By Roberta King, Jean Ngoya Kidula, James R. Krabill, Thomas A. Oduro
Through the 20th century, the variety of Christians in Africa grew from an anticipated four million to greater than three hundred million. one of many forces that has propelled the church's extraordinary progress is its liturgical song, which has been seriously prompted by means of indigenous musical traditions. This worthwhile publication takes readers contained in the tune for the 1st time. through reading the crucial function of indigenous tune in selling Christianity and in giving voice to neighborhood theologies, the authors search to energise conversations among song, tradition, and the church. in addition, they extract beneficial classes for fostering religion groups around the world.
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Extra info for Music in the Life of the African Church
Thus hymns formed a core component in their worship, spirituality, and Christian identity. Although early nineteenth century missionary hymns consisted mostly of “Watts and Wesley” (Hustad 1993, 224), new innovation and reform in congregational song during the Victorian era generated further expansion of Euro-American musical practices. Drawing from Ian Bradley’s insightful work (1997), Abide with Me: The World of Victorian Hymns, the period expanded Euro-American sacred music in many ways, which are briefly discussed here.
S. church. The “gospel choir” later evolved into prominence with massed choirs used around the world. S. church was inseparably linked with one’s Christian faith practices. indd 33 1/22/08 2:19:34 PM 34 — Roberta R. King Euro-American Music in Diaspora Since the time of the Protestant Reformation, Euro-American church music culture has defined itself through its hymns and accompanying worship practices. This was particularly true during the eighteenth and nineteenth centuries. Arising out of revival movements and generating new initiatives in mission, “hymn singing was a primary vehicle of the numinous, the very wind of the Spirit itself ” (Marini 2006, 123–24).
Some were extravagantly decorated with ornaments, and red and white clay. Such a sight one will not see but in Africa. . (Kasiera 1981, 180) The African world in which North American and European missionaries brought the message of Christianity was viewed by each group through their musical cultural lenses. Although Mrs. Saville and her husband thought the performance of the Africans was pathetic, this unevangelized group’s performance demonstrated their impression of what missionaries music sounded like to them because they were singing the song that had been taught to them by missionaries.