Relevant bibliographies by topics / Music / Religious / Christian

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music / Religious / Christian'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2025

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Journal articles on the topic "Music / Religious / Christian"

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Octa Maria Sihombing, Jordi Istandar, and Evi Mariani. "Music And Philosophy In Relation To Christian Belief." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (2024): 50–79. http://dx.doi.org/10.55606/jurrsendem.v3i1.2358.

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This research explores the relationship between music and philosophy within the context of Christian faith. The research methodology employed is descriptive and qualitative, utilizing a hermeneutic approach that involves literature review, in-depth interviews, and qualitative analysis. The findings indicate that music, as an art form that utilizes sound, plays a significant role in expressing Christian faith, facilitating church worship, and fostering fellowship. Christian philosophy is the study of the nature of reality. It helps to understand the meaning of music in the context of Christian
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Brown, Frank Burch. "Christian Music." Theology Today 62, no. 2 (2005): 223–29. http://dx.doi.org/10.1177/004057360506200207.

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Lestari, Dewi Tika. "Merawat Harmoni Agama melalui Kolaborasi Musik Hadroh dan Trompet di Ambon." Religious: Jurnal Studi Agama-Agama dan Lintas Budaya 4, no. 3 (2020): 215–26. http://dx.doi.org/10.15575/rjsalb.v4i3.8880.

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This article aims to describe the role of music for preserving religious harmony after the social-religious conflict that occurred in 1999-2004 in Maluku. The study is conducted toward the collaboration of musicians of the music of hadroh which come from the Muslim community and the music of trumpet which come from the Christian community in Ambon City. This study uses a qualitative research approach with a discourse analysis approach. The study shows that both of the musical instruments, hadroh and trumpet, are always used in religious rituals, both in Islam and Christian. The musicians are a
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Abbas, Lola. "Gang Signs and Prayer: Reproduction of Christianity in Black British Rap Music." Amsterdam Museum Journal 2, no. 2 (2024): 184–203. https://doi.org/10.61299/rr463fhr.

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This essay explores how Christian tropes are reproduced in Black British rap music, focusing on the work of contemporary Black British hip-hop artists Stormzy and Dave. Using postmodern pastiche theory, the essay examines how the integration of biblical tropes, Christian themes, and gospel music within their songs, contributes to the simultaneous challenging and reconciliation of traditional Christian values with urban life experiences in a Black British context. Through analysis of Stormzy’s and Dave’s song lyrics, the essay demonstrates how these artists employ religious symbolism and sampli
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Häger, Andreas. "Christian rock concerts as a meeting between religion and popular culture." Scripta Instituti Donneriani Aboensis 18 (January 1, 2003): 36–55. http://dx.doi.org/10.30674/scripta.67281.

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Different forms of artistic expression play a vital role in religious practices of the most diverse traditions. One very important such expression is music. This paper deals with a contemporary form of religious music, Christian rock. Rock or popular music has been used within Christianity as a means for evangelization and worship since the end of the 1960s. The genre of "contemporary Christian music", or Christian rock, stands by definition with one foot in established institutional (in practicality often evangelical) Christianity, and the other in the commercial rock musicindustry. The subje
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Dr. Priyanka Sharma. "The concept of Christian music in Indian culture." Knowledgeable Research A Multidisciplinary Journal 2, no. 05 (2023): 60–65. https://doi.org/10.57067/5pmmf788.

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Music has immense importance in human life. Religious music always tries to clarify the relationship between man and God. Through it man is involved in God's love, in energy, in prayer and in the infiniteness of God in the soul. The religious mysteries revealed in religious music become very easy for the common man and the person starts feeling and living the love of God without worrying about his religious knowledge. Christian music and Indian music come from two different religious and cultural traditions, but both have many interesting similarities and interactions.
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F. A., Emmanuel, and Samuel A. "The Bible and Music in African Christianity." African Journal of Culture, History, Religion and Traditions 7, no. 1 (2024): 51–66. http://dx.doi.org/10.52589/ajchrt-8kkxghxp.

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This bibliographic study explores the interplay between the Bible and music within the context of African Christianity. Underpinned by the theory of syncretism, the paper employs a contextual thematic analysis to unravel the nexus between African indigenous music and Christian worship and draws implications for both scholarship and practice. Findings indicate that early European missionaries incited a satanic impression against the use of African indigenous music among Christian worshippers. It was contrarily revealed that Bible-informed use of African music in Christian worship is imperative
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Damian, Lucian. "Christian music in scripture and tradition." Technium Social Sciences Journal 27 (January 10, 2022): 1010–14. http://dx.doi.org/10.47577/tssj.v27i1.5712.

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Religious music has always been man's attempt to express the relationship between the Divine and the human. Through it, human nature takes part in the love of the Holy Trinity, participating in power, in prayer and in spirit, in the immanence of God. Divine revelation is easily revealed to man through theology expressed in religious music, and man, regardless of his theological knowledge, begins to feel and live in the love of God.
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Zhou, Yun. "Singing a New Song: Christian Musical Literature for Chinese Women in the Republican Era." Studies in World Christianity 28, no. 1 (2022): 28–48. http://dx.doi.org/10.3366/swc.2022.0369.

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This paper focuses on the songs circulated in the first Christian woman’s magazine in China, Nü duo (1912–1951). Its first editor, American missionary Laura M. White (1867–1937), played a crucial role in creating a wide range of music for Chinese girls through journalism. White used print media to circulate songs that were viewed as an integral part of the spiritual life of ideal womanhood. Unlike the hymnody confined to congregational worship, the music circulated through Nü duo aimed to promote a vocalised expression of Christian faith in everyday life. This spiritual life was interwoven wit
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Lee, Angela Hao-Chun. "The influence of governmental control and early Christian missionaries on music education of Aborigines in Taiwan." British Journal of Music Education 23, no. 2 (2006): 205–16. http://dx.doi.org/10.1017/s0265051706006930.

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There has been little research conducted on Taiwanese Aboriginal music education in comparison to Aboriginal education. C. Hsu's Taiwanese Music History (1996) presents information on Aboriginal music including instruments, dance, ritual music, songs and singing, but information on music education practices is lacking. The examination of historical documentation shows that music education was used by both the Japanese government and Christian missionaries to advance their political and religious agendas. This paper will examine the development of the music education of Aborigines in Taiwan fro
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Dissertations / Theses on the topic "Music / Religious / Christian"

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Carrick, Jamie. "Playing the market : contemporary Christian music and the theory of religious economy." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43663.

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Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identif
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.

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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Collingridge, Lorna Marie, and n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her
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Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.

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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her
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Anthony, Douglas Richard. "''Acting In'': A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429801174.

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Strother, Eric S. "Unlocking the Paradox of Christian Metal Music." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/9.

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In 1984, Stryper released its first album The Yellow and Black Attack and introduced audiences to a different kind of heavy metal. Instead of lyrics about sex, alcohol, and Satan, Stryper sang about Jesus, salvation, and God. While there were a number of fans ready for this change more were not. Members of the Church as well as members of the metal subculture were in agreement that Christianity and heavy metal were incompatible. Despite these objections, however, more bands emerged, and Christian metal became a significant genre within the Christian music industry. These bands presented Christ
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Brandon, Gregg Lewis. "Mendelssohn's Public Statement of Faith| Lobgesang as Christian Witness." Thesis, The University of Arizona, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10686904.

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<p> In a letter from July 21, 1840, Felix Mendelssohn Bartholdy (1809&ndash;1847) shared with his friend Karl Klingemann that in his Symphony No. 2 in B-flat Major, the <i>Lobgesang</i>, &ldquo;all the movements, vocal and instrumental, are composed to the words &lsquo;Everything that breathes, praise the Lord&rsquo;; you understand that the instruments first praise in their own way, and then the chorus and the individual voices.&rdquo; This tantalizing passage is not a direct profession of faith, but the language of praising God through music does raise questions about Mendelssohn&rsquo;s per
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Penicka, Sarah. "Men of Faith: Stravinsky, Maritain and the Ideal Christian Artifex." Thesis, Department of Studies in Religion, 2005. http://hdl.handle.net/2123/6111.

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In this paper I explore the relationship and mutual influences between Stravinsky and Maritain. Despite the connections between these two men, and the prominence which Stravinsky at least still holds, scholars have neglected to examine their relationship in any depth. Although there is an abundance of recent scholarship on Stravinsky, most of it concentrates on Stravinsky during his Russian period, or on the workings of Stravinsky’s serial music divorced from its religious subject matter.8 I will demonstrate how Stravinsky met the criteria of Maritain’s ideal Christian artifex by analysing Can
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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.<br>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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Swanson, Joshua. "Talk This Way: A Look at the Historical Conversation Between Hip-Hop and Christianity." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3810.

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Christianity and Hip-Hop culture are often said to be at odds with one another. One is said to promote a lifestyle of righteousness and love, while the other is said to promote drugs, violence, and pride. As a result, the public has portrayed these two institutions as conflicting with no willingness to resolve their perceived differences. This paper will argue that there has always been a healthy conversation between Hip-Hop and Christianity since Hip-Hop’s inception. Using sources like Hip-Hop lyrics, theologians, historians, autobiographies, sermons, and articles that range from Ma$e to Tipp
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Books on the topic "Music / Religious / Christian"

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Robert, Webber, ed. Music and the arts in Christian worship. Star Song Pub. Group, 1994.

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Schaeffer, Edith. Forever music. Triangle, 1986.

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Menconi, Al. Communicating spiritual values through Christian music. LifeJourney Books, 1991.

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Coblentz, John. Music in biblical perspective. Calvary Publications, 1986.

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Rachel, Winters, and Winters Rebekah, eds. Behind the music: A devotional : devotions by your favorite Christian recording artists. Faith Press, 2006.

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Rachel, Winters, and Winters Rebekah, eds. Behind the music: A devotional : devotions by your favorite Christian recording artists. Faith Press, 2006.

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Garba, Daniel. The role of music in evangelism and worship: A hand book for Christian musicians and pastoral workers. Ade Printing Press, 2000.

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Matlock, Mark. Wisdom on music, movies, and television. Zondervan, 2008.

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Matlock, Mark. Wisdom on music, movies, and television. Zondervan, 2008.

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Matlock, Mark. Wisdom on music, movies, and television. Zondervan, 2008.

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Book chapters on the topic "Music / Religious / Christian"

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Wald-Fuhrmann, Melanie. "13. Music in Christian Services as a Means to Induce Religious Feelings." In Music and Spirituality. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.13.

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This chapter explores the relationship between musical practices and spiritual experiences in the context of Christian worship. It combines historical, theoretical, and liturgical perspectives with findings from empirical studies of singing in current Roman Catholic worship. After introducing a taxonomy of psychological effects of music in the liturgy according to the emic perspective of the Church, existing empirical studies are reviewed and results of a quantitative study on singing experiences in Roman Catholic mass are presented. The chapter concludes with an outline of a research program
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Corbett, George, and Sarah Moerman. "Introduction." In Music and Spirituality. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.20.

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In the Introduction, the co-editors first identify the core challenge issued to this volume’s contributors: how would you, with your own area of expertise, your own research experience, and your own research methodologies, address or seek to demonstrate the commonly-perceived connection between music and spiritual realities? They then situate the various chapters within the three scholarly fields which, in responding to this challenge, the volume brings together for the first time: Christian theology and music; new musicology, ethnomusicology, and congregational music studies; as well as psych
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Manders, Elspeth. "15. Listening to the Lived Experiences of Worshippers." In Music and Spirituality. 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 c
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Sugiyanto, Sugiyanto, and Pransinartha Pransinartha. "Inculturation of Dayak Ngaju Traditional Music in Youth Christian Religious Education at Kalimantan Evangelical Church." In Advances in Social Science, Education and Humanities Research. Atlantis Press SARL, 2025. https://doi.org/10.2991/978-2-38476-424-2_10.

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Martin, David. "Music and Religion: Ambivalence Towards the Aesthetic." In Christian Language and its Mutations. Routledge, 2021. http://dx.doi.org/10.4324/9781315260365-7.

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Heesch, Florian. "4.3. The Music of Jón Leifs." In The Pre-Christian Religions of the North. Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.pcrn-eb.5.115703.

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Eichner, Barbara. "4.2. Scandinavian Myths in Nineteenth-Century Opera and Choral Music." In The Pre-Christian Religions of the North. Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.pcrn-eb.5.115702.

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Justice, Deborah. "Give us a piece of that Old Time Religion." In Making Congregational Music Local in Christian Communities Worldwide. Routledge, 2018. http://dx.doi.org/10.4324/9781315142432-4.

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Kopanski, Reinhard, Veronika Albrecht-Birkner, Florian Heesch, and Ruthild Stöhr. "Interpreting Popular Christian Music from Theological and Musicological Perspectives: The Example of Damaris Joy." In Conservative Religion and Mainstream Culture. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-59381-0_5.

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Newsholme, Richard. "10. The Earlier Twentieth Century and Two World Wars (1900–50)." In Music, Religion and Politics at Worcester Cathedral, 680-1950. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0437.10.

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The earlier twentieth century was, of course, overshadowed by two World Wars, during both of which the work of the cathedral became increasingly important and provided much-needed support to a mainly Christian public. Despite losing some lay clerks to the forces, the choir continued to sing for services, and its work was particularly important during the Great War of 1914-18. Music was well-chosen, with innovations such as the introduction of plainsong, and services heartened those who attended, providing comfort during a time of great anxiety and the loss of men serving in the trenches. With
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Conference papers on the topic "Music / Religious / Christian"

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Galaicu, Violina. "Byzantine religious chanting between oral and written tradition." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.15.

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Those who scrutinized the historical development of Byzantine liturgical chanting could notice the late codification of this music. With the transition to the written tradition, a clear tendency to preserve orality in the new hypostasis emerged. Proto-Byzantine chanting circulated orally, this being conditioned by the original orality of the evangelical tradition. When the Eastern promoters of Christian liturgical chanting felt the need to codify the cultic repertoire, they resorted to the Ekphonetic notation, and later to the Diastematic one. Ekphonetic notation is a rudimentary notation, it
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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, ac
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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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Maragani, Meyltsan, Stefanny Pandaleke, and Markus Wibowo. "Strategy of Non Formal Music Education in Disruptive Era." 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.11-12-2019.2302098.

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Pandulcheva, Daniela, and Dancho Pandulchev. "Theo-anthropological aspects of paneurhythmy in physical education." In Antropološki i teoantropološki pogled na fizičke aktivnosti (10). University of Priština – Faculty of Sport and Physical Education in Leposavić, 2024. http://dx.doi.org/10.5937/atavpa24038p.

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We analyze Paneurhythmy through the perspective of the theo-anthropological approach to physical education. This psycho-physical system of exercises combines rhythmic movements with ideas, music, and poetry, performed in a group, with specific space organization, in the open. The author, Beinsa Douno, is a founder of a Christian philosophy for a life in harmony with nature, where exercising is important for personality development. We analyze: 1. Constituent elements: movements, music, and poetic text; 2. Performance: person, pairs, and group; 3. Education: relations and personality developmen
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Brūzgienė, Rūta. "The Musicality of Lithuanian Poetry: Codes of a Different Speaking." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.3.8934.

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Research on the interactions between literature and other art forms, observed since the appearance of syncretic art, took off in the 18th century. These multifaceted and multidisciplinary connections between time-based arts are systematized in W. Wolf’s general concept of intermediality at the end of 20th century. Based on this concept, the paper will provide some aspects of the musicality of Lithuanian poetry. The study is based on works by V. Daujotytė, V. Česnulevičiūtė, O. Juozapaitienė, J. Girdzijauskas, V. Kubilius, Ž. Ramoškaitė, D. Razauskas, W. Wolf, and others; comparative methodolog
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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. 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 m
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