Abstract:
This paper seeks to understand the roles of enculturated music in the context of the World Council of Churches (WCC) and, also, what the theological and liturgical presuppositions are which provide foundation for the significant space of this type of repertoire in ecumenical celebrations. The research is divided into introduction, three chapters and conclusion. The first chapter after the introduction , called Historical panorama about worship in the WCC: from the origins to the Fourth Assembly in Upsalla (1968), deals with the development of ecumenical worship from the beginnings of the World Council of Churches, from the works of the Faith and Order Committee in their ordinary meetings up until the fourth assembly which occurred in Upsalla. Still in the first chapter, some theological presuppositions are observed based on the comprehension of worship, liturgy and music in the ecumenical context. The second chapter, called Music of the Church, Enculturation and Ecumenism conceptualizes sacred music, which is inseparable from Christian worship, in the area of enculturation. It analyzes its theological and liturgical role as performance and diaconal service in detriment to its functionality in the worship. The second chapter also reflects on concepts of enculturation and how this influences the worship life of the ecumenical movement, especially after the II Vatican Council of the years of the 1960s. The third chapter, Enculturated Music in the WCC: Musical presuppositions, presents a selection of enculturated songs published by the WCC and proposes, based on the musical analysis of these in conjunction with the established presuppositions, a reflection which conceptualizes enculturated music in the sphere of diversity, defining it as the music which best represents the aspirations of ecumenism.
