Relevant bibliographies by topics / Praise and worship songs

Contents

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

Academic literature on the topic 'Praise and worship songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Praise and worship songs"

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Prosén, Martina. "Songs that Carry Transformation: Pentecostal Praise and Worship Rituals in Nairobi, Kenya." Mission Studies 35, no. 2 (May 31, 2018): 265–85. http://dx.doi.org/10.1163/15733831-12341570.

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AbstractIn this article, the theological meaning of transformation is examined from the vantage point of a local Pentecostal church in Nairobi, Kenya, and its liturgical practices. The church under study is the Woodley branch of Christ is the Answer Ministries (CITAMWoodley), formerly Nairobi Pentecostal Church (NPC) Woodley, and data was collected through field research. Arguing with the help of Steven Land’s standard workPentecostal Spirituality. A Passion for the Kingdom, it is demonstrated that praise and worship rituals function as vehicles for transformation in the theology/spirituality of the informants. Singing and making music are not optional or random activities, but constitute a core ritual providing congregants a viable route to a central goal of Pentecostal spirituality: transformation. Transformation is thus both an idea and a goal, and praise and worship rituals – including the songs sung in worship – constitute a crucial link between the two.
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Bodenhamer, K. W. "Dwelling together: Psalm 133 and the Songs of Ascents." Review & Expositor 116, no. 2 (May 2019): 219–24. http://dx.doi.org/10.1177/0034637319856344.

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Psalm 133 is the penultimate psalm of a collection within the Psalter entitled the “Songs of Ascents.” Its idyllic picture of community comes at the close of a collection of hymns and prayers in which the reader is invited to praise, lament, contemplate the past, and gather together for worship. In considering the issue of polarization in the church and in society, this psalm collection offers one model for dwelling together in a world in which fracturing is the easier path, arguing that in order to dwell together, we must first do the difficult work of journeying together.
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Furley, William D. "Praise and persuasion in Greek hymns." Journal of Hellenic Studies 115 (November 1995): 29–46. http://dx.doi.org/10.2307/631642.

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Largely because the processes of transmission have been unkind, the religious hymns sung by the Greeks during worship of a god on a public or private occasion have received less than their due attention from modern scholars. Our sources frequently mention in passing that hymns were sung on the way to Eleusis, for example, or at the well Kallichoron on arrival at Eleusis, or by the deputations to Delos for the Delia, but they usually fail to record the texts or contents of these hymns. Until the fourth century BC temple authorities did not normally have the texts of cult songs inscribed; and the works themselves were by a diversity of authors, some well-known, some obscure, making the collection of their ‘hymns’ a difficult task for the Alexandrian compilers. Some such hymns were traditional—Olen's at Delos, for example — handed down orally from generation to generation; others were taught to a chorus for a specific occasion and then forgotten. Nor do the surviving corpora of ‘hymns’ — I refer to the Homeric Hymns, Callimachus' six hymns, and the Orphic Hymns—go very far to satisfy our curiosity as to the nature of this ubiquitous hieratic poetry. The Homeric Hymns would seem to have been preludes (προοίμια) to the recitation of epic poetry; they are in the same metre and style as epic, and the singer usually announces that he is about to commence another poem on finishing the hymn. Their content may give us authentic material about a god and his attendant myths, but the context of their performance seems distinct from worship proper. The Homeric Hymns provided the basic model for Callimachus' hymns although it is clear that he adapted the model to permit innovations such as the mimetic mode of hymns 2, 5 and 6, which present an eye-witness account of religious ritual. Some find Callimachus' hymns lacking in true religious feeling; few seriously maintain that they were intended, or could have been used, for performance in cult.
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Surada, I. Made. "Teknik Pembacaan dan Menghafal Śloka, Mantra Veda." Sphatika: Jurnal Teologi 10, no. 1 (March 1, 2019): 63. http://dx.doi.org/10.25078/sp.v10i1.1559.

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Śloka means stanza, praise or praise, singing and being heard. In the tradition in Bali śloka is the verses of the mantra found in the Vedas. Saying śloka can be said to “follow”. Nyruti means listening. The ancient Rsi before knowing reading and writing conveyed the teachings to their students verbally. The students sat cross-legged while listening to the teachings of the teacher. The teacher delivered the teachings in the form of śloka with songs, so it was<br />interesting for the students to listen. This school is usually used in times of accompanying prayers, yajña ceremonies and for the worship of the people by the Sulinggih. Technically reading the verses of okaloka is with a distinctive rhythm (batten mantra). The language used is Sanskrit. Sound picking is usually at the base of the esophagus so that the sound sounds echoed inward, like the hum of a beetle sucking on flower juice (Bramara angisep sari).
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Amzallag, Nissim. "Psalm 120 and the question of authorship of the songs of Ascents." Journal for the Study of the Old Testament 45, no. 4 (June 2021): 588–604. http://dx.doi.org/10.1177/0309089220963429.

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As the first of the songs of Ascents, Psalm 120 might be seen as key to understanding the whole corpus, but its content remains poorly understood. This study suggests that its author was a smith-poet committed to the Edomite/Qenite traditional worship of YHWH, here complaining about participating, through the fabrication of iron weapons, in the demise of Edom (553 BCE). On this reading, the poem becomes a lament on the irremediable demise of traditional (metallurgical) Yahwism after the rise of iron metallurgy and its transformation of war. Introducing the Ascents, this song might express the search for an alternative form of Yahwism emancipated from the original metallurgical dimension. Expressed in Israel, this alternative Yahwism becomes praised in the other songs of Ascents. This interpretation corroborates the rise of a group of Edomite poets (Ezrahites) in Jerusalem in the early Persian period and its integration within the temple staff.
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Ward, James C. "The Lord Will Make a Way Somehow: Strategies for Cross-Cultural Music and Worship." Review & Expositor 109, no. 1 (February 2012): 39–50. http://dx.doi.org/10.1177/003463731210900106.

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With neighborhoods shifting racially and economically, churches are challenged with meeting the new population with relevant and culturally meaningful worship music. Ethnic groups are diverse within themselves as well, with black and Latino peoples having disparate tastes and traditions from Church of God in Christ to South American Evangelicals. Congregations must have strong pastoral leadership and competent, spiritually alert musicians and singers. Although the leadership may want more effective outreach through music, it requires trained musicians, often in jazz, to educate the musicians as well as the congregation. Vocalists must also be melded together, trained and untrained, into a vernacular blend in praise teams or choirs. Musicians must do research in the community for songs and resources that touch the “heart music” of the target population. The result of such a commitment is to see a congregation rally around a new mission and new friendships. Children growing up in such a cross-cultural worship have a more open view of the world. But bearing fruit in cross-cultural ministry is measured in decades and may not have overwhelming success like some homogeneous church plants. If we want to see the church's witness as credible before a watching world, racial reconciliation and justice fleshed out in the worshipping community must be a greater priority. In a society still plagued with racial alienation, this may be the toughest strategy of all.
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Kuwissy, David. "Analisa Ibadah Menurut Mazmur 100:1-5." TELEIOS: Jurnal Teologi dan Pendidikan Agama Kristen 1, no. 1 (June 23, 2021): 79–94. http://dx.doi.org/10.53674/teleios.v1i1.31.

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Abstrak Ide dasar dari Artikel ini, adalah tata cara ibadah yang dilakukan oleh setiap denominasi gereja berbeda-beda. Mazmur 100:1-5 memberi petunjuk tentang bagaimana cara beribadah kepada TUHAN. Firman Tuhan: “Beribadahlah kepada TUHAN dengan sukacita, datanglah ke hadapan-Nya dengan sorak-sorai!” (Maz 100:2), menunjukkan bahwa beribadah adalah perintah TUHAN yang harus dilakukan oleh setiap orang percaya. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif dengan pendekatan kepustakaan, disertai dengan wawancara terhadap beberapa pelayan di gereja-gereja. Penilitian ini adalah untuk menunjukkan bagaimana ibadah yang sesuai dengan firman TUHAN. Hasil analisa dan kajian menunjukkan bahwa ibadah yang sesuai Alkitab adalah ibadah yang diawali dari pintu gerbang dengan nyanyian syukur, ke pelataran-Nya dengan puji-pujian. Ibadah yang dimulai dari pintu gerbang ke pelatarannya, menurut Mazmur 100:1-5 mengindikasikan bahwa ibadah menurut pola Tabernakel. Pola ibadah Tabernakel adalah pola ibadah yang awali dari pintu gerbang, pelataran, ruang kudus dan ruang maha kudus. Kata Kunci: Ibadah, Nyanyian Syukur, Puji-pujian, Penyembahan. AbstractBasic idea of this article is the different way “Serve the Lord has done by churches. Psalm 100:1-5 give instruction how to serve the Lord. Words of God: “Serve LORD with gladness, come before His presence with singing” (Psalm 100:2). To show that serve the LORD is commands who done by every believer. Research method of this Article, use the qualitative method with library approach and interviews to several churches servant. This research show how to worship LORD accordance with the Word of God. The result of analyst and study show that worship accordance the Words of God are starting from the gate with song of gratitude to His court with praise. Worship that begins from the gate to the court accordance Psalm 100:2 indicate tabernacle worship pattern. Tabernacle worship pattern at the beginning of the gate, court, very holy space, and the most holy space. Keywords: Service the Lord, Sing, Praise, Worship.
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Suradi, Ahmad. "Sistem Pendidikan Anak Usia Dalam Konsep Islam (Analisis dalam Teoritis dan Praktis)." AL-ATHFAL : JURNAL PENDIDIKAN ANAK 4, no. 1 (December 28, 2018): 61–84. http://dx.doi.org/10.14421/al-athfal.2018.41-05.

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This article aims to reveal how the education system developed for early childhood in the Islamic concept, which includes curriculum, methods and evaluation of education. The method used in this paper is descriptive qualitative method. The results of the discussion indicate that the education that should be given to early childhood, is to include; first, the aqidah education, this is given because Islam puts the education of faith in the most fundamental position, Second, the Education of worship, so that someday they grow into beings who really piety, that is the devout man to carry out all religious commands and obedient also in steer clear of any ban. Third, moral education, in order to educate morals to the children, in addition to be given the right example, should also be shown about how to respect and to manners with fellow human beings. Islamic educational methods that can and should be applied to early childhood educational activities are exemplary methods, methods of practice and practice, game methods, songs, and stories, methods of targhib and tarhib, methods of praise and flattery and inculcation of good habits. The evaluation for the assessment of the educational process of children at an early age can be done in various ways, among others through the observation and recording of anecdotes which is a record of the attitude and behavior of children.
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Parto, Parto, Yulianto Bambang, and Kisyani Kisyani. "Analysis of Discourse Structure in Higher Education Hymns (Studies at State Universities in East Java)." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 4 (December 11, 2020): 2097–105. http://dx.doi.org/10.33258/birle.v3i4.1471.

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The purpose of this research is to describe and find the discourse structure of college hymns through macro structure, superstructure, and micro structure. This research was conducted using a qualitative descriptive approach. Source of hymn data for seven state universities in East Java. The selection of seven state universities in East Java was based on the reason that the ways in which higher education hymns were created were similar so that the results of this study could become a reference in the meaning of university hymns in general. Based on the results of data analysis, it can be concluded that (1) the hymn of state universities in East Java has similarities in its macro structure, namely the theme of praise or worship, (2) the superstructure or schematic structure of the hymn in public universities in East Java begins with the naming or title of the hymn which is similar, namely beginning with the word hymn and followed by the name of the institution; In general, the form of a hymn is made in stanzas like a song or poetry (3) semantically a college hymn generally leads the audience to an opinion that the university is praiseworthy and proud, (4) based on the cohesion of the hymn of state universities in East Java generally the hymn descriptions are related to the title, either the overall description or the description of the sections or the comparisons, even each line in the hymn of public universities in East Java refers to or is directed at the institution whose name is mentioned in the title; active and passive sentences, (5) diction in the hymn text of state universities in East Java, like songs in general, are very concerned with the harmony of the sound of language or emphasizing rhyme and poetry, especially diction at the end of the line (6) hymns of public universities in East Java tends to use simple language, but from the analysis results it is found that several styles of language.
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Park, Mi Jung. "A Study on the Revitalization of Worship Dance in Korean Church: Focusing on the Praise of Salvation in Miriam’s Song (Ex 15:20-21)." Journal of Youngsan Theology 51, no. 01 (March 31, 2020): 163–92. http://dx.doi.org/10.18804/jyt.2020.03.51.163.

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Dissertations / Theses on the topic "Praise and worship songs"

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Tonsing, Johanna Gertrud. "Searching for the "Good Song" - Determining the quality of Christian songs within the polarities of worship." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/40212.

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This thesis tries to answer the question what Christians should be singing in worship and why. The situation in many congregations is one of conflict around music and worship styles. The question is how these can be bridged and how worship leaders can be guided to make responsible choices about what is sung in Sunday worship. It is argued that what is sung, strongly influences the theology and faith of congregants. The thesis locates the discipline of hymnology within a hermeneutical approach to practical theology and tries to develop a theory to answer the question how to determine quality in Christian songs. The current discussions in practical theology and hermeneutics are examined for their relevance to hymnology, particularly some of the insights of Habermas, Gadamer and Ricoeur. Here particularly the idea of “dialogue” and “fusion of horizons” becomes relevant for bridging the divides in the conflicts around worship music. The dissertation examines biblical and church historical answers to the question of whether and what Christians should be singing. It becomes clear that the answers have varied widely during the course of church history, sometimes swinging between extremes. The next chapter looks at songs in the context of the worship service, their function within various parts of the service, and particularly looks at the dialectical poles of worship which should be kept in balance. Musical perspectives are discussed looking at ways to help people not formally trained in music to evaluate tunes. This theoretical section leads to a catalogue of criteria for “Good songs”: These are criteria for quality, for “Good Text”, such as biblical and theological value, how easily it is understood, whether it takes human experience seriously and its poetic value. Criteria for “Good Tune” include its level of difficulty, how heavily it depends on accompaniment, and its balance between the familiar and the interesting and new. The third category of criteria evaluate the match between text and tune in mood, rhythm and climax. The last category looks at the balance in the song between different polarities, such as, amongst others, the balance of past and present, cognitive and emotive elements, between challenge and affirmation, and between universal and particular emphases. This list of criteria is then tested on three songs each of four different songwriters: two traditional and two contemporary: Paul Gerhardt, Charles Wesley, Graham Kendrick and Noel Richards. In each case a background is given, an overview of their work as a whole and a detailed analysis of each song. In the end the criteria themselves are evaluated as to their usefulness and user-friendliness. Suggestions are then made how these criteria can guide worship leaders in their choices of songs for the Sunday service.
Thesis (PhD)--University of Pretoria, 2013.
gm2014
Practical Theology
unrestricted
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Smoak, Alfred M. "Identifying contemporary praise & worship songs for use during the church year at Trinity Baptist Church, Livermore, California." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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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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Ward, Peter. "Evangelical spiritual songs 1966-1996 : production, text and audience." Thesis, King's College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250680.

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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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Ramsey, Michael W. Shakespeare William Shakespeare William Shakespeare William Mobberley James. "In praise of fathers three pictures from Shakespeare /." Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
A three movement work for orchestra and bass-baritone soloist using texts from three Shakespeare plays: Hamlet, Titus Andronicus and King Lear. "A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Aug. 07, 2009. Online version of the print edition.
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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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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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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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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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Books on the topic "Praise and worship songs"

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Music, Integrity. Come & worship: A collection of 200 popular songs for praise & worship. Mobile, AL: Integrity Music, 1994.

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Church, Mar Thoma Canadian. Songs of praise and order of worship: For the family of God. Markham, ON: Canadian Mar Thoma Church, Toronto, 1994.

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Wutawunashe, Shuvai. A song shall rise. Causeway, Harare: Shelter Media Ministries, 2005.

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Schall, James V. The praise of 'sons of bitches': On the worship of God by fallen men. 2nd ed. South Bend, Indiana: St. Augustines Press, 2015.

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Songs for praise & worship. Waco, Tex: Word Music, 1992.

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Productions, Kidzup. Praise And Worship Songs. Kidzup Productions, 2004.

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Songs for Praise & Worship. Word Music, 1992.

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Songs Praise & Worship-Conduct. Word Entertainment Music, 1993.

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Hal Leonard Publishing Corporation (COR). Songs for Praise and Worship. Hal Leonard Corporation, 1998.

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Hal Leonard Publishing Corporation (COR). Songs of Worship and Praise. Hal Leonard Corporation, 1986.

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Book chapters on the topic "Praise and worship songs"

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Rochberg, George. "Songs in Praise of Krishna (1970)." In New Vocal Repertory, 222–28. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18494-1_65.

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Desplenter, Youri. "Songs of Praise for the ‘Illiterate’: Latin Hymns in Middle Dutch Prose Translation." In Medieval Church Studies, 127–42. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.mcs-eb.3.3597.

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"SONGS OF PRAISE." In Qumran Prayer and Religious Poetry, 173–200. BRILL, 1994. http://dx.doi.org/10.1163/9789004350137_012.

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Page, Hugh R., and Timothy J. Sandoval. "Song of Songs." In Wisdom, Worship, and Poetry, 643–48. 1517 Media, 2016. http://dx.doi.org/10.2307/j.ctt1b3t793.14.

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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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"5. Qawwali Songs of Praise." In Islam in South Asia in Practice, 93–100. Princeton University Press, 2010. http://dx.doi.org/10.1515/9781400831388-013.

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"Songs in praise of nature." In The Songs of Johanna Kinkel, 163–205. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvxhrk99.12.

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Marshall, Kimberly Jenkins. "“Soaking Songs” Versus “Medicine Man Chant”:." In The Spirit of Praise, 148–62. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gph87.12.

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"Praise of the Woman’s Unique Beauty." In The Song of Songs, 174–79. 1517 Media, 2016. http://dx.doi.org/10.2307/j.ctvb936wk.17.

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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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Conference papers on the topic "Praise and worship songs"

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Batubara, Junita, and Kamaluddin Galingging. "The Role of Indonesian Worship Songs at Rise Up Generation (RG) Ministry Church in Tanjong Malim-Malaysia." In Proceedings of the First Nommensen International Conference on Creativity & Technology, NICCT, 20-21 September 2019, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296590.

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