{"title":"Marginalia","authors":"J. Ciardi","doi":"10.1177/0039320721992255","DOIUrl":null,"url":null,"abstract":"Musical tone, mood, pitch, rhythm, meter, major or minor key all directly affect worshipers’ involvement. A printout hymn text could not even begin to describe all the factors and feelings experienced by the accompanying music. In a deeply percipient overture, Jennifer Wakeling proposes “a general theological symbolic structure of textless music in Christian worship” because “when textless music is performed as a stand-alone act in Christian worship, it possesses the capacity to function as a symbol through which Christian meaning can be generated at experiential, reflective, and transformative levels.”","PeriodicalId":375371,"journal":{"name":"Studia%20Liturgica","volume":"77 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Marginalia\",\"authors\":\"J. Ciardi\",\"doi\":\"10.1177/0039320721992255\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Musical tone, mood, pitch, rhythm, meter, major or minor key all directly affect worshipers’ involvement. A printout hymn text could not even begin to describe all the factors and feelings experienced by the accompanying music. In a deeply percipient overture, Jennifer Wakeling proposes “a general theological symbolic structure of textless music in Christian worship” because “when textless music is performed as a stand-alone act in Christian worship, it possesses the capacity to function as a symbol through which Christian meaning can be generated at experiential, reflective, and transformative levels.”\",\"PeriodicalId\":375371,\"journal\":{\"name\":\"Studia%20Liturgica\",\"volume\":\"77 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studia%20Liturgica\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1177/0039320721992255\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studia%20Liturgica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/0039320721992255","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Musical tone, mood, pitch, rhythm, meter, major or minor key all directly affect worshipers’ involvement. A printout hymn text could not even begin to describe all the factors and feelings experienced by the accompanying music. In a deeply percipient overture, Jennifer Wakeling proposes “a general theological symbolic structure of textless music in Christian worship” because “when textless music is performed as a stand-alone act in Christian worship, it possesses the capacity to function as a symbol through which Christian meaning can be generated at experiential, reflective, and transformative levels.”