Search Results (4)

In 1926, a New York Times article described the cultural and ethnic flows in south Brazil as a “Melting Pot”. The report predicted that German Brazilians, tied to their ethnoracial origin, would soon be Brazilianized. The study of congregational song practices offers insight into the relationship between migration, race, culture, and ethnicity. Moreover, investigating Brazilian Lutheran singing practices helps us understand how the New York Times’ prediction unfolded on the ground. This paper examines the Brazilian Lutheran hymnal Livro de Canto, published in 2017, and displays how Brazil’s ethnoracial diversity is manifested and negotiated in the Lutheran context, both musically and theologically. By interviewing members of the hymnal committee and investigating how they dealt with Brazil’s ethnoraciality in the context of the hymnal compilation, this paper demonstrates ways denominations and churchgoers negotiate theological, cultural, musical, and ethnoracial identities through congregational singing. More importantly, it showcases how Brazilian Lutheran church music practices inform broader social conversations around racism, nationalism, Blackness, and Brazilianness. Full article

In the last twenty years the Baptist, Methodist, and Waldensian churches in Italy have experienced an important season of migrations, mainly from South America, South-east Asia, and West Africa. This has led to a problem of sharing and mutual influence on the liturgical and musical levels for Italian churches that they had never experienced before. This article intends to study the editorial proposals of hymnbooks published by the Baptist, Methodist, and Waldensian churches in Italy. How many and which hymnals have been published from an intercultural point of view? Are the proposed repertoires transcultural? How many and which languages have been used in the publications? These three Protestant denominations have used different models for migrant churches. Another important aspect is the translation of the hymns: what language is used, and how certain words, images and theological ideas are made. The article, also using the methods of ethnographic field research, will be enriched by graphs which will show, for each denomination, which hymnographic repertoires were preferred and which vehicular languages were most used (and if this happened). Full article

Hymnal curation processes have for centuries maintained restrictive feedback loops: material that has been published elsewhere continues to be published, and new material—particularly when it offers something unique—is evaluated against the criteria of what has gone before. This results in hymnals that tend to over-represent the work of white male contributors from a Euro–American perspective and limits the amount of material by women, people of color, and contributors from around the world. Since the mid-to-late twentieth century, when some denominations have sought to diversify their worship music collections, change has come slowly. Contemporary hymnody and contemporary worship music are predominantly written by men, and additions of global song have relied on a narrow swath of scholars and publications. To understand some of the power imbalances embedded in church music publishing, we use Voices Together, the 2020 Mennonite hymnal for which we were committee members, as a case study. We explore how this new collection came to include only about 45 newly published songs out of the total of 749 songs, and we analyze statistics related to gender and global song. An intersectional approach allows us to examine how musical actors are marginalized in multiple ways, considering prejudice against class, race, and gender. Understanding how current collections are informed by previously published collections, and consequently how the demographics of contributors have shifted over time, explains how publishing privileges the published and offers insight needed to begin to rectify this problem. Full article

Music often facilitates the experience of communitas within disparate groups of people. As the American mainline Protestant church faces schism and struggles for relevance in a post-modern era defined by mistrust in the institutional church and social subjectivism, reexamining how singing together can break down barriers within ecclesial structures and create shared understanding is merited. As demonstrated through the music of pilgrimage, community musicking allows individuals to define the sacred together. Music then becomes an educational resource for the reformation of the church. The Iona and Taizé communities offer insights into this process. Their publishing efforts and worship styles, influenced and crafted by the populations who visit their locations, have provided resources for this dialogue in localized contexts. However, the experience of communitas is individualized—no one person, group, or organization can define this outcome. Consequently, no single musical or liturgical approach will be appropriate in all contexts; the church’s music must adapt so that each selection is imbued with meaning for that community. Facilitating such a process in the local congregation may threaten the status quo while also becoming a tool for revitalization in the post-modern era. Full article