmodern worship, including those of blended, fusion or synthesis worship, as well as the alt., emerging and liquid models. Subsequently the entertainment models of megachurch services and multi-sensory worship are discussed. It was found that postmodern devotional practices are highly eclectic in nature, and that they vacillate between attempts towards a return to ancient traditions, and highly innovative, media-driven contemporary interpretations. Likewise, music takes on many different styles and genres in fulfilling its various roles; in some instances, serving not only as a medium for encounters with God, but also vigorously adapting to secular frames of reference. It is argued that the secularisation of hymnody is no new phenomenon, as hymns and worship songs have, throughout the ages, often emphasised particular elements of Christian faith while simultaneously serving the interests of secular concerns. A discursive analysis of selected hymns and worship songs, representing different periods in the history of the Church, as well as divergent religious and denominational contexts, demonstrates how ‘worldly’ concerns pervade such texts. It is found that such secular allusion may be constructed either via ‘text’ or ‘context’.

Opsomming Die sekularisering van himnodie: ’n kritiese lesing van geselekteerde tekste Hierdie artikel bied ’n oorsig oor verskillende modelle van postmoderne aanbidding, insluitend dié van sogenaamde ‘vermengde’ (‘blended’), ‘versmelte’ (‘fusion’) of ‘sintese-’ (‘synthesis’) aanbidding, asook die ‘alt.’, ‘opkomende’ en ‘vloeibare’ modelle. Vervolgens word ook die vermaaklikheidsmodelle van mega-kerk en multi-sensoriese aanbidding bespreek. Die eklektiese aard van postmoderne aanbiddingspraktyke word uitgewys, asook die feit dat dit wissel tussen pogings om na antieke tradisies terug te keer, en hoogs vernuwende, media-gedrewe kontemporêre interpretasies. Soortgelyk neem aanbiddingsmusiek baie verskillende style en genres aan ten opsigte van die vervulling van ’n verskeidenheid van rolle; hierby gaan dit nie alleenlik om musiek as medium vir ontmoetings met God nie, maar ook om ’n kragdadige aanpassing by sekulêre verwysingsraamwerke. Daar word geredeneer dat die sekularisering van himnodie nie ’n nuwe verskynsel is nie, aangesien gewyde gesange en ander vorme van aanbiddingsmusiek deur die loop van die eeue dikwels bepaalde elemente van die Christelike geloof beklemtoon het, terwyl belange van ’n sekulêre aard terselfdertyd gedien is. ’n Diskursiewe ontleding van geselekteerde liedere, verteenwoordigend van verskillende periodes vanuit die Kerk se geskiedenis, asook van uiteenlopende godsdienstige en denominasionele kontekste, toon hoe ‘wêreldse’ oorwegings sulke tekste kan binnedring. Daar word vasgestel dat sodanige sekulêre toespeling deur beide ‘teks’ én ‘konteks’ daargestel kan word.