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Dissertations / Theses on the topic 'Contemporary Christian music'
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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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Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.
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xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski
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Thaxton, Amber E. "The scarlet "C" media portrayal of the Christian music industry /." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3246.
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Strother, Eric S. "Unlocking the Paradox of Christian Metal Music." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/9.
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In 1984, Stryper released its first album The Yellow and Black Attack and introduced audiences to a different kind of heavy metal. Instead of lyrics about sex, alcohol, and Satan, Stryper sang about Jesus, salvation, and God. While there were a number of fans ready for this change more were not. Members of the Church as well as members of the metal subculture were in agreement that Christianity and heavy metal were incompatible. Despite these objections, however, more bands emerged, and Christian metal became a significant genre within the Christian music industry. These bands presented Christian-oriented lyrics within the full spectrum of metal subgenres.
This dissertation examines the ways in which Christian metal bands create an intersection between Christianity and the heavy metal subculture, infusing Christianity within the textual, visual, and musical structures of heavy metal. The author employs Deena Weinstein’s “metal code” to frame the analysis. The metal code includes the textual elements (band names, album and song titles, and song lyrics); the visual elements (band logos; album covers; and the various elements of the concert experience including the bands’ appearances, the staging, the interactions with the fans, and music videos); and the musical elements (timbre, modality, formal structure, and production of the songs and albums) that set metal apart from other musical genres. The dissertation also examines the concept of bands as “metal missionaries” that immerse themselves within the heavy metal subculture for the purpose of bringing the Christian message of hope and salvation. The author concludes that even though Christian metal bands modify aspects of elements that are otherwise incompatible with their Christian beliefs and message, they still maintain a sense of stylistic integrity that gives them credibility within the heavy metal subculture and allows them to fulfill their mission.
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Carrick, Jamie. "Playing the market : contemporary Christian music and the theory of religious economy." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43663.
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Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy.
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Hammond, Susan J. "Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians." Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.
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Dickerson, Valerie Anne. "Are those congas in the pulpit? hymns, alabanza y adoración (praise and worship) music, and the evangelical subculture of western Cuba /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2009368981&sid=3&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Tepera, Courtney. "“FAITH COMES BY HEARING”: A SOCIOLOGICAL ANALYSIS OF CHRISTIAN CONTEMPORARY MUSIC AND AURAL PIETY." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/467763.
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ReligionPh.D.
Over the past fifty years, Christian contemporary music has joined hymnody and psalmody as a major form of evangelical liturgical and devotional song. While the production and content of this genre have been explored by scholars, few studies have attended to the devotional use of the genre and its role in shaping the religious lives of American evangelicals. This project draws from several sets of data to address this matter: analysis of church-created worship music albums, listener testimonials on Christian radio websites, and focus group interviews of laity and clergy at four South Carolina churches. The data revealed that music is significant to their religious lives outside of church as a means of encountering God, managing emotions, and displaying spiritual capital. Inside churches, the music is used to create a sense of corporate identity that reinforces social bonds within the community and attracts newcomers. Drawing on the methodological framework of Pierre Bourdieu’s theory of practice and his work on social distinction, I argue that American evangelicals who listen to Christian contemporary music are engaged in aural piety, a set of practices, attitudes, and ideas invested in music that structure and evoke the experience of the sacred.
Temple University--Theses
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Galbraith, Douglas. "Aspects of Koinonia : developing an ecclesiological approach to music in contemporary Christian worship." Thesis, Bangor University, 2010. https://research.bangor.ac.uk/portal/en/theses/aspects-of-koinonia-developing-an-ecclesiological-approach-to-music-in-contemporary-christian-worship(83fd935b-3b9c-4afe-8c0b-b7da1421a8dd).html.
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This thesis takes the form of an exploration and discourse on koinonia (a New Testament concept meaning 'communion' used by St Paul in his discussions of the nature of the church) and its potential application to the shaping of a better understanding of music for worship and its use in liturgical worship. It falls into three parts. While the investigation is relevant and applicable to the Western Church in general, the thesis relates specifically to the locale, culture and religious traditions of Scotland. Part One (chapters 2-5) begins with a consideration of recent debate on liturgy and music, taking as its starting point the outcomes of the 1997 congress of Societas Liturgica on that theme. This is followed (chapter 3) by a review of recent theological writings about music and music in worship, and (chapter 4) a consideration of five dimensions of koinonia derived in particular from reports of recent ecumenical dialogue and a related ecclesiological model (following on from Gordon Lathrop) as the basis for an alternative mode for discourse on music in worship with greater potential for application and implementation in the local church. This part ends with a summary overview of selected branches of musicology as resources to enhance theological discussion of liturgical music. Part Two consists of just one long chapter (chapter 6). Here the findings from wider theological discourse on music and the insights gained from aspects of musicology are used to inform the investigation of each of the five dimensions of koinonia as the basis for the evaluation of liturgical music within an ecclesiological model: eucharistic community, relational community, community growing into maturity in Christ, diaconal community, diverse community. Part Three is more applied. Three contrasting case studies are explored (chapter 7) for signs of koinonia that might illuminate the preparation of a usable resource derived from the findings of Part Two. Each is directly related to the writer's own experience: the preparation of the third and fourth editions of the Scottish-produced Church Hymnary; the Wild Goose Worship Group of the Iona Community; the Craigmillar Festival. As evidence of current practice and attitudes, two enquiries into local churches are reported (chapter 8). The final chapter offers an outline for a discourse based on the findings of the thesis so far in a form that might be used in a local church. Taking each of the five dimensions of koinonia, this addresses both the strengthening of that church and its individual members through the discussion of music, and the better understanding of the evaluation and use of music in worship through the exploration of faith and the nature of church.
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Vago, Alexandra A. "A Semiological Analysis of Contemporary Christian Music (CCM) as Heard on 95.5 WFHM-FM Cleveland, Ohio “The Fish” Radio Station (July 2001 to July 2006)." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1303136485.
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Hall, Margaret. "Today’s Song for Tomorrow’s Church: The Role Played by Contemporary Popular Music in Attracting Young People to Church." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365393.
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This thesis is a phenomenology highlighting the phenomenon of declining youth attendance at mainstream churches where traditional church music is used in worship and the emergence of megachurches where young people are attending and contemporary popular styles of music is used in worship. An Australian Broadcasting Authority survey in 1999 revealed that music is a major influence in the lives of youth, assisting in their identity creation, in their making friends, and in relieving their stress. The survey also notes that youth prefer contemporary popular music and, in particular, rock. This is in stark contrast to the traditional music played and sung in mainstream churches, which tends to be neither meaningful nor relevant to youth, largely because they do not identify with it. An increasing proportion of youth are rejecting the mainstream traditional churches such as Anglican, Catholic, Baptist, Uniting Church. National Church Life Surveys in Australia show that by 2001, only fourteen percent of church attenders were young adults. Young non-attenders complained they found church services boring and unfulfilling. This declining youth membership does not auger well for the mainstream church’s future. It is clearly evident that, in Australian society a culture gap has emerged between the secular world and the mainstream Christian church. This thesis examines the role of contemporary popular music in attracting young people to church. Although, in comparatively recent times there has been some movement towards contemporizing worship services in mainstream churches, the change has met strong resistance, but that resistance is based on invalid arguments and the mainstream church is yet to respond effectively to the increasing culture gap and growing alienation of the young. Mainstream congregations are not adequately encouraged to participate in singing praise and thanks to God. Although the lyrics of songs that focus on thanks and praise can teach a Christian message, as well as promote an awareness of the presence of God, the importance of this aspect of worship appears to have been overlooked, even though music has always been a part of worship, with multiple biblical scriptures cementing its pivotal role. In 1980 twelve people began Christian City Church (CCC), a new church which was not one of the mainstream churches, with a vision to communicate the Christian message to the whole of Sydney. CCC used contemporary music as a vehicle to make their message relevant. That church has been strikingly successful, and had grown to five thousand members by 2004. This thesis focusses on a case study of the music of CCC to test a hypothesis that the use of contemporary popular styles of music, with a focus on thanks and praise, can play a significant role in attracting young people to join and remain as members, and that such music can be influential in communicating an experiential understanding of the Christian message. The aim of the case study was to discover whether the music was similar in style to young people’s preferred styles of music, whether they actively participated in its performance, whether it communicated to them, whether the lyrics conveyed a Christian message, and finally whether the congregation was both increasing and retaining young people as members. The songs examined in the study revealed that the music and paramusical aspects of the songs were similar to those of contemporary popular songs. The lyrics of the songs included themes of thanks and praise to God, and as such conveyed a Christian message. Thirty percent of the worship service was devoted to music praising God, and forty-nine percent of the church’s 5,000 members in 2004, were under twenty-five years. Further, the congregation participated enthusiastically in singing, an emphasis on belonging to small groups encouraged fellowship, and sermons addressed problems relevant to young people. It is proposed that CCC provides a pattern that mainstream churches could adapt, including the encouragement of congregational singing and worship, creation of effective small groups, relevant preaching, education opportunities, and culturally appropriate music. It is clear that contemporary and culturally appropriate music has played a significant and vital role in CCC’s successful development. To attract and retain youth membership, music needs to be contemporary, and culturally appropriate, thereby filling the gap between the secular world and the church. Contemporary popular music could provide today’s song for tomorrow’s church.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Popular Music
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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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Hall, Margaret, and N/A. "Todays Song for Tomorrows Church: The Role Played by Contemporary Popular Music in Attracting Young People to Church." Griffith University. School of Popular Music, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070912.141700.
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This thesis is a phenomenology highlighting the phenomenon of declining youth attendance at mainstream churches where traditional church music is used in worship and the emergence of megachurches where young people are attending and contemporary popular styles of music is used in worship. An Australian Broadcasting Authority survey in 1999 revealed that music is a major influence in the lives of youth, assisting in their identity creation, in their making friends, and in relieving their stress. The survey also notes that youth prefer contemporary popular music and, in particular, rock. This is in stark contrast to the traditional music played and sung in mainstream churches, which tends to be neither meaningful nor relevant to youth, largely because they do not identify with it. An increasing proportion of youth are rejecting the mainstream traditional churches such as Anglican, Catholic, Baptist, Uniting Church. National Church Life Surveys in Australia show that by 2001, only fourteen percent of church attenders were young adults. Young non-attenders complained they found church services boring and unfulfilling. This declining youth membership does not auger well for the mainstream churchs future. It is clearly evident that, in Australian society a culture gap has emerged between the secular world and the mainstream Christian church. This thesis examines the role of contemporary popular music in attracting young people to church. Although, in comparatively recent times there has been some movement towards contemporizing worship services in mainstream churches, the change has met strong resistance, but that resistance is based on invalid arguments and the mainstream church is yet to respond effectively to the increasing culture gap and growing alienation of the young. Mainstream congregations are not adequately encouraged to participate in singing praise and thanks to God. Although the lyrics of songs that focus on thanks and praise can teach a Christian message, as well as promote an awareness of the presence of God, the importance of this aspect of worship appears to have been overlooked, even though music has always been a part of worship, with multiple biblical scriptures cementing its pivotal role. In 1980 twelve people began Christian City Church (CCC), a new church which was not one of the mainstream churches, with a vision to communicate the Christian message to the whole of Sydney. CCC used contemporary music as a vehicle to make their message relevant. That church has been strikingly successful, and had grown to five thousand members by 2004. This thesis focusses on a case study of the music of CCC to test a hypothesis that the use of contemporary popular styles of music, with a focus on thanks and praise, can play a significant role in attracting young people to join and remain as members, and that such music can be influential in communicating an experiential understanding of the Christian message. The aim of the case study was to discover whether the music was similar in style to young peoples preferred styles of music, whether they actively participated in its performance, whether it communicated to them, whether the lyrics conveyed a Christian message, and finally whether the congregation was both increasing and retaining young people as members. The songs examined in the study revealed that the music and paramusical aspects of the songs were similar to those of contemporary popular songs. The lyrics of the songs included themes of thanks and praise to God, and as such conveyed a Christian message. Thirty percent of the worship service was devoted to music praising God, and forty-nine percent of the churchs 5,000 members in 2004, were under twenty-five years. Further, the congregation participated enthusiastically in singing, an emphasis on belonging to small groups encouraged fellowship, and sermons addressed problems relevant to young people. It is proposed that CCC provides a pattern that mainstream churches could adapt, including the encouragement of congregational singing and worship, creation of effective small groups, relevant preaching, education opportunities, and culturally appropriate music. It is clear that contemporary and culturally appropriate music has played a significant and vital role in CCCs successful development. To attract and retain youth membership, music needs to be contemporary, and culturally appropriate, thereby filling the gap between the secular world and the church. Contemporary popular music could provide todays song for tomorrows church.
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Seda, Jonathan P. "Presbyterian worship and the Mexican context." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Cás, Lauro Edson da. "Aspecto lírico-religioso das canções marianas: um estudo sobre as metáforas e metonímias que representam Maria." reponame:Repositório Institucional da UCS, 2009. https://repositorio.ucs.br/handle/11338/415.
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Este trabalho analisa o aspecto lírico-religioso de três canções marianas, recolhidas do Cancioneiro Popular do imigrante italiano na Região de Colonização Italiana e se propõe revelar, sob o aspecto das metáforas e das metonímias, a representação de Maria. Para tanto, este estudo dialoga com temas imprescindíveis para a obtenção de resultados, como História, Cultura, Identidade, Regionalidade, Mariologia, Metáforas, Metonímias (a Teoria de Metáforas Conceituais) e música. Assim sendo, a dissertação está estruturada sobre quatro capítulos que norteiam a análise e a interpretação. A saber: o Primeiro Capítulo entrelaça a História e a Cultura, procurando fazer uma revisão de aspectos relevantes da história da imigração italiana na RCI na Região Nordeste do Estado, focando a importância da religião e ou da fé desde os primórdios desse processo. A partir disso, há a análise sobre Região, Identidade e Religiosidade. O Segundo Capítulo destaca o Cancioneiro Popular e assim, o aspecto da Tradição Oral Popular. Aprofunda o aspecto da cultura popular expressada com o canto e traz em evidência a caracterização do Canto Mariano (origens, ritualismo e devoção do imigrante italiano). Demonstra, ainda, aspectos da devoção mariana, tão presente e viva junto ao imigrante, pois Maria é descrita como sendo a mãe que está sempre presente e junto aos seus filhos (povo). O Terceiro Capítulo, por sua vez, concentra a análise dos aspectos da Teoria da Metáfora Conceitual, da Simbologia e, também, da interpretação e pesquisa sobre as Virtudes, objetivando a análise da figura da mulher idealizada , ou ainda, da representação da mãe - Maria (Madonna). Por fim, no Quarto Capítulo, tem-se a Metodologia e a Análise das canções marianas, ou seja, a análise do corpus das canções: Beléssa di Maria; Maria Consolatrice; O Bèla mia Speransa, que motivam este estudo. Esta parte segue o método da análise semântica com base em George Lakoff (e colaboradores) que permeiam o estudo das metáforas conceituais. Há, também, a posição etnográfica, onde é destacada a pesquisa de campo realizada para conhecer opiniões e perspectivas do povo, indo além da análise do pesquisador. Após isso, é feita a síntese com os resultados obtidos pela pesquisa/estudo.Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-28T17:29:23Z No. of bitstreams: 1 Dissertacao Lauro Edson da Cas.pdf: 660533 bytes, checksum: 67162060ee2c9127d36245efbaca0ad2 (MD5)
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This study analyzes the religious lyrical aspect of three Marian songs, collected from the book Cancioneiro Popular do Imigrante Italiano na Região de Colonização Italiana, and also intends to clarify, using metaphors and metonymies, the representation of Mary. To do that, this study takes into consideration imprescindible issues such as History, Culture, Identity, Religiosity, and Mariology, Metaphors, Metonymies (Conceptual Metaphor Theory) and music. This dissertation is structured upon four chapters as follows: the first chapter links History and Culture, trying to revise some relevant points of the history of the Italian immigration on the RCI in the Northeast Region of our state, focusing on the importance of religion and/or faith since the beginning of that process. Therefore, there is the analysis about the Region, Identity and Religiosity. The second chapter highlights the Cancioneiro Popular and then, the Popular Oral Tradition. Also, it deepens the aspect of popular culture expressed by the songs and brings into evidence the characterization of the Marian Songs (origins, ritualism and devotion of the Italian immigrant). Moreover, it shows some aspects of the Marian devotion, so present and alive within the immigrant, because Mary is described as the mother who is always with her children (the people). The third chapter, in turn, focus on the analysis of aspects of the Conceptual Metaphor Theory , of the Symbolism, and also of the interpretation and research regarding the Virtues, aiming at analyzing the idealized woman´s portrait , or still, the representation of the mother Mary (Madonna). At last, presented in the fourth chapter are the Methodology and the Analysis of the Marian Songs, that is, the analysis of the corpus of songs: Beléssa di Mary, Mary Consolatrice and O Bela mia Speransa that motivate the study. This part follows the method of semantic analysis, based on George Lakoff (and collaborators) that permeates the study of the conceptual metaphors. There is the ethnographic position as well, where is emphasized the field work carried out to know opinions and perspectives of the people, going beyond the researcher´s analysis. After that, the synthesis is done with the obtained results by the research/study.
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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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"Contemporary Christian music in Hong Kong: mediating religion through song, performance and stardom." Thesis, 2010. http://library.cuhk.edu.hk/record=b6074999.
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Finally, this dissertation connects practitioners' autonomy in the production process to the independent production mode of local CCM. Although this production mode presents practical obstacles for local CCM practitioners, it has also allowed practitioners relative autonomy in their decision-making. This thus also bears implications for local CCM's contingent future including the possible scenario of mainstream co-optation.For 30 years, the local CCM production community has been trying to find the right mix for the genre and push the music to a secular audience since CCM took shape in Hong Kong in the 1980s. CCM is more widely known as gospel music or contemporary hymnal songs in Hong Kong. This study examines the past and present shape of the local CCM scene to provide a historical perspective for interpreting its trajectory. This study sketches a brief history of local CCM in Hong Kong from the late 1960s to 2010 which helps to understand how local CCM has interacted with the commercial music scene including popular music trends and the pop industry environment throughout its development as well as church responses along the evolution of local CCM.
Practitioners' negotiations in CCM production are discussed on three dimensions: song text, performance and stardom. Each of these dimensions highlight common and unique opportunities and tensions in the mediation process, including commercialization, creativity, entertainment, hyperindividuality, evangelism, ministry efficacy and religious piety. Practitioners' negotiations between these interpenetrating and contesting elements shape CCM on the three dimensions.
This study investigates how the local CCM production community grapples with the complexities of fusing religion and media and negotiates the tensions and opportunities that arise between media conditions and assumptions and the religious sensibilities of CCM. By doing so it also engages in a current theoretical discussion about mediation and mediatization in the field of media and religion. This dissertation approaches CCM production as part of the process of mass mediation of religion, through which religious meanings are constantly constructed, negotiated, and reconstructed as practitioners negotiate the multiple conflicting, integrating and interpenetrating forces. In specific, this study addresses practitioners' negotiations between the media-based orientation frame, which include such factors as commercialization, industrial norms, cultural values in the media environment, and the religious orientation frame, which include a range of symbols, moral codes, doctrines, and resources that are religiously meaningful to individuals.
Ho, Wing Ki.
Adviser: Anthony Fung.
Source: Dissertation Abstracts International, Volume: 73-01, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 253-266).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese; appendix C-D in Chinese with some English.
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Horton, Shaun. "Redemptive media the professionalization of the contemporary christian music industry /." 2007. http://etd.lib.fsu.edu/theses/available/etd-11092007-150056.
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Thesis (M.A.)--Florida State University, 2007.Advisor: John Corrigan, Florida State University, College of Arts and Sciences, Dept. of Religion. Title and description from dissertation home page (viewed Apr. 1, 2008). Document formatted into pages; contains iv, 69 pages. Includes bibliographical references.
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Chen, Yang-Ying, and 楊盈箴. "A Studay of the marketing Strategy of the Chinese Contemporary Christian Music." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/05868976612010982555.
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Said, Shannon J. "Whakaponono ki a te Karaiti : exploring Christian-Máori identity through contemporary Christian songwriting." Thesis, 2017. http://hdl.handle.net/1959.7/uws:41117.
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This project investigates how Christian-Māori identity finds expression in contemporary Christian songwriting practice, within Calvary Life Outreach (CLO), an independent Pentecostal church located in southwest Sydney with a predominantly Māori congregation. The thesis explores this church’s diaspora Christian-Māori identity through interviews with Christian-Māori leaders in New Zealand, a focus group with members of the CLO church, and then investigates how the New Zealand perspectives are received by CLO in relation to an album of Christian songs, written as part of the thesis, and for use within the CLO church itself. This album also creates a framework for other diaspora church communities to explore similar cultural realities within their unique contexts. The aim of this project is twofold: firstly, to consider issues that are deemed important to CLO congregants and the New Zealand interviewees in light of their Christian-Māori identity, which draws upon historical and contemporary influences and expressions of Christian-Māori identity and its practice. Secondly, this thesis explores how social and sonic expressions of Christian identity serve to bolster and encourage Māoritanga (a sense of being Māori) within this diaspora community through their musical practice. The theoretical framework of this project draws on a Kaupapa Māori methodology, which seeks to validate and legitimise Māori ontological and epistemological realities in research as research. This approach highlights the necessity of relationship building as a means of effective engagement with Māori communities, alongside the importance of allowing participants to inform and direct the development of such research. To this end, Christian-Māori leaders from New Zealand have shared interview perspectives around what Christian-Māori identity means to them in their contexts, especially within the Christian Church, and how a sense of Māori identity can be expressed through a song album. Further, CLO has highlighted its concerns as a diaspora Christian-Māori community. The issues raised between these two ‘communities’ highlighted how Christian-Māori identity differs in its expression between New Zealand and Australia, and the way that a diaspora community expresses its sense of collective identity through the song album. ix The concerns that have been raised include the legacy of colonialism within church settings, and the importance of all ethnic minority groups, including Māori, to express Christian worship in a way that is not inhibited by the practices of the dominant (Anglophonic) church culture. One of the overriding concerns of the participants is that ‘every tribe and tongue’ has a space afforded them to worship ‘in spirit and truth’ – that is, to use culturally diverse musical manifestations to articulate heartfelt Christian worship within congregational settings. In light of these considerations, a song album has been created by me and members of CLO addressing a range of themes based around Christian spirituality, Christian- Māori/Maltese identity (Maltese being my own background), and the realities of being a Christian diaspora community in South West Sydney, drawn from the focus group responses. The songs cover a range of subject matter, from repentance to jubiliation, and, in keeping with the practice of the CLO community, utilise Christian Scriptures from the Old and New Testaments, in English, Māori and Maltese, as the basis of song lyrics. The resulting Christian album embraces and celebrates rich diversity in the midst of Christian unity. It also aims to capture the confluence of languages and life experiences through a range of traditional and contemporary musical styles, such as pop, reggae and haka, encouraging listeners to express their own culturally-enriched manifestations of worship.
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Legg, Karen Lynn. "Worldviews in music a rhetorical study of philosophies of truth and reality found in country music and contemporary christian music /." 2004. http://etd.utk.edu/2004/LeggKaren.pdf.
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Thesis (M.S.)--University of Tennessee, Knoxville, 2004.Title from title page screen (viewed Jan. 20, 2005). Thesis advisor: Michelle Violanti. Document formatted into pages (vi, 81 p.). Vita. Includes bibliographical references (p. 76-80).
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Reagan, Wen. "A Beautiful Noise: A History of Contemporary Worship Music in Modern America." Diss., 2015. http://hdl.handle.net/10161/9836.
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How did rock and roll, the best music for worshipping the devil, become the finest music for worshipping God? This study narrates the import of rock music into church sanctuaries across America via the rise of contemporary worship music (CWM). While white evangelicals derided rock n' roll as the "devil's music" in the 1950s, it slowly made its way into their churches and beyond over the next fifty years, emerging as a multi-million dollar industry by the twenty-first century.
This study is a cultural history of CWM, chronicling the rise of rock music in the worship life of American Christians. Pulling from several different primary and secondary sources, I argue that three main motivations fueled the rise of CWM in America: the desire to reach the lost, to commune in emotional intimacy with God, and to grow the flock. These three motivations evolved among different actors and movements at different times. In the 1970s, the Jesus People movement anchored in Southern California, adopted the music of the counterculture to attract hippies to church. In the early 1980s, the Vineyard Fellowship combined rock forms with lyrics that spoke of God in the second person in order to facilitate intimate worship with the divine. In the late 1980s, the church growth movement embraced CWM as a tool to attract disaffected baby boomers back to church. By the 1990s, these three motivations had begun to energize an entire industry built around the merger between rock and worship.
Dissertation
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CHEN, HSUAN-LING, and 陳宣伶. "An Analysis of Chinese Contemporary Christian Music : Selections from the Degree Recital I'm Found." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/8r9n39.
Full textAbstract:
碩士輔仁大學
音樂學系
107
From “Hymns” to “Praise and Worship Music”, and then to “Contemporary Christian Music”, various styles, as well as popular forms, can be widely heard in church music in Taiwan. Nevertheless, church music hardly spreads outside the church and reaches out to a wider audience in Taiwan, however multifaceted it can be. While in the US. “Contemporary Christian Music” is produced and distributed in a similar way to popular music, and can be honoured at the Grammy Awards with “The Best Contemporary Christian Music Album” and “The Best Contemporary Christian Music Performance/Song”, in Taiwan it only caters to a limited audience. By tracing the historical development of African American Christian music, this dissertation aims to understand how “Contemporary Christian Music” in modern times is shaped both in the US. and around the globe. Furthermore, with selected works from the Degree Recital I’m Found, it also shows how materials from various musical genres can be integrated to created songs full of Christian character and musical significance. In addition, it is hoped that “Chinese Contemporary Christian Music” would emit positive energy and become an important genre well perceived by the general public in Taiwan.
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LIN, Yi Lin, and 林怡伶. "Study of Contemporary Christian Music: Starting with the column of CCM by Yueh-Hsin CHU." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/46920290515624409623.
Full textAbstract:
碩士東吳大學
音樂學系
93
Most of the music styles that have been long-term used in Christianity churches in Taiwan were mainly western traditional hymns. However, the contemporary music in churches nowadays before the worship is songs with short verses and beautiful melodies. They are easy to sing and totally different from traditional hymns. These songs sung by the “praise and worship groups” belong to both popular music styles and gospel hymns in late 19th century. They adapt verses from the Bible and use body gestures as well as instruments. Besides, the major singers on the stage have their own microphones. These are the special phenomena for the “praise and worship”. The tendency of Church music nowadays is gradually toward rock as well as gospel. The subject of the thesis studies Contemporary Christian Music（CCM）based on the articles written by Yueh-Hsin CHU on the column of “Open Heavenly Window” in Taiwan Church News published by the Christianity Presbyterian Church. The definition and the origin of CCM, and the contents of the “The Column of CCM”were introduced. The songs of the column were categorized into rock music, country music, pop music, gospel music and worship music according to the Dove Awards of the American Christian Music and the prizes of Gospel of Grammy Awards. Moreover, one example chosen from every classified category was well explained. In Taiwan, since CCM is still a brand new area, inevitably many difficulties and obstacles have been encountered in the process of research. Hope there will be more and more singers to create gospel songs in order to develop Taiwan’s unique CCM.
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Westerholm, Matthew Westerholm. "“The hour is coming and is now here”: the doctrine of inaugurated eschatology in contemporary evangelical worship music." Diss., 2016. http://hdl.handle.net/10392/5172.
Full textAbstract:
This dissertation critically evaluates the portrayal of the doctrine of inaugurated eschatology in an identified core repertory, the most-used contemporary congregational worship songs in churches in the United States from 2000 through 2015.
Chapter 2 explores views on the role of congregational singing as it relates to the presence of God and the spiritual formation of the believer. It compares Edith Humphries’ concept of the worship service as “entrance” with Ryan Lister’s view that God’s presence is both a goal and a means of accomplishing his purposes. Then, using the work of James K. A. Smith and Monique Ingalls, chapter 2 explores the role congregational song plays in forming the identity of churches and believers. The chapter concludes by suggesting that the aesthetic paradigm of Nicholas Wolterstorff has useful implications for the manner in which congregational singing serves as the occasion for entering the divine presence.
Chapter 3 maps a typology of themes related to the doctrinal umbrella of “inaugurated eschatology,” as codified by George Ladd and now a widely-used term in evangelical scholarship, so as to provide nuanced categories by which one can evaluate the content and scope of eschatological thought in American evangelical life. After a brief survey of the doctrine’s historical development, tracing the contributions of George Ladd, Anthony Hoekema, and “progressive dispensationalism,” the dissertation traces the biblical data to highlight ways in which Scripture speaks of the kingdom of God’s current presence (the “already”) and future arrival (the “not yet”). The chapter then considers believers’ experience of the “already” and the “not yet” in language of affection, spatiality, and chronology.
Chapter 4 traces these eschatological themes in American evangelical hymnody from ca. 1700 through 1985, addressing a few representative hymns from each hymnic era by way of illustration. Drawing upon the work of Stephen Marini, Eric Routley, Richard Crawford, and others, the chapter surveys select examples of American evangelical hymnody from four time periods in US history (beginning in 1737) and finds that many of these historic hymns contain substantive reflections upon robust eschatological themes.
Chapter 5 surveys the core repertory of CWM across the span of years from 2000 to 2015 for a portrayal of the themes of inaugurated eschatology. Using Richard Crawford’s concept of “core repertory,” it synthesizes CCLI reports of song usage over a defined recent period (2000 to 2015) to identify a core group of songs for analysis, and derives a body of 83 songs. Using the lens of inaugurated eschatology developed in chapter 3, it concludes that elements of “not yet” are underrepresented in contemporary evangelical congregational song.
Chapter 6 proposes practical ways that church leaders of worship can better represent these themes as they plan services for the health and sustainable growth of their churches. Chapter 7 summarizes each of the chapters, draws implications, and suggests areas for further research.
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Lu, Hsiu-yun, and 陸秀雲. "An Investigation on the Attitude of the Congregation in Taiwan Christian Church Toward Traditional Liturgical Music and Contemporary Praise and Worship Music---Between Tainan and Kaohsiung City." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/03381113677638807010.
Full textAbstract:
碩士國立臺南大學
音樂教育學系教學碩士班
97
This research aims at investigating the attitudes of the congregation in Taiwan Christian church toward traditional liturgical music and contemporary praise and worship music between Tainan and Kaohsiung city, and also investigating the difference in the attitudes of the congregation from different background toward traditional liturgical music and contemporary praise and worship music, and the related conditions of each dimension. This research was conducted through the poll, and it adopted a self-designed questionnaire as the measurement tool, “Opinions of the Congregation in Taiwan Christian Church on Traditional Liturgical Music and Contemporary Praise and Worship Music.” This research took the Christian churches in Tainan and Kaohsiung city as population, 898 copies of the questionnaire were sent out by stratified sampling, and 867 copies were returned. Among them, 20 copies were invalid, and therefore there were 847 copies are valid. The collected data were analyzed by descriptive statistics, t test, One-Way ANOVA, multiple comparisons by scheffe’s method, Pearson’s product-moment correlation, etc. Besides, interviews were also conducted. In the end, according to the outcomes and findings, this research came to the following conclusions. The following conclusions were drawn up from the outcomes of the research into the attitude of the congregation in Tainan and Kaohsiung Christian churches toward traditional liturgical music and contemporary praise and worship music: 1. The congregation takes an active and accepting attitude toward traditional liturgical music and contemporary praise and worship music. 2. The background variables, such as sex, educational background, residing area, individual music learning experience, were not significant differences in the overall attitude toward traditional liturgical music, but the congregation’s age, identity, preference for liturgical music, music attribute, and the experience in group music participation were significant differences at .05 level in the attitude toward traditional liturgical music. 3. The background variable of sex were not lead to significant differences in the overall attitude toward contemporary praise and worship music, but the congregation’s age, identity, educational background, residing area, preference for liturgical music, music attribute, and the experience in group music participation had significant differences at .05 level in the overall attitude toward contemporary praise and worship music. 4. There is no significant correlation between the overall attitudes of congregation toward traditional liturgical music and contemporary worship music. However, there is positive correlation existing between the comparisons of each subscale of traditional liturgical music and contemporary praise and worship music, and the positive correlation is medium-high between each other. This research also summarizes the reasons why the congregation likes liturgical music and their opinions on improving liturgical music. Finally, according to the foregoing research outcomes, the integrated conclusion is drawn up and concrete suggestions are raised for the reference of related organizations and follow-up researchers.
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De, Bruyn Jacob Philippus Johannes. "'n Missiologiese evaluering van 'n aantal musiekvideos." Thesis, 1996. http://hdl.handle.net/10500/17951.
Full textAbstract:
Text in AfrikaansMusiekvideos is 'n integrerende deel van die (rock)-musiekbedryf, hoofsaaklik as reklame vir die kunstenaars en hul musiekopnames. Musiekvideos is verder 'n wesenlike deel van die massamedia, in so 'n mate dat daar verskeie spesialismusiektelevisiekanale is wat 24 uur per dag op al die kontinente uitsaai, wat 'n aanduiding gee van die omvang van musiekvideos. Hierdie videos speel veral 'n vemame rol by die jeug as sub-kultuurgroep. Ook christenmusikante gebruik musiekvideos, en hul videos word gereeld as deel van christelike programme uitgesaai. Dit is gewoonlik een van die oogmerke van christenkunstenaars om die evangelie deur hul musiek uit te dra, en in die geval van christelike musiekvideos dien hulle dikwels nie net as reklame nie, maar word daar ook 'n christelike boodskap oorgedra, veral in die geval van verhalende en konsepvideos. Daar word na die rol van hierdie videos in die konteks van die christene se benutting van die massamedia gekyk en daar word onder meer 'n teologiese fundering vir die gebruik van die massamedia in die algemeen, asook musiekvideos in die besonder gegee. 'n Aantal musiekvideos van kontemporere musiekkunstenaars soos Carman, Michael W. Smith, Steve Taylor, The Newsboys, en Steven Curtis Chapman word individueel beskryf en vanuit 'n teologiese perspektief beoordeel om te sien hoe suksesvol hulle in die oordra van 'n christelike boodskap is. Daar word 'n vergelyking getref tussen christelike en sekulere musiekvideos en hoe sekere onderwerpe benader word. Sekere tekortkominge, sowel as positiewe aspekte by christelike musiekvideos word as deel van 'n missiologiese reflektering uitgewys.
Missiology
D.Th. (Missiology)
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Boháč, Filip. "Křesťanský metal." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352534.
Full textAbstract:
In this diploma thesis I am going to analyze Christian metal music with emphasis on its missional character. My starting point is at a hypothetical use of metal as a tool for Christian mission. I assume that new Christian communities will be able to use metal as a cultural tool for creating the inner character of the community. This requires a short introduction to the development of both Christian and secular metal music. To describe Christian mission in this subculture I am going to use the method of praxis matrix, through which I'm going to try to offer more detailed information about the subject in question concerning the topic of the identification of the agent. I'm also going to try to describe the social context, the church affiliation, interpretation of the tradition, concretization of the activity and the ability of self- reflection and spirituality.
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Ehlebracht, Simon. "Lobpreis- und Anbetungslieder: eine kritisch-wurdigende Analyse der aktuellen Hillsong-Lieder." Diss., 2018. http://hdl.handle.net/10500/25694.
Full textAbstract:
Abstract in German and EnglishDie Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt erechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion.
The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are nderrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function.
Practical Theology
M. Th. (Practical Theology)
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Loewen, Paul Dennis Thielmann. "Du Wohnst unter den Lobgesangen Israels: eine Untersuchung der charismatischen Lobpreiskultur im Hinblick auf das implizierte Gottesdienstverstandnis." Diss., 2018. http://hdl.handle.net/10500/25700.
Full textAbstract:
Abstracts in German and EnglishDiese Studie befasst sich mit einer Untersuchung und Einordnung einiger theologischer Aspekte der charismatischen Lobpreispraxis im deutschsprachigen Raum. Dies erfolgt mittels Analyse einschlägiger Literatur sowie repräsentativer Liedtexte der charismatisch geprägten Lobpreismusik der letzten Jahre. Insbesondere durch die Untersuchung des Tempelmotivs und seine Bedeutung in der charismatischen Lobpreispraxis, werden Charakteristika eines zugrundeliegenden Gottesdienstverständnisses und sich daraus ergebende weltanschauliche Implikationen herausgearbeitet. Der Befund zeigt, dass den untersuchten Lobpreisliedern ein Narrativ der Begegnung des Menschen mit Gott und seiner Gegenwart (in „heiliger Atmosphäre“) als Grundmotiv zugrunde liegt. Dieses Narrativ folgt der Logik und dem Vorbild des alttestamentlichen Tempelkults. Wie der Eintritt des Priesters ins „Allerheiligste“, soll das gottesdienstliche Lobpreiserlebnis als eine transzendente Begegnung mit dem „Heiligen“ verstanden werden, wodurch sich Tendenzen zu einem sakral-kultischen Gottesdienstverständnis und Hinweise eines Dualismus zwischen „profanen“ und „sakralen“ wirklichkeitsdimensionen des zugrundeliegenden Weltbildes aufzeigen lassen.
This study evaluates some theological aspects of the charismatic praise and worship practice in the German-speaking area by analyzing relevant literature and representative lyrics of the charismatically influenced worship songs of recent years. In particular, by examining the temple theme and its significance in charismatic worship, the characteristics of the underlying conception of worship and the resulting worldview implications are worked out. The results show that the studied praise and worship songs are based on an underlying narrative of man's encounter with God and his presence (in a "holy atmosphere") through the singing. This narrative follows the logic and model of the Old Testament temple cult. Like the priest's entry into the "holy of holies", the worship experience is to be understood as a transcendent encounter with the "holy", whereby tendencies towards a sacral-cultic understanding of worship and a dualism between a "profane" and a "sacred" dimension of the underlying worldview can be shown.
Practical Theology
M. Th. (Practical Theology)