To see the other types of publications on this topic, follow the link: Church music Worship.
Journal articles on the topic 'Church music Worship'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Church music Worship.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (October 7, 2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.
Full textAbstract:
In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades, church concerts, and inter-churches music festivals. This strengthens the need for church worship ministers with music and leadership training. Universities in Kenya are, therefore, obligated to offer church music programmes that will enable these worship ministers to fit in the current job market. The discourse on church music, though, is rare in Kenya hence limited literature on the same. The study had an objective of establishing the relevance of university music curricula to the requirements of church music job market in Kenya. Elliot's Praxial theory underpinned the study. The study found out that universities are not keen to include music programmes that are relevant to the music job market. The Simple Matching Coefficient (SMC) of university X and Y music curricula to the requirements of church music job market was 0.00. Both universities did not have a church music program hence missing all the requirements of the given job market. The study recommends that there is a need to develop church music programmes in universities in Kenya, and this can be done in collaboration with the Schools of Theology at the university.
2
Devalve, John R. "Gobal and Local: Worship Music and the ‘Logophonic’ Principle, or Lessons from the Songhai." Transformation: An International Journal of Holistic Mission Studies 36, no. 4 (September 10, 2019): 219–32. http://dx.doi.org/10.1177/0265378819867835.
Full textAbstract:
The Christian church has always lived in tension between its global and its local identities, between gospel and culture. One aspect in which this tension plays out is in worship music. As the gospel came to them, many African churches adopted a North American/European form of song, ignoring or neglecting their local, traditional music. They opted for a more global identity and minimized their local identity. The church amongst the Songhai of West Africa is an example of this phenomenon. A church that neglects its local identity, however, has little appeal to the surrounding society and loses its prophetic voice to the community. Resolving the tension between the two identities is an important matter for every church. Thinking through worship music practices plays a key part in resolving this tension. A tool called the ‘logophonic’ principle may be of help in this regard. The tool looks at both words (lyrics) and sounds (accompaniment) to reexamine and renew worship practices and craft new music for congregations. This article explains how this tool might work and urges the necessity of good theological thinking and about worship and worship music.
3
Tantra, Carolien Eunice, and Mark Peters. "J. S. Bach’s Church Cantatas and Church Music Today." Veritas: Jurnal Teologi dan Pelayanan 20, no. 1 (July 19, 2021): 137–52. http://dx.doi.org/10.36421/veritas.v20i1.473.
Full textAbstract:
How do we as Christians today learn about worship and church music? How do we think about not only what music we will sing in Christian worship, but also the principles that should guide us in choosing and leading church music? Certainly, there are many different ways we answer that question: we study the Bible, we sing the words of the Scriptures, we read what theologians, worship leaders, and scholars of church music are writing today, we attend lectures and conferences by scholars and practitioners of church music. In this article, I offer and explore yet another example of how we live out God’s call in leading music for the Christian church: by studying the example of a faithful Christian musician from the past. My particular example for this article is the German composer and church musician Johann Sebastian Bach (1685-1750). I want to clarify from the start that I am not arguing that J. S. Bach is the best example of a Christian church musician and certainly not that he is the only example. But Bach does offer us one example of a musician who dedicated most of his life to creating and leading music for the Christian church and sought to do so faithfully, creatively, and skillfully.
4
Wood, Michael. "Ancient Worship Wars: An Investigation of Conflict in Church Music History." Musical Offerings 5, no. 2 (November 4, 2014): 119–30. http://dx.doi.org/10.15385/jmo.2014.5.2.3.
Full text
5
Berhó, Deborah L. "An “Echo in the Soul”: Worship Music in Evangelical Spanish-Language Latino Churches of Oregon." Ecclesial Practices 7, no. 2 (December 16, 2020): 203–25. http://dx.doi.org/10.1163/22144471-bja10019.
Full textAbstract:
Abstract While a majority of the fast-growing U.S. Latino population is Roman Catholic, a significant and growing percentage is Protestant – some calculate that they now number 10 million in the U.S. Despite this significant growth, Latino Protestant churches remain understudied, particularly the music in worship services. Several Latino theologians criticize the music as being of foreign extraction, a form of neocolonialism in the church, not an autochthonous expression of worship. However, these claims do not align with music actually being used in these congregations. This carefully documented study of 25 Spanish language Protestant churches in Oregon reveals that, while music used in worship at one time may have been created and imposed by non-Latinos, this is no longer the case, and bi-musicality is the norm, reflecting the diaspora and agency of the Latino Protestant church.
6
Said, Shannon. "White Pop, Shiny Armour and a Sling and Stone: Indigenous Expressions of Contemporary Congregational Song Exploring Christian-Māori Identity." Religions 12, no. 2 (February 16, 2021): 123. http://dx.doi.org/10.3390/rel12020123.
Full textAbstract:
It has taken many years for different styles of music to be utilised within Pentecostal churches as acceptable forms of worship. These shifts in musical sensibilities, which draw upon elements of pop, rock and hip hop, have allowed for a contemporisation of music that functions as worship within these settings, and although still debated within and across some denominations, there is a growing acceptance amongst Western churches of these styles. Whilst these developments have taken place over the past few decades, there is an ongoing resistance by Pentecostal churches to embrace Indigenous musical expressions of worship, which are usually treated as token recognitions of minority groups, and at worst, demonised as irredeemable musical forms. This article draws upon interview data with Christian-Māori leaders from New Zealand and focus group participants of a diaspora Māori church in southwest Sydney, Australia, who considered their views as Christian musicians and ministers. These perspectives seek to challenge the relationship between Indigenous and non-Indigenous relations within a church setting and create a more inclusive philosophy and practice towards being ‘one in Christ’ with the role of music as worship acting as a case study throughout. It also considers how Indigenous forms of worship impact cultural identity, where Christian worship drawing upon Māori language and music forms has led to deeper connections to congregants’ cultural backgrounds.
7
Jones, Ian, and Peter Webster. "Anglican ‘Establishment’ Reactions to ‘POP’ Church Music in England, 1956–C.1990." Studies in Church History 42 (2006): 429–41. http://dx.doi.org/10.1017/s0424208400004125.
Full textAbstract:
The use of popular styles of music in the Church has often proved contentious, and perhaps particularly so in the later twentieth century. Anecdotal evidence abounds of the debate provoked in churches by the introduction of new ‘happy-clappy’ pop-influenced styles, and the supposed wholesale discarding of a glorious heritage of hymnody. In addition, a great deal of literature has appeared elaborating on the inappropriateness of such music. Welcoming a historical study of hymnody in 1996, John Habgood lamented the displacement of traditional hymn singing by ‘trivial and repetitive choruses’. Lionel Dakers, retired Director of the Royal School of Church Music, also saw choruses and worship songs as ‘in many instances little more than trite phrases repeated ad nauseam, often with accompanying body movements’. This paper investigates the reactions of the musical and ecclesiastical establishments to the use of popular music in public worship in the Church of England from 1956 to c. 1990. The period began with a new wave of experimentation epitomized by Geoffrey Beaumont’s Folk Mass and the controversy surrounding it, and ended in the early 1990s, by which time the pop-influenced worship music of the renewal movement had become firmly established in some sections of the Church, with its own figure-heads and momentum.
8
Van Dyken, Tamara J. "Worship Wars, Gospel Hymns, and Cultural Engagement in American Evangelicalism, 1890–1940." Religion and American Culture: A Journal of Interpretation 27, no. 2 (2017): 191–217. http://dx.doi.org/10.1525/rac.2017.27.2.191.
Full textAbstract:
AbstractThis article argues that gospel hymnody was integral to the construction of modern evangelicalism. Through an analysis of the debate over worship music in three denominations, the Methodist Episcopal Church, the Christian Reformed Church, and the Reformed Church in America, from 1890–1940, I reveal how worship music was essential to the negotiation between churchly tradition and practical faith, between institutional authority and popular choice that characterized the twentieth-century “liberal/conservative” divide. While seemingly innocuous, debates over the legitimacy of gospel hymns in congregational worship were a significant aspect of the increasing theological, social, and cultural divisions within denominations as well as between evangelicals more broadly. Gospel hymnody became representative of a newly respectable, nonsectarian, and populist evangelicalism that stressed individualized salvation and personal choice, often putting it at odds with doctrinal orthodoxy and church tradition. These songs fostered an imagined community of conservative evangelicals, one whose formation rested on personal choice and whose authority revolved around a network of nondenominational organizations rather than an institutional body. At the same time, denominational debates about gospel hymnody reveal the fluid nature of the conservative/liberal binary and the complicated relationship between evangelicalism and modernism generally. While characterizations of “liberal” and “conservative” tend to emphasize biblical interpretation, the inclusion of worship music and style complicates this narrow focus. As is evident through the case studies, denominations typically categorized as theologically liberal or conservative also incorporated both traditional and modern elements of worship.
9
Brits, Hans J. "’n Ondersoek na ’n gemeente se aanbiddingsvoorkeure om lidmaatdeelname ten opsigte van sang en musiek te bevorder binne die raamwerk van ses aanbiddingsmodelle." STJ | Stellenbosch Theological Journal 2, no. 2 (December 31, 2016): 153–79. http://dx.doi.org/10.17570/stj.2016.v2n2.a08.
Full textAbstract:
Examining the worship preference of a congregation in order to enhance worshippers’ participation in song and music within the framework of six worship modelsThe important role of music and singing within the dialogue of the liturgy should never be underestimated. It is imperative for any congregation to understand its members’ preference to liturgical song and music. Knowledge gained from this understanding can assist congregations to make informed decisions with regard to the different forms and genres of church music and hymns which may enhance worshippers’ participation. This article reflects on a study that was conducted at a Dutch Reformed congregation to investigate the worship preferences with specific reference to church music and hymns, based on six worship models. The study is performed from a reformed perspective and can be used as a conceptual framework by congregations that have a similar need to ensure improved worship participation.
10
Sasongko, Michael Hari. "IDIOM MUSIK KLASIK DI GEREJA KARISMATIK." Tonika: Jurnal Penelitian dan Pengkajian Seni 1, no. 1 (November 26, 2018): 1–14. http://dx.doi.org/10.37368/tonika.v1i1.7.
Full textAbstract:
Church music has long history and experiences in its periods. It began when they, the believers, mentioned themselves as the “Christian”. From the time that phenomenon the christians commenced their act of devotion tradition included their musical tradition of worship. The existence of church music more developed till Middle Age or Dark Age Period. It was dominantly covering to others music genre. At the Renaisance Period, the church reformation movement occured and it was pioneered by Martin Luther. Western music changed at the time. Luther changed of scene; He changed the tradition of Catholic church that used Latin lirics to folk language; He changed the gregorian chant tradition with folksong. The phenomenon was the first time of event of inculturation in world history of music after it undergone stagnancy during the authorization of Roman empire, especially when Pope Gregory created the standarization to all christian music. At the present day we are familiar with charismatic music tradition which is developed from American music tradition. It has a characteristic which is used as the band instrument in praise and worship by christian believers. But sometimes, the believers also use arpeggio or broken-chord as the main charracter on Classical Period in part the way of Western music history. Pass through the reasearch, the reasearcher look into the idioms are used in praise and worship in charismatic church. The reasearcher found that the using of idiom in Classical Period has enriched the nuance of music aesthetic in praise and worship.
11
Justice, Deborah. "When Church and Cinema Combine: Blurring Boundaries through Media-savvy Evangelicalism." Journal of Religion, Media and Digital Culture 3, no. 1 (December 6, 2014): 84–119. http://dx.doi.org/10.1163/21659214-90000042.
Full textAbstract:
The use of social media presents new religious groups with opportunities to assert themselves in contrast to established religious institutions. Intersections of church and cinema form a central part of this phenomenon. On one hand, many churches embrace digital media, from Hollywood clips in sermons to sermons delivered entirely via video feed. Similarly and overlapping with this use of media, churches in cinemas have emerged around the world as a new form of Sunday morning worship. This paper investigates intersections of church and cinema through case studies of two representative congregations. CityChurch, in Würzburg, Germany, is a free evangelical faith community that meets in a downtown Cineplex for Sunday worship. LCBC (Lives Changed by Christ) is one of the largest multi-sited megachurches on the American East Coast. While LCBC’s main campus offers live preaching, sermons are digitally streamed to the rest. Both CityChurch and LCBC exemplify growing numbers of faith communities that rely on popular musical and social media to 1) redefine local and global religious relationships and 2) claim identity as both culturally alternative and spiritually authentic. By engaging with international flows of worship music, films, and viral internet sensations, new media-centered faith communities like CityChurch and LCBC reconfigure established sacred soundscapes. CityChurch’s use of music and media strategically differentiates the congregation from neighboring traditional forms of German Christianity while strengthening connections to the imagined global evangelical community. LCBC creates what cultural geographer Justin Wilford dubs a “postsuburban sacrality” that carves out meaning from the banality of strip-mall-studded suburban existence. Analyzing the dynamics of music and media in these new worship spaces assumes growing importance as transnational music and media choices play an increasingly a central role in locally differentiating emergent worship communities from historically hegemonic religious neighbors.
12
Hage, Jan, and Marcel Barnard. "Muziek als missie: Over Willem Mudde en zijn betekenis voor de kerkmuziek." NTT Journal for Theology and the Study of Religion 66, no. 4 (November 18, 2012): 283–98. http://dx.doi.org/10.5117/ntt2012.66.283.hage.
Full textAbstract:
Under the influence of Calvinism, the musical situation in the Protestant churches in the Netherlands was for a long time marked by sobriety, with attention focused on congregational singing. In the 20th century, church music gained importance through a dominant flow of Lutheran influence. Generally, the liturgical movement highlighted the role of music in worship. The Lutheran church musician Willem Mudde successfully called attention to the German church music reform movement. Inspired by the writings of the German theologian Oskar Söhngen, he strived to apply the ideals and practices of this German movement to the Dutch Protestant churches. He succeeded through his zeal and organisational skills, not only in the Lutheran church but also in other Protestant churches. The idealistic character and educational aims of the movement, however, could not offset the growing individualism and the ongoing crisis in the churches.
13
Remes, Hanna. "”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija." Trio 10, no. 1 (July 10, 2021): 91–100. http://dx.doi.org/10.37453/trio.110132.
Full textAbstract:
Hanna Remes’s artistic doctoral degree, which focuses on choral church music in worship, is the first of its kind in Finland. The demonstration of proficiency carried out 2016–2020 comprises two masses, a worship service, a passion drama and an Easter concert. She elucidates changes in guidelines for the liturgical use of the choir according to the Evangelical Lutheran Church of Finland’s 2000 church manual from those of the 1968 church manual. The dissertation stands at the junction of liturgy and the history of church music. Remes compares and analyses the liturgical role of the choir in the Church of Finland as stated in the latest church manuals and supplementary materials and explains the guiding principles of the manuals’ preparation.
14
Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.
Full textAbstract:
AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adventist Churches in Masvingo should incorporate African instruments and dance to a certain extent if they are to make significant impact on the indigenous people. It advocates mission by translation as opposed to mission by diffusion.
15
Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (October 22, 2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.
Full textAbstract:
Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of worship bulletins, personal interviews with art music composers, choirmasters and pastors within the denomination. Textual analysis of art music compositions reveals that there are four different modes of communication in the drama of worship: Kerigmatic, Leitourgic, Koinonia, and Reflexive. The emergence and performance of art music compositions in the drama of worship have facilitated communication, indigenisation and acculturation of Christian worship among Baptists in Nigeria.
16
Taranger, Angela. "Multiple Meanings: The Role of Black Gospel in an Interracial and Multi-Ethnic Edmonton Church." Canadian University Music Review 19, no. 2 (March 1, 2013): 61–69. http://dx.doi.org/10.7202/1014447ar.
Full textAbstract:
This paper examines the process by which Black gospel music (performed according to aesthetic standards determined by African Americans) has become a site of meaning for both Black and White congregants at Edmonton Community Worship Hour, a church with an interracial and multi-ethnic ministry. Certain "transformations" (or "inversions") are at play in the conceptual systems of the people who attend; each individual has disparate, though intersecting, webs of meaning which become operational in a cross-cultural setting, relating to: the music itself, the method of worship, and the interpersonal relationships of the church's Black majority and White minority.
17
Graham, Gordan. "The theology of music in church." Scottish Journal of Theology 57, no. 2 (May 2004): 139–45. http://dx.doi.org/10.1017/s0036930604000043.
Full textAbstract:
This paper is concerned with how we should understand the distinctive contribution of music to Christian worship. It considers two contrasting views that have powerfully influenced contemporary church music – the pursuit of musical excellence by highly competent performers on the one hand, and the adoption of simpler, popular and more inclusive musical forms on the other. This contrast is explored against the background of a biblical understanding of prayer and sacrifice, and in the light of some philosophical issues surrounding both the idea of divine service and the nature of music.
18
Lestari, Dewi Tika. "Etnisitas, teologi, dan musik dalam nyanyian gereja: sketsa awal studi etnoteomusikologi nyanyian Gereja Protestan Maluku." Kurios 7, no. 1 (May 2, 2021): 81. http://dx.doi.org/10.30995/kur.v7i1.259.
Full textAbstract:
Church music is an essential part of Christian worship. The primary source to create Church music is commonly from the Bible, Christian tradition, and believers' experience. Yet, in the church music of the Protestant Church in the Moluccas (GPM), there is harmony between some elements such as ethnicity, theology, and music. In ethnicity, there is some local cultural tradition derived from the old local religion, which Christianity contextualizes. Using a descriptive qualitative research method, the harmony of all elements, ethnicity, theology, and music result in a new perspective, namely ethno-theo-musicology, to analyze and understand the church music existence. This research found that the Protestant Church member in the Moluccas appreciates all church music substances, which led them not only to praise God but also to experience God in their cultural experience in Maluku.
Abstrak
Musik gereja merupakan salah satu unsur penting dalam peribadahan Kristen. Musik gereja umumnya diciptakan bersumber dari kesaksian Alkitab, tradisi atau ajaran gereja tertentu, dan pengalaman iman orang percaya. Namun, dalam nyanyian Gereja Protestan Maluku (GPM), musik gereja bersumber dari harmonisasi unsur budaya lokal, teologi, dan musik. Dalam unsur budaya lokal juga ditemukan proses kontekstualisasi narasi-narasi mistik dari kepercayaan asli masyarakat sebelum menjadi Kristen. Dengan penelitian deskriptif kualitatif, artikel ini menjelaskan adanya perpaduan unsur etnisitas, teologis, dan musik yang kemudian menghasilkan suatu pendekatan etnoteomusikologis dalam mengartikan suatu nyanyian gereja. Penelitian ini menemukan bahwa Warga Gereja Protestan Maluku sebagai pemilik dari Nyanyian GPM, sangat mengapresiasi pendekatan etnotheomusikologis sebab dirasakan bahwa musik gereja selain memuliakan Allah juga mengantarkan mereka mengalami kehadiran Allah di dalam pengalaman-pengalaman budaya yang mereka miliki
19
Bradley, C. Randall. "Congregational Song as Shaper of Theology: A Contemporary Assessment." Review & Expositor 100, no. 3 (August 2003): 351–73. http://dx.doi.org/10.1177/003463730310000304.
Full textAbstract:
The faith and identity of Christian communities are formed and defined in large degree by musical forms and patterns. Music shapes and conveys theology, and is a point of engagement with broader culture. This is especially true in Free Church evangelicalism, where musical styles have nearly replaced denominational distinctives as the demarcating lines among various groups. This essay argues that music and worship are “active theology.” Worship and its music should over time express the full range of Christian truth and form worshipers truthfully. The essay explores and catalogues principal influences and concerns pertaining to musical form, style, and content. Church musicians are encouraged to see themselves as shapers of contextual theology in their communities.
20
Ward, James C. "The Lord Will Make a Way Somehow: Strategies for Cross-Cultural Music and Worship." Review & Expositor 109, no. 1 (February 2012): 39–50. http://dx.doi.org/10.1177/003463731210900106.
Full textAbstract:
With neighborhoods shifting racially and economically, churches are challenged with meeting the new population with relevant and culturally meaningful worship music. Ethnic groups are diverse within themselves as well, with black and Latino peoples having disparate tastes and traditions from Church of God in Christ to South American Evangelicals. Congregations must have strong pastoral leadership and competent, spiritually alert musicians and singers. Although the leadership may want more effective outreach through music, it requires trained musicians, often in jazz, to educate the musicians as well as the congregation. Vocalists must also be melded together, trained and untrained, into a vernacular blend in praise teams or choirs. Musicians must do research in the community for songs and resources that touch the “heart music” of the target population. The result of such a commitment is to see a congregation rally around a new mission and new friendships. Children growing up in such a cross-cultural worship have a more open view of the world. But bearing fruit in cross-cultural ministry is measured in decades and may not have overwhelming success like some homogeneous church plants. If we want to see the church's witness as credible before a watching world, racial reconciliation and justice fleshed out in the worshipping community must be a greater priority. In a society still plagued with racial alienation, this may be the toughest strategy of all.
21
Simatupang, Jaka Pranata. "TEKNIK PERMAINAN IMPROVISASI KEYBOARD PADA LAGU KIDUNG JEMAAT NO. 375 “SAYA MAU IKUT YESUS” DI GEREJA HKI HUTAGURGUR." Areopagus : Jurnal Pendidikan Dan Teologi Kristen 18, no. 1 (March 1, 2020): 39–47. http://dx.doi.org/10.46965/ja.v18i1.103.
Full textAbstract:
The purpose of this research is to add insight into the playing of keyboard instruments and what techniques can be used in playing the keyboard one of them improvised music playing techniques by playing music in whorship in the Church. The benefits of the research to explain the technique of improvised keyboard music playing in the accompaniment of processional worship at the HKI Curch Hutagurgur. Applied to this improvisation technique using the song of the Curch numbre 375 “I Want To Follow Jesus” during the procession worship at the HKI Curch Hutagurgur. The study uses qualitative research that makes direct observations and gets information from several related source. The author lifts the song “I Want To Follow Jesus”and apply it through a keyboard instrument using an improvised playing music to add some melodies that are not in the original song sheet so that the atmosphere of entering the Church is more enjoying the music. The method used for this improvised music playing yechnique through melodi scale and chord transfer called chord bridges to go to the next chord on the song I Want To Follow Jesus. In improvised playing dont have to match the writen scores, because improvisation is a spontaneous idea that is created directly unconciously and without planed.The information contained in this thesis is the method using and appliying improvised playing techniques through stages wich is explained in playing music especially in the field of instruments keyboard in the use of improvisation first know the song that will be played to in the playing of improvisation more broadly in playing the melodies wich increase through the idea appear alone on the chord song moves. Perferably inside the Church player is sick of having to practice more in music playing techniques espesially on keyboard instruments because in aChurch instrument the most importaint keyboard in accompanying Church worship.
22
Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (August 2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.
Full textAbstract:
When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.
23
Wright, Jeremiah A. "Music as Cultural Expression in Black Church Theology and Worship." Black Sacred Music 3, no. 1 (March 1, 1989): 1–5. http://dx.doi.org/10.1215/10439455-3.1.1.
Full text
24
Noden, Shelagh. "The Revival of Music in the Post-Reformation Catholic Church in Scotland." Recusant History 31, no. 2 (October 2012): 239–60. http://dx.doi.org/10.1017/s0034193200013595.
Full textAbstract:
This article presents a narrative description of the state of music in the Scottish Catholic Church from the Reformation up to the publication of George Gordon’s collection of church music c.1830. For the first two hundred years after the Reformation, Scottish Catholics worshipped in virtual silence owing to the oppressive penal laws then in force. In the late eighteenth century religious toleration increased and several members of the clergy and other interested parties attempted to reintroduce singing into the worship of the Scottish Catholic Church. In this they were thwarted by the ultra-cautious attitude of the Vicar-Apostolic for the Lowland District, Bishop George Hay, who refused to allow any music in Catholic churches in case it should inflame Protestant opinion. Only after his retirement could the reintroduction take place, and the speed at which it was achieved bears witness to the enthusiasm and commitment of Scottish clergy and laity for church music. Research in this area is long overdue, and it is hoped that this article will form a basis for further investigations.
25
김은성. "Reformation of Church Music in South Korea: The Reformation and Music for Worship." Korea Presbyterian Journal of Theology 49, no. 1 (March 2017): 93–114. http://dx.doi.org/10.15757/kpjt.2017.49.1.004.
Full text
26
Nikolakopoulos, Konstantin. "Die orthodoxe Kirchenmusik als ein bedeutendes Erbe von Byzanz und ihre moderne Rezeption im Westen am Beispiel des „Byzantinischen Kantorenchores München“." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 447–59. http://dx.doi.org/10.1515/ress-2015-0033.
Full textAbstract:
The Byzantine Music was created within the liturgical life of Orthodoxy and has been developed accordingly in the Eastern Church Worship. Together with the hymnography the Byzantine Music in Orthodoxy has from the beginning taken a central place, especially since there is absolutely no orthodox worship without psalmodic accompaniment. It is one of the most notable achievements in the Byzantine era, for which in the last decades also in Western Europe a great interest is awakened.
27
Benjamins, Laura. "Learning through praise: How Christian worship band musicians learn." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 417–33. http://dx.doi.org/10.1386/jpme_00004_1.
Full textAbstract:
Popular music education continues to increase in North American educational settings. While popular music teaching and learning are recognized in a variety of contexts, contemporary Christian church praise bands have not been significantly addressed in music education literature. In addressing this gap, the purpose of this study is to examine the musicking practices occurring in the contemporary worship music (CWM) context and how these lead contemporary Christian musicians to acquire and develop their musical skills. Green’s five principles of informal music learning were found to apply in part, yet other distinctive features were also present in study findings. Themes such as elitism, excellence, hierarchies of musical engagement, and inclusion/exclusion of worshippers and the congregation also arose, providing interesting areas for future research.
28
Nainggolan, Dapot. "KAJIAN TEOLOGIS TERHADAP MUSIK GEREJAWI." JURNAL LUXNOS 6, no. 1 (June 21, 2020): 32–52. http://dx.doi.org/10.47304/jl.v6i1.4.
Full textAbstract:
Abstract: Church music must be understood correctly based on the principles contained in the word of God. By having a correct understanding of the meaning, purpose, who, and how and when church music should be performed, our worship of God through music and singing will build faith and glorify God. Church music are absolutely based on God's will. Church music is not an option, but an obligation for every church in response to God's redemptive work in his life. Church music and singing are not in the framework of introducing one element to another in an arrangement of liturgical events, and not in the context of an enjoyable joint activity to sing favorite songs. Our encounter with God through His maintenance work at all times, that is the motor that drives the music and songs that we offer to God. Therefore, in this study, it will explain clearly what is meant by ecclesiastical music and then be examined theologically based on the description of Bible verses as a basic material and supported by existing literature sources. Abstrak: Musik gerejawi harus dipahami secara benar berdasarkan prinsip-prinsip yang terkandung dalam firman Allah. Dengan memiliki pemahaman yang benar akan makna , tujuan, siapa, dan bagaimana serta kapan seharusnya musik gerejwi itu dilakukan, maka penyembahan kita kepada Allah melalui musik dan nyanyian akan membangun iman dan memuliakan Allah. Musik dan nyanyian gerejawi mutlak didasari oleh kehendak Allah. Musik gerejawi bukan merupakan pilihan, melainkan kewajiban bagi setiap gereja sebagai respon atas karya penebusan Allah dalam hidupnya. Musik dan nyanyian gerejawi bukan dalam rangka sebagai pengantar antar unsur yang satu dengan unsur lainnya dalam sebuah susunan acara liturgi, dan bukan pula dalam rangka suatu aktifitas kegiatan bersama yang menyenangkan untuk menyanyikan lagu-lagu kesayangan. Perjumpaan kita dengan Allah melalui karya pemeliharaan-Nya pada setiap waktu, itulah yang menjadi motor yang menggerakkan musik dan nyanyian yang kita persembahkan kepada Allah. Oleh karena itu dalam penelitian ini akan menguraikan secara jelas apa yang dimaksud dengan musik gerejawi dan kemudian dikaji secara teologis berdasarkan uaraian ayat-ayat Alkitab sebagai bahan dasar dan didukung oleh sumber-sumber pustaka yang ada.
29
Prosén, Martina. "Songs that Carry Transformation: Pentecostal Praise and Worship Rituals in Nairobi, Kenya." Mission Studies 35, no. 2 (May 31, 2018): 265–85. http://dx.doi.org/10.1163/15733831-12341570.
Full textAbstract:
AbstractIn this article, the theological meaning of transformation is examined from the vantage point of a local Pentecostal church in Nairobi, Kenya, and its liturgical practices. The church under study is the Woodley branch of Christ is the Answer Ministries (CITAMWoodley), formerly Nairobi Pentecostal Church (NPC) Woodley, and data was collected through field research. Arguing with the help of Steven Land’s standard workPentecostal Spirituality. A Passion for the Kingdom, it is demonstrated that praise and worship rituals function as vehicles for transformation in the theology/spirituality of the informants. Singing and making music are not optional or random activities, but constitute a core ritual providing congregants a viable route to a central goal of Pentecostal spirituality: transformation. Transformation is thus both an idea and a goal, and praise and worship rituals – including the songs sung in worship – constitute a crucial link between the two.
30
Berardi, Umberto. "A Double Synthetic Index to Evaluate the Acoustics of Churches." Archives of Acoustics 37, no. 4 (December 1, 2012): 521–28. http://dx.doi.org/10.2478/v10168-012-0050-3.
Full textAbstract:
Abstract Several authors have proposed indices to synthesize the acoustics of a space, especially of concert halls. Meanwhile, a few studies have focused on the acoustics of worship spaces. The peculiarities of these last ones have shown distinctive characteristics. The increasing interest for the acoustics of worship spaces justifies the formulation of indices to synthesize the results of acoustic studies in these buildings too. This paper proposes a double synthetic index to evaluate the acoustics of a church. The index is obtained combining the average values of seven parameters generally considered in studies of architectural acoustics. The differences between requirements for music and speech in churches suggest to consider different optimal values of the selected parameters for different kinds of sound. A double synthetic index has been defined to synthesize the acoustical properties related to the music and to the speech separately. The validity of this double index is then assessed, comparing its values with subjective preferences captured through listening tests. The index, which is proposed and validated in this paper, aims to be an instrument to show synthetically the acoustical characteristics of a church to people with low knowledge in acoustics.
31
Kristanto, Alfa. "KONTEKSTUALISASI GAMELAN JAWA DI GEREJA BAPTIS INDONESIA (GBI) NGEMBAK." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 19–31. http://dx.doi.org/10.37368/tonika.v2i1.40.
Full textAbstract:
This thesis aims to examine contextualization of Javanese gamelan in the liturgy of the worship at the Indonesian Baptist Church (GBI) Ngembak Tembalang. The approach used is interdisciplinary, using qualitative research methods, and interpretative case study research design. The research data was collected by observation technique, interview, and document study, and source triangulation technique to maintain its validity. Data analysis technique is done through the process of reduction, presentation, and conclusion (verification). The results of this study show that, the form of Javanese gamelan accompaniment music in liturgical worship at GBI Ngembak Tembalang is composed of two elements, namely the element of time and melody. Contextualization of Javanese gamelan in the liturgy of the worship at the Indonesian Baptist Church (GBI) Ngembak Tembalang consists of one model, namely model translation. On the model of translation is done through the efforts of Christian identity preservation, keeping mindful of the culture, history and social change, which is owned by the Baptist Church Indonesia (GBI) Ngembak Tembalang.
32
Sasongko, Michael Hari. "MUSIK ETNIK DAN PENGEMBANGAN MUSIK GEREJA." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 32–47. http://dx.doi.org/10.37368/tonika.v2i1.41.
Full textAbstract:
Church, as a religious institution, and ethnic music, as a communality creation, are different thing. They have different philosophy, meaning, existence, entity, form, and also sosial and historical context. Sometimes even as, ideologically, they display even negation. However inspite of the contradiction, they have some interest and orientation i.e. come together on a place for expressing who people are. When they meet, there, they create something new. Based on Homi K. bhabha's theory, this something new is called "the third space". We will find ambivalence and mimicry in the new space. On the musical perspective, the hybrid of church and ethnic music call into being a new genre, namely "ethnical church music". The cutting-edge genre proved succeed for increasing worship atmosphere.
33
Achikeh, Cordis-Mariae, and Raphael Umeugochukwu. "The value of good liturgical music." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 133–50. http://dx.doi.org/10.4314/ujah.v20i3.8.
Full textAbstract:
It is disturbing that in recent times, the worshiping community in the capacity of some church ministers, composers and musicians have deviated from the specifications of liturgical music even as recommended by Vatican Council II (The Constitution of The Sacred Liturgy). Also misunderstood and misappropriated is the idea of inculturation that permits composers in different countries to write music using the language of the locality as well as the indigenous instruments. This is partly due to inadequate enlightenment and training on the part of the liturgical music practitioners on the real meaning of liturgical music. A lot ofproblems have come up from these misconceptions and misinterpretations which include but a few making noise in place of music, negligence of the core features of liturgical music ranging from little or no attention to the solemn nature of the liturgy to relevance for some unimaginable selfish interests. In remedying these challenges, the researcher has made lots of recommendations. One of them is that the practitioners of liturgical music be exposed through seminars and workshops to relevant church documents on liturgical music from time to time. It is necessary and most pertinent that the church retains its solemnity in worship as against the recent mediocrity which has come to envelop the liturgical music making practices. The great value of good liturgical music needs to be sustained.
Keywords: Liturgical Music, Gregorian Chant, Sacred Polyphony, Instrumental Music, Catholic Church, Liturgical Musician, Choir, Congregation
34
Getz, Christine. "Simon Boyleau and the Church of the ‘Madonna of Miracles’: Educating and Cultivating the Aristocratic Audience in Post-Tridentine Milan." Journal of the Royal Musical Association 126, no. 2 (2001): 145–68. http://dx.doi.org/10.1093/jrma/126.2.145.
Full textAbstract:
The cappella musicale at Santa Maria presso San Celso in Milan, also known as the church of the ‘Madonna of Miracles’, was originally charged with the performance of individual plainchant Masses on specified feasts, Vespers as a choir daily in the summer and on those specified feasts, and Compline as a choir during Lent. In 1535, however, its duties were expanded to include a High Mass and a Vespers service on the first Sunday of each month. With Carlo Borromeo's ascension to the seat of archbishop of Milan in 1560, the cappella's Vespers service became central to public worship, and attracted foreign visitors as well as the Milanese aristocracy. As a result, public worship services featuring the cappella were expanded to include a Compline service on Saturday evenings. Simon Boyleau, the first documented maestro di cappella at Santa Maria presso San Celso, was a madrigalist familiar to the Milanese aristocracy. His compositions for Santa Maria presso San Celso reflect not only Borromeo's attempts to shape the Milanese liturgical style according to Tridentine aims, but also Borromeo's desire to spiritualize and theologically educate the Milanese aristocracy. Boyleau's tenure at Santa Maria presso San Celso, which featured the cultivation of sacred and secular audiences alike, defined the activities of the church's composers for the next 50 years.
35
Taylor, Yvette, Emily Falconer, and Ria Snowdon. "Sounding Religious, Sounding Queer." Ecclesial Practices 1, no. 2 (October 10, 2014): 229–49. http://dx.doi.org/10.1163/22144471-00102006.
Full textAbstract:
This paper explores the role music plays in ‘queer-identifying religious youth’ worship, including attitudes to ‘progressive’ and ‘traditional’ musical sounds and styles. It looks at approaches taken by inclusive non-denominational churches (such as the Metropolitan Community Church, mcc), to reconcile different, and at times conflicting, identities of its members. Focusing on ‘spaces of reconciliation’ we bring together the embodied experience of Christian congregational music with the ‘age appropriate’ temporality of modern music, to examine the complex relationship between age, music, faith and sexuality. Young queers did not always feel ill at ease with ‘tradition’ and in fact many felt pulled towards traditional choral songs and hymns. Embodied and affective responses to congregational music emerged in complex and multiple ways: faith infused creativity, such as singing practice, enables queer youth to do religion and Christianity and be a part of ‘sounding religious, sounding queer’.
36
Sihombing, Adison Adrianus. "Music in The Liturgy of The Catholic Community in Jakarta, Indonesia." Al-Albab 9, no. 1 (June 8, 2020): 3–18. http://dx.doi.org/10.24260/alalbab.v9i1.1542.
Full textAbstract:
This article discusses music in the Catholic liturgy in Jakarta, Indonesia in the postmodern era within the context of the autonomy of the Catholic Church. The Indonesian Catholic Church is an independent and autonomous church where liturgical music is a form of original artistic expression. However, in practice, the majority of Catholics in Indonesia view the liturgical celebration as uninteresting and dull. Conversely, pop music has increasingly influenced liturgical music. This reality is discussed and analyzed specifically in regards to liturgical music that experiences contextual data inference, especially in the specific cultural contexts of the community. The data analysis shows, in perception of Catholics in Jakarta, the role of liturgical music in worship is not homogeneous, but rather depends on the educational background, attention from Pastors of the Parish, cultural factors, and individual past experiences. For the most part, the level of understanding regarding the nature and important position of liturgical music in religious holy celebrations is low. Most consider that all music is the same and can therefore be used in the liturgy. Music is considered only a complement to enhance religious celebrations. In this context, the government and the Indonesian Catholic Church established the Catholic Church Choir Development Institute (LP3K) as a forum for fostering Catholics in Indonesia in the liturgical field and discussing issues related to music. This article confirms that the position of the liturgical music is crucial and has an irreplaceable significance in the liturgy, and the two are inextricably woven to each other.
37
Knight, Frances. "Anglican Worship in Late Nineteenth-Century Wales: a Montgomeryshire Case Study." Studies in Church History 35 (1999): 408–18. http://dx.doi.org/10.1017/s0424208400014170.
Full textAbstract:
In 1910, the Royal Commission on the Church of England and the Other Religious Bodies in Wales and Monmouth revealed that the Church of England was the largest religious body in Wales, and attracted over a quarter of all worshippers. This indicated a significant improvement in the Church’s fortunes in the previous half century, and a different picture from that which had emerged from the 1851 Census of Religious Worship, which had suggested that the established Church had the support of only twenty per cent of Welsh worshippers. The purpose of this paper is to shed some light upon the Church’s improving fortunes between 1851 and 1910 by exploring the liturgical patterns which were evolving in a particular Welsh county, Montgomeryshire, in the late nineteenth century. Montgomeryshire is part of the large rural heart of mid-Wales, bordered by Radnor to the south, Cardigan and Merioneth to the west, Denbigh to the north, and Shropshire to the east. The paper considers the annual, monthly, and weekly liturgical cycles which were developing in the county, and how the co-existence of the Welsh and English languages was expressed in different styles of church music and worship.
38
Lamport, Mark A. "The Rise of English Youth Churches: What the Global Church Can Learn From This Latest British Invention." Journal of Youth and Theology 4, no. 2 (January 27, 2005): 86–100. http://dx.doi.org/10.1163/24055093-90000139.
Full textAbstract:
The United Kingdom, where only ten percent of youth attend church weekly, has recently witnessed an upstart missional strategy. called "Youth Churches." It is as the name implies-churches composed entirely of youth and marketed to attract this alienated group through popular music and worship. The author attended an international conference at Oxford University at which lectures were presented on this growing phenomenon. It provoked such an interest that he subsequently traveled to England and spent some time doing field research, including interviews with leaders of several denominations. This paper presents what the author discovered. It is written as primarily a journalistic, theological reflection piece based upon observations and face-to-face interviews with protagonists and thoughtful commentators connected with youth church movements in the UK.1 It does not claim to be a fully formed theoretical treatment of the topic!2
39
Bertolino, Luca. "„Bach in die Synagogen!“. Erlösende Noten in Franz Rosenzweig." Naharaim 14, no. 2 (December 16, 2020): 209–23. http://dx.doi.org/10.1515/naha-2019-0009.
Full textAbstract:
AbstractStarting with theoretical considerations on redemption in Rosenzweig’s Der Stern der Erlösung, this paper highlights the connection between redemption and choral form in Church music (e.g. in Bach’s Passions and in musical mass). Therefore, according to Rosenzweig, one can clearly distinguish between sacred/religious (geistlich) and spiritual/intellectual (geistig) music. Rosenzweig also writes about renewing Jewish worship through Bach’s vocal music, but we are given scant hints about this. “Bach in die Synagogen!” is nevertheless important, not only as an example for interreligious dialogue, but above all as an invitation to think about redemption in the postmodern condition.
40
Richard A., Smith. "Roots into the Future: Recovering Gregorian Chant to Renew the Church's Voice." Theology Today 63, no. 1 (April 2006): 48–54. http://dx.doi.org/10.1177/004057360606300106.
Full textAbstract:
In the Christian church, the people are the body of Christ. Somehow in the last half-century of reinventing, reimagining, re-creating, reviving, renewing, and restoring ourselves in the rush to become or stay “relevant,” that identity has frequently become blurred or lost altogether. Music in the church has been both a victim and a cause of this corrupted identity. Gregorian chant is well worth considering as a model for recovery in twenty―first―century worship. Its spiritual power and musical excellence may lead us to recover our voice as the people of God.
41
Beal, Jane. "Matthew Cheung Salisbury, Worship in Medieval England. Past Imperfect Series. Croydon: ARC Humanities Press, 2018, 92 pages." Mediaevistik 32, no. 1 (January 1, 2020): 315–18. http://dx.doi.org/10.3726/med.2019.01.42.
Full textAbstract:
Matthew Cheung Salisbury, a Lecturer in Music at University and Worcester College, Oxford, and a member of the Faculty of Music at the University of Oxford, wrote this book for ARC Humanities Press’s Past Imperfect series (a series comparable to Oxford’s Very Short Introductions). Two of his recent, significant contributions to the field of medieval liturgical studies include The Secular Office in Late-Medieval England (Turnhout: Brepols, 2015) and, as editor and translator, Medieval Latin Liturgy in English Translation (Kalamazoo: Medieval Institute Publications, 2017). In keeping with the work of editors Thomas Heffernan and E. Ann Matter in The Liturgy of the Medieval Church, 2nd ed. (Kalamazoo: Medieval Institute Publications, 2005) and Richard W. Pfaff in The Liturgy of Medieval England: A History (Cambridge University Press, 2009), this most recent book provides a fascinating overview of the liturgy of the medieval church, specifically in England. Salisbury’s expertise is evident on every page.
42
Noden, Shelagh. "Songs of the spirit from Dufftown." Innes Review 70, no. 1 (May 2019): 36–54. http://dx.doi.org/10.3366/inr.2019.0201.
Full textAbstract:
Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.
43
Rugwiji, Temba T. "REREADING TEXTS OF MUSIC AND DANCE IN THE HEBREW BIBLE: THE SPIRITUALITY OF MUSIC AND DANCE IN ZIMBABWE." Journal for Semitics 25, no. 1 (May 9, 2017): 72–98. http://dx.doi.org/10.25159/1013-8471/2527.
Full textAbstract:
The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.
44
Kristanto, Alfa, and Denny Dwiatmadja Kristianto. "BENTUK KOMPOSISI MUSIK GAMELAN DAN REFLEKSI TEOLOGIS ATAS “KU SUKA MENGABARKAN”." Jurnal Abdiel: Khazanah Pemikiran Teologi, Pendidikan Agama Kristen, dan Musik Gereja 2, no. 1 (April 12, 2018): 74–84. http://dx.doi.org/10.37368/ja.v2i1.62.
Full textAbstract:
This article focuses on how Gereja Baptis Indonesia (GBI) Ngembak Semarang used Gamelan and a hymn they sang at worship on Sunday, 24th September 2017, namely Ku Suka Mengabarkan. Based on how GBI has been using Gamelan and by analyzing lyrics of Ku Suka Mengabarkan, this article shows that the Church does not only partake in preserving local Javanise traditional music but also nurture her members by singing hymns that their lyrics could affect their spirituality formating.
45
Ryan, Maria. "“The influence of Melody upon man in the wild state of nature”: Enslaved Parishioners, Anglican Violence, and Racialized Listening in a Jamaica Parish." Journal of the Society for American Music 15, no. 3 (August 2021): 268–86. http://dx.doi.org/10.1017/s1752196321000171.
Full textAbstract:
AbstractIn 1827, George Wilson Bridges, the outspoken proslavery rector of the parish of St. Ann, Jamaica, published a pamphlet of music that he had written to be used as the choral service at his church. The Bishop of Jamaica condemned Bridges's musical innovations on the grounds that they were not suitable to be heard by “a congregation chiefly composed by people of colour & negroes.” On the Bishop's orders, Bridges's music stopped, and by 1828 he reported that his pews were once more empty. The congregation of St. Ann parish church was almost entirely enslaved Africans and Afro-descendants who could choose their place of worship. However, in Bridges's own household, the people he claimed as property had little opportunity to escape his ministering. In 1829 Bridges came to the attention of British abolitionists for his brutal flogging of Kitty Hylton, a woman he claimed to own. This article uses Black feminist approaches to archival materials to explore the relationship between the music promoted by Bridges, conflicting views held by white religious leaders about what music was appropriate for African and African-descended people to listen to, and Bridges's violence towards enslaved people; in so doing exploring the inescapable entanglement of religious music, race, and violence in colonial Jamaica.
46
Priest, Kersten Bayt, and Korie L. Edwards. "Doing Identity: Power and the Reproduction of Collective Identity in Racially Diverse Congregations." Sociology of Religion 80, no. 4 (2019): 518–41. http://dx.doi.org/10.1093/socrel/srz002.
Full textAbstract:
AbstractCongregational identity formation is a challenge for any head clergy. It is particularly challenging for head clergy of racially and ethnically diverse congregations as these leaders occupy positions uniquely situated for destabilizing or instantiating racial hierarchies. Drawing upon the Religious Leadership and Diversity Project (RLDP), this article examines multiracial church pastors’ stories of how they achieve ethnic and racial inclusion in their congregations. We pay particular attention to how these leaders reference and draw upon four contestable cultural worship elements—language, ritual, dance, and music—that operate as primary terrain for collective identity construction. Integrating theories on identity, race, ethnicity, and culture, we take a realistic context-sensitive approach to the nature of how worship works as a bridge, recognizing that cultural markers are not neutral but can simultaneously activate ethno-specific identities in racially and ethnically diverse spaces, instantiating hierarchies of value and thus making worship a potential barrier to the formation of a unified diverse community.
47
Patillo, Ericka. ""Let the Church Sing!": Music and Worship in a Black Mississippi Community (review)." Notes 62, no. 1 (2005): 142–45. http://dx.doi.org/10.1353/not.2005.0113.
Full text
48
Hudson, Jessica. "Church and Worship Music in the United States: A Research and Information Guide, 2nd edition." Journal of Religious & Theological Information 16, no. 3 (May 12, 2017): 115–16. http://dx.doi.org/10.1080/10477845.2017.1315557.
Full text
49
Sema, Daniel. "MODUS DORIAN: SEBUAH ALTERNATIF BAGI PENCIPTAAN HYMN." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 48–62. http://dx.doi.org/10.37368/tonika.v2i1.42.
Full textAbstract:
In today's Indonesian churches there are two types of music in worship, namely: hymnal songs or hymn (which are still used in mainstream Protestant churches) and contemporary Christian songs (used in Pentecostal and Charismatic churches). Nevertheless, contemporary Christian singing began to be accepted by some Protestant Christians and its existence increasingly dominated and urged the hymn. In order for the hymn to not be easily abandoned and felt contemporary, the author offers a new alternative to the creation of the hymn that has based itself on the major-minor mode for centuries. The alternative is the use of church mode, namely the Dorian mode as the basis for the creation or arrangement of a hymn. For this reason, the author tries to present a hymn arrangement for the song "Holy, Holy, Holy" by Reginald Heber in the SATB format in Dorian mode.
50
Trocmé-Latter, Daniel. "The psalms as a mark of Protestantism: the introduction of liturgical psalm-singing in Geneva." Plainsong and Medieval Music 20, no. 2 (September 15, 2011): 145–63. http://dx.doi.org/10.1017/s0961137111000039.
Full textAbstract:
ABSTRACTIt is widely believed that musical creativity suffered under the control of many sixteenth-century Protestant church leaders, especially in the Reformed (as opposed to Lutheran) branch of Protestantism. Such views are generalisations, and it is more accurate to say that music in Geneva and other Reformed strongholds developed in a very different way from the music of the Lutheran Church. The very specific beliefs about the role of music in the liturgy of Jean Calvin, Genevan church leader, led to the creation and publication of the Book of Psalms in French, in metre, and set to music. The Genevan or Huguenot Psalter, completed in 1562, formed the basis for Reformed worship in Europe and throughout the world, and its impact is still felt today. Despite the importance of the Psalter, relatively little is known about the precise liturgical musical practices in Geneva at the time of the Reformation, and little research has been carried out into the aspirations of either reformers or church musicians in relation to the Psalter. This article explores the significance of Calvin's interest in the Psalms as theological material, observing how this interest manifested itself, and outlines Calvin's views on music and the ways in which his plans for psalm-singing were implemented in Geneva from the 1540s onwards. After giving a brief explanation of the process through which the psalm melodies were taught and learnt, it also asks whether Calvin's vision for congregational singing would, or could, have been fully realised, and to what extent the quality of music-making was important to him. This article suggests that in the Genevan psalm-singing of the sixteenth century, matters of spiritual significance were most important.