How shall we sing the Lord's song in a strange land? : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University
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Date
1989
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Massey University
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Abstract
Hymns have always been part of Christian liturgy, expressing the faith in congregational song. The NZ hymnwriter of the late twentieth century writes within a secular society which increasingly questions the relevance of religion. This thesis examines and describes issues with which modern hymnwriters are confronted in the practice of their work, the intention being to produce a work of practical benefit to those using hymns in some way. The thesis begins with an historical overview of the ways hymnology has developed. From this background it is possible to ascertain a working definition of a hymn, and to discover how hymns have been used over the centuries to express certain theological points of view about the nature of the church, particularly as it relates to society as a whole. Hymns are a combination of doctrine and song. How words and music combine to form the complex experience of a hymn is discussed in Chapter two. Music has always been a contentious issue within the church for it brings the possibility of the "secular" into worship. Music style is an expression of a church's theology of church in the world. The choice of music as part of the experience of a hymn is a crucial issue. In a secular society, the charge of irrelevance is levelled at religion in general, and hymns in particular. Chapter Three discusses the meaning of "relevance" for hymnology. This is related to hermeneutics, liturgy, and tradition, with particular focus on Reader-Response Criticism as a tool for understanding the dynamics of the texts relationship to the reader/singer. The modern hymnwriter must overcome the conservatism of hymnbook collections. The quest for relevance and the exploration of new styles takes place largely outside the confines of hymnbooks. As liturgy is the milieu within which hymns are experienced and for which they are written, the thesis raises four questions by which to test the effectiveness of hymns in worship. During the writing of this thesis an issue arose several times which is more properly the province of religious sociology or theology; the way in which hymns express the power struggle between the "organisation" and the people. many music forms used in the church began as people's songs and dances, but church use has dampened the original liveliness of these forms. I have addressed this issue in passing without exploring it fully. Because I am a Methodist presbyter, there are times when my Methodist bias shows. I make no apology for that. The NZ context from which I write is also an important factor in the choosing of illustrative material. I have deliberately used With One Voice as a source book for most hymn quotations as it is used in many NZ churches and can therefore add to the practical nature of this work. The thesis is not a critique of With One Voice.
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New Zealand, English hymns, History and criticism, Texts