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Dissertations / Theses on the topic 'Church music Worship'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Whitener, Russell E. "The worship reformation examining trends in worship, worship music, and possible revival implications /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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2

Austell, Robert M. "Biblical worship through music." Theological Research Exchange Network (TREN) Access this title online Theological Research Exchange Network (TREN), 2008. http://www.tren.com.

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3

Kasper, Matthew J. "Schleiermacher's influence on contemporary worship music." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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4

Baker, Wesley L. "Worship, contemporary Christian music, and Generation 'Y'." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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5

Chan, Philip Hong. "Music and worship: a textbook for music and worship (B40-01 0-1) offered by the Hong Kong Baptist Theological Seminary." Theological Research Exchange Network (TREN), access this title online, 2005. http://www.tren.com/search.cfm?p089-0077.

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6

Beesley, David. "Worship style preferences comparison of younger and older Canadian Pentecostals /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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7

Johnson, Clare Veronica. "Music, ritual and the therapeutic exploring the therapeutic potential of liturgical music in Roman Catholic worship /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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8

Bruneel, Benjamin. "Art and worship in Zwinglian theology." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1141.

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9

Smoak, Alfred M. "Identifying contemporary praise & worship songs for use during the church year at Trinity Baptist Church, Livermore, California." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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10

Mager, Sibylle. "The debate over the revival of ancient church music in Victorian England." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368613.

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11

Seda, Jonathan P. "Presbyterian worship and the Mexican context." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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12

Handman, Deborah Fleenor. "Healing songs understanding and creating powerful music for the American church /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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13

Noland, Thomas E. "Developing a strategy to strengthen the adult choir and orchestra of the Eastern Shore Baptist Church, Daphne, Alabama, as biblical lead worshipers." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p053-0304.

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14

Noland, Thomas E. "Developing a strategy to strengthen the adult choir and orchestra of the Eastern Shore Baptist Church, Daphine, Alabama, as biblical lead worshipers." Theological Research Exchange Network (TREN), access this title online, 2006. http://dx.doi.org/10.2986/tren.053-0304.

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15

Lauterbach, W. Grant. "Study of worship styles in the Mid-Maryland Baptist Association." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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16

Schultz, Randy P. "An evaluation of praise music as a genre for incorporation into Lutheran worship." Online full text .pdf document, available to Fuller patrons only, 1999. http://www.tren.com.

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17

Park, Young Jun. "In the Presbyterian worship a case study on Presbyterian Church of Korea (TongHap) /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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18

Abdalah, Gregory John. "The role of youth choirs in the Orthodox Church." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0477.

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19

Prest, Vallen L. "Developing worship leaders as servant artists at Woodside Bible Church, Troy, Michigan." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p089-0141.

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20

Gillis, Leslie Myers. "Contemporary practices in Southern Baptist Church music: a collective case study of worship, ministry design and music education." Thesis, Boston University, 2013. https://hdl.handle.net/2144/11001.

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Thesis (D.M.A.)--Boston University
The widespread popular music-based modem worship movement begun in the 1960's brought the styles and sounds of popular music into worship as churches sought to increase cultural connection in their worship. The worship transformation brought significant challenges. Church musicians trained in traditional skills had to adapt and incorporate skills associated with popular musics. Music ministers had to train themselves and ministry musicians. The worship transformation altered the design of many music ministries, changing personnel, practices, repertoire, and ensembles. The purpose of this study was to explore the worship transition experience and how it impacted the musical processes and training within seven Baptist churches in Hartford County, Georgia. Using a qualitative collective case study design, I explored three primary areas: 1). the worship style implementation; 2). the structure and activities of the music ministry leadership and program; and 3). how the skills necessary for nontraditional music ministry have been developed. Within the primary focus, I also investigated the transferability of school music education training into current music ministries, examining if and how school-trained musicians can engage within nontraditional music ministries. The research highlights commonalities existing between school and church music, and parallels training challenges shared by church and school music educators. This additional inquiry stems from the call of music education experts for classroom learning to be expanded in content, encourage lifelong engagement, and connect with community life. Data was collected through in-depth interviews, pre-interview profiles, ministry documents and materials, and field observations. Results provided nuance for prior survey-based research. Data revealed that worship style interpretation is diverse in implementation. Worship changes have altered the structure of church leadership roles and job descriptions. Ministry programs have changed, but traditional ensembles maintain significance. Data revealed challenges in skill development, requiring retraining for music ministers and ministry musicians, usually achieved through independent learning. Results showed that school-based training does transfer into current ministries. Church music ministries have expanded their musical practices in a manner that parallels the challenge given to music education. Data from the music minister's experiences transfers in applicability to school music educators who are also challenged by expanding practices.

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21

Noden, Shelagh. "The revival of music in the worship of the Catholic Church in Scotland, 1789-1829." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=211007.

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22

Johnson, Birgitta Joelisa. ""Oh, for a thousand tongues to sing" music and worship in African American megachurches of Los Angeles, California /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1579171881&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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23

Bart, Carol Vanderbeek. "Developing worship enrichment through congregational song at Ramapo Valley Baptist Church, Oakland, New Jersey." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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24

Wolfram, Richard J. "Helping contemporary people use historic liturgy." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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25

Brasaemle, Karla Anne. "For glory and for beauty implications of the theology of beauty for creating worship space /." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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26

Hickenlooper, Benjamin A. "The philosophy of church music in German Lutheranism from Luther to Bach and its impact on vital worship." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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27

Funk, James Anthony (Tony). "Discipling believers to accept and embrace diversity in worship a study of the congregational singing of the British Columbia Mennonite Brethren Conference, 1990 /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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28

Neel, W. Stephen. "Evaluating the use of selected performance arts in public worship at South Columbia Baptist Church." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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29

Campbell, Colin Archibald 1970. "Music ministry in the missional worship service of the Dutch Reformed Church in South Africa / Colin Archibald Campbell." Thesis, North-West University, 2013. http://hdl.handle.net/10394/8998.

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This thesis investigated the approach to, and the conducting of worship services in ten missional faith communities of the Dutch Reformed Church in South Africa during the period 2004 – 2009. It investigated the shift in theological paradigm (towards mission) taking place in the Dutch Reformed Church from 2002 onwards, and the effects thereof on liturgy and music in the worship domain. In order to contextualise the liturgical developments emanating from the case studies, the history and liturgy of the Dutch Reformed Church in South Africa were traced back to the early Dutch pastors arriving with the first settlers at the Cape Colony in 1652. The historical events leading to the Dutch Reformed Church being labelled as the state church and its sanctioning of the apartheid ideology were placed in perspective as a result of the successes of missionary work in South Africa. The missional paradigm was unpacked according to the missio Dei. God is the primal agent in mission and calls His church into mission, and sending the church to restore society. Created in the imago Dei, human beings have a responsibility towards contextual society in everyday life. Missional worship therefore becomes a paradigmatic way of life. God is the focal point in worship and liturgy: it is all about God. The core of the research revolves around the ten missional faith communities, eight of which were part of the initial Southern African Partnership for Missional Churches project. Unstructured interviews were conducted with pastors, musicians and persons involved in the focussed missional activities within these congregations. Having an insider's perspective on the project, the researcher included his own narrative in order to further underline the changes taking place in the worship domain. Liturgy in the faith communities under investigation was found to be shifting towards ecumenical models: the gathering, the service of the Word, the service of the Table, and the sending. A trend to celebrate the Eucharist/Holy Communion more frequently than the tradition dictated was also noted in the communities. In general, a more creative approach towards the planning and execution of liturgy has been observed – this freedom allowing for the Holy Spirit to move the faith community during worship, and was vastly different to the cognitive historical liturgy. The music ministry has developed into a new paradigm from the historical role of the organist. Music was found to become a focal point, manifesting as liturgical art, pointing towards God and enabling the faith community to meet God in worship. This led to the change in the role of the church musician in terms of scope and spiritual/religious value. The shift towards leading the liturgy and shaping the faith community through music has been noted – thus establishing a music ministry. The Eucharist/Holy Communion is presented as a metaphor, the underlying basis for a model in music ministry. Music ministry is now defined under the theological lens as being sacramental in nature. In closing, recommendations are made to address the re-education of church musicians and theologians to deal with the theological changes taking place in worship.
Thesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.

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30

Rees, Robin Lodowick Douglas. "The role of music and musicians in current English parish church worship : the attitudes of clergy and organists." Thesis, University of Sheffield, 1990. http://etheses.whiterose.ac.uk/1808/.

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One of the many issues currently confronting the Church of England is the role of music in worship. It is not a new debate, but has been brought into sharper focus in recent years in the wake of liturgical change. After examining the fundamental issues of the debate, the author considers them in the context of the present day. Other current matters of concern will also be discussed. The effects of liturgical change are then considered. The discussion is then widened to include: - a review of current hymnals and psalters; - a survey of the courses and qualifications in church music available in Great Britain; - three case studies demonstrating the problems that can arise when clergy and church musicians are in conflict; - a review of surveys in church music undertaken since 1950. The main work comprises a detailed survey by questionnaire to the priest-in-charge and organist at almost half the churches in a large diocese (that of Oxford). This yields an overall picture of: - respondents' personal backgrounds and general attitudes; - respondents' perceptions, both objective and subjective, of the situation at their church, and of each other. From these varied strands are drawn certain conclusions for improving clergy-organist relationships, and suggestions for further research in the subject.

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31

Koonce, James D. "Development of the worship leader role of the Celebration Choir at Shirley Hills Baptist Church through an intentional process of reflection, study and choral community interaction." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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32

Blasdel, Stephen D. "Introducing participatory worship and evangelism through a postmodern Christmas musical at First Evangelical Free Church, Wichita, Kansas." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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33

Yang, Vaugh-An. "Spiritual transformation through worship in the presence of God with the aid of music an exploration of Pan-Chiao Ling Liang Church /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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34

Hood, Heather A. "A study and application of the ancient Te Deum in postmodern worship at Christ Presbyterian Church, Edina, Minnesota." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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35

Nelms, Jonathan P. "A guide to the liturgical use of the Baptist Hymnal (1991) in fourfold Sunday worship at First Baptist Church, Cookeville, TN." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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36

Dawson, Lisa. "Attitudes, opinions, and beliefs of musicians serving Church of God (Anderson, Indiana) congregations within the United States regarding continuing education in music and worship arts." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390658.

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The primary purpose of this research was to ascertain the attitudes and opinions of Church of God (Anderson, Indiana)* musicians regarding continuing education. The secondary purpose of the study was to determine the types of continuing education experiences that are needed by current church musicians who are employed by, or volunteer for Church of God congregations.An online survey was developed and made available to current musicians serving in Church of God congregations. One hundred and fourteen participants responded to the survey.The writer gathered data from participants regarding their personal information, details about their congregation, about their responsibilities with their congregations, their personal belief statements about their position with their congregation and their interest in and/or barriers to receiving further education.The initial hypotheses for this study were: 1) many who lead worship in Church of God congregations are not trained or educated in the skills and knowledge needed to serve effectively. 2) Many of these persons are not opposed to continued education in church music topics, but they do not know where to look for the training, and, in many cases, the type of educational resources they need do not exist.The results of the study indicated a great interest in receiving continuing education in the worship arts The study also indicated that time, money and family constraints prove to be significant obstacles in the pursuance of further education by music and worship leaders.The data gathered from the study indicated that the types of continuing educational experiences that musicians practicing in the Church, of God congregations need are many and varied. The writer concluded that those who would provide such experiences must take into consideration the constraints and barriers most of these leaders experience and provide practical and theological and philosophical elements.Data were presented in narrative form with the help of listings and figures when appropriate. Based on the data received, the writer gave recommendations for continuing educational opportunities.
School of Music

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37

Moore, Laurence James, and res cand@acu edu au. "Sing to the Lord a New Song: a Study of changing musical practices in the Presbyterian Church of Victoria, 1861-1901." Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp49.29082005.

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The latter half of the 19th century was a time of immense change in Presbyterianism worldwide in respect of the role of music in worship. Within this period the long tradition of unaccompanied congregational psalmody gave way to the introduction of hymnody, instrumental music (initially provided by harmoniums and later by pipe organs) and choral music in the form of anthems. The Presbyterian Church of Victoria, formed in 1859 as a union of the Church of Scotland and the majority of the Free Presbyterian and the United Presbyterian churches and numerically the strongest branch of Presbyterianism in Australia, was to the forefront in embracing this tide of change. Beginning in 1861with the proposal for the compilation of a colonial hymnbook, issues associated with musical repertoire and practice occupied a prominent place in discussions and decision making over the next 30 years. Between 1861 and 1901 hymnody was successfully introduced into church worship with the adoption of three hymnals in 1867, 1883 and 1898. Programs of music education were devised for the teaching of the new repertoire and for improving the standard of congregational singing. A hallmark tradition of Presbyterianism was overturned with the introduction of instruments into worship, initially as a support for congregational singing but in time as providers of purely instrumental music also. The profile of the choir changed dramatically. Making extensive use of primary sources, this study aims to document the process of change in Victoria between 1861 and 1901, exploring the rationales underlying decisions taken and historical factors facilitating change. Musical developments in Victoria are viewed in the context of those elsewhere, especially Scotland and of general changes in aesthetic taste. The study concludes that the process of musical change shows the Presbyterian Church of Victoria to have been a forwardlooking and well-endowed institution with the confidence to take initiatives independent of Scottish control. It is also concluded that changes in musical practice within the worship of the Presbyterian Church of Victoria reflect developments taking place in other denominations and the changing aesthetic tastes of the Victorian era.

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38

Thomas, Stuart. "Enabling ministers and musicians to develop music in parish worship : enabling the shortfall in ministerial support and training in the Church of England." Thesis, Bangor University, 2015. https://research.bangor.ac.uk/portal/en/theses/enabling-ministers-and-musicians-to-develop-music-in-parish-worship--enabling-the-shortfall-in-ministerial-support-and-training-in-the-church-of-england(f8590664-8c36-40fc-a9df-64819e5a69f1).html.

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Church ministers often lack confidence in making musical choices, negotiating with musicians, or knowing how to make best use of often limited musical resources. Building on my experience as a part-time liturgy tutor for a diocesan ministry course, as training incumbent, and leader of workshop and seminars, and on investigations into the current provision of ministerial training, available resources, and the responses of new and experienced ministers from the Church of England and from the Lutheran Church, the outcome is a Musical Toolkit intended to support ministers. There are three chapters, preceded by an introduction which highlights the roots of this investigation in the everyday practice of public ministry, leading up to a Toolkit which ultimately as a web-based resource will offer ordained and licensed ministers of the Church of England readily accessible help and advice, as and when they need it, with options to pursue certain avenues of enquiry further. The Introduction sets the scene and introduces the context of the research and the questions to be addressed. Chapter 1 then addresses the ecclesiastical and social context of the study, covering how music has developed and is currently practised in the Church of England, aiming to identify what are the perceived and actual needs. Chapter 2 moves from personal experience to the research itself with new and experienced Church of England clergy, leading to chapter 3 which investigates current provision for liturgical training for ministers in the Church of England, and current literature available. Chapter 4 summarises the conclusions and outcomes of the investigations leading to the final outcome: the Musical Toolkit, which is now being adapted for online use, where it will be of most use to clergy and other ministers.

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39

Read, Daniel. "WHY WE SING ALONG: MEASURABLE TRAITS OF SUCCESSFUL CONGREGATIONAL SONGS." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/102.

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Songwriters have been creating music for the church for hundreds of years. The songs have gone through many stylistic changes from generation to generation, yet, each song has generated congregational participation. What measurable, traceable qualities of congregational songs exist from one generation to the next? This document explores the history and development of Congregational Christian Song (CCS), to discover and document the similarities between seemingly contrasting styles of music. The songs analyzed in this study were chosen because of their wide popularity and broad dissemination among non-denominational churches in the United States. While not an exhaustive study, this paper reviews over 200 songs spanning 300 years of CCS. The findings of the study are that songs that have proven to be successful in eliciting participation all contain five common elements. These elements encourage congregations to participate in singing when an anticipation cue is triggered and then realized. The anticipation/reward theory used in this study is based on David Huron’s ITPRA (Imagination-Tension-Prediction-Reaction-Appraisal) Theory of Expectation. This thesis is designed to aid songwriters and music theorists to quickly identify whether a CCS can be measured as successful (i.e., predictable).

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40

Wollf, Randy. "The intersection of power, knowledge, shared perspectives, and participatory processes in organizational direction-setting: a study of a church." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/196.

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The abuse of power, dominance of certain shared perspectives, and reduction of personal values into so-called organizational core values are problems that plague traditional organizational direction setting. The purpose of this study was to explore how power intersects with the knowledge formation process, shared perspectives, and participatory processes within organizational direction setting. The study used an ethnographic case study approach to focus on a church that went through a yearlong direction setting process. The church had lost its senior pastor and wanted to determine its direction before hiring a new pastor. The researcher was a participant in that process. His field notes and other documentation provided one source of data. The researcher also interviewed 20 people who participated in the process. In terms of the intersection of power and knowledge formation, the study revealed that the discursive practices of the facilitator along with the voices of those in privileged groups, the outspoken, and those who had engendered trust in others carried considerable weight during the process. At the intersection of power with shared perspectives, there were two major perspectives representing subgroup cultures: a traditional perspective that resisted change and a progressive perspective that wanted change. The progressives dominated the church’s privileged groups and exerted extensive influence on the direction setting process. The organizational symbols of church staff and worship music style served to galvanize some people in the battle over which perspective would prevail. Transparency functioned as a bridge that brought some on either side of the conflict closer together. The research revealed two major types of power related to the intersection of power with participatory processes: the power of pain and intimidation. Both minimized the participation of some women, youth, and traditionalists. All three intersections featured deployments of power that influenced the construction of directional knowledge. This knowledge helped to inform the rules of “appropriate” conduct within the organization’s emerging truth regime. The study revealed that, in this case, robust directional knowledge would have accommodated personal, subgroup, and widely shared values in a state of dynamic equilibrium. The researcher concluded with a discussion of implications for organizational leaders.

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41

Detwiler, David Franklin. "The role of music in worship according to Paul an exegetical inquiry /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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42

Pewa, Sibusiso Emmanuel. "Song, dance, and worship in the Zionist Christian Churches: an ethnomusicological study of African music and religion." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/1304.

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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree of Master of Music in the Department of Music at the University of Zululand, South Africa, 1997.
The aim of this study is to investigate the relationship between music and worship in contemporary African society. Since there are various forms of activities that constitute the African society, the study will focus on the Zionists' Church music and worship from an ethnomusicological point of view.

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43

Mayden, Brandon. "The role of the Restoration Movement editors concerning the use of instrumental music in worship 1866-1906 /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p031-0172.

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44

Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene." Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.

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Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia.
Thesis (DMus)--University of Pretoria, 2005.
Music
Unrestricted

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45

DeValve, John. "Singing foreign songs in the Lord's House : an examination of the worship music sung in Songhai/Zarma protestant churches of the West African Sahel, with special reference to Niger." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/23886/.

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Music is a key marker of a person’s identity. It is commonly assumed that people identify most strongly with the music of their own culture and upbringing. The Songhai people of West Africa have a rich historical and musical heritage. Songhai Christians, however, rarely make use of their musical traditions, relying mostly on borrowed forms of worship music. This qualitative study uses insights and methods from ethnomusicology and liturgical study to examine why Songhai Christians ignore or neglect their musical traditions in worship. Using data elicited from eighty semi-structured interviews and lessons on the three-stringed lute, the thesis presents a comprehensive synopsis of Songhai traditional music, including ideas about music, genres/occasions for music, musical instruments, musicians, and dance. With this information as a basis for comparison, the thesis proceeds to examine Protestant Songhai music using information obtained during observations of twenty-three churches and case studies of three of those churches. The analysis of the data shows a significant confusion or loss of identity amongst Songhai Christians under the powerful impact of five cultural and historical forces: tradition, Islam, the Christian subculture, the West/globalization, and the political nation/state. Music plays a role in each of these subcultures and helps shape people’s choices and identities. Additionally, each subculture is undergoing rapid change, causing further destabilization of believers’ identities as individuals and as a church. Using grid/group cultural theory as a frame for analysis, the thesis proposes a new model for investigating the mix of cultural and historical causes which affect worship music in the Songhai church. It further presents a ‘logophonic’ principle of soundly ordered words and words soundly ordered which the church could use to build on current worship practices and construct a more robust Songhai Christian identity.

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Goodwin, Peter Edward. "Worship in the Anglican country parishes from the Restoration to the nineteenth century : its music and architectural setting, with particular reference to selected churches within the present diocese of Chelmsford." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396016.

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McClendon, David Michael. "Plugging into worship : how contemporary Christian music is impacting church musicians /." 2008. http://hdl.handle.net/10288/508.

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Snape, Daniel Patrick. "Worship, theology, and praxis at Antioch Community Church, Waltham, Massachusetts: an exploration of the foundations of worship from a Baptist-Charismatic perspective." Thesis, 2017. https://hdl.handle.net/2144/22614.

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This project thesis explores and identifies the foundational suppositions that undergird corporate worship at Antioch Community Church of Waltham (as part of Antioch Community Church of Greater Boston), and to that end examines the relationship between an articulated theology of worship and the worship praxis that simultaneously embodies and generates that theology. Research for this project included review of selected works on worship and liturgical theology, interpretation of significant biblical texts, an exploration of contemporary praise and worship music, the development and interpretation of a church survey, and a series of interviews and ethnographic investigations. This study shows that the church articulates its theology of worship within a scriptural framework and places a high value on encountering the presence of the triune God through experiential worship that engages the whole person.

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Lagerwall, Renée. "Contemporary attitudes towards music in South African Protestant churches." Diss., 1996. http://hdl.handle.net/10500/17161.

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This dissertation examines the attitudes of people regarding the worship music that is being used in South African Protestant churches during the last decade of the twentieth century. The research is aimed at the man-in-the-pew to identify general trends across a variety of denominations. 4920 questionnaires were sent to 980 churches countrywide and completed anonymously. Questions are divided into three categories: personal information, church related, personal opinions. Every question has space for comments. Chapter one is a general discussion on people's opinions and attitudes and the aim and method used. Chapter two is an historical synopsis. Chapter three is an analysis of the questionnaire including hypotheses, graphs, results and comments. Chapter four, the conclusion, identifies general trends regarding formality and informality, choirs and music groups, background music, traditional versus contemporary, education and influence of leaders, the need for policies, use of media and instruments. Proposals are suggested.
Art History, Visual Arts & Musicology
M. Mus.

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Van, de Laar John William. "A theological exploration of the role and use of music for worship in the Methodist Church of Southern Africa." Diss., 2000. http://hdl.handle.net/10500/16248.

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A theology of Church music for worship has been conspicuous by its absence. The need is clearly demonstrated in this thesis, as is the methodology to develop this theology. The Biblical record of musical usage shows that theological principles can be uncovered to guide theuse of music today. The same process can be applied to the use of music for worship in church history. In order for these principles to have practical application, the challenges facing the Methodist of Southern Africa today are examined. Finally, a theology of Worship Music is developed under three headings. The first, Worship Music as Sacred Sound, explores the inherent music making of God, and of humanity. The second heading, Worship Music as Sacred Act, explores the way music is used as part of the Church's worship activity. The third heading, Worship Music as Sacred Word, explains how music can communicate in worship.
Philosophy, Practical & Sytematic Theology
M. Th. (Systematic Theology)

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