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Relevant bibliographies by topics / Praise and worship

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Journal articles
Dissertations / Theses
Books
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Academic literature on the topic 'Praise and worship'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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Journal articles on the topic "Praise and worship"

1

Destyanto, Twin Yoshua R., Dony Lubianto, Jono, and Minerva Gabriela Tuanakotta. "PEMULIHAN PONDOK DAUD: LANDASAN TEOLOGIS DAN PEMBARUAN PUJIAN PENYEMBAHAN PENTAKOSTA MASA KINI." Way Jurnal Teologi dan Kependidikan 8, no. 1 (April 30, 2022): 1–22. http://dx.doi.org/10.54793/teologi-dan-kependidikan.v8i1.80.

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Pentecostal praise and worship always develop time by time. The pattern changes can be understood as a continuous process of church restoration from time to time towards the apostolic church. The restoration of Tabernacle of David (RTOD) is proposed to be a reference for Pentecostals to formulate the theological foundation in renewing the pattern of praise and worship in the present era. This paper aims to (i) explain the theological basis of the Pentecostal pattern of praise and worship in today's era, (ii) explain the theological meaning of RTOD prophecy and its relationship to praise and worship, and (iii) explain the application of RTOD in renewal of the Pentecostal praise and worship in the present era. This paper uses a qualitative method by applying a systematic literature study and phenomenological approaches to understand the theological basis of praise and worship pattern, the meaning of RTOD in general and related to praise and worship, components in RTOD, and its application in praise worship. The results of the study show that the RTOD can be used as a theological foundation and renewal of Pentecostal praise and worship in the present era.So, it can be concluded that the theological basis and definition RTOD can be used as a reference for applying it in the praise and worship of today's Pentecostals.

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Ball, Michael. "Baptist Praise And Worship." Baptist Quarterly 40, no. 4 (October 2003): 196–214. http://dx.doi.org/10.1179/bqu.2003.40.4.002.

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Clark, Neville. "Baptist Praise and Worship." Baptist Quarterly 35, no. 2 (January 1993): 95–100. http://dx.doi.org/10.1080/0005576x.1993.11751914.

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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 (November 29, 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 in the church, the chorus of ‘what ought to be’. Meanwhile, outside the church, artists in genres as diverse as folk and rap sing the chorus of what frankly ‘is’. For the church to be transformative, it must be grounded in what is (lament) and aiming toward what ought to be (praise). This is the value of the cycle of praise and lament in the church’s liturgy. This article explores the impact of CCM (contemporary Christian music) and praise and worship culture as it laments the loss of lament in Christian worship. The essay articulates the missing sense of ‘Truth’ in contemporary congregational music, as defined by Don Saliers’ Worship Come to Its Senses. The article closes by amplifying emerging Christian songwriters reintroducing lament to contemporary worship.

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Pittard, John. "Worship and The Problem of Divine Achievement." Faith and Philosophy 38, no. 1 (January 1, 2021): 65–90. http://dx.doi.org/10.37977/faithphil.2021.38.1.5.

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Gwen Bradford has plausibly argued that one attains achievement only if one does something one finds difficult. It is also plausible that one must attain achievement to be worthy of “agential” praise, praise that is appropriately directed to someone on the basis of things that redound to their credit. These claims pose a challenge to classical theists who direct agential praise to God, since classical theism arguably entails that none of God’s actions are difficult for God. I consider responses to this challenge and commend a view according to which God’s loving character is not necessitated by God’s nature but is a contingent and difficult achievement. I argue that this view can still satisfy the explanatory ambitions of natural theology.

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Perez, Adam A. "“It’s Your Breath in Our Lungs”: Sean Feucht’s Praise and Worship Music Protests and the Theological Problem of Pandemic Response in the U.S." Religions 13, no. 1 (January 4, 2022): 47. http://dx.doi.org/10.3390/rel13010047.

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In response to U.S. government restrictions imposed as part of a nationwide response to the COVID-19 pandemic, charismatic worship leader Sean Feucht began a series of worship concerts. Feucht positioned these protests as expressions of Christian religious freedom in opposition to mandated church closings and a perceived double-standard regarding the large gatherings of protesters over police violence against Black and Brown persons. Government restrictions challenged the sine qua non liturgical act of encounter with God for evangelicals, Pentecostals, and Charismatics: congregational singing in Praise and Worship. However, as Feucht’s itinerant worship concerts traversed urban spaces across the U.S. to protest these restrictions, the events gained a double valence. Feucht and event attendees sought to channel God’s power through musical worship to overturn government mandates and, along the way, they invoked longstanding social and racial prejudices toward urban spaces. In this essay, I argue that Feucht’s events reveal complex theological motivations that weave together liturgical-theological, social, and political concerns. Deciphering this complex tapestry requires a review of both the history of evangelical engagement with urban spaces and the theological history of Praise and Worship. Together, these two sets of historical resources generate a useful frame for considering how Feucht, as a charismatic musical worship leader, attempts to wield spiritual power through musical praise to change political situations and the social conditions.

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Susanto, Yusak Noven. "EFEKTIFITAS LITURGI IBADAH DALAM GEREJA PANTEKOSTA ISA ALMASIH KASIH SURGAWI JEMBER." Alucio Dei 4, no. 2 (March 29, 2022): 1. http://dx.doi.org/10.55962/aluciodei.v4i2.17.

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The implementation of worship in a church can run well if it is based on the liturgyarranged and established in a church. Without a liturgy in the church organization, theworship process in the church will not take place. Because there is no measurable andwell-structured system that can manage the worship process. The liturgy of worshipwill bring the church organization to the neatness, regularity and deep appreciation ofGod's presence in the worship process. Seeing the function of worship liturgy that is soimportant and fundamental for church organizations, every church organization musthave a worship liturgy. The method used in the form of a narrative approach, namelyinterviews and documentation. The number of partisipan is 23 people. From all dataobtained through interviews that the definition of worship is the fellowship of the faithin God where that time is a very valuable time because at that time every people canworship, praise, give thanks and hear the very important Word of God. With this resultit is necessary to improve the deficiencies that exist specifically that have a large sectorof praise and worship and sermons.

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Sharndama, Emmanuel C., and Okoh Idam Onyinyechi. "ANALYSIS OF THE SYNTACTIC FEATURES OF SELECTED CHRISTIAN PRAISE AND WORSHIP SONGS." Ahyu: A Journal of Language and Literature 2 (December 4, 2018): 59–66. http://dx.doi.org/10.56666/ahyu.v2i.81.

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This study examines the syntactic features of selected christian praise and worship songs performed by two Nigerian Christian performing artists Panam Percy Paul and Osinachi Kalu. Qualitative approach was employed to identify and discuss the functions of the prevalent and significant syntactic features. The result of the analysis showed that thesyntactic features of praise and worship songs are fairly simple rather than complex. Prevalent occurrences of the simple and the imperative sentences were identified across the texts in the corpus. While the simple sentences have SVO structures which contribute to the straightforwardness of the messages of the song texts, the imperatives have their subjects elided thereby heightening the tempo of the praise. Other syntactic features identified but not prevalent are interrogative and compound sentences.

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Wauran, Max H. "Clapping In Seventh-Day Adventist Worship." Klabat Theological Review 1, no. 1 (August 31, 2020): 33. http://dx.doi.org/10.31154/ktr.v1i1.464.33-48.

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Clapping is considered as a media of praise and thanks in Christian worship. Some give space to this practice while other reject it. This article tried to identify the biblical foundation of these ideas, and was carried out through the following phases: formulating the problem, preparing the title, and searching the related supporting materials in the library research and electronic facilities. The research focused on three main aspects: the clapping in the Bible, the Christian and practice of clapping in worship services, and clapping in Seventh-day Adventist Church. It is found that there is no Bible text and theological evidence which support the practice of clapping in the place of worship, in other words clapping in the church services is unbiblical, and for this reason clapping in Seventh-day Adventists worship services is not necessary. Instead of clapping, the use of amen is suggested in responding the message or musical presentation. Since clapping has become controversial issue in Adventist worship services, the church leaders need to instruct and guide the church members to the right understanding of clapping. Keywords: clapping; applaus; worship; praise

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BUSMAN, JOSHUA KALIN. "From Hipster to Hillbilly: Death, Bluegrass, and Gospel According to David Crowder." Journal of the Society for American Music 13, no. 03 (August 2019): 338–58. http://dx.doi.org/10.1017/s1752196319000221.

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AbstractEven with the widespread adoption of rock-styled “praise and worship” music in American churches, bluegrass and gospel musics still serve as potent musical signifiers, especially among the white southern evangelicals comprising praise and worship's primary demographic. Drawing repertoire and influence from Hank Williams, Loretta Lynn, and Bill Gaither, evangelical artist David Crowder uses strategic musical references to establish his own sense of “hillbilly” religiosity but often deploys these references in ways that align him with a “hipster” community of young musicians and music fans. In this paper, I demonstrate the ways that strategic references to bluegrass and gospel music allow Crowder to situate himself within these multiple discourses of evangelical authenticity.

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Dissertations / Theses on the topic "Praise and worship"

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Khaung, John Dai. "Increasing knowledge of praise and worship in a nondenominational immigrant congregation /." Free full text is available to ORU patrons only; click to view, 2007. http://proquest.umi.com/pqdweb?did=1706818061&sid=2&Fmt=2&clientId=456&RQT=309&VName=PQD.

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Kim, Sung Hae. "Development of praise education training program /." Free full text is available to ORU patrons only; click to view, 2008. http://proquest.umi.com/pqdweb?did=1701951801&sid=1&Fmt=2&clientId=456&RQT=309&VName=PQD.

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Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2008.
Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 190-193).

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Moss, Phyllis Anita. "The role of the praise and worship leader: a model for preparing the singer for leadership in contemporary worship." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2001. http://digitalcommons.auctr.edu/dissertations/AAIDP14652.

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This dissertation proposes an educational model for use by praise and worship leaders and those who endeavor to guide them in becoming skillful musicians and spiritually mature leaders of contemporary praise and worship. Primarily aimed toward the singer as praise and worship leader, the model centers on dimensions of instruction that help singers to know the meaning and purposes of worship and principles of leading worship, the nature of spirituality and vocal leadership in worship, and context-specific applications of vocal leadership in worship. The model is interdisciplinary in orientation and builds on foundational biblical, theological, historical, and ethical ideas and principles contained in normative literature; socio-psychological material found in empirical literature, and practice of ministry guides appearing in operational literature. The final diagram of a holistic instructional model results from the development, implementation and evaluation of a course at Beulah Heights Bible College, from interviews with selected Atlanta area praise and worship leaders representing six denominations, and from reflections on the roles of the praise and worship leader as observed in the praise and worship ministry of Babbie Mason. The diagrammatic representation of the educational model identifies the important relational worship environment about which the praise and worship leader must be aware. The model is inclusive of prophetic, priestly, and revivalist roles of praise and worship leaders and specific activities of guiding and mediating a congregation's experience of and closer relationship with God. It also includes the ethicist role with the specific activity of perpetuating biblical principles, values, and images of justice, inclusivity, and non-violence; the role of the change agent with the specific activity of drawing attention to a vision and activity toward societal transformation; the role of pastoral agent who brings the healing qualities of music to bear on a congregation; the role of the clear communicator of the messages of God; the role of administrator; the role of the worshipper who is familiar with the nature of worship; and the cultural leader who is familiar with the culture of the setting and ensures that the music and style of worship is relevant to the worshippers. And finally, the diagrammatic representation highlights important qualities which the praise and worship leader must develop and exhibit in the conduct of worship including pastoral sensitivities to the congregation's cognitive, affective, psychomotor, and kinesthetic needs, involvement in the spiritual disciplines, and cultural understanding and receptivity.

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Schultz, Randy P. "An evaluation of praise music as a genre for incorporation into Lutheran worship." Online full text .pdf document, available to Fuller patrons only, 1999. http://www.tren.com.

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Kim, Baeksok. "A survey of Korean pastors' awareness of worship music /." Free full text is available to ORU patrons only; click to view:, 2006. http://proquest.umi.com/pqdweb?did=1268599541&sid=1&Fmt=2&clientId=456&RQT=309&VName=PQD.

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Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2006.
Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 195-198).

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Braddon, Denise. "God, humanity and creation the relationship between worship and creation /." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Wilder, Royce. "Equipping the praise team at First Baptist Church, Corinth, Mississippi, through worship education, to plan and lead participatory corporate worship." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Muzio, Rubens Ramiro. "The healing function of Christian worship a clinical and theological analysis of praise and adoration as healing agents /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Givens, Aurelio DuPriest. "The discovery and development of identity: the abundant life prayer, praise and worship center, Incorporated." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2008. http://digitalcommons.auctr.edu/dissertations/330.

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It is the desire of many to serve humanity in such a manner that they leave a positive lasting impression that speaks to their relationship with God; A relationship that reflects their obedience to God’s will for their lives. It is believed that God has called the church to reflect God’s spirit. However, it is important to be able to identify who you are and where it is that you desire to go. This Doctor of Ministry project studied three aspects of Gullah religious life: (1) symbols —bjects, behaviors, stories—hat are powerful religious forces in Gullah culture, (2) the religious symbols that help Gullah people interpret the meaning of life and (3) demonstrate how a body of believers used their cultural uniqueness to discover and identify their theology (how they know and understand God in their lives). A historical perspective representing the “church” was presented. Secondly, religious symbols unique to the Gullah culture that helped them to interpret their life meaning were identified, and thirdly, ways the GuIlah culture helped persons to know and understand God in their lives were examined. It is from a process of spiritual formation one makes a lasting contribution that benefits others. The researcher used information gathered from the Gullah culture to help organize a newly formed congregation, The Abundant Life Prayer, Praise and Worship Center, Inc. As a result of this project being done, a Ministry and Administrative Leadership Manual (see Appendix A) was developed. This manual was formulated to train and educate the leadership of this new congregation. It serves as a tool that articulates how ministry is done by the church body. It was the researcher’s goal to develop a manual that helps all understand the ministry role in fulfilling vision.

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Stevenson, Bruce Alan. "God is our refuge and strength." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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Books on the topic "Praise and worship"

1

Parsley, Rod. Praise and worship. Tulsa, Okla: Harrison House, 1993.

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Smith, Sudie. Praise and worship dance. Baltimore, MD: Gateway Press, 2000.

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Perfect praise. Springdale, PA: Whitaker House, 1995.

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McMinn, Donn. The practice of praise. Irving, Tex: Word Music, 1992.

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Sorge, Bob. Exploring worship: A practical guide to praise & worship. Lee's Summit, MO: Oasis House, 2004.

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The revelation of praise & worship. Mountlake Terrace, WA: WinePress Pub., 1995.

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Worship as praise and empowerment. New York: Pilgrim Press, 1988.

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(Editor), Deborah Jones, ed. Praise & Worship (Praise & Worship/Deborah Jones). 2nd ed. Faith Printing Company, 1990.

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Worship & Praise. Augsburg Fortress Pub, 1999.

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Music, Integrity. Praise Worship. Integrity Music, 1990.

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Book chapters on the topic "Praise and worship"

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Scheer, Greg. "Contemporary Praise and Worship Music." In Hymns and Hymnody III, 283–300. The Lutterworth Press, 2020. http://dx.doi.org/10.2307/j.ctv1931hg5.25.

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Ross, Melanie C. "“My Worship Has Been Hijacked”." In Evangelical Worship, 11–38. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197530757.003.0002.

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Chapter 1 combines historical research with autoethnographic narrative to contextualize the dramatic musical shifts that have taken place in evangelicalism over the last four decades. In the 1980s and 1990s, “praise and worship” music—a genre with roots in the Pentecostal and charismatic movement—began to enter the evangelical mainstream. Evangelical churches struggled with how to negotiate the ethos and aesthetics of these new songs into their services, leading to a period that many commentators dubbed the “worship wars.” Subsequent developments, including the formation of Christian Copyright Licensing International (CCLI), a concerted push by secular distributors to sell worship music to churches, and the rise of new kind of performer (the “celebrity worship leader”), exacerbated internal congregational tensions and debates.

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Perkins, Dave. "Music, Culture Industry, and the Shaping of Charismatic Worship:." In The Spirit of Praise, 230–46. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gph87.17.

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Klaver, Miranda. "Worship Music as Aesthetic Domain of Meaning and Bonding:." In The Spirit of Praise, 97–114. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gph87.9.

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Wellman, James K., Katie E. Corcoran, and Kate J. Stockly. "Desire for Wow, or Hacking the Happy." In High on God, 99–114. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199827718.003.0009.

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In this chapter, we show how megachurches meet attendees’ desire for “wow” and awe. The data show that megachurch members are overwhelmingly “in love” with megachurch worship. Worship time is often an outward expression of praise and the sharing of joy—a time for generating collective effervescence. The collective effervescence evoked during the worship service is intensified by the fact that there are thousands of people contributing to it. Megachurch services are fields of wonder that energize and synchronize human bodies and feelings with remarkable acuity. The intense emotional energy produced prepares attendees for the pastor’s message, which follows the worship service.

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"Pentecostal Praise and Worship as a Mode of Theology." In Faith in African Lived Christianity, 156–79. BRILL, 2019. http://dx.doi.org/10.1163/9789004412255_009.

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"Introduction: Interconnection, Interface, and Identification in Pentecostal- Charismatic Music and Worship." In The Spirit of Praise, 1. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271070681-002.

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Mall, Andrew. "9 “We Can Be Renewed”: Resistance and Worship at the Anchor Fellowship." In The Spirit of Praise, 163–78. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271070681-012.

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Jones, Alisha Lola. "Pole Dancing for Jesus." In Flaming?, 87–114. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.003.0004.

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Chapter 3 dissects the sociocultural sensitivity about the extent to which men’s dance or gesture in worship registers as queer by analyzing a case study of a man who worships God through pole fitness. Derived from ethnographic research of widely circulated Jungle Cat’s amateur “pole dancing for Jesus” performance footage, chapter 3 teases out innumerable creative processes through which men’s situating of identity takes place. Jungle Cat worships God to recorded gospel music with ritual components of private dancing and contemplation that absolve him from ecclesial, denominational, and organizational restrictions and surveillance. While anxieties about black male identity also apply to more conventional forms of men’s praise dance such as mime and step, pole dancing cultivates especially passionate responses from gospel music observers.

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Perkins, Dave. "13 Music, Culture Industry, and the Shaping of Charismatic Worship: An Autobiographical/Conversational Engagement." In The Spirit of Praise, 230–46. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271070681-016.

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