Dissertations / Theses: 'Music in churches'

1

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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5

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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Smith, Kevin Bryan. "Phōs hilaron and the macro-liturgical approach text and context elevated through song and rite /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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12

Sergeant, Matthew. "The churches of lalibela : erosion and encrustation as transformative musical processes." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/20885/.

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This thesis outlines a new compositional grammar for my recent compositional practice as demonstrated by the collection of original musical work supplied in the accompanying folio of compositions, itself collectively titled the churches of lalibela. The grammar here outlined and explored presents developments in compositional procedure resulting from re-considering acts of musical transformation in terms of erosion and encrustation. Within the terminologies of this thesis, erosion and encrustation are understood as classes of compositional action (applied to musical materials) defined by operations of erasure/removal and addition/accrual respectively. Using examples from the visual arts as a mechanism for discussion, the thesis develops a wider conceptual understanding of these terms, allowing them to be considered no longer as opposites but as intertwined mechanisms mutually achieving a state of material distortion. A compositional scenario is thus derived in which the sonic surface of a given instance of a composition can be understood as being comprised of the debris resulting from such processes. To develop an understanding of this scenario, the thesis further explores ideas concerning ambiguity of material definition and the role such ambiguity can play in relation to material comparison within the experience of a musical discourse. As such, the grammar here derived can be said to exposit a preoccupation with comparison of material debris of different classes and/or degrees of distortion within the listening experience. The thesis also explores the nature and function of material consistency with regard to definition, illustrating the difference between two terms with a notion of consistency achieved through inconsistency.

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Goldman, George. "A critical interpretation of Colossians 3:16 and Ephesians 5:19 and their significance in establishing the purpose of singing in the Christian assembly." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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

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

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Brashier, Rachel Nicole. "Voice of Women in Byzantine Music Within the Greek Orthodox Churches in America." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/834.

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Byzantine chant, the music of the Greek Orthodox Churches in America, embeds meanings and functions as a methodological tool which constructs and teaches about the role of women within church communities. This thesis explores how as cultural group identity, belongingness, and gender identity are semiotically iconized, purified, and recursively transmitted through the liturgical music of the church, specifically hymns about women saints and The Akathist Hymn to the Mother of God. This work is a culmination of twelve years of ethnomusicological fieldwork conducted by the author in Midwestern Greek Orthodox churches and monasteries, using participant-observation techniques. The work outlines the basic musicological theory of Byzantine chant, describes how the portrayal of women in liturgical music provides templates for the desired behavior of females within the community, and examines how Byzantine music works as a memory aid, teaching tool, and constructor of social ideas in relationship to the roles of women.

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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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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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Anthony, Douglas Richard. "Faith of Our Fathers? Musical Function, Appropriation and Change among the Christian Churches of Allen County, Ohio." Bowling Green State University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1630334753148594.

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Trocmé, Latter Daniel. "The singing of the Strasbourg Protestants, 1523-1541." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610281.

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

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22

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

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Swarbrick, Elizabeth Joy. "The medieval art and architecture of Scottish collegiate churches." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12210.

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Collegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded. To the author's knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.

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Joyner, John Edward III. "The impact architectural on acoustical settings for sacred music in the Episcopal Parish Churches of Georgia." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/21662.

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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 research that attempts to place the psalmody/hymnody issue within the larger context of the changing theological milieu. This study first examines the theological and ecclesiastical structures which provided the context for Reformed worship, and then explores how fundamental changes in those structures and thought systems impacted congregational song. In order to comprehend the major changes which occurred in the mid-eighteenth century in colonial America, chapters on the Reformed Church and the beginning and spread of psalmody, the New England colonies to 1700, and the beginning of English hymnody are included.Conclusions1. The primary conclusion of this study is that the Great Awakening is the single most important factor in the change from psalmody to hymnody in the New England colonies. It is not a peripheral factor as indicated in much of the research. Rather, it provides both the rationale and the means for the transition in church song. The Great Awakening represented a basic theological change from a theocentric to an anthropocentric viewpoint that subsequently required alterations in sacred song. The revival movement, through its evangelistic spirit, also provided the vehicle by which this change in psalmody was effected.2. The agitation of the 1720s as evidenced in the tracts and treatises did not affect the transition directly. However, it is indicative of the increasing discontent with traditional Calvinist theology.3. The Psalms and Hymns of Isaac Watts were not a primary reason for the change, but met the needs of the new anthropocentric theology of the Great Awakening that required a new language of praise.
School of Music

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

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

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

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Gruett, Jon David. "Handel's Saul on stage : the viability and validity of producing a staged dramatic presentation of a sacred oratorio in a church edifice as a non-traditional setting using Handel's Saul as a working production model /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11299.

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Letšosa, Rantoa Simon. "A relevant liturgy for the Reformed Churches in Synod Midlands / Rantoa Simon Letšosa." Thesis, North-West University, 2005. http://hdl.handle.net/10394/697.

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One of the most important yet most undermined aspects of the Reformed Churches in the resort of Synod Midlands is its liturgy. Little study has been done on liturgy and few Church Councils make liturgy their concern. Consequently most of the Reformed Churches in Midlands are faced with the problem of syncretism, secularism and modernistic trends in the liturgy. All human beings are religious people. All humans beings are believers yet it depends whom and how people worship and in whom or what they believe. People have different cultures and in some instances, as is the case with the African religion, culture and religion are not easily separated. Liturgy has an indispensable task in transforming culture. This study aims at scrutinising the manner of worship in Reformed Churches in Synod Midlands. It is divided into three sections. The first section focuses on basic-theoretical principles, the second on meta-theoretical guidelines and empirical findings and the third on a critical-hermeneutical interaction between the basis-theoretical principles and the meta-theoretical guidelines. This study indicates that the Reformed Churches in Synod Midlands need a relevant liturgy that is suitable for the African members but also a liturgy that is not easily influenced by culture and by the world. Liturgy has to shape culture and culture has to be accommodated in the shape that liturgy takes. This does not occur at the same level. The gospel preaches to culture and leads it to repentance. The sermon, however, is presented within a certain culture, context and language. This is where culture fits in and contributes to the shaping of the liturgy. A relevant liturgy for the Reformed Churches in Synod Midlands would be a dynamic liturgy that displays an interactive communicative character. There has to be a dialogue between God and His children. The liturgist should not be an individual standing between God and humans, blocking the dialogue-related character of the liturgy. All members have to be participative and should follow the liturgy. This study therefore calls upon a free liturgy because African people are spontaneous. However this liturgy should also be characterized by the necessary order.
Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2005.

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Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.

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The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.

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

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Riegel, Marcus L. "An analytical and historical examination of six works for middle level wind band: Bells of freedom (grade 1) by David Gillingham, Rising star (grade 1) by Samuel R. Hazo, Achilles’ wrath (grade 2) by Sean O’Laughlin, Kenya contrasts (grade 2.5) by William Himes, On the wings of swallows (grade 3) by Michael Sweeney, and Old churches (grade 3) by Michael Colgrass." Kansas State University, 2008. http://hdl.handle.net/2097/1130.

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Master of Music
Department of Music
Frank C. Tracz
The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Marcus L. Riegel. The recital, performed by the Chapman Middle School Sixth, Seventh, and Eighth Grade Bands, was given in the District Gymnasium at the Spring Arts Concert on April 22, 2008 at 7:00 pm. The repertoire included but was not exclusive to Bells of Freedom by David Gillingham, Rising Star by Samuel R. Hazo, Achilles’ Wrath by Sean O’Loughlin, Kenya Contrasts by William Himes, On the Wings of Swallows by Michael Sweeney, and Old Churches by Michael Colgrass. This document contains theoretical and historical analysis- and outlines the procedures of planning and performing the graduate conducting recital.

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Jochum, Dara C. "An examination of works for wind band: Old churches by Michael Colgrass, Little suite for band by Clare Grundman, This is my father’s world by Franklin L. Sheppard and Hymn setting by Fred J. Allen, and Prelude and primal danse by Ed Huckeby." Kansas State University, 2009. http://hdl.handle.net/2097/1690.

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Master of Music
Department of Music
Frank C. Tracz
This document is based on the preparation, rehearsal, and performance of selected pieces for the Graduate Conducting Recital of Dara C. Jochum. The pieces examined in the theoretical and historical analysis for this report are Old Churches by Michael Colgrass, Little Suite for Band by Clare Grundman, This Is My Father’s World by Franklin L. Sheppard with hymn setting by Fred J. Allen, and Prelude and Primal Danse by Ed Huckeby. This document also contains rehearsal plans and procedures for the preparation of the literature. The recital was performed on March 7, 2008 in Hart Recital Hall on the campus of the University of Central Missouri, and was performed by the members of the Leeton High School Concert Band as well as guest performers from the University of Central Missouri Wind Ensemble.

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

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

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

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Ciprová, Barbora. "ŽIVOTNÍ POCIT BAROKA." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-295640.

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I perceive the thesis as the outcome of longer-term considerations over the relationship between architecture and music, as well as the concepts of genius loci, memory of place, or site-specific art. Thanks to the closer encounter with the Broumov landscape and the churches designed by the architects Kryštof and Kilián Ignác Dientzenhofer, located in it, these reflections were connected with the term Baroque. The work is an experiment exploring the diversity of contemporary musical approaches responding to unified task based on the principles of Baroque architecture.

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37

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

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Stevenson, William. "Excellence in Scottish church music." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14473.

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Two propositions are advanced in the present study: firstly, national, not theological, attitudes have been the main influence on Scottish church music from the earliest days to the present; secondly, the present vitality of Scottish music can be traced back to a 19th-century search for musical excellence in church services by clergy, precentors and organists. Until the 19th century Scottish church music reflected a national indifference to music in general. Neither in pre-Reformation nor post-Reformation times is there completely convincing evidence of high-quality secular musical activity before a brief, if brilliant, period in Edinburgh during the late 18th century. Improvements in the national awareness of classical music came as a result of sweeping changes the Scottish churches had to make when they confronted the scientific and philosophical revolutions of the 19th century. Despite some resistance on the part of congregations, music came to be seen as a way of emphasising confidence and solidarity in the Christian faith. Thereafter more and more expert musicians were attracted to work in Scottish churches with long-term benefits for the churches themselves and for the community in which many of then worked as teachers and administrators. With a greater awareness of the potential benefits of music making, Scottish church and school soon began to regard musical excellence not only as desirable but also as a rationale - excellence equals truth. The pursuit of excellence on the part of leading clergy and church musicians from the late 19th century to the present, which has done so much for the musical health of the nation, has recently given rise to increasing concerns about accessibility. These concerns have fundamental implications for the music of the Scottish Church.

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Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.

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Milam, Kenneth Baker. "A music training program for Baptist church music leaders and pastors in Indonesia." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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

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Burrows, Donald. "Handel's Church Music - Modern Performances in Britain." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37227.

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Munro, Gordon James. "Scottish church music and musicians, 1500-1700." Thesis, Connect to e-thesis, 1999. http://theses.gla.ac.uk/882/.

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Miller, Timothy. "Benjamin Britten's liturgical music and its place in the Anglican Church music tradition." Thesis, University of Surrey, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583252.

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This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which function well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer's musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten's creative character; it casts additional light on the composer's technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten's commitment to the idea of a composer serving society. The importance of church-going in Britten's early life and the influence it exerted on his music for the church is considered. It is argued that 'Tradition' is a key concept in the music of the Anglican Church. The presentation of an adumbration of the Church of England's history shows what the totems of this Tradition are and that they are clearly recognisable in the music of composers at the heart of it. It is shown that Britten both respected and fed off Tradition and that his liturgical music clearly relates to the Anglican Church Music Tradition in a specific way. This study concludes that Britten's liturgical music can most intelligently be viewed in relation to a specific branch of the Tradition: the Parish Church Musical Tradition. It is a context that has not previously been clearly recognised in previous critical studies and this has therefore led, it is argued, to an insufficient understanding of its particular aesthetic characteristics.

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

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Recek, Andrea Rose. "The Aquitanian sacred repertoire in its cultural context : an examination of Petri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/9445.

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Kowal, Winfried. "Die Darstellung der Stimme Gottes in der Musik : aufgezeigt an Werken aus der Zeit des Frühbarock bis zur Gegenwart (1966) /." Aachen Shaker, 2008. http://d-nb.info/990412873/04.

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Bidgood, Lee, and Smoky Mountain Bluegrass band. "Performance At St. John's Episcopal Church." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1053.

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

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Bidgood, Lee, and Emily Bidgood. "Performance At St. John's Episcopal Church." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1060.

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Dissertations / Theses on the topic 'Music in churches'

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