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Text Identifier:"^amen_siakudumisa$"

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Amen Siakudumisa

Author: S. C. Molefe Meter: Irregular Appears in 38 hymnals First Line: Amen, siakudumisa! Text Sources: South African traditional

Tunes

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MASITHIA

Meter: Irregular Appears in 40 hymnals Composer and/or Arranger: S. C. Molefe; George Mxadana Tune Sources: Trad. Xhosa melody (South Africa) Tune Key: C Major Incipit: 33333 21244 44432 Used With Text: Amen, We Praise Your Name, O God

Instances

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Published text-tune combinations (hymns) from specific hymnals

Amen siakudumisa

Author: Dieter Trautwein Hymnal: Global Praise 1 (Rev. ed.) #4 (2000) First Line: Amen siakudumisa Topics: Praise Languages: English; German; Xhosa Tune Title: [Amen siakudumisa]
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Amen Siakudumisa

Hymnal: Lead Me, Guide Me (2nd ed.) #453 (2012) First Line: Amen siakudumisa (Amen sing praises to the Lord) Lyrics: SOUTH AFRICAN: Masithi. Amen siakudumisa. Siakudumisa. Masithi. Amen siakudumisa. siakudumisa. Amen bawo, (bawo, bawo), Amen bawo, (bawo, bawo) Amen siakudumisa. ENGLISH: O sing now. Amen sing praises to the Lord. Sing praises to the Lord. O sing now. Amen sing praises to the Lord. sing praises to the Lord. Amen sing praise, (O praise God's name), Amen sing praise, (O praise God's name), Amen sing praises to the Lord. Topics: African Hymns; Praise; Worship and Adoration Languages: English; Xhosa Tune Title: [Amen siakudumisa (Amen sing praises to the Lord)
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Amen, Siakudumisa (Amen, We Praise Your Name, O God) (Amén, alaben al Señor)

Author: David Dargie, b. 1938 Hymnal: Santo, Santo, Santo #596 (2019) First Line: Amen, siakudumisa (Amen, we praise your name, O God) Topics: Alabanza a Dios; Praise of God; Amen; Amen; Oración; Prayer Scripture: Job 1:21 Languages: English; Spanish; Xhosa Tune Title: [Amen, siakudumisa]

People

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Authors, composers, editors, etc.

John L. Bell

b. 1949 Person Name: John L. Bell, b.1949 Arranger of "[Amen siakudumisa (Amen sing praises to the Lord)" in Lead Me, Guide Me (2nd ed.) John Bell (b. 1949) was born in the Scottish town of Kilmarnock in Ayrshire, intending to be a music teacher when he felt the call to the ministry. But in frustration with his classes, he did volunteer work in a deprived neighborhood in London for a time and also served for two years as an associate pastor at the English Reformed Church in Amsterdam. After graduating he worked for five years as a youth pastor for the Church of Scotland, serving a large region that included about 500 churches. He then took a similar position with the Iona Community, and with his colleague Graham Maule, began to broaden the youth ministry to focus on renewal of the church’s worship. His approach soon turned to composing songs within the identifiable traditions of hymnody that began to address concerns missing from the current Scottish hymnal: "I discovered that seldom did our hymns represent the plight of poor people to God. There was nothing that dealt with unemployment, nothing that dealt with living in a multicultural society and feeling disenfranchised. There was nothing about child abuse…,that reflected concern for the developing world, nothing that helped see ourselves as brothers and sisters to those who are suffering from poverty or persecution." [from an interview in Reformed Worship (March 1993)] That concern not only led to writing many songs, but increasingly to introducing them internationally in many conferences, while also gathering songs from around the world. He was convener for the fourth edition of the Church of Scotland’s Church Hymnary (2005), a very different collection from the previous 1973 edition. His books, The Singing Thing and The Singing Thing Too, as well as the many collections of songs and worship resources produced by John Bell—some together with other members of the Iona Community’s “Wild Goose Resource Group,” —are available in North America from GIA Publications. Emily Brink

S. C. Molefe

1917 - 1987 Composer (attributed to) of "[Amen siakudumisa]" in Global Praise 1 (Rev. ed.) Stephen Cuthbert Molefe (1917-1987)-- Since most African languages are tonal, a melodic shape emerges directly from speaking the text. Stephen Molefe was among the first South African musicians that Fr. Dargie worked with in these workshops. Molefe was born of Sotho descent in the Transkei area of the Eastern Cape Province, South Africa. A choirmaster at the Catholic Church, he was not only a skilled musician but also fluent in a variety of South African languages including Sotho, Xhosa, Zulu, Tswana, Afrikaans and English. Fr. Dargie met Molefe in 1977 at a composition workshop and transcribed a number of his works into staff notation. They include a wide variety of musical styles, “Masithi-Amen” being among the simplest. The 1977 workshop netted 53 new songs, 14 of which were composed by Molefe. The original version was “Sive-sithi Amen, siyakudumisa” (“Hear us we say, Amen, we praise you”). Designed to be sung as the “Amen” at the conclusion of the Great Thanksgiving (the Eucharist liturgy), it was an instant hit, with the whole parish singing it at Holy Week services. “Amen, Siakudumisa” is included very often in Western hymnal collections alongside famous South African freedom songs like “Siyahamba.” In 1978, Molefe was attacked, robbed and struck with a brick to the head. He started to go blind after that, and was unable to work again. Molefe died in 1987. --www.gbod.org/lead-your-church/history-of-hymns/

David Dargie

b. 1937 Person Name: David Dargie, b. 1938 Translator of "Amen, Siakudumisa (Amen, We Praise Your Name, O God) (Amén, alaben al Señor)" in Santo, Santo, Santo A Roman Catholic priest for many years, Fr. Dargie observed that many priests resorted to using European or North American melodies they knew and ignored the rich heritage of South African music, especially the music of the Xhosa and Zulu peoples. For example, the venerable Latin chant “Tantum Ergo Sacramentum” (a communion hymn attributed to St. Thomas Aquinas), was sung in one parish to “My Darling Clementine”! For Fr. Dargie, a white South African of Scots-Irish lineage, part of the liberation of black South Africans from the political oppression of apartheid was to encourage them to sing their Christian faith with their own music rather than in the musical idioms of their colonial oppressors. In the decades immediately following the reforms of the Second Vatican Council (1962-65), Fr. Dargie was among many who encouraged Africans to find their own voice in congregational singing. He sponsored workshops throughout southern Africa with indigenous musicians, giving them specific texts from the Mass and asking them to compose music to fit the melodic contour and rhythmic structure of the words. Since most African languages are tonal, a melodic shape emerges directly from speaking the text. Stephen Molefe was among the first South African musicians that Fr. Dargie worked with in these workshops. --www.gbod.org/
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