Artistic Theologian 6 (2018): 50-51
A Theoretical Analysis of Psalm 84 for Soprano and Orchestra
Desmond C. Ikegwuonu, DMA
This document presents an analysis of Psalm 84 for Soprano and Orchestra and is divided into two chapters. This work is composed as a symphonic poem with a setting of the Psalm text compiled by the composer for soprano soloist.
In Chapter 1, emphasis is laid on connections between the foundational thematic unit, achieving melodic continuity by displaced repetition and minimalist technique. Three sections are devoted to establishing methods of melodic extension through varied thematic repetition, the use of nonpulsed thematic unit, harmonic cadence cycle, and the exploration of “new simplicity” via diatonic pitch relationships.
Chapter 2 provides a thorough analysis of the Psalm setting for soprano including key and interval relationships, word painting, the transformation of the main thematic unit, and the choice of sonorities.
Psalm 84 reflects techniques such as melodic and harmonic inventiveness of neoromanticism and the use of simple triadic outline and repetition in holy minimalism.
Can a Woman be a Music Minister? Bridging the Gap Between Complementarian Theology and Philosophies of Music Ministry
Jessica Jane Wan, PhD
Within complementarian circles, there are diverse understandings on the role of women in ministry. With regards to music ministry, there is no consensus among complementarians as to whether or not a woman could be a music minister in a mixed-gender corporate worship service. This dissertation addresses the issue of women in music ministry by arguing for complementarians to align their own theological stance on the role of women in ministry with their philosophy of music ministry to arrive at a coherent application for whether a woman can be a music minister in corporate worship when men are present.
Chapter 2 surveys complementarian literature on women in ministry to demonstrate a need for this study. Chapter 3 looks at the history of complementarianism and defines key terms (creation order, male headship, authority, and submission) that will be used throughout this dissertation. Chapter 4 studies New Testament passages related to women in corporate worship (1 Cor 11:2–16, 14:33b–36, and 1 Tim 2:9–15) to set the theological framework by articulating fundamental complementarian principles along with slight variances in interpretation. Chapter 5 examines roles and functions of music as well as a music minister in corporate worship to provide philosophical considerations of music ministry. Chapter 6 answers whether or not a woman can be a music minister in a mixed-gender corporate worship by bridging complementarian theology with philosophies of music ministry. Chapter 7 concludes this dissertation by giving a summary of arguments, conclusion, applications, challenges, and areas of further research.