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

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

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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2

Brown, Frank Burch. "Christian Music." Theology Today 62, no. 2 (2005): 223–29. http://dx.doi.org/10.1177/004057360506200207.

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3

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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5

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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Beck, Guy L. "Shared Religious Soundscapes: Indian Rāga Music in Jewish, Christian, and Islamic Devotion in South Asia." Religions 14, no. 11 (2023): 1406. http://dx.doi.org/10.3390/rel14111406.

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Music has played a central role in Indian religious experience for millennia. The origins of Indian music include the recitation of the sacred syllable OM and Sanskrit Mantras in ancient Vedic fire sacrifices. The notion of Sound Absolute, first in the Upanishads as Śabda-Brahman and later as Nāda-Brahman, formed the theological background for music, Sangīta, designed as a vehicle of liberation founded upon the worship of Hindu deities expressed in rāgas, or specific melodic formulas. Nearly all genres of music in India, classical or devotional, share this theoretical and practical understandi

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Anjo, P. Thomas. "Documentation of Karnātaka Christian compositions of H. A. Popley: A Study." Smṛti - A Bi-Annual Peer Reviewed Journal on Fine & Performing Arts 3, no. 2 (2023): 1–15. https://doi.org/10.5281/zenodo.13210099.

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Expressing devotion through music is a common phenomenon in almost all religion in the world. The Christian community of South India has embraced Karnātaka Music as one of the ways of practicing religious music. This has created a scope for new compositions consisting elements of the classical music with Christian theme and lyrics. The compositional works of one of the Christian composers and lyricists, H. A. Popley has been analyzed in this paper focusing on the style of the documentation of his musical compositions as well as his contribution in Christian culture by making use of Karnātaka M

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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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Wakeling, Jennifer. "A General Theological Symbolic Structure of Textless Music in Christian Worship." Studia Liturgica 51, no. 1 (2021): 46–59. http://dx.doi.org/10.1177/0039320720979053.

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When textless music is performed as a stand-alone act in Christian worship, it can function as a Christian symbol through which meaning can be generated at experiential, reflective, and transformative levels. This article proposes a four-dimensional theological symbolic structure for conceptualizing and heightening the effectiveness of textless music as a Christian symbol in worship. A piece of textless music can take on Christian symbolic capacity in worship by virtue of its specific musical properties and structures interpreted through the lens of human subjectivity formed within a Christian

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Gill, Mary. "The Music of Amy Grant." Journal of Communication and Religion 13, no. 1 (1990): 12–24. http://dx.doi.org/10.5840/jcr19901312.

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This study examines the rock musical forms and lyrics chosen by Amy Grant by comparing them to traditional Christian principles. For purposes of this comparison traditional Christian principles are understood to be a primary belief in one God and Jesus Christ as His Son. In as much as Grant's music is consistent with this belief, her style may be considered traditionally Christian; however, religious leaders and musicians have criticized her style and message. This study attempts to determine to what extent Grant portrays a traditional Christian perspective through her music. A major contribut

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Burch Brown, Frank. "Religious Music and Secular Music: A Calvinist Perspective, Re-formed." Theology Today 63, no. 1 (2006): 11–21. http://dx.doi.org/10.1177/004057360606300103.

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Although Calvin's theology of music runs counter to the tenor of our times, it can be reformed so as to alert us to both assets and risks of music in Christian worship and life. In particular, Calvin can help reintroduce critical discernment in a context in which churches appear eager to absorb virtually every style of secular music (the reverse of what Calvin desired). More positively, he can encourage us to find and create music that not only touches the heart but lends itself to the high calling of lifting hearts into “the presence of God and the angels.”

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Vrzal, Miroslav. "Against the devil’s metal: Christian public discursive strategies against metal concerts and festivals in Czechia and Slovakia." Metal Music Studies 8, no. 2 (2022): 245–68. http://dx.doi.org/10.1386/mms_00077_1.

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In the context of a process of return of religion to the public sphere, this article deals with Christian discursive strategies in public struggles against selected metal concerts and festivals since 2013 in highly secularized Czechia and in Slovakia with a close connection of religion (especially the Catholic Church) to the state. Membership categorization analysis identified three main categories used in the construction of metal as an enemy: ‘religious struggle’, ‘danger for society/state’ and ‘danger for morality and health of individuals’. Christian opponents of metal use in their discour

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Häger, Andreas. "Like a Prophet - On Christian Interpretations of a Madonna Video." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 151–74. http://dx.doi.org/10.30674/scripta.67227.

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Throughout the history of Christianity, its relationship to art has been a complicated one, concerning the use of art in worship as well as the views on "secular" art. This article deals with a current example of the latter. More specifically, the article examines some examples of Christian views on popular music. The best-known reactions to pop and rock music' by Christians are likely to be negative ones, probably because these are usually the most loudly declared. But there is also another aspect to the Christian discourse on popular music. Some Christians try to emphasise what is perceived

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M, Selvakumar. "The Role of Music in the Saiva and Christian Religious Communities." International Research Journal of Tamil 4, S-17 (2022): 29–39. http://dx.doi.org/10.34256/irjt224s176.

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Music is the art of organizing sounds at the right time through melody, harmony, rhythm, and characteristics of the specific sound of instruments. If this is to be understood by ordinary people in general, the sound in the ears is a force that penetrates the heart through our pulses and veins and causes the subconscious mind to meditate. How has such music been used in devotion, how has it been used, how is it used, and what are the changes that have taken place due to them, even though it can be seen in many dimensions? What is the role of music in all non-religious communities? In particular

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Kores, Maiken Ana. "One Girl Revolution: The Christian Feminism of Superchick." Feminist Encounters: A Journal of Critical Studies in Culture and Politics 9, no. 1 (2025): 09. https://doi.org/10.20897/femenc/16019.

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Since evangelical Christians became a major force in the US consumer marketplace in the 1970s, they have increasingly carved out a space for themselves in the arena of popular culture with their own brand of contemporary Christian music (CCM). This article proposes an analysis of how Christian alternative pop/rock band Superchick uses feminist discourse to promote the feminine adherence to purity and obedience of Christian religious directives. The origin of such a dichotomous relationship between form and substance can be traced to the Christian music industry’s desire to frame Christianity a

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21

Perigo, Jeremy. "Beyond Translated vs. Indigenous: Turkish Protestant Christian Hymnody as Global and Local Identity." Religions 12, no. 11 (2021): 905. http://dx.doi.org/10.3390/rel12110905.

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At Turkey’s first national worship conferences in 2011, a passionate debate arose on whether Western music or indigenous Turkish music was most appropriate for worship. Some Turks felt that the Western missionaries were imposing indigenous musics on Turks as a type of “reverse colonization”. They felt that the current Western musical styles were best for worship. One Turk stated, “the saz is being forced down our throats”. Other Turks felt liberated to sing and play songs in traditional Turkish musical styles. The debate at the conference highlights the desire of missionaries and Turks to see

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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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23

Taylor, John Wesley. "Aesthetics in Christian education." Asia Adventist Seminary Studies 3, no. 1 (2000): 51. https://doi.org/10.63201/grws9934.

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Concept confusion readily assaults the Christian mind. For certain Christians, "beauty" and "sin" have become synonyms, mirror images of depravity and degradation. Furthermore, these individuals often equate piety with somberness, drabness with holiness. If one experiences delight, such feelings must be inevitably wrong and the source of pleasure inherently evil. By some, the injunction "love not the world" (1 John 2:15) is viewed, in fact, as a grim warning against literature, music, and art. Such aesthetic experiences are viewed as subtle, sinister attempts to sneak worldliness in through th

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Beskov, Andrey. "Russian rock music: “Orthodox art”, new religion or “lovely paganism”?" Культура и искусство, no. 6 (June 2020): 10–28. http://dx.doi.org/10.7256/2454-0625.2020.6.31675.

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This article is dedicated to examination of the art of several famous Russian rock bands, which leaders have repeatedly declared their religiosity and to some extent are engaged in missionary activity of the Russian Orthodox Church. The author covers the questions whether it is appropriate to attribute the art of such rock bands to the genre of &ldquo;Christian rock&rdquo;, and do the rock musicians contribute to popularization of Orthodox doctrine and churching of their fans, or rather to desecration of religious values and ideals. For solution of the set tasks, the author analyzed so

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Arnold, Jonathan. "New directions in music and theology." Theology 126, no. 1 (2023): 36–44. http://dx.doi.org/10.1177/0040571x221146276.

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This short article surveys one small but important debate taking place in Christian music theology regarding the arts and divine revelation. Jeremy Begbie’s theology through the arts allows for music’s revelatory testimony within the context of Scripture, doctrine and Christian history. David Brown and Gavin Hopps’ notion of the extravagance of music argues for music’s ability to break down doctrinal and scriptural limitations, where being open to the divine mystery through spiritual musical experience can replace the need for religious revelation through Scripture or the Church. I conclude th

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Ter Ern Loke, Andrew. "Theology and Philosophy of Religion in Richard Wagner’s Parsifal." Neue Zeitschrift für Systematische Theologie und Religionsphilosophie 62, no. 3 (2020): 372–88. http://dx.doi.org/10.1515/nzsth-2020-0019.

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SummaryThe interpretation of Richard Wagner’s music drama Parsifal has been one of the most philosophically and theologically controversial. Over the years various interpretations have been given, among them Buddhist, Schopenhauer-ian, anti-semite, and Christian. In this paper, I argue that this music drama is fundamentally a Christian work. I begin by discussing some methodological and background historical issues. I consider difficulties concerning bias in interpretation and the complicated intellectual life of Wagner, and propose to overcome these difficulties by testing various interpretat

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Myrick, Nathan. "Music, Emotion, and Relationship in Christian Worship." Liturgy 36, no. 1 (2021): 27–31. http://dx.doi.org/10.1080/0458063x.2020.1865030.

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Ibarra, Adoniram. "A Protest Music Born from Christian Faith." Pneuma 13, no. 1 (1991): 151–56. http://dx.doi.org/10.1163/157007491x00169.

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Järvenpää, Tuomas. "‘The Wisest Man in the East’." Temenos - Nordic Journal for Study of Religion 59, no. 2 (2023): 207–29. http://dx.doi.org/10.33356/temenos.122051.

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This article presents an ethnographic analysis of the performance of gospel rap music as part of Evangelical Christian youthwork in Finland. The article is based on my observations of six onsite and five online events that featured gospel rap music in their line-up, as well as interviews with nine musicians and three event organizers. I address the relationship between the aesthetics of gospel rap music and the emotional regimes of Finnish Evangelical Christianity. I define ‘emotional regimes’ here as cultural, social, and material practices that set normative rules for the expression of colle

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VINSON, DUNCAN. "Liberal Religion, Artistic Autonomy, and the Culture of Secular Choral Societies." Journal of the Society for American Music 4, no. 3 (2010): 339–67. http://dx.doi.org/10.1017/s1752196310000179.

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AbstractU.S. choral societies typically formalize themselves as secular organizations analogous to symphony orchestras and opera companies. Yet choral societies differ from symphonic or operatic organizations because almost all choruses depend on volunteer singers. Part of what attracts singers into choruses is a sometimes unacknowledged affinity between the religious traditions of liberal Christians and Jews and the culture of choral singing as practiced in formally secular choral societies. The liberal tradition in religion encourages a habitus toward music that might be called a “sense of l

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McDowell, Amy D. "Aggressive And Loving Men." Gender & Society 31, no. 2 (2017): 223–44. http://dx.doi.org/10.1177/0891243217694824.

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This research uses Christian Hardcore punk to show how evangelical Christian men respond to changes in gender relations that threaten hegemonic masculinity through a music subculture. Drawing on interviews and participant observations of live music shows, I find that Christian Hardcore ministry involves a hybrid mix of aggressive and loving performances of manhood. Christian Hardcore punk men fortify the idea that men and women are essentially opposites through discourse and the segregation of music spaces, even as they deviate from dominant ideas of what makes a man in their strategy of openl

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MacInnis, John. "Introduction to Special Issue “Language Translation in Localizing Religious Musical Practice”." Religions 13, no. 9 (2022): 787. http://dx.doi.org/10.3390/rel13090787.

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The inspiration and starting place for this Special Issue was the book Making Congregational Music Local in Christian Communities Worldwide (Routledge 2018), edited by Monique Ingalls, Muriel Swijghuisen Reigersberg, and Zoe Sherinian [...]

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Tucker, Karen B. Westerfield. "Music for Christian Funerals: Theological and Pastoral Reflections." Liturgy 21, no. 1 (2006): 55–62. http://dx.doi.org/10.1080/04580630500287069.

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Quantz, Don. "Canons in Collision: Hymns and Contemporary Christian Music." Liturgy 24, no. 4 (2009): 32–39. http://dx.doi.org/10.1080/04580630903022188.

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Sorett, Josef. "“It’s Not the Beat, but It’s the Word that Sets the People Free”: Race, Technology, and Theology in the Emergence of Christian Rap Music." Pneuma 33, no. 2 (2011): 200–217. http://dx.doi.org/10.1163/027209611x575014.

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AbstractIn an effort to address lacunae in the literature on hip hop, as well as to explore the role of new music and media in Pentecostal traditions, this essay examines rap music within the narratives of American religious history. Specifically, through an engagement with the life, ministry, and music of Stephen Wiley — who recorded the first commercially-released Christian rap song in 1985 — this essay offers an account of hip hop as a window into the intersections of religion, race, and media near the end of the twentieth century. It shows that the cultural and theological traditions of Pe

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Huka, Relin. "Pelatihan Dan Pengembangan Kualitas Bermusik Gereja Di Jemaat GMIT Gunung Zalmon Labuan Bajo, Klasis Flores Barat, Nusa Tenggara Timur." Devotion: Jurnal Pengabdian Masyarakat 2, no. 3 (2024): 9–14. https://doi.org/10.52960/dev.v2i3.384.

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The Music Service is an important part of the liturgy within the Evangelical Christian Church in Timor (GMIT). In this regard, it is necessary to carry out a training process to improve the quality of music, both for music players and other liturgy supporters. This process requires cooperation between various parties who have responsibilities and a desire to develop the quality of church music. IAKN Kupang, in this case the Faculty of Christian Religious Arts, also has a role in looking at the phenomena experienced by GMIT so that through coaching activities carried out through Community Servi

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CHANG, HYUN KYONG HANNAH. "Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora." Twentieth-Century Music 18, no. 3 (2021): 447–67. http://dx.doi.org/10.1017/s1478572221000207.

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AbstractProtestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for Eu

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Bowler, Kate, and Wen Reagan. "Bigger, Better, Louder: The Prosperity Gospel's Impact on Contemporary Christian Worship." Religion and American Culture: A Journal of Interpretation 24, no. 2 (2014): 186–230. http://dx.doi.org/10.1525/rac.2014.24.2.186.

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AbstractThis article makes several claims about the relationship between praise and worship music and prosperity megachurches. First, it argues that the prosperity gospel has had a significant impact on contemporary worship music in America owing to its leadership in the twin rise of the megachurch and televangelism. Second, beginning in the 1990s, prosperity megachurches pioneered forms of worship music mimicking “arena rock” that capitalized on both the scale of their sanctuaries and the sophistication of their audio/visual production. The result was a progression toward music that would be

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Said, Shannon. "White Pop, Shiny Armour and a Sling and Stone: Indigenous Expressions of Contemporary Congregational Song Exploring Christian-Māori Identity." Religions 12, no. 2 (2021): 123. http://dx.doi.org/10.3390/rel12020123.

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It has taken many years for different styles of music to be utilised within Pentecostal churches as acceptable forms of worship. These shifts in musical sensibilities, which draw upon elements of pop, rock and hip hop, have allowed for a contemporisation of music that functions as worship within these settings, and although still debated within and across some denominations, there is a growing acceptance amongst Western churches of these styles. Whilst these developments have taken place over the past few decades, there is an ongoing resistance by Pentecostal churches to embrace Indigenous mus

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Wiebe, Dustin D. "Music and Religion: Trends in Recent English-Language Literature (2015–2021)." Religions 12, no. 10 (2021): 833. http://dx.doi.org/10.3390/rel12100833.

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This article reviews recent (2015–2021) English-language publications that focus on music in/as/about religion (broadly defined)—including world, folk, and indigenous religious traditions. While research related to Euro–American-based Christian music accounts for more publications than any other single tradition examined, this review intentionally foregrounds religions that are not as well represented in this literature, such as Islam, Hinduism, Confucianism, and folk and animistic traditions from around the world. Recurring trends within this literature elucidate important themes therein, fou

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Moufarrej, Guilnard. "Maronite Music: History, Transmission, and Performance Practice." Review of Middle East Studies 44, no. 2 (2010): 196–215. http://dx.doi.org/10.1017/s2151348100001518.

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This essay discusses the music of the Maronite Church, a Christian church based in Lebanon. It provides an overview of the chants used in religious services and examines their transmission and performance practice. The Maronites have always faced challenges to maintain their identity and preserve their heritage while adapting to their cultural milieu. Their religious music reflects the dichotomy between safeguarding tradition and accepting contemporary trends. Since the late nineteenth century, Maronites looking for better opportunities and political freedom have increasingly immigrated to the

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Sigmon, Casey T. "“Blessed Is the One Whose Bowels Can Move: An Essay in Praise of Lament” in Contemporary Worship." Religions 13, no. 12 (2022): 1161. http://dx.doi.org/10.3390/rel13121161.

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The CCLI charts may not reflect it, yet one thing many Christian churches discovered as the pandemic raged across the world (and violence at home and abroad) was the need for songs of sacred lament. Unfortunately, many churchgoers, especially those who identify as practitioners of contemporary Christian worship, have cultivated a gap between the biblical give and take of praise and lament revealed most poignantly in the book of Psalms. This chasm between praise and lament is a problem, as a liturgical discourse about disastrous events is weakened. Churches sing congregational songs of praise i

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MacNeil, Adam. "Felix Mendelssohn’s Religious Hybridity Revealed Through His Oratorios." Nota Bene: Canadian Undergraduate Journal of Musicology 15, no. 1 (2022): 100–114. http://dx.doi.org/10.5206/notabene.v15i1.15034.

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Over the course of the last century, scholars and musicologists have debated the piety of Felix Mendelssohn. It is plausible to argue that Mendelssohn was purely Jewish, and that his musical contributions to the liturgy of the Christian Church are merely a consequence of cultural pressure and widespread Anti-Semitism. However, it is also conceivable that Mendelssohn not only embraced the Christian tradition for himself, but also endeavoured to reform its theology and doctrine. How then, should we understand Mendelssohn’s faith? Given that the oratorio functions as a vehicle for religious expre

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Mocanu, Daniel. "Religious Chants – The Diversity of Church Hymns Types." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 193–224. http://dx.doi.org/10.24193/subbmusica.2020.2.13.

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"In the Romanian musical space, in the Orthodox Church hymns’ repertoire, there is a great variety of non-liturgical chants intended to be sung in different moments of the liturgy. The moments these chants can be introduced are during the kinonikón, the believers’ communion and the end of the liturgy. Either they are called kinonikón, hymns, Calophonic Hirmos, spiritual or liturgical chants; the religious chants became a part of the Orthodox rite, training the Christians ‘community in the church chant. Having appeared in diverse historical contexts and being written by Byzantine music composer

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Graham, Gordan. "The theology of music in church." Scottish Journal of Theology 57, no. 2 (2004): 139–45. http://dx.doi.org/10.1017/s0036930604000043.

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This paper is concerned with how we should understand the distinctive contribution of music to Christian worship. It considers two contrasting views that have powerfully influenced contemporary church music – the pursuit of musical excellence by highly competent performers on the one hand, and the adoption of simpler, popular and more inclusive musical forms on the other. This contrast is explored against the background of a biblical understanding of prayer and sacrifice, and in the light of some philosophical issues surrounding both the idea of divine service and the nature of music.

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Maria, Goreth Sisiani, C. Komu Seraphine, Muhamba Denis, J. Kisandu Francis, and Keneema Christine. "The Influence of African Tradtional Spirituality on Christian Practices in Africa." INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND ANALYSIS 06, no. 09 (2023): 4210–14. https://doi.org/10.5281/zenodo.8347902.

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Human beings are religious by nature. In the discussion on African traditional spirituality, it provides the proofs on how Africans were and are notoriously religious even before the advent of Christianity. This article provides an overview of the influence of African traditional spirituality on Christian Practices in Africa. It is noted in this article that African traditional spirituality is a diverse and complex set of beliefs and practices that reflect the cultural and spiritual beliefs of the people of Africa. It encompasses a wide range of practices, including ancestor veneration, divina

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Jousmäki, Henna. "Studying religious music at the grassroots level: a look into the discourse practices of Christian metal bands online." Scripta Instituti Donneriani Aboensis 25 (January 1, 2013): 110–22. http://dx.doi.org/10.30674/scripta.67436.

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Religious issues are studied in various ways, most prominently by sociologists of religion. This paper suggests that in today’s world of globally intersecting webs of people, places, ideas and action, scholars and readers interested in religion will find themselves benefiting from cross-disciplinary approaches which help them to conceptualize and describe today’s phenomena at different levels. This paper describes how the emerging discipline of the sociology of language and religion may be applied to studying Christian metal bands’ discourse online. Although previous studies give a good idea o

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Belišová, Jana. "Sounds, Emotions, and the Body in Pentecostal Romani Communities in Slovakia." Religions 15, no. 5 (2024): 532. http://dx.doi.org/10.3390/rel15050532.

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In the past, the Romani in Slovakia identified with the prevailing religion, mainly with the Roman Catholic Church. However, the missionary activities of various Christian denominations after 1990 resulted in the conversion of the Romani to Pentecostal Christian communities. This launched a long, creative process of the formation of Pentecostal Romani music. Romani believers consider music and the ability to play and sing to be a gift from God and view these as a form of prayer that should serve for the praise of God. That is why many have given up their worldly music making and now play only

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Banjo, Omotayo O., and Kesha Morant Williams. "A House Divided? Christian Music in Black and White." Journal of Media and Religion 10, no. 3 (2011): 115–37. http://dx.doi.org/10.1080/15348423.2011.599640.

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Galbraith, Deane. "Drawing Our Fish in the Sand: Secret Biblical Allusions in the Music of U2." Biblical Interpretation 19, no. 2 (2011): 181–222. http://dx.doi.org/10.1163/156851511x557352.

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AbstractConfronted with a popular music subculture which is predominantly antipathetic to Christianity, the charismatic-evangelical members of rock band U2 double code their lyrics in such a manner that Christian references are hidden from mainstream listeners and media while being readily recognizable to their Christian fans. The device of allusion is especially amenable to this end, as the meaning of an allusion can only be considered by a reader or listener who possesses the requisite competency in respect of the evoked text(s). Through their utilization of biblical allusions, U2 therefore

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