Download Enchantment and creed in the hymns of Ambrose of Milan by Brian P. Dunkle SJ PDF
By Brian P. Dunkle SJ
This paintings bargains a severe evaluation of the hymns of Ambrose of Milan (c.339-397) within the context of 4th century doctrinal hymns and when it comes to his personal catechetical preaching. Brian P. Dunkle argues that Ambrose hired refined poetic recommendations in his hymns so one can foster a pro-Nicene sensitivity in his congregation.
summary: This paintings deals a serious review of the hymns of Ambrose of Milan (c.339-397) within the context of 4th century doctrinal hymns and in terms of his personal catechetical preaching. Brian P. Dunkle argues that Ambrose hired refined poetic innovations in his hymns to be able to foster a pro-Nicene sensitivity in his congregation
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See Hermann Josef Sieben, “Athanasius über den Psalter: Analyse seines Briefes an Marcellinus,” Theologie und Philosophie 48 (1973),” 171–2; Carol Harrison, “Enchanting the Soul: The Music of the Psalms,” in Meditations of the Heart: The Psalms in Early Christian Thought and Practice. Essays in Honour of Andrew Louth, ed. Andreas Andreopoulos, Augustine Casiday, and Carol Harrison (Turnhout: Brepols, 2011), 203–23. 27 See Théodore Gérold, Les pères de l’église et la musique (Paris: Librairie Félix Alcan, 1931), 88–105 (“La lutte contre la musique pernicieuse”); Ansgar Franz, “Die Alte Kirche,” in Kirchenlied und Gesangbuch: Quellen zu ihrer Geschichte: Ein hymnologisches Arbeitsbuch, ed.
J. Reinink and A. C. Klugkist (Leuven: Peeters, 1999), 126–32. 23–33; for Nat. see McVey, Ephraem the Syrian, 29. 97 See Edmund Beck, “Ephräms des Syrers Hymnik,” Liturgie und Dichtung, vol. 1, 348–59, for a careful consideration of the passage. Bardaisan is cited as collaborating with his son “Harmonios”; see Griffith, “Ephraem the Deacon,” 30. 98 Contra Haer. 10. ,” in After Bardaisan: Studies on Continuity and Change in Syriac Christianity in Honour of Professor Hans J. W. Drijvers (Louvain: Peeters, 1999), 185–99; Beck, “Ephräms Hymnik,” 345–79; Kees den Biesen favors “teaching songs” (Simple and Bold: Ephrem’s Art of Symbolic Thought (Piscataway, NJ: Gorgias, 2006), vii), which is open to multiple criticisms as well.
28 (ed. Eduard Schwartz, Eusebius: Werke, 2. ” For hymnodic language in the Apostolic Constitutions, see Marcel Metzger, “Expressions hymniques dans les ‘Constitutions apostoliques’,” in L’Hymnographie, 59–72. 10 Lattke, Hymnus, 237–41. 11 While the letter may suggest that the church in Bithynia had adopted choral antiphony (“carmenque . . 12 Indeed, the paucity of early sources has long puzzled scholars. Drawing on the fluidity of descriptions of hymnody and Pauline references to “personal hymns,” some earlier studies explained the silence by arguing that early Christian worship drew exclusively from original compositions and spontaneous glossolalia in the church’s “creative” early period;13 no record of these songs would have survived because they were improvised performances.