바다의 노래(출애굽기 15:1-21)성전음악에서 회중의 역할
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This project is designed to gain clarity about the identity and relevance of the Song of the Sea (Exodus 15:1-21) as a model of the congregational hymn for our worship service and to provide an appropriate theology of liturgy for the renewal of the role of the people in the worship service and in the singing of the hymn. It is the thesis of this project that the renewal of the hymn of the people in the worship service and the recovery of its relevance to the communal worship in the Christian tradition depend upon its learning to understand itself once again through the Song of the Sea. This work understand that the setting for the Song at the Sea lies in the cult, in all probability in the Passover celebration. Its function is celebration of God's deeds as an act of praise in the context of worship. The Song at the Sea is a praise of God or to state the point that they are utterances which was suitable praise for a congregation to speak or sing as part of its liturgy, while having been spoken or sung in a particular set of historical circumstances by biblical personages. Indeed, this song - represented as having sung by Levite choirs or by “all Israel” - was the ideal sort of song for a congregation, i.e., “all Israel” or “the Levites” of nowadays, to sing as part of their worship. The Song at the Sea did enjoy a special prominence in this regard, and from early times was treated as a model for congregational singing. It is also well known that Ex. 15 was performed as part of the Second Temple liturgy. Choirs of women were no less active in the Jewish liturgy. At the thanksgiving service after the flight from Egypt Miriam led the choir of the women. The Song of Miriam, which now stands under the shadow of the superb Song at the Sea, deserves to be considered in its own right. This is an independent song which was an immediate poetic response to the event of Yahweh's liberation that it celebrates. In song and dance Miriam and her companions celebrated with the people the wonder of the event at the sea. In so doing, they inaugurated a liturgical tradition in which other poets and singers stood, including those who have given us the laments, thanksgivings and hymns of the Psalter.
Abstract
This project is designed to gain clarity about the identity and relevance of the Song of the Sea (Exodus 15:1-21) as a model of the congregational hymn for our worship service and to provide an appropriate theology of liturgy for the renewal of the role of the people in the worship service and in the singing of the hymn. It is the thesis of this project that the renewal of the hymn of the people in the worship service and the recovery of its relevance to the communal worship in the Christian tradition depend upon its learning to understand itself once again through the Song of the Sea. This work understand that the setting for the Song at the Sea lies in the cult, in all probability in the Passover celebration. Its function is celebration of God's deeds as an act of praise in the context of worship. The Song at the Sea is a praise of God or to state the point that they are utterances which was suitable praise for a congregation to speak or sing as part of its liturgy, while having been spoken or sung in a particular set of historical circumstances by biblical personages. Indeed, this song - represented as having sung by Levite choirs or by “all Israel” - was the ideal sort of song for a congregation, i.e., “all Israel” or “the Levites” of nowadays, to sing as part of their worship. The Song at the Sea did enjoy a special prominence in this regard, and from early times was treated as a model for congregational singing. It is also well known that Ex. 15 was performed as part of the Second Temple liturgy. Choirs of women were no less active in the Jewish liturgy. At the thanksgiving service after the flight from Egypt Miriam led the choir of the women. The Song of Miriam, which now stands under the shadow of the superb Song at the Sea, deserves to be considered in its own right. This is an independent song which was an immediate poetic response to the event of Yahweh's liberation that it celebrates. In song and dance Miriam and her companions celebrated with the people the wonder of the event at the sea. In so doing, they inaugurated a liturgical tradition in which other poets and singers stood, including those who have given us the laments, thanksgivings and hymns of the Psalter.
참고문헌 (30)
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