A Canonical Reconsideration of the Song at the Sea (Exod 15:1-21): The Song of Moses or the Song of Miriam?

Hannah An 한국신학정보연구원 2016 Canon&Culture Vol.10 No.1

A growing number of scholars working from a variety of critical assumptions endorse the idea that the Song at the Sea (Exod 15:1b-18), which is traditionally associated with Moses, should be attributed, instead, to Miriam. This article examines J. Gerald Janzen’s contribution supporting the Miriamic priority based on a canonical reading of the exodus narrative. A close reading of the relevant biblical texts, however, indicates that the final form of the exodus account affirms the Mosaic initiative of the song. The purported function of the analeptic כי in Exodus 15:19 does not hold up in the broader narrative scheme of Exodus 14-15, especially in light of Isaac Rabinowitz’s thesis of אז as a literary device in Exodus 15:1. The present author argues that the double-envelope structure (Exod 14:22//14:29; 15:1//21) created by the distinct literary features of Exodus 14:22-15:21 provides the interpretive framework for understanding the narrative dynamics of the events surrounding the Song at the Sea. Moreover, the divine ascriptions in the Song at the Sea (Exod 15:2), in contrast to the songs of Deborah and Hannah, evince that the present literary form of the Song at the Sea (Exod 15:1b-18) places the song first on Moses’s lips. A growing number of scholars working from a variety of critical assumptions endorse the idea that the Song at the Sea (Exod 15:1b-18), which is traditionally associated with Moses, should be attributed, instead, to Miriam. This article examines J. Gerald Janzen’s contribution supporting the Miriamic priority based on a canonical reading of the exodus narrative. A close reading of the relevant biblical texts, however, indicates that the final form of the exodus account affirms the Mosaic initiative of the song. The purported function of the analeptic כ י in Exodus 15:19 does not hold up in the broader narrative scheme of Exodus 14-15, especially in light of Isaac Rabinowitz’s thesis of אז as a literary device in Exodus 15:1. The present author argues that the double- envelope structure (Exod 14:22//14:29; 15:1//21) created by the distinct literary features of Exodus 14:22-15:21 provides the interpretive framework for understanding the narrative dynamics of the events surrounding the Song at the Sea. Moreover, the divine ascriptions in the Song at the Sea (Exod 15:2), in contrast to the songs of Deborah and Hannah, evince that the present literary form of the Song at the Sea. (Exod 15:1b-18) places the song first on Moses’s lips.

A Canonical Reconsideration of the Song at the Sea (Exod 15:1-21)

Hannah S. An(안한나) 한국신학정보연구원 2016 Canon&Culture Vol.10 No.1

최근 성서 학계는 전통적으로 모세의 저작으로 여겨진 ‘홍해에서의 노래’(출 15:1b-18)가 원래 미리암의 것이었다는 주장을 여러 비평학적인 가정들을 통해 점진적으로 수용하고 있다. 특히 J. Gerald Janzen은 정경적인 독법을 통해서도 출 15장의 본문이 미리암 전승의 선재성을 지지함을 알 수 있다고 주장해 주목을 받고 있다. 반면 필자는 출애굽기 내러티브에 나타난 ‘홍해에서의 노래’의 최종 형태가 모세의 선창을 기술한다는 것을 관련된 본문의 정경적인 독법을 통해 밝힌다. 특히 필자는 Janzen이 주장하는 회상적 기능의 כ י (출 15:19)가 Isaac Rabinowitz의 편집적 기능의 א ז (출 19:1a)를 충분히 고려하지 못한 오류를 범하고 있음을 지적한다. 더 나아가 필자는 출 14:22-15:21에 나타난 이중 구조적 문예장치(the double-envelope structure)가 홍해 도강을 에워싼 내러티브의 연계성과 역동성을 이해하는 결정적인 해석학적 열쇠를 가지고 있다고 주장한다. 아울러 홍해에서의 노래를 드보라와 한나의 승전가(삿 5; 삼상 2)와 비교할 때, 출 15:2에 나타난 ‘내 아버지의 하나님’과 같은 신적 존칭들은 기존의 정경적 형태가 결정적으로 모세를 ‘홍해에서의 노래’의 선창가로 지목하고 있음을 증명해 주고 있다. A growing number of scholars working from a variety of critical assumptions endorse the idea that the Song at the Sea (Exod 15:1b-18), which is traditionally associated with Moses, should be attributed, instead, to Miriam. This article examines J. Gerald Janzen’s contribution supporting the Miriamic priority based on a canonical reading of the exodus narrative. A close reading of the relevant biblical texts, however, indicates that the final form of the exodus account affirms the Mosaic initiative of the song. The purported function of the analeptic כ י in Exodus 15:19 does not hold up in the broader narrative scheme of Exodus 14-15, especially in light of Isaac Rabinowitz’s thesis of אז as a literary device in Exodus 15:1. The present author argues that the double-envelope structure (Exod 14:22//14:29; 15:1//21) created by the distinct literary features of Exodus 14:22-15:21 provides the interpretive framework for understanding the narrative dynamics of the events surrounding the Song at the Sea. Moreover, the divine ascriptions in the Song at the Sea (Exod 15:2), in contrast to the songs of Deborah and Hannah, evince that the present literary form of the Song at the Sea (Exod 15:1b-18) places the song first on Moses’s lips.

존 웨슬리의 두 가지 예배음악적 속성 연구

김용화 한국복음주의신학회 2022 성경과신학 Vol.104 No.-

John Wesley was a liturgist who thoroughly defended the liturgy of Thomas Cranmer’s HThe Book of Common PrayerH(1662), updated in the tradition and heritage of the Church of England. This can be clearly seen through HThe Sunday ServiceH (1784), which he revised and edited based on HThe Book of Common PrayerH(1662) and sent to North American Methodists. At the same time, he is an evangelist who, while maintaining his priesthood in the Church of England, quenched the religious and social thirst that the Church of England could not satisfy the marginalized and poor through the Methodist movement. In particular, the empirical and practical evangel- ical congregational hymns about the words of Jesus Christ used in Methodist worship and gatherings became the driving force behind the revival movement. Therefore, it can be evaluated that Wesley maintained a good balance between doctrinal and formal liturgical music as a liturgical advo- cate and personal and confessional evangelical congregational singing as an evangelist. It is as if Martin Luther removed the superstitious element of the Roman Catholic liturgy, the Missa, and maintained its framework and introduced the chorale. The most important musical methods in liturgical music are responsory and antiphon. If you are looking for a biblical source for this, it is the ‘Song of Moses and Miriam’ in Exodus 15. This tradition of responsory and anti- phon continued into the 18th-century Church of England, but it did nothing to improve their faith and spirituality. On the other hand, Methodists could easily sing along to the evangelical congregational hymns through the ‘lining out’ method. However, some congregations who were fascinated by gospel hymns sometimes showed disorderly attitudes toward singing, so in the end, Wesley standardized singing style and music by including 7 prac- tical ‘Directions for Singing’ in the appendix of HSelect HymnsH(1761). 존 웨슬리는 영국교회의 전통과 유산 속에서 갱신된 토마스 크랜머의 H공동 기도서, The Book of Common PrayerH(1662)의 예전을 철저하게 옹호하는 예 전주의자였다. 이것은 그가 H공동기도서H를 기반으로 개정하고 편집하여 북 미 감리교인들에게 보낸 H주일예배서, The Sunday ServiceH(1784)를 통해 우리 는확실히알수있다. 동시에그는영국국교회사제신분을유지하며국교 회가 미처 소외되고 가난한 사람들에게 채워줄 수 없었던 신앙적 갈증들을 메소디스트 운동을 통해 해소해 주었던 복음 전도자이기도 하다. 특별히 메 소디스트의 예배와 집회에서 활용된 예수 그리스도의 말씀에 대한 경험적이 고 실천적인 복음주의 회중찬송들은 부흥 운동의 원동력이 되었다. 결국, 존 웨슬리는 예전옹호자로서의 교리적이고 형식적인 예전음악과 복음전도자로 서의 주관적이고 고백적인 복음주의 회중찬송 사이에서의 균형을 잘 유지했 다고 평가할 수 있다. 이것은 마치 마틴 루터가 로마 가톨릭 예전인 미사 (Missa)의 미신적 요소를 제거하고 그 틀을 유지하며 회중찬송(Chorale)을 도 입한 것과 마찬가지다. 예전음악에서 중요한 노래방식은 응창(Responsory)과 교창(Antiphon)이다. 이 것의 성서적 출처를 찾는다면 출애굽기 15장에 나오는 ‘모세와 미리암의 노래’이다. 이러한 응창과 교창의 전통이 18세기 영국교회에서도 이어졌지만, 그것은 그들의 신앙과 영성을 향상시키는데 아무런 도움이 되지 못했다. 반 면 메소디스트들은 ‘Lining out’ 방식을 통해 웨슬리 형제의 복음주의 회중찬 송을누구나쉽게따라부를수있었다. 그러나일부복음주의찬송의매력 을 느낀 메소디스트들은 때때로 무질서한 찬송 태도를 보임으로 인해, 결국 존 웨슬리는 H찬송선집, Select HymnsH(1761) 부록에 실제적인 7가지 찬송지 침을 수록하여 노래방식과 음악을 표준화하였다.

바다의 노래(출애굽기 15:1-21)성전음악에서 회중의 역할

허도화 한국대학선교학회 2008 대학과 선교 Vol.14 No.-

This project is designed to gain clarity about the identity and relevance of the Song of the Sea (Exodus 15:1-21) as a model of the congregational hymn for our worship service and to provide an appropriate theology of liturgy for the renewal of the role of the people in the worship service and in the singing of the hymn. It is the thesis of this project that the renewal of the hymn of the people in the worship service and the recovery of its relevance to the communal worship in the Christian tradition depend upon its learning to understand itself once again through the Song of the Sea. This work understand that the setting for the Song at the Sea lies in the cult, in all probability in the Passover celebration. Its function is celebration of God's deeds as an act of praise in the context of worship. The Song at the Sea is a praise of God or to state the point that they are utterances which was suitable praise for a congregation to speak or sing as part of its liturgy, while having been spoken or sung in a particular set of historical circumstances by biblical personages. Indeed, this song - represented as having sung by Levite choirs or by “all Israel” - was the ideal sort of song for a congregation, i.e., “all Israel” or “the Levites” of nowadays, to sing as part of their worship. The Song at the Sea did enjoy a special prominence in this regard, and from early times was treated as a model for congregational singing. It is also well known that Ex. 15 was performed as part of the Second Temple liturgy. Choirs of women were no less active in the Jewish liturgy. At the thanksgiving service after the flight from Egypt Miriam led the choir of the women. The Song of Miriam, which now stands under the shadow of the superb Song at the Sea, deserves to be considered in its own right. This is an independent song which was an immediate poetic response to the event of Yahweh's liberation that it celebrates. In song and dance Miriam and her companions celebrated with the people the wonder of the event at the sea. In so doing, they inaugurated a liturgical tradition in which other poets and singers stood, including those who have given us the laments, thanksgivings and hymns of the Psalter.

연구논문 : 바다의 노래(출애굽기 15:1-21): 성전음악에서 회중의 역할

허도화 한국대학선교학회 2008 대학과 선교 Vol.14 No.-

This project is designed to gain clarity about the identity and relevance of the Song of the Sea (Exodus 15:1-21) as a model of the congregational hymn for our worship service and to provide an appropriate theology of liturgy for the renewal of the role of the people in the worship service and in the singing of the hymn. It is the thesis of this project that the renewal of the hymn of the people in the worship service and the recovery of its relevance to the communal worship in the Christian tradition depend upon its learning to understand itself once again through the Song of the Sea. This work understand that the setting for the Song at the Sea lies in the cult, in all probability in the Passover celebration. Its function is celebration of God``s deeds as an act of praise in the context of worship. The Song at the Sea is a praise of God or to state the point that they are utterances which was suitable praise for a congregation to speak or sing as part of its liturgy, while having been spoken or sung in a particular set of historical circumstances by biblical personages. Indeed, this song - represented as having sung by Levite choirs or by “all Israel” - was the ideal sort of song for a congregation, i.e., “all Israel” or “the Levites” of nowadays, to sing as part of their worship. The Song at the Sea did enjoy a special prominence in this regard, and from early times was treated as a model for congregational singing. It is also well known that Ex. 15 was performed as part of the Second Temple liturgy. Choirs of women were no less active in the Jewish liturgy. At the thanksgiving service after the flight from Egypt Miriam led the choir of the women. The Song of Miriam, which now stands under the shadow of the superb Song at the Sea, deserves to be considered in its own right. This is an independent song which was an immediate poetic response to the event of Yahweh``s liberation that it celebrates. In song and dance Miriam and her companions celebrated with the people the wonder of the event at the sea. In so doing, they inaugurated a liturgical tradition in which other poets and singers stood, including those who have given us the laments, thanksgivings and hymns of the Psalter.