Liturgiese musiek as kommunikatiewe handeling in 'n post-moderne era

Abstract

Worldwide liturgical music finds itself in a crisis. Liturgical music is made the scapegoat for everything that is wrong with liturgy, whereas the problems rather derive from the worship service as a whole, the theological thinking and the cultural environment in which the worship service is performed. Stereotyped liturgical forms, a cognitive verbalism, the demand for intelligibility, the loss of the poetic form of the liturgy, the disregard for symbols and rituals, the absence of visual and other art forms in the liturgy, the influence of the popular music culture and especially the lack of a profound theological reflection with regard to the essential place of music in the liturgy, are all contributing factors that have a negative influence on liturgical music. The worship service is surrounded by a postmodern culture, aspects of which might provide positive opportunities for the liturgy. A broader notion of rationality that includes the affective, non-cognitive dimensions of being human, opens up possibilities for the aesthetic, as well as the religious experience. The recognition of symbols, images, imagination and metaphors opens up new horizons for the worship service as Gesamtkunstwerk. Anti-foundationalistic thinking demands an open canon with regard to the liturgy and liturgical song. Ecumenicity as an expression of the postmodern 'global village' renders a plurality of liturgical and musical possibilities. Aspects that might influence the reception of liturgical songs and songbooks, such as a spirit of anti-authoritarianism must be borne in mind. The liturgical training of ministers of religion, especially with regard to their aesthetic formation must be given due attention. The reflection on liturgy with regard to the role of art and music as communicative acts, based on new theological insights, must come into full swing. Liturgical music can only be fully appreciated where liturgical renewal takes form in a comprehensive way and where theologically the space is opened up for music as a form of art that has the ability to communicate symbolically, especially that which defies clearcut definition - as such being a communicative act serving the gospel.

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