Die eng definiering van kerkmusiek staan tans in die spervuur
vanwee:
1. Ingrypende wendinge binne die praktiese teologie in die
afgelope paar dekades, wat pleit om 'n hernieude ondersoek
binne die handelingsveld van viering (waaronder himnologie);
2. 'n Verskuiwing in wereldbeskouing weg van modernisme na postmodernisme;
3. Die geboorte van 'n totaal nuwe geslag adolessente, bekend
as die 'Verlore Generasie' of 'Generasie X' .
Kerkmusiek, in die engere sin, soos dit steeds grootliks verstaan
word, hou nie genoegsaam met hierdie tendense rekening nie.
Vandaar verloor kerkmusiek sy impak en inspraak in die leefwereld
van die hedendaagse tiener. Dit veroorsaak gevolglik 'n groterwordende kloof tussen adolessente en die erediens, gemeente en kerk.
In hierdie studie word gepoog om genoegsaam op bostaande tendense
ag te slaan, sodat 'n breer def iniering van kerkmusiek tot stand mag kom, wat ruimte vir grater verskeidenheid en aktualiteit tot gevolg sal he, en die spanning random kerkmusiek en die tiener kan probeer ontlont.
The narrow defining of church music today experiences a critical
assault on account of:
1. Drastic turns within the development of Practical theology
in the past few decades, which ask for a renewed
investigation within the field of himnology;
2. a Shift in worldview away from modernism to post-modernism;
3. The birth of a total new generation of adolescents, known as
the 'Lost Generation' or 'Generation X' .
Church music in the narrow sense, as it is still understood to a great extent, does not take these tendencys serious enough. For this reason it's impact and influence in the life of today's teenagers declines.
With this study a thorough acknowledgement of these shifts is
attempted, which will result in a much broader defining of church music, and in turn will bring forth a scope for more variety and actuality, so that hopefully the growing gap between teenagers and church music can be bridged.
