Academic literature on the topic 'Music in churches Baptists Hymns'

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Journal articles on the topic "Music in churches Baptists Hymns"

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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.

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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this ex
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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were i
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Chu, Calida. "William Newbern and Youth Hymns: The Music Ministry of the C&MA in South China in the Mid-Twentieth Century." International Bulletin of Mission Research 43, no. 3 (2019): 226–37. http://dx.doi.org/10.1177/2396939319832280.

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American missionary William Newbern (1900–1972), one of the first C&MA missionaries to China, is known as the father of the Hong Kong Alliance Bible Seminary. Newbern, a successful evangelist and educator, also made a major contribution to Chinese hymnology in the mid-twentieth century, especially in his editorial role in preparing Youth Hymns, whose hymns are still used in Chinese churches today. As primary sources, I use mainly his autobiography ( The Cross and the Crown), his articles in Alliance Magazine, and his music commentaries Narrating Hymns ( Shengshi mantan).
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Hunter, David. "English Country Psalmodists and their Publications, 1700–1760." Journal of the Royal Musical Association 115, no. 2 (1990): 220–39. http://dx.doi.org/10.1093/jrma/115.2.220.

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The singing of metrical psalms, canticles, some anthems and a few hymns in the ‘old way’ constituted almost the sole musical activity in English parish church services after the Restoration. By the start of the eighteenth century a reform was under way. Parish clerks ceased to line out the psalms for the benefit of congregations. As the clergy and gentry generally disdained to assist the improvement of music and only the wealthiest urban churches could afford organs, congregations took their lead from choirs trained by itinerant singing-masters. Church music became divided between the art musi
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Durso, Pamela R. "This is what a minister looks like: The expanding Baptist definition of minister." Review & Expositor 114, no. 4 (2017): 520–25. http://dx.doi.org/10.1177/0034637317737512.

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In 1956, H. Richard Niebuhr and Daniel D. Williams asserted that to the traditional definition of minister as pastor-preacher must be added teacher, chaplain, missionary, evangelist, counselor, and countless others. What Niebuhr and Williams observed as happening within American churches in general was also true within Baptist churches. Beginning sometime around mid-century, Baptist churches hired staff members to lead and plan their music programs; to work with preschoolers, children, teenagers, college students, and senior adults; and to oversee administration, education, and recreational ac
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Taylor, Yvette, Emily Falconer, and Ria Snowdon. "Sounding Religious, Sounding Queer." Ecclesial Practices 1, no. 2 (2014): 229–49. http://dx.doi.org/10.1163/22144471-00102006.

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This paper explores the role music plays in ‘queer-identifying religious youth’ worship, including attitudes to ‘progressive’ and ‘traditional’ musical sounds and styles. It looks at approaches taken by inclusive non-denominational churches (such as the Metropolitan Community Church, mcc), to reconcile different, and at times conflicting, identities of its members. Focusing on ‘spaces of reconciliation’ we bring together the embodied experience of Christian congregational music with the ‘age appropriate’ temporality of modern music, to examine the complex relationship between age, music, faith
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Lassiter, Luke Eric. ""From Here on, I Will Be Praying to You": Indian Churches, Kiowa Hymns, and Native American Christianity in Southwestern Oklahoma." Ethnomusicology 45, no. 2 (2001): 338. http://dx.doi.org/10.2307/852678.

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Crook, David. "A Sixteenth-Century Catalog of Prohibited Music." Journal of the American Musicological Society 62, no. 1 (2009): 1–78. http://dx.doi.org/10.1525/jams.2009.62.1.1.

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In 1575 the Jesuit general in Rome issued an ordinance governing the use of music in the order's rapidly expanding network of colleges. Motets, masses, hymns, "and other pious compositions" were to be retained; indecent and "vain" music was to be burned. Sixteen years later the Jesuits' provincial administrator in Bavaria drew up a set of supplemental instructions, to which was appended a catalog of prohibited music as well as a complementary list of approved compositions (D-Mbs Clm 9237). Verbal texts treating drunkenness and erotic love account for the majority of banned pieces, but in some
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Bezpalko, Vladyslav, and Ivan Kuzminskyi. "Musical Heritage of the Pereyaslav Collegium." Kyivan Academy, no. 17 (March 10, 2021): 99–118. http://dx.doi.org/10.18523/1995-025x.2020.17.99-118.

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This article is an interdisciplinary study that aims to form a comprehensive view of music and church singing both in the educational process of collegium students and outside it. Thanks to the historical sources involved, we were able to clarify the mechanism of functioning of church singing both in the collegium and at the stage of primary (preparatory) education of future students, as well as its role in the life of collegium graduates who made careers in the major vocal chapel of the Russian Empire. The preparatory stage for the future students was studying in parish schools, where an obli
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Budzinauskienė, Laima. "Manuscripts of Requiem by foreign composers in the Vilnius libraries’ funds: an overview of 19th – beginning of 20th century sources." Menotyra 26, no. 3 (2019). http://dx.doi.org/10.6001/menotyra.v26i3.4057.

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Among numerous genres of sacred music (such as chorales, hymns, motets, masses, etc.), Requiem, or otherwise Missa pro defunctis, Missa defunctorum (Mass for the Deceased) stands out. It is the Mass for the Deceased, corresponding to the Roman Catholic Missal, that is celebrated mainly during the funeral. Over time, Requiem has become a vocal-instrumental genre, a composition associated with the theme of death and mourning. In the 19th century, two principal forms of the genre of Requiem co-existed: a proud, concert-type form, heavily influenced by secular music, and a more modest, reserved, a
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Dissertations / Theses on the topic "Music in churches Baptists Hymns"

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

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

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Weiss, Joanne Grayeski. "The relationship between the "Great Awakening" and the transition from psalmody to hymnody in the New England colonies." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/535900.

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This study examines the relationship between the first major religious revival in the New England colonies and the change from psalmody to hymnody in the mid-eighteenth century through an approach which integrates the two fields of theology and church music. The termination date is 1770, and the focus is Protestant congregational song in the three groups most influenced by Puritan thought: the Congregationalists, the Presbyterians, and the Baptists.While much has been written separately about the change in eighteenth-century sacred song and the Great Awakening itself, there has been little res
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Brooks, James C. Brewer Charles E. "Benjamin Keach and the Baptist singing controversy : mediating scripture, confessional heritage, and christian unity /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/04082006-170926.

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Thesis (Ph. D.)--Florida State University, 2006.<br>Advisor: Charles Brewer, Florida State University, College of Arts and Sciences, Program in the Humanities. Title and description from dissertation home page (viewed June 19, 2006). Includes bibliographical references.
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Platt, Nathan Harold. "The hymnological contributions of Basil Manly, Jr. to the congregational song of Southern Baptists." Thesis, 2004. http://hdl.handle.net/10392/322.

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This dissertation examines the contributions of Basil Manly Jr. to the congregational song of Southern Baptists. Chapter 1 provides an overview of the study, introduces the hymnals compiled by Basil Manly Jr., and identifies his contribution of original texts and tunes to the repertory of Southern Baptist hymnody. Chapter 2 focuses on the collaboration of Manly Jr. with Basil Manly Sr. in the compilation of The Baptist Psalmody (1850). The first Southern Baptist hymnal was developed in response to the dominance of The Psalmist (1843) in Northern states and the need for a comprehensive hymnal
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Tuiasosopo, Kuki M. "Pese ma vīʻiga i le Atua : the sacred music of the Congregational Church of Jesus in Sāmoa : ʻO le ʻEkālēsia Faʻapotopotoga a Iēsū i Sāmoa". Thesis, 2005. http://hdl.handle.net/10125/11756.

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Van, der Bank Annelie. "Ephrem of Syria, power, truth, and construction of orthodoxy: modelling theory and method in critical historiography of the making of religious tradition." Diss., 2020. http://hdl.handle.net/10500/26529.

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Hymns can and have functioned as powerful strategic tools to change social and religious landscapes, and to inform and transform people’s notions about ‘doing church’. A few words about Ephrem the Syrian, which emphasised liturgical singing and accentuated the force of truth, the power of persuasion and socio-religious transformation was the starting point and connecting thread, which formed the backbone of this dissertation throughout—a research project that was also guided by some principles of new historicism to view Ephrem as a textual construct, living in a particular context and dealing
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Papenfus, Anna Francina. "'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV." Diss., 1994. http://hdl.handle.net/10500/15739.

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This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights a
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Books on the topic "Music in churches Baptists Hymns"

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The sound of the dove: Singing in Appalachian Primitive Baptist churches. University of Illinois Press, 1995.

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Patterson, Beverly Bush. The sound of the dove: Singing in Appalachian Primitive Baptist churches. University of Illinois Press, 2001.

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Music, David W. "I will sing the wondrous story": A history of Baptist hymnody in North America. Mercer University Press, 2008.

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Brock, Sebastian P. Bride of light: Hymns on Mary from the Syriac churches. Gorgias Press, 2010.

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Drummond, R. Paul. A portion for the singers: A history of music among Primitive Baptists since 1800. Christian Baptist Library & Pub. Co., 1989.

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Rogal, Samuel J. The music and poetry of Come, ye thankful people, come (1844): A sung prayer in the Christian tradition. Edwin Mellen Press, 2014.

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Music, Hosanna! The Smithton outpouring: Revival from the heartland songbook ; new songs for worshiping churches. Integrity Inc., 1999.

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Vajda, Jaroslav J. Something to sing about: Singing the Christian faith : study guide. Concordia Pub. House, 1990.

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Jenkins, Kathryn. Redefining the hymn: The performative context. The Hymn Society of Great Britain and Ireland, 2010.

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Song leading. Discipleship Resources, 1989.

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Book chapters on the topic "Music in churches Baptists Hymns"

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Preston, Katherine K. "Sacred Music." In George Frederick Bristow. 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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"person’s use of the Bible as the most important religious authority was implicitly to devalue the elaborate edifices protecting scriptural interpretation that prevailed in all the historic European churches, Protestant as well as Catholic. The institutions compromised by such logic included established churches defined as authoritative communicators of divine grace through word and sacrament, institutions of higher learning monopolized by the establishment in order to protect intellectual activity from religious as well as rational error, and the monarchy as the primary fount of godly social stabil-ity. British Protestant Dissent moved somewhat more cautiously in this direction. But even after the rise of Methodism and the reinvigoration of the older Dissenting traditions, the strength of evangelicalism among British establishmentarians never permitted the kind of thoroughly voluntaristic ecclesiology that prevailed in the United States. On questions of establishment, post-Revolutionary American evangeli-calism marked a distinct development from the colonial period when the most important evangelical leaders had spoken with opposing voices. Some, like Charles Wesley, whose hymns were being used in America from the 1740s, remained fervent defenders of the status quo. Some, like George Whitefield, gave up establishment in practice but without ever addressing the social implications of such a move and without being troubled by occa-sional relapses into establishmentarian behaviour. Some, like the Baptists in America from the 1750s, renounced establishment with a vengeance and became ardent proponents of disestablishment across the board. Some, like the American Presbyterian Gilbert Tennent, eagerly threw establishment away in the enthusiasm of revival, only later to attempt a partial recovery after enthusiasm cooled. Some, like John Wesley, gave up establishment instincts reluctantly, even while promoting religious practices that others regarded as intensely hostile to establishment. Some, like Francis Asbury, the leader of American Methodists, gave it up without apparent trauma. Many, like Jonathan Edwards and the leading evangelical laymen of the Revolutionary era – John Witherspoon, Patrick Henry and John Jay – never gave up the principle of establishment, even though they came to feel more spiritual kinship with evangelicals who attacked established churches (including their own) than they did with many of their fellow establishmen-tarian Protestant colleagues who did not embrace evangelicalism. By the late 1780s, except in New England, this mixed attitude towards formal church and state ties had been transformed into a nearly unanimous embrace of disestablishment. Even in Connecticut and Massachusetts, where evangelical support of the Congregational establishments could still be found, the tide was running strongly away from mere toleration towards full religious liberty. Methodism was an especially interesting variety of evangelicalism since its connectional system retained characteristics of an establishment (especially the human authority of Wesley, or the bishops who succeeded Wesley). But." In The Rise of the Laity in Evangelical Protestantism. Routledge, 2003. http://dx.doi.org/10.4324/9780203166505-77.

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