LIBERTATEA DE CONȘTIINȚĂ ȘI PRINCIPIILE SOCIETĂȚII DEMOCRATICE REFLECTATE ÎN MUZICA EVANGHELICĂ DIN SECOLUL AL XX-LEA
Freedom of Conscience and the Democratic Principles Reflected in the Eevangelical Music of the 20th Century

Summary/Abstract: The idea of national unity and freedom of conscience are reflected in the twentieth-century music in all democratic societies. This article is intended to clarify the configuration of evangelical music during the twentieth century, with the inh e rent ups and downs, but also with the artistic connections or intersections of the evangelical repertoire within the Christian world.1 Particular a t tention is paid to specific configurations in the alternative models of the various groups united under the arc of Protestantism. Not only in Europe, or North America, but also in other continental extensions of evangelical groups. This explains the opening to new means of capturing popular participations, in which we find gospel music, as well as the sound typology that mobilizes the assistance of religious gatherings called Camp meetings. These meetings were animated by great artists and performers such as Mahalia Jackson. It is also important to mention the remarkable creation of some great composers, such as Johannes Brahms, Cesar Franck, Max Reger, Hugo Distler, Igor Stravinski, Charles Ives, Edward Elgar, Arthur Honegger, Benjamin Britten, Franck Martin or Paul Hindemith. These composers used full, or partial protestant philosophical and musical reflections in their music. The message of evangelical music is distinguished by the unity of content and coherence of language. Evangelical song is one of the most uplifting aspects of Christian life, having a special role in building the church and proclaiming the idea of national unity and the freedom of conscience of a people.

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