Louange

Origine: Français
Signification courante : (nom féminin) Action d'adresser des éloges à quelqu'un. Ces éloges.
Signification patoisante : Adresser des éloges à Dieu, exalter Dieu. Si possible de manière chantée. Si c'est une prière, c'est de l'adoration.

A la base, désigne le fait de dire du bien de quelqu'un où quelque chose. Dans le milieu chrétien, s'applique en particulier aux louanges destinées à Dieu. Par extension, désigne l'expression musicale de sentiments positifs envers Dieu, puis par métonymie un style musical derivé du rock (de manière adoucie) fréquemment utilisé par les artistes chrétiens comme support à des louanges.

Expressions dérivées:


Un petit tableau typifiant la gestuelle durant la louange

En lieu et place de sarcasme,je vous propose deux petites réflexions de C.S. Lewis , en anglais, tirées de l'essai “on Church Music” (en anglais. source:http://www.worshipandchurchmusic.com/cslewis.html)

Musical Taste

There are two musical situations on which I think we can be confident that a blessing rests. One is where a priest or an organist, himself a man of trained and delicate taste, humbly and charitably sacrifices his own (aesthetically right) desires and gives the people humbler and coarser fare than he would wish, in a belief (even, as it may be, the erroneous belief) that he can thus bring them to God. The other is where the stupid and unmusical layman humbly and patiently, and above all silently, listens to music which he cannot, or cannot fully, appreciate, in the belief that it somehow glorifies God, and that if it does not edify him this must be his own defect. Neither such a High Brow nor such a Low Brow can be far out of the way. To both, Church Music will have been a means of grace; not the music they have liked, but the music they have disliked. They have both offered, sacrificed, their taste in the fullest sense. But where the opposite situation arises, where the musician is filled with the pride of skill or the virus of emulation and looks with contempt on the unappreciative congregation, or where the unmusical, complacently entrenched in their own ignorance and conservatism, look with the restless and resentful hostility of an inferiority complex on all who would try to improve their taste – there, we may be sure, all that both offer is unblessed and the spirit that moves them is not the Holy Ghost.

Musical Intention

It seems to me that we must define rather carefully the way, or ways, in which music can glorify God. There is … a sense in which all natural agents, even inanimate ones, glorify God continually by revealing the powers He has given them. And in that sense we, as natural agents, do the same. On that level our wicked actions, in so far as they exhibit our skill and strength, may be said to glorify Good, as well as our good actions. An excellently performed piece of music, as natural operation which reveals in a very high degree the peculiar powers given to man, will thus always glorify God whatever the intention of the performers may be. But that is a kind of glorifying which we share with the ‘dragons and great deeps’, with the ‘frost and snows’. What is looked for in us, as men, is another kind of glorifying, which depends on intention. How easy or how hard it may be for a whole choir to preserve that intention through all the discussions and decisions, all the corrections and the disappointments, all the temptations to pride, rivalry and ambition, which precede the performance of a great work, I (naturally) do not know. But it is on the intention that all depends. When it succeeds, I think the performers are the most enviable of men; privileged while mortals to honor God like angels and, for a few golden moments, to see spirit and flesh, delight and labour, skill and worship, the natural and the supernatural, all fused into that unity they would have had before the Fall.


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