Sacramentality Beyond Dichotomy: Ethiopian Music as a Channel of Divine Grace = 이분법을 넘어선 성찬: 신성한 은혜의 통로로서의 에티오피아 음악

다국어 초록 (Multilingual Abstract)

This research aims to bridge the sacred-secular dichotomy in Ethiopian music through the theology of sacramentality. It argues that the divide has detached the Ethiopian Evangelical churches from appreciating and participating in God’s beauty, which is sacramentally incarnated in Ethiopian music. Drawing on Gerardus van der Leeuw’s theology of music to understand how the union of beauty and the holy can be found outside the church music, the research asserts that this union is sacramental and channels divine grace through Karl Rahner and Paul Tillich’s sacramental theology. In addition, the research argues that, based on this sacramental union in music, the musician plays the role of an aesthetic priest. By employing critical phenomenology, this research examines how this sacramental union occurs in Ethiopian music and how musicians in Ethiopia function as aesthetic priests. Based on the findings, it calls for the Ethiopian Evangelical churches to re-evaluate their theology of music to be encompassing and compassionate towards Ethiopian music and musicians.

목차 (Table of Contents)

• Table of Contents
• abstract ...................................................................................................................... iii
• Chapter 1: Introduction ............................................................................................ 1
• 1.1 Background ................................................................................................................... 1
• 1.2 Statement of the Problem .......................................................................................... 4
• 1.3 The Significance of the Study ................................................................................... 5
• 1.4 Research Questions ..................................................................................................... 6
• 1.5 Literature Review ........................................................................................................ 7
• 1.6 Research Methodology ............................................................................................. 14
• 1.6.1 Theoretical Framework .................................................................................................... 14
• 1.6.2. Data Collection ................................................................................................................. 15
• 1.6.3 Data Analysis .................................................................................................................... 15
• 1.7 Proposed Outline of the Thesis .............................................................................. 16
• Chapter 2: Music Theology and Sacramentality ............................................... 18
• 2.1 Beauty and Music ...................................................................................................... 18
• 2.2 ‘Wholly Other’ and Music ....................................................................................... 21
• 2.1.1 Rudolf Otto ........................................................................................................................ 21
• 2.1.2 Edward Spranger and Paul Tillich ................................................................................. 22
• 2.1.3 Schopenhauer .................................................................................................................... 23
• 2.1.4 Gerardus Van Der Leeuw ................................................................................................ 25
• 2.1.5 St. Augustine ..................................................................................................................... 29
• 2.1.6 Martin Luther .................................................................................................................... 30
• 2.1.7 Karl Barth ........................................................................................................................... 31
• 2.3 Sacramentality and Music ....................................................................................... 33
• 2.2.1 Karl Rahner ........................................................................................................................ 35
• 2.2.2 Paul Tillich ......................................................................................................................... 37
• 2.2.3 Music Artists ..................................................................................................................... 40
• 2.4 Musical Experience and Music ............................................................................... 44
• 2.3.1 Pierre Bourdieu ................................................................................................................. 45
• 2.3.2 Lydia Goehr ....................................................................................................................... 46
• 2.3.3 Andrew Bowie .................................................................................................................. 47
• Chapter 3 Ethiopian Music ................................................................................... 49
• 3.1 Traditional Ethiopian Music ................................................................................... 51
• 3.1.1 Folk Music in Ethiopia ..................................................................................................... 52
• 3.1.2 Azmari Music (Minstrel’s Music) ................................................................................... 65
• 3.1.3 The Shepherd’s Flute (Washint) .................................................................................... 68
• 3.2 Modern Ethiopian Music ......................................................................................... 69
• 3.2.1 Before Italy’s Occupations ............................................................................................... 71
• 3.2.2 During the Occupations ................................................................................................... 73
• 3.2.3 After the Occupation ........................................................................................................ 74
• 3.2.4 The Socialist Regime ........................................................................................................ 79
• 3.2.5 The New-regime (Ethnic-Federalism) ........................................................................... 82
• Chapter 4: Musicians and Ethiopian Evangelical Churches ........................... 87
• 4.1 Traditional musician (Azmari) as Priest ............................................................... 87
• 4.2 Modern Musicians as Priests .................................................................................. 91
• 4.2.1 Elias Melka ......................................................................................................................... 92
• 4.2.2 Tewodros Kassahun (Teddy Afro) ................................................................................. 94
• 4.3 Ethiopian Evangelical Churches and Musicians ................................................. 96
• 4.3.1 Yonas Gorfe ....................................................................................................................... 97
• 4.3.2 Zelalem Mengistu ............................................................................................................. 98
• Chapter 5: Conclusion .......................................................................................... 102
• 5.1 The Union of the Holy and Beauty ...................................................................... 102
• 5.2 Ethiopian Music as Sacramentally Incarnated Beauty ..................................... 103
• 5.3 The Role of Musicians (Azmari) as Aesthetic Priest ........................................ 105
• Bibliography .......................................................................................................... 107