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Relevant bibliographies by topics / Music in churches

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Academic literature on the topic 'Music in churches'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Music in churches"

1

Akande, Sunday. "Engaging the Efficacy of Nigerian Popular Gospel Music and Pentecostalism for Nigerian Church Growth." NIU Journal of Humanities 8, no. 4 (December 31, 2023): 209–15. http://dx.doi.org/10.58709/niujhu.v8i4.1745.

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In the 1970s and 1980s there was the emergence of Pentecostalism that gave rise to the establishment of many Churches in Nigeria. Among the churches that were established are ; Deeper Life Bible Church, New Living Faith Church also known as Winners Chapel, The Redeemed Christian Church of God, Gospel Faith Mission and many others. The rate at which other churches are springing up and the founding of many other branches is alarming till date. The Proliferation of churches led to the existence of churches everywhere in Nigerian society. However, the numeric increase or proliferation of Churches in Nigeria is not attributed only to the mode of worship, prayers and to signs and miracles introduced to Churches through Pentecostalism but also influenced by music. The value of music should never be lost sight of in worship. The relationship between music and Pentecostalism cannot be undermined as music cannot be separated from worship. This paper examines the efficacy of contributions of music in genre, form and performance practice in Church growth, specifically in Nigeria. This research reviewed the history and explosion of Pentecostalism in Nigeria. The materials used in this research were sourced from books, journals, magazines and Internet. Historical research design was used for this study. This paper concludes that the mystic effect and intrinsic value of music affects church growth and should be considered as a viable tool together with Pentecostalism for Church growth in Nigeria. Keywords: Efficacy, Music, Pentecostalism, Church Growth

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Lumbantobing, Tomson Saut Parulian, and Aji Suseno. "Studi Trend Ibadah Dalam Nyanyian dan Musik Kontemporer di Gereja-gereja Baptis Masa Kini." Veritas Lux Mea (Jurnal Teologi dan Pendidikan Kristen) 4, no. 1 (February 22, 2022): 21–31. http://dx.doi.org/10.59177/veritas.v4i1.139.

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The decision of several Baptist churches to start using contemporary singing and music in the early 2000s has caused controversy and has become a polemic in the Association of Indonesian Baptist Churches (GGBI). However, the trend of worship using contemporary songs and music is getting more widespread in Indonesian Baptist churches. This is the background of this research, which is to comprehensively investigate the factors behind the widespread trend of worship using contemporary songs and music in Indonesian Baptist churches. Thus, the formulation of the research problem is a study of the factors behind the widespread trend of worship using contemporary songs and music in Indonesian Baptist churches. This type of research is classified as a descriptive qualitative variety with a literature study. Data were obtained from various document sources such as books, magazines, articles, and scientific journals about worship, spiritual songs, and music. The results of the research found that the congregational government system, church planting, seminars and writings on worship and music, Baptist youth worship, and technological developments are factors behind the increasingly widespread trend of worship with contemporary singing and music in Indonesian Baptist churches.AbstrakKeputusan beberapa gereja Baptis yang mulai menggunakan nyanyian dan musik kontemporer di awal tahun 2000an telah menimbulkan kontroversi dan menjadi polemik di Gabungan Gereja-Gereja Baptis Indonesia (GGBI). Meskipun demikian, trend ibadah menggunakan nyanyian dan musik kontemporer justru semakin meluas di gereja-gereja Baptis Indonesia. Hal inlah yang melatarbelakangi dilakukannya riset ini, yaitu hendak menyelidiki secara komprehensif faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah menggunakan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia. Dengan demikian, rumusan masalah riset ini adalah kajian tentang faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah menggunakan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia. Jenis riset tergolong dalam ragam kualitatif deskriptif dengan studi literatur. Data diperoleh dari berbagai sumber dokumen seperti seperti buku, majalah, artikel dan jurnal-jurnal ilmiah tentang ibadah, nyanyian dan musik rohani. Hasil riset menemukan bahwa sistem pemerintahan kongregasional, perintisan jemaat, seminar dan karya tulisan tentang ibadah dan musik, ibadah kaum muda Baptis, serta perkembangan teknologi merupakan faktor-faktor yang melatarbelakangi semakin meluasnya trend ibadah dengan nyanyian dan musik kontemporer di gereja-gereja Baptis Indonesia.

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Sarpong, F. A. Sarpong. "The place of music in missions work in Ghana: with reference to the church of Pentecost." Pentecost Journal of Theology and Mission 3 (December 31, 2019): 101–11. http://dx.doi.org/10.62868/pjtm.v3i1.125.

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This article gives a brief narrative of the role that music has played and continues to play in the churches in Ghana with particular reference to the Church of Pentecost. It begins by acknowledging that the COP as an indigenous Ghanaian church sees music as an integral part of its missions in Ghana and beyond. It then examines the musical tradition of the churches in Ghana, and examines four models of musical types in Ghanaian churches, namely, Contrafactum, Eclectic, Creative Essays of Afro-Identity and Spontaneous types. The rest of the paper focuses on the Spontaneous Type of music as the Church of Pentecost’s preference in worship and in its missional activities. It concludes with a brief comment on the importance of the Psalms in church music.

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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.

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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.

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Harahap, David, and Simon Simon. "Pentingnya Musik Gereja dalam Ibadah untuk Pertumbuhan Kerohanian Jemaat." TELEIOS: Jurnal Teologi dan Pendidikan Agama Kristen 2, no. 2 (December 17, 2022): 135–46. http://dx.doi.org/10.53674/teleios.v2i2.49.

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Abstract: The background of this writing was that the church's attention towards music was declining, especially in small churches that did not pay attention to the important role of music and worship, which certainly influenced the congregation’s spiritual growth. Karl Barth once said a church that did not sing was not a church, therefore the presence of expert musicians and worshippers were needed. In describing the topic, the researchers used qualitative methods by obtaining data sources from literature studies, both printed books and online media. The discussion on this topic suggested that we should not forget the early history of music and its development, everyone had to be trained to become expert in art, this was written in the Bible, so that the church music could affect the congregation’s spirituality. Consequently, it was hoped that church music would be proper and right before God. Worship could give everything: life, strength, expertise in music and singing to serve God the creator. Thus, the conclusion obtained from this paper was that church music played a vital role in developing not only the quantity but also the spiritual quality of the congregation.Abstrak: Tulisan ini dilatar belakangi oleh menurunnya perhatian gereja kepada musik gereja, khususnya pada gereja-gereja kecil yang tidak perhatian betapa pentingnya peranan musik dan pujian yang tentunya berdampak terhadap pertumbuhan kerohanian jemaat. Karl Barth pernah berkata gereja yang tidak bernyanyi bukanlah gereja, sebab itu gereja membutuhkan kehadiran pemusik dan pemuji yang ahli di bidangnya. Di dalam menguraikan topik ini, peneliti menerapkan metode kualitatif dengan mengambil sumber data dari studi kepustakaan baik buku cetak maupun dari media online. Uraian pembahasan pada topik ini mengemukakan bahwa jangan melupakan sejarah awal musik dan perkembangannya, semua harus dilatih sehingga menjadi ahli seni, hal inilah yang tertulis di Alkitab, sehingga musik gereja mampu memberikan dampak pada kerohanian Jemaat. Dengan demikian diharapkan musik gereja menjadi sehat dan benar dihadapan Allah, ketika beribadah dapat memberi segala yang ada, hidup, kekuatan, keahlian bermusik dan bernyanyi di dalam melayani Allah sang pencipta. Oleh sebab itu, kesimpulan yang diperoleh terkait dari topik ini bahwa,musik gereja mengambail peran vital dalam pengembangan kuantitatas terlebih kualitas kerohanian jemaat.

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Mkallyah, Kassomo. "Indigenous Tanzanian Music Traditions in Roman Catholic Church and Changing Social Context." Umma: The Journal of Contemporary Literature and Creative Art 9, no. 1 (2022): 1–24. http://dx.doi.org/10.56279/ummaj.v9i1.1.

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This article focuses on the use of indigenous Tanzanian music traditions in Roman Christian worship in Dar es Salaam Tanzania. The paper argues that the use of indigenous Tanzanian music tradition in church worship helps to make congregation members feel close to God and identify with their own African culture. The study focused on three churches: Msewe Roman Catholic, Manzese Roman Catholic and Kimara Roman Catholic. Congregation members and music stakeholders were involved to establish their perception of the changing social context of Tanzania’s indigenous music traditions used during church worship. It used in-depth interviews, discussions and participant performer were the methods to explore how music from different Tanzania ethnic groups brought cultural identity and changed social context in church worship. The findings suggested that the use of indigenous traditional music in Christian churches brought cultural identity in terms of melody, tune and rhythm although changes in text, language and the performance area are inevitable.

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Peno, Vesna. "On the multipart singing in the religious practice of orthodox Greeks and Serbs: The theological-culturological discourse." Muzikologija, no. 17 (2014): 129–54. http://dx.doi.org/10.2298/muz1417129p.

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In 1844, Serbian patriarch Josif Rajacic served two central annual Liturgies, at the feasts of Pasha and Penticost, in the Greek church of Holy Trinity in Vienna; these were accompanied by the four-part choral music. The appearance of new music in several orthodox temples in Habsburg Monarchy (including this one) during the first half of the nineteenth century, became an additional problem in a long chain of troubles that had disturbed the ever imperiled relations between the local churches in Balkans, especially the Greek and Serbian Orthodox. The official epistle that was sent from the ecomenical throne to all sister orthodox churches, with the main request to halt this strange and untraditional musical practice, provoked reactions from Serbian spiritual leader, who actually blessed the introduction of polyphonic music, and the members of Greek parish at the church of St. George in Vienna, who were also involved with it. The correspondence between Vienna and Constantinople reflected two opposite perceptions. The first one could named ?traditional? and the other one ?enlightening?, because of the apologies for the musical reform based on the unequivocal ideology of Enlightenment. In this article the pro et contra arguments for the new music tendencies in Greek and Serbian orthodox churches are analyzed mainly from the viewpoint of the theological discourse, including the two phenomena that seriously endangered the very entity of Orthodox faith. The first phenomenon is the ethnophiletism which, from the Byzantine era to the modern age, was gradually dividing the unique and single body of Orthodox church into the so-called ?national? churches, guided by their own, almost political interests, often at odds with the interests of other sister churches. The second phenomenon is the Westernization of the ?Orthodox soul? that came as a sad result of countless efforts of orthodox theological leaders to defend the Orthodox independence from the aggressive Roman Catholic proselytism. ?The Babylonian captivity of the Orthodox church?, as Georg Florovsky used to say, began when Orthodox theologians started to apply the Western theological methods and approaches in their safeguarding of the Orthodox faith and especially in ecclesiastical education. In this way the new cultural and social tendencies which gripped Europe after the movements of Reformation and Contra-Reformation were adopted without critical thinking among Orthodox nations, especially among the representatives of the Ortodox diaspora at the West. Observed from this extensive context, the four-part music in Orthodox churces in Austria shows one of many diverse requirements demanded from the people living in a foreign land, in an alien and often hostile environment, to assimilate its values, in this case related to the adoption of its musical practices.

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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.

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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.

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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.

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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.

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Simanjuntak, Fredy. "Musik Sebagai Media Terapi Penyembuhan: Sebuah Penelusuran Historis dalam Alkitab." Jurnal EFATA: Jurnal Teologi dan Pelayanan 8, no. 2 (July 2, 2022): 115–26. http://dx.doi.org/10.47543/efata.v8i2.66.

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Music has evolved in such a way, including within the church itself, but there is a part of music that is often overlooked in the church, namely the power of music in healing. In particular, the researcher takes the setting of the use of music in pentecostal-charismatic churches. This paper is a historical search in the Bible regarding the use of music in worship as a healing medium. The researcher as one of the music activists in the church gives an assessment that the sound produced by musical instruments in a series of praise and worship in worship affects the welfare of the congregation. The type of research used is descriptive research, using a qualitative approach. Researchers conclude that musical healing is real and far from speculation. Relying on the biblical basis of music as a therapeutic medium, the researchers revealed that music has the potential to have a therapeutic function in worship. AbstrakMusik telah berkembang sedemikian rupa termasuk di dalam gereja sendiri, namun ada bagian dari musik yang sering terabaikan dalam gereja, yaitu kekuatan musik dalam kesembuhan. Secara khusus peneliti mengambil setting penggunaan musik pada gereja-gereja bercorak pentakosta-kharismatik. Tulisan ini merupakan sebuah penelusuran historis dalam Alkitab mengenai penggunaan musik dalam ibadah sebagai media penyembuhan. Peneliti sebagai salah seorang penggiat musik dalam gereja memberikan penilaian bahwa suara yang dihasilkan oleh alat musik dalam rangkaian pujian maupun penyembahan dalam ibadah mempengaruhi kesejahteraan jemaat. Jenis penelitian yang digunakan adalah penelitian deskriptif, dengan menggunakan pendekatan kualitatif. Peneliti menyimpulkan bahwa penyembuhan musik adalah nyata dan jauh dari spekulasi. Mengandalkan dasar alkitabiah musik sebagai media terapi, peneliti mengungkapkan bahwa musik berpotensi terhadap fungsi terapi dalam ibadah.

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Dissertations / Theses on the topic "Music in churches"

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Koo, Gregory J. "The meaning of liturgical music." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.

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Sherwin, Ronald Glynn. "The Church Music Program: The Effect of Moving from Performance-based to Education-based Emphasis in a Church Music Program." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/SherwinRG2004.pdf.

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Kinder, Patrick J. "God's instrument of praise liturgical and para-liturgical music /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Arnold, Susan Joy. "Singing in the community of faith regaining the incarnational voice of the church /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p090-0357.

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Sharp, Brian Emory. "Selected Resources for Ministers of Music in Evangelical Christian Churches." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2261.

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Ministers of music in Evangelical Christian churches today are usually trained as choral conductors but take positions that require them to unexpectedly be an instrumental conductor, administrator, counselor, recruiter, evangelist, and even associate pastor. There was no central resource for information to assist these musicians, thus this annotated bibliography was developed. It includes books and magazine articles on vocal and instrumental pedagogy, conducting, hymnology, theology, musical terminology, leadership skills, evangelism, and administration. Because of time limitations, only sources available at Sherrod Library, East Tennessee State University, and on the Internet were cited. Time restraints also limited the number of resources evaluated; this will be an ongoing project as more resources become available.

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Arnold, David F. "Seeking balance between subjective and objective criteria for music in the liturgical assembly of the Orthodox Church in America." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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

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Forsyth, James. "Music of the Anglican churches in Sydney and surrounding regions." Thesis, The University of Sydney, 2002. http://hdl.handle.net/2123/2447.

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Bennett, Randall G. Jr. "Congregational singing: an attitudinal survey of two southern Protestant churches." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etd/2262.

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When public schools began teaching music in the 19th century, the church took a secondary role in the education of the church parishioner. The purpose of this study was to examine congregational attitudes about singing before and after an experimental treatment. Two different Churches participated in "hymn of the month" programs, but different approaches were used at each church. The congregation of Erwin Presbyterian Church learned a new hymn through repetition, while the congregation of First Baptist Church learned a new hymn through congregational practice. Surveys using a Likert-type scale were administered at each church prior to and at the end of the month long project, which took place in February 2002. The results showed that while both congregations appeared to have better attitudes toward congregational singing following the project, there was a more dramatic change at Erwin Presbyterian Church.

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

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Books on the topic "Music in churches"

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1933-, Ferguson Everett, West Earl 1920-, and Flatt Bill 1934-, eds. The instrumental music issue. Nashville, TN: Gospel Advocate Co., 1987.

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Sweatt, Danny M. Church music: Sense and nonsense. Greenville, S.C: Bob Jones University Press, 1986.

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Jones, Paul S. Singing and making music: Issues in church music today. Phillipsburg, NJ: P & R Pub., 2006.

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Talbot, John Michael. The joy of music ministry. Totowa, N.J: Resurrection Press, 2001.

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Lewis, Samuel T. Facing the music in the local church. Tyrone, PA (450 W. 15th St., Tyrone 16686-2049): K.H. Lewis, 1998.

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Beebe, Wally. All about the church music director. Murfreesboro, Tenn: Sword of the Lord, 1998.

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Johannson, Calvin M. Discipling music ministry: Twenty-first century directions. Peabody, MA: Hendrickson, 1995.

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Hustad, Don. True worship: Reclaiming the wonder & majesty. Wheaton, Ill: H. Shaw Publishers, 1998.

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Anderson, Bryan. Getting started: Basic information for churches with minimal musical resources. Croydon: Royal School of Church Music, 1995.

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Ferguson, Everett. A cappella music in the public worship of the church. Abilene, Tex: Desert Willow Publishing, 2013.

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Book chapters on the topic "Music in churches"

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Temperley, Nicholas. "Organ Music in Parish Churches, 1660-1730." In Studies in English Church Music, 1550-1900, 193–206. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417729-8.

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Temperley, Nicholas. "Organs in English Parish Churches 1660-1830." In Studies in English Church Music, 1550-1900, 175–92. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417729-7.

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Manders, Elspeth. "15. Listening to the Lived Experiences of Worshippers." In Music and Spirituality, 305–26. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.15.

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The status of worship changed indelibly following the Covid-19 pandemic. Specifically, the rise in online worship impacted how music is accessed and shared, raising questions regarding the purpose of worship in this new age, the faithfulness to scripture in an increasingly secular context, and the influence of online worship on religious narratives. Previous research using empirical methods, such as mixed method surveys, has already offered invaluable contributions to reflections upon the consequences of the pandemic for worship. However; recognising that lived Christian realities are highly complex, and difficult to capture via a questionnaire, I sought to unpack lived worshipper experiences using interviews. I used a qualitative research methodology, precisely Reflexive Thematic Analysis, to investigate the worshipping experiences of five Catholic and Anglican laity worshippers and employees in the community of the Diocese of Chelmsford. In thematically analysing five interviews, I suggest four future strategies for implementing mixed ecology worship: online worship, communication, musical rhetoric, and chorister recruitment. Outcomes from using qualitative research to listen to worshippers’ experiences indicate that access to worship online is worth sustaining and developing, and that churches have work to do to ensure the continued viability of traditional choral music-making in the post-pandemic praxis.

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Thomas, Chance. "Church Music." In Making it HUGE in Video Games, 301–15. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.1201/9781003199311-21.

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Preston, Katherine K. "Sacred Music." In George Frederick Bristow, 66–76. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0006.

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Bristow served as a church organist and choir director for most of his professional life, in almost a dozen different churches (1840s-1890s). The type of music performed in churches on holy days is readily available; what was heard on regular Sundays is mostly unknown. A 1906 publication about music at Manhattan’s Trinity Church, however, is instructive about both types of services. Bristow programmed compositions by both European and American composers, especially on holy days; this indicates his continued support for fellow composers. He wrote numerous sacred works for organ (interludes, voluntaries, various pieces) and voice (anthems, sentences, services, hymns, songs, offertories, and oratorios).

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Strohm, Reinhard. "Other Churches." In Music in Late Medieval Bruges, 42–59. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193164185.003.0003.

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Abstract In the Middle Ages, Bruges had two collegiate churches. This slightly unusual situation may have been due to the rival claims of the bishops of Tournai and Utrecht: whereas the burg with St Donatian’s was founded under the patronage of Tournai, the territory on which Our Lady’s arose in the eighth century originally belonged to the chapter of Utrecht. Our Lady’s was a parish church as early as 909, and elevated to the status of a collegiate church in 1091 by the bishop of Tournai. According to the legend, the church had been founded by St Boniface in 744; in any case, it later possessed some relics of this saint and of his companions Cyrobaldus and Hilarius, which were gifts of the abbey of Fulda.

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Clark, Linda J. "CHAPTER 3: Singing in Church." In Music in Churches, 24–34. Rowman & Littlefield Publishers, 1994. http://dx.doi.org/10.5771/9781566995870-24.

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Clark, Linda J. "CHAPTER 5: The Discipline of Coherence." In Music in Churches, 46–52. Rowman & Littlefield Publishers, 1994. http://dx.doi.org/10.5771/9781566995870-46.

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Clark, Linda J. "CHAPTER 6: People Planning Worship." In Music in Churches, 53–65. Rowman & Littlefield Publishers, 1994. http://dx.doi.org/10.5771/9781566995870-53.

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Clark, Linda J. "CHAPTER 1: Music and Faith." In Music in Churches, 1–12. Rowman & Littlefield Publishers, 1994. http://dx.doi.org/10.5771/9781566995870-1.

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Conference papers on the topic "Music in churches"

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CHIRCEV, Elena. "Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0002.

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Teacher, conductor, Byzantine musicologist, Gheorghe C. Ionescu (1920- 1999) devoted the last years of his life to researching the history of Romanian Byzantine music and published in specialized journals several comprehensive papers that address various topics and bring back in focus personalities of the past. Due to his solid musical and theological training, guided by prestigious teachers from the interwar period, the distinguished musician had a rich artistic and cultural contribution to the second half of the previous century. The change of the political regime in Romania allowed him to return to the pursuits of his adolescence and youth and to continue his research of Orthodox church music in Romania. Along with his papers at various scientific events and the published studies, his tireless work materialized, soon after 1989, in the writing of a lexicon dedicated exclusively to those who had researched Romanian Byzantine music, in 1997. It was followed by a chronological dictionary, the foreword of which was written by the academician Virgil Cândea, who appreciated the importance of the book and the quality of Teacher Ionescu’s work. Entitled Muzica bizantină în România [Byzantine Music in Romania], the book appeared posthumously, through the care of his family, in 2003. Although the centenary of his birth passed almost unnoticed, both productions are valuable working tools for all those who will continue to value Orthodox church music in our country. One more reason to evoke this personality who put a lot of passion in illustrating the richness and beauty of music sung in Romanian churches, two decades after the book was printed.

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Reuter, Christoph, Michael Plitzner, Marik Roos, Isabella Czedik-Eysenberg, Veronika Weber, Saleh Siddiq, Michael Oehler, and Andreas Rupp. "The Sound of Bells in Data Cells – Perceived Quality and Pleasantness of Church Bell Chimes." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001661.

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Ramanna, Nishlyn. "Jazz, space and power in apartheid South Africa: The army and the church." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.29.

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Amaral, Filomena Soares, Rita Milyartini, and Diah Latifah. "Inculturation of Tradition Hamulak Music Fohorem Church." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.026.

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Lapian, Alrik. "Music and Testifying in Congregational Church: Faith Testimony (Marturia) in the Context of Church Music Festival at GMIM Territory." In Proceedings of the First International Conference on Christian and Inter Religious Studies, ICCIRS 2019, December 11-14 2019, Manado, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.11-12-2019.2302143.

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CHAVEZ, V. "ACOUSTIC DESIGN FOR LA ROMIEU CHURCH CHAMBER MUSIC." In Auditorium Acoustics 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16183.

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Galaicu, Violina. "The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.04.

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The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, according to the linguistic factor (succession of sacred languages), according to stylistic manifestations. Based on the way in which the studies are structured, it is observed that historians do not consistently follow one way or another, but opt for summing them up. Thus, a milestone with generalizing value is outlined, in which the first Christian centuries mark the penetration and spread of Proto-Byzantine and Byzantine song in the Romanian space, the IX-X centuries – the enrollment of Romanianism in the Byzantine-Slavic religious front, the XIV century – the inauguration of the period of cultural effervescence related to the constitution of the Romanian medieval states, the end of the XVI century – the XVIII century – the Romanianization of the liturgical melody, the beginning of the XIX century – the XXI century – the passage of the Byzantine chant through the avatars of modernity and contemporaneity.

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Рidhorbunskyi, M. A. "South-eastern influences the formation and establishment of church music in Kievan Rus." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-23-27.

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Ribichini, Luca. "Notre Dame du Haut, Ronchamp, the shape of a listening. A whole other generative hypothesis." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.719.

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Abstract: The article will examin one of Le Corbusier's more emblematic works: the Ronchamp Chapel. The aim is to discover some of the intentionalities hidden within the design of this work by the swiss architect. It will start with the following considerations of Le Corbusier about the Ronchamp chapel:“it began with the acoustics of the landscape taking the four horizons as a reference...to respond to these horizons, to accomodate them, shapes were created…” And: “ Shapes make noise and silence; some speak and others listen...”And again: “ Ear can see proportions. It's possibile to hear the music of visual proportion” (Le Corbusier). The article sustains that the church is nothing but a giant acoustic machine dedicated to Virgin Mary which main purpose is the listening of the prayers. Infact in the Christian religion Mary is the very vehicle between God and man , she has a human but also divine nature since she is the mother of Jesus. To get in contact with the divine it is necessary to pray Mary, she can listen to man's prayers but she can also pass down God's word to man. In support of this hypothesis there stands an analogy between the chapel's map and the image section of a human ear, highlighting the coincidence between the altar position and that of cochlea, which shape is so dear to le Corbusier that he makes use of it very often in his work. Keywords: Ronchamp; acoustic landscape; human ear, architecture as chrystallized music. DOI: http://dx.doi.org/10.4995/LC2015.2015.719

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Simanjuntak, Robert. "Exploration Of Children's Music Talents As A Solution For The Development Of Millennial Generations In The Church Of Bethany Tanjung Anom Deli Serdang." In Proceedings of the 1st International Conference of Global Education and Society Science, ICOGESS 2019,14 March, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.14-3-2019.2292033.

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