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Ker sta bila Jaševa življenjska pot (1901–1999) in njegovo liturgično delo že obravnavana v dveh večjih razpravah (Krajnc 2001, 203–219 Nežič 2000, 163–173), se je avtor te razprave osredinil zgolj na Jaševo raziskovalno in pedagoško delo v času njegove katehetske službe po župnijah in službe profesorja liturgike na Teološki fakulteti – Enoti v Mariboru. V razpravi je predavatelj Jaš predstavljen kot raziskovalec liturgičnega gibanja v tridesetih letih dvajsetega stoletja ter kot izredni poznavalec pokoncilskega bogoslužja. Rdeča nit njegovega zanimanja in raziskovanja je bilo dejavno sodelovanje pri bogoslužju. Zato je bilo njegovo raziskovalno delo usmerjeno predvsem v pastoralno korist. Svoja raziskovalna spoznanja in dognanja pa je s pridom uporabil tudi pri svoji predavateljski službi na Teološki fakulteti. Četudi ni študiral liturgike na kakšni znanstveni ustanovi, ni bilo njegovo znanje liturgike nič manj znanstveno in strokovno, saj je bil naročen na skoraj vse takratne liturgične revije, sproti dobival vsa najpomembnejša dela o liturgiji, mnoga prevedel in uporabil v pastorali in v predavateljski službi. Ves svoj žar za raziskovanje in za dejavnejše sodelovanje pri bogoslužju je skušal prenesti na svoje študente, vendar v tem večkrat ni bil povsem uspešen. Kljub temu je poslanstvo predavatelja opravljal z veliko mero odgovornosti in predanosti. Tako moremo reči, da velja Karel Jaš za enega največjih pionirjev liturgičnega gibanja Cerkve na Slovenskem, velikega in z žarom prepojenega liturga ter z veliko mero odgovornosti strokovnega predavatelja liturgike na Teološki fakulteti. Since the life path of Karel Jaš (1901–1999) and his liturgical work were discussed in two major discussions, the author put focus in this debate only on the research and pedagogical work of Karel Jaš in the time of his catechist service in the parishes and employment as lecturer of liturgy at the Maribor Unit of the Faculty of Theology. In the discussion professor Jaš is presented as a researcher in the liturgical movement in the 1930s as well as a remarkable expert on postconciliar worship. The main theme of his interest and research was active collaboration in worship. Therefore his research work focused primarily on the pastoral benefit. He also used his research findings and insights in his lecturing at the Faculty of Theology. Although he did not study liturgy at any scientific institution, his knowledge of liturgy was no less scientific and professional as he was subscribed to almost all of the liturgical magazines of that time, he regularly received all of the most important works on liturgy, translated many of them and used them in his pastoral work and his lectures. He tried to pass his enthusiasm for research and for a more active participation in worship onto his students, but he did not always succeed. Nevertheless he performed his mission as lecturer with a great deal of responsibility and dedication. It can be said that Karel Jaš is one of the greatest pioneers of the liturgical movement in the Church of Slovenia, a great liturg full of enthusiasm, with a great deal of responsibility as a professional lecturer of liturgy at the Faculty of Theology

Magistrsko delo radijski in televizijski prenosi bogoslužja v luči graditve občestva obravnavajo problematiko prenosov bogoslužja preko radia in televizije. V magistrskem delu smo predstavili pomembne cerkvene dokumente in dokumente nekaterih škofovskih konferenc, ki so spregovorili o problematiki prenosov bogoslužja. Pred očmi smo imeli vprašanje občestva in aktivnega sodelovanja vernika – gledalca pri prenosih bogoslužja. Sodelovanje je v določenih pogojih sicer mogoče, vendar ostaja vprašanje ali se gledalec oziroma poslušalec lahko poistoveti z občestvom, v katerem se bogoslužje obhaja. Prenosi bogoslužja so namreč v prvi vrsti namenjeni tistim, ki se iz različnih vzrokov ne morejo udeležiti bogoslužja v živem občestvu. Prav pa bi bilo, da bi duhovnik, diakon ali izredni delivec obhajila vsaj tu in tam takšne obhajal na domu. V magistrskem delu smo podali nekaj praktičnih navodil duhovnikom, opozorili smo na to, da mora druhovnik kvalitetno pripraviti homilijo, prav tako smo podali nekaj praktičnih nasvetov bogoslužnim sodelavcem (bralcem, ministrantom, krasilkam, zakristanom in tehnični ekipi: režiserju, tonskim tehnikom in kamermanom), kako naj pripravijo in izvedejo kakovosten prenos bogoslužja. The master's thesis, titled Radio and Television Broadcasts of Liturgy in the Light of Building a Community, discusses the problematic of liturgy broadcast via radio and television. We presented the important church documents and document of some Bishop's Conferences, which discussed the problematic of liturgy broadcasts. We had in mind an issue of the community and active cooperation of the faithful – viewer. Cooperation is in certain conditions possible, but the question remains if a viewer or listener can identify oneself with the community, in which the liturgy is administered. Liturgy broadcasts are firstly intended for those, which from various reasons cannot personally participate in the liturgy. It would be good for them to receive the Eucharist at least occasionally. In the master's thesis we gave some practical instructions to priests, we pointed out that the priest must prepare a good homily, we also gave some practical advice to liturgical associates (readers, altar boys, beauticians, vestry and technical team: director, sound engineer, and cameraman), how to prepare and carry out a quality worship broadcast.

Obredna glasba seže do korenin človeka. Iz tega sledi, da je zelo pomembno, kakšni glasbi človek prisluhne, toliko bolj, ko gre za obredno, ponavljajočo se glasbo. Gregorijanski koral je najbolj čista obredna glasba. V akustičnem prostoru se ob petju korala razvijejo alikvotni toni, ki ustvarijo popolno intonacijo, kot je bila ustvarjena. Sodobna intonacija je podrejena inštrumentom s tipkami in s tem temperirani uglasitvi, ki pa se zelo razlikuje od naravne, torej od Boga dane. Ker osnove harmonije v sebi nosijo sporočilo razmerja, ki je tudi osnovno sporočilo Svete Trojice, lahko sklepamo, da porušenje teh razmerij vpliva tudi na človeka, ki takšno glasbo posluša. Na problem temperirane uglasitve, so opozarjali mnogi strokovnjaki, naj navedem le najslavnejšega, Helmholtza. Različni cerkveni dokumenti gregorijanski koral postavljajo na prvo mesto. V izvirno akustičnem prostoru ta zvrst glasbe omogoča polno mistično izkušnjo, razloge za to pa gre iskati prav v popolni harmoniji, ki jo lahko ustvari. Obredna glasba je sestavni del liturgije in v gregorijanskem koralu moramo iskati vnovični razcvet cerkvene glasbe in nenazadnje tudi lepoto obredja. Ritual music reaches all the way to the roots of mankind. Consequently it is very important what sort of music man listens, even more so when it comes to ritual, repetitive music. Gregorian chant is the most pure ritual music. In the acoustic room the singing of the coral develops aliquot tones which create a perfect intonation, as it was created. Modern intonation is subordinate to the instruments with keys and thus to the tempered tuning, which differs greatly from the natural one, given by God. Since the basics of harmony carry the message of ratio, which is also the main message of the Holy Trinity, we can conclude that the destruction of these ratios also influences a human being who listens to such music. Many experts have been warning about the problem of tempered tuning, allow me to name the most famous one, Helmoltz. Different church documents place Gregorian chant in the first place. In the originally acoustic place this type of music allows for a full mystical experience. The reasons for this are to be found right in the perfect harmony which can be created by such music. Ritual music is an integral part of the liturgy and in Gregorian chant we have to look for the rebirth of church music and ultimately the beauty of the ritual.

V diplomsko seminarskem delu z naslovom Pomen in sporočilo atributov (orodij) izbranih svetnikov avtorica opredeli, kaj so to znamenja, kakšen je njihov pomen in vloga v vsakdanjem življenju ter zakaj pogosto prihaja do njihovih nerazumevanj. Predstavi tudi pomembna znamenja, ki se odvijajo pri bogoslužnem obredu (stojo, kretnjo klečanja, ležanje na tleh, sedenje, kretnje rok, tihoto, kretnjo umivanja rok, kretnjo trkanja na prsi, poklekovanje, priklanjanje, bogoslužni poljub, obred pokaditve, prihod k oltarju, pokropitev, obhajilo, procesijo, prinašanje darov in romanje). Poleg vseh naštetih znamenj poda tudi kratke opise in njihovo vlogo ter zakaj so tako pomembna. V nadaljevanju avtorica predstavi sedemindvajset svetnikov, ki so razdeljeni v pet skupin glede na svoje atribute ‒ orodja. Poda njihove ključne življenjske podatke in podrobno opiše, zakaj ima vsak svetnik določen ikonografski atribut. Predstavi tudi njihovo duhovno sporočilo. Na koncu se osredotoči še na izraz Božje lepote in njegove povezanosti z umetnostjo, kjer nakaže, zakaj sta v teološkem smislu ta dva izraza tako pomembna. Avtorica je pri svojem delu uporabila različne raziskovalne metode, in sicer deskriptivno metodo, metodo klasifikacije ter metodi sinteze in analize. Z njimi je dosegla naslednje cilje čim bolj natančno opredelitev znamenj, atributov svetnikov, predstavitev orodij izbranih svetnikov ter na koncu še njihovo sporočilo in njihov pomen. In the graduation seminar entitled The Meaning and the Message of Attributes (tools) of the Selected Saints, the author defines, what signs are, what their significance and role in everyday life is, and why they are often misunderstood. She also presents important postures, and gestures which occur during the liturgical ritual (standing, kneeling, prostration, sitting, movements of the hands, silence, hand washing gesture, striking the breast, genuflection, bowing, the Holy Kiss, the Incense ritual, approaching the altar, the Rite of Sprinkling, The Holy Communion, the procession, the bringing of gifts and the pilgrimage). Additionally, all of the mentioned postures and gestures are described and their role and their importance are mentioned. Furthermore, the author presents twenty-seven saints, divided into five groups according to their attributes ‒ the tools. Their key life information is presented and the reason, why each saint has a certain iconographic attribute is explained in detail. Their spiritual message is also presented. Finally, the author focuses on the expression of God's beauty and its connection to art, and indicates why these two terms are so important in the theological sense. In her work, the author used various research methods: descriptive method, classification method, and the synthesis and analysis methods. As a result, the following goals were achieved: the most precise definition of signs and attributes of saints, presentation of the tools of the selected saints, and finally, their message and significance.

Veselje je Božji dar, ki ga je Bog iz ljubezni zasadil v človeka ob stvarjenju. Jezus Kristus je s svojim vstajenjem to veselje povzdignil na novo eshatološko raven, ki danes po Svetem Duhu živi v Cerkvi. O tem nam na poseben način pričuje bogoslužje Cerkve, evangeliji in sleherno življenje kristjana, ki se trudi za dobro. Vsak človek je poklican, da v svojem življenju živi to veselje v odnosu do drugih. Danes, ko primanjkuje pravega notranjega veselja, je to eno izmed bistvenih vprašanj človekovega bivanja. Človek preprosto ne more živeti sam, saj bi drugače poglavitno okrnil svoje veselje in to, kar je – Božji otrok, ustvarjen za odnos. Joy is a gift of God, that God at the creation put it in the man out of love. With his resurrection Jesus Christ raised that joy to new eschatological level, which today lives in the Church by the Holy Spirit. Liturgy of Church, the Gospels and the life of every Christian who strives for good is a witness of that new eschatological joy. Each person is invited to live his life in the joy with others. Today, when we are talking about the lack of genuine joy, this relation is the essential question of human existence. A person simply cannot live alone, as otherwise it would significantly truncate their joy and foundation – God’s childhood created for relationship.

Somaševanje odraža edinost duhovništva, daritve in Božjega ljudstva. Duhovniki so pri somaševanju zbrani okrog enega oltarja, povezani v gestah in besedah. Na tak način tudi navzven pokažejo bratstvo in edinost duhovništva. Pri somaševanju ne daruje vsak duhovnik zase, temveč skupaj darujejo eno daritev na enem oltarju. Tako se na čudovit način odraža edinost daritve. Celotno Božje ljudstvo je pri vsaki sveti maši povezano, pri somaševanju pa na prav poseben način, saj zgled več duhovnikov spodbudi ljudstvo, da se bolj živo in zavestno vključi v dogajanje in obrede. Tako somaševanje tudi Božje ljudstvo dela bolj eno med seboj. The concelebration reflects the unities of priesthood, sacrifice, and the People of God. During the concelebration the priests gathered around the altar are closely connected in actions and words. This way they can outwardly project the brotherhood and unity of priesthood. At the concelebration the priest does not make an offering by himself the group of them rather offer a single sacrifice on one single altar. This particular action in itself demonstrates the marvelous unity of ¬¬¬¬sacrifice. All People of God are connected during every Holy Mass, yet the concelebration makes even more special because the example set and portrayed by several priests encourages the community to engage itself in liturgical activities and rites consciously and more vividly. Thus, the concelebration brings the People of God together and unifies them as one.