To see the other types of publications on this topic, follow the link: Praise and worship songs.
Dissertations / Theses on the topic 'Praise and worship songs'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 47 dissertations / theses for your research on the topic 'Praise and worship songs.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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
2
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.
Full text
3
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.
Full text
4
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.
Full text
5
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.
Full textAbstract:
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).
6
Ramsey, Michael W. Shakespeare William Shakespeare William Shakespeare William Mobberley James. "In praise of fathers three pictures from Shakespeare /." Diss., UMK access, 2008.
Find full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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).
9
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.
Full text
10
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.
Full text
11
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.
Full text
12
Packiam, Glenn Previn. "Worship and the world to come : a theological ethnography of hope in contemporary worship songs and services." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12533/.
Full textAbstract:
This research explores how hope is encoded in contemporary worship songs and experienced in contemporary worship services. Three paradigms for contemporary worship in North America which emerge from the literature on congregational worship are outlined. Then models for understanding hope are explored from psychological, philosophical, phenomenological, and theological perspectives. The theological perspective uses the Nicene Creed as a summation of early Christian hope and Jürgen Moltmann and N. T. Wright as representative of recent scholarship on the theology of hope. Based on historical overviews of Evangelical eschatology, a suggested taxonomy of popular Evangelical eschatological frameworks is given as a starting point for fieldwork. The fieldwork is focused on two Evangelicals churches, one Presbyterian and one Pentecostal-Charismatic, and uses ethnographic methods such as participant observation, interviews, and focus groups to collect data and engage in discourse analysis. A national list of worship leaders is also surveyed to provide a catalogue of ‘songs of hope’ which can then be analysed. Employing Helen Cameron’s ‘theology in four voices’, the ‘espoused theology’ of hope from pastors, worship leaders, and congregants, and the ‘operant theology’ of hope encoded in songs and experienced in services is compared with the ‘normative theology’ of hope in the Nicene Creed and the ‘formal theology’ of hope articulated by Moltmann and Wright. The research demonstrates a disproportionate focus on the present tense, proximate space, and personal perspective encoded in ‘songs of hope’. Yet the experience of hope in congregational worship seems to be a regular phenomenon for focus group members in weekly worship, and this experienced hope had a quality of resilience, adapting to outcomes that were desired. The thesis engages in theological reflection around three questions: How could the experience of hope be consistent when the encoded hope was so theologically weak? Why does the experience of God’s presence produce hope? In what ways is the Spirit present and active in congregational worship? The thesis concludes with recommendations for church leaders and songwriters.
13
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.
Full text
14
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.
Full textAbstract:
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.
15
Stevenson, Bruce Alan. "God is our refuge and strength." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.
Full text
16
Leask, Margaret Anne. "The development of English-language hymnody and its use in worship, 1960-1995." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1532/.
Full text
17
Lim, Daewoong. "Open church and closed worship? : a practical theology study of the dialectic relationship between fear and hospitality in worship." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71602.
Full textAbstract:
Thesis (MTh)--Stellenbosch University, 2012.ENGLISH ABSTRACT: In the rites of Christian worship, various aspects are operated, and some of them seem to have opposite attributes that cannot exist at the same place and be performed at the same time. Since all the aspects are so important to worship, we cannot over-stress or exclude either one of them. The relationships between the aspects being confronted with cause tensions in worship. The aim of this thesis is to synthesize these tensions, esp. concerning fear and hospitality in worship. Fear and hospitality cannot be expressed with one perspective, because they in themselves have various aspects. Fear of God has a dimension of Mysterium Tremendum but, at the same time, it has a dimension of Fascinosum. Hospitality also has two dimensions: of God and of human beings. Thus, what is significant is to relieve the tension between fear and hospitality and the tension implied in themselves. To accomplish this goal, we endeavour to find the agent for the synthesizing the two aspects in worship so that they can stand in a dialectical relationship. We apply a Christological approach and pneumatological insights for this task. In Jesus a negative dimension of fear of God can be altered to hospitality of God while still grabbing a positive sense of fear of God in worship. Therefore, In Jesus fear and hospitality is synthesized. This synthesizing is different from blending or balancing fear and hospitality in worship just in quantity and quality for they cannot relieve the tensions. Lastly, we deal with a matter of opening and closing as a pragmatic task. The church and worship can be open for God’s hospitality, but at the same time they are closed to some for fear of God. Opening or closing in itself cannot be the solution for this contradiction. The answer for the matter of opening and closing lies in a dialectical relationship between fear and hospitality in Jesus Christ, because in Him all the tensions are relieved.
AFRIKAANSE OPSOMMING: In die rituele van Christelike aanbidding is verskeie elemente aan die werk, en dit wil voorkom asof sommige hiervan teenoorgestelde eienskappe het wat nie gelyktydig kan bestaan of uitgevoer kan word nie. Aangesien al die aspekte so belangrik is vir aanbidding, kan ons nie een van hulle oorbeklemtoon of uitsluit nie. Die verhoudings tussen die elemente gee aanleiding tot spanninge. Die doel van hierdie tesis is om die spanninge te sintetiseer, veral wat betref vrees en gasvryheid in aanbidding. Vrees en gasvryheid kan nie met een perspektief uitgedruk word nie omdat hulle uit verskeie aspekte bestaan. Vrees vir God het 'n dimensie van Mysterium Tremendum, maar terselfdertyd ook 'n dimensie van Fascinosum. Gasvryheid het ook twee dimensies: van God en van die mens. Dit is dus betekenisvol om die spanning tussen vrees en gasvryheid en die spanning binne dié aspekte te verlig. Om hierdie doel te bereik, probeer ons om die agent te vind vir die sintese van die twee aspekte in aanbidding, sodat hulle in 'n dialektiese verhouding tot mekaar kan staan. Ons wend 'n Christologiese benadering en pneumatologiese insigte vir hierdie taak aan. In Jesus kan 'n negatiewe dimensie van vrees verander word in die gasvryheid van God, terwyl die positiewe sin van die vrees vir God in aanbidding beklemtoon word. Vrees en gasvryheid word in Jesus gesintetiseer. Hierdie sintetisering verskil van die vermenging of die balansering van vrees en gasvryheid in aanbidding in die hoeveelheid en kwaliteit omdat hulle nie die spanning kan verlig nie. Ten slotte, behandel ons die aspekte van opening en sluiting as 'n pragmatiese taak. Die Kerk en aanbidding kan oop wees vir God se gasvryheid, maar op dieselfde tyd is hulle vir sommige geslote weens ʼn vrees vir God. Om oop te maak of om te sluit kan op sigself nie die oplossing vir hierdie teenstrydigheid wees nie. Die antwoord vir opening en sluiting lê net in 'n dialektiese verhouding tussen vrees en gasvryheid in Jesus Christus, want in Hom is al die spanninge verlig.
18
Handman, Deborah Fleenor. "Healing songs understanding and creating powerful music for the American church /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.
Full text
19
Nilsson, Samuel. "Att skriva och producera en lovsång." Thesis, Mittuniversitetet, Avdelningen för elektronikkonstruktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-33625.
Full textAbstract:
Vad är en lovsång, hur låter det och vad kännetecknar soundet för en lovsång idag? Är det en egen genre som har egna kännetecken idag? Målet med detta projekt har varit att ta reda på och få en förståelse för hur en lovsång är skriven och producerad och utifrån de kunskaper och insikter jag fått under projektet skriva och producera en egen lovsång för att praktisera resultatet.
20
Kent, Rex Darrell. ""Let all the people praise Thee" a project to develop lay participation and leadership in worship at Calvary Baptist Church, Prattville, Alabama /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.
Full text
21
Read, Daniel. "WHY WE SING ALONG: MEASURABLE TRAITS OF SUCCESSFUL CONGREGATIONAL SONGS." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/102.
Full textAbstract:
Songwriters have been creating music for the church for hundreds of years. The songs have gone through many stylistic changes from generation to generation, yet, each song has generated congregational participation. What measurable, traceable qualities of congregational songs exist from one generation to the next?
This document explores the history and development of Congregational Christian Song (CCS), to discover and document the similarities between seemingly contrasting styles of music. The songs analyzed in this study were chosen because of their wide popularity and broad dissemination among non-denominational churches in the United States. While not an exhaustive study, this paper reviews over 200 songs spanning 300 years of CCS. The findings of the study are that songs that have proven to be successful in eliciting participation all contain five common elements. These elements encourage congregations to participate in singing when an anticipation cue is triggered and then realized. The anticipation/reward theory used in this study is based on David Huron’s ITPRA (Imagination-Tension-Prediction-Reaction-Appraisal) Theory of Expectation.
This thesis is designed to aid songwriters and music theorists to quickly identify whether a CCS can be measured as successful (i.e., predictable).
22
Dickerson, Valerie Anne. "Are those congas in the pulpit? hymns, alabanza y adoración (praise and worship) music, and the evangelical subculture of western Cuba /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2009368981&sid=3&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
23
Elyon, Johny Robert. "Die rol van musiek as heelbrein-strategie by innerlike verandering : 'n prakties-teologiese studie / Johny Robert Elyon." Thesis, North-West University, 2008. http://hdl.handle.net/10394/1009.
Full textAbstract:
In the past, pastoral-therapeutic support was mainly approached only from the functioning of the left hemisphere of the brain. This implies that pastoral therapists mainly interacted with people in therapy at an intellectual-analytical level under modernistic influence. Since man's destitution and need changes along with time, it is essential for pastoral therapists/counsellors to supplement and adapt their modus operandi and strategies if they wish to remain relevant regarding their pastoral dealings with people. In this study the researcher attempted to formulate from the Scriptures a basis theory regarding the role of music as a whole-brain strategy in inner change. For the sake of a more holistic approach, a meta-theoretical investigation was also undertaken. To confirm the basis and meta-theoretical information, researcher entered the living reality of seven individuals during which a qualitative research was done. The results of the study, according to which the basis and meta-theoretical perspectives were placed in hermeneutical relation to one another, led to practice-theoretical guidelines within the subject domain of Practical Theology regarding the role of music as a whole-brain strategy in inner change.Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2008.
24
Campbell, Colin Archibald 1970. "Music ministry in the missional worship service of the Dutch Reformed Church in South Africa / Colin Archibald Campbell." Thesis, North-West University, 2013. http://hdl.handle.net/10394/8998.
Full textAbstract:
This thesis investigated the approach to, and the conducting of worship services in ten missional faith communities of the Dutch Reformed Church in South Africa during the period 2004 – 2009. It investigated the shift in theological paradigm (towards mission) taking place in the Dutch Reformed Church from 2002 onwards, and the effects thereof on liturgy and music in the worship domain.
In order to contextualise the liturgical developments emanating from the case studies, the history and liturgy of the Dutch Reformed Church in South Africa were traced back to the early Dutch pastors arriving with the first settlers at the Cape Colony in 1652. The historical events leading to the Dutch Reformed Church being labelled as the state church and its sanctioning of the apartheid ideology were placed in perspective as a result of the successes of missionary work in South Africa.
The missional paradigm was unpacked according to the missio Dei. God is the primal agent in mission and calls His church into mission, and sending the church to restore society. Created in the imago Dei, human beings have a responsibility towards contextual society in everyday life. Missional worship therefore becomes a paradigmatic way of life. God is the focal point in worship and liturgy: it is all about God.
The core of the research revolves around the ten missional faith communities, eight of which were part of the initial Southern African Partnership for Missional Churches project. Unstructured interviews were conducted with pastors, musicians and persons involved in the focussed missional activities within these congregations. Having an insider's perspective on the project, the researcher included his own narrative in order to further underline the changes taking place in the worship domain.
Liturgy in the faith communities under investigation was found to be shifting towards ecumenical models: the gathering, the service of the Word, the service of the Table, and the sending. A trend to celebrate the Eucharist/Holy Communion more frequently than the tradition dictated was also noted in the communities. In general, a more creative approach towards the planning and execution of liturgy has been observed – this freedom allowing for the Holy Spirit to move the faith community during worship, and was vastly different to the cognitive historical liturgy.
The music ministry has developed into a new paradigm from the historical role of the organist. Music was found to become a focal point, manifesting as liturgical art, pointing towards God and enabling the faith community to meet God in worship. This led to the change in the role of the church musician in terms of scope and spiritual/religious value. The shift towards leading the liturgy and shaping the faith community through music has been noted – thus establishing a music ministry.
The Eucharist/Holy Communion is presented as a metaphor, the underlying basis for a model in music ministry. Music ministry is now defined under the theological lens as being sacramental in nature. In closing, recommendations are made to address the re-education of church musicians and theologians to deal with the theological changes taking place in worship.Thesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.
25
Wills, Susana. "UMA ANÁLISE DOS CÂNTICOS ENTOADOS PELA COMUNIDADE CARISMA E SUAS INFLUÊNCIAS, NO INDIVIDUAL E NO COLETIVO, DIANTE DA TRANSFORMAÇÃO SOCIAL." Universidade Metodista de São Paulo, 2008. http://tede.metodista.br/jspui/handle/tede/474.
Full textAbstract:
Made available in DSpace on 2016-08-03T12:20:43Z (GMT). No. of bitstreams: 1
Susana Wills.pdf: 406937 bytes, checksum: ee0871cda73dfa446e5f758f645a3cbc (MD5)
Previous issue date: 2008-08-06What generated this research was curiosity regarding the songs sung by the Charisma Community, and the manner in which these impact persons at individual and collectives levels. The focus of the work is the association of the meaning of the words of the songs in terms of their relation to social transformation, and the work and urban social mission of the Charisma Community. It is well known that music has immense power in terms of emotions and human experience, and that this influence is both individual and collective. As such, to what point music is not alienating, but an instrument to awaken, at individual and collective levels, transformation and social evolvement in the context of the Charisma Community The theological beliefs, worship structure and liturgy were studied, with specific attention paid to songs composed by members of the community, and their impact on individual and collective, in terms of social transformation, within and beyond the Community.(AU)
A curiosidade do que acontece com os cânticos entoados pela comunidade carisma e a maneira com que toca as pessoas, no âmbito individual e no coletivo foi o que gerou essa pesquisa. A associação do significado das letras dos cânticos relacionado à transformação social que acontece dentro do trabalho e missão social urbana da Comunidade Carisma acabou sendo o foco desse trabalho. Sabe-se que a música tem um poder imenso de atuar na área emocional e nas experiências do ser humano, atuando tanto no individual, quanto no coletivo da pessoa. Então, até que ponto, música não é uma alienação, mas sim um instrumento de despertar individual e coletivamente - para a transformação e a aplicabilidade de todo este envolvimento social que a Comunidade Carisma vive? Dentro do que é a base teológica da comunidade, a ordem do culto e toda a sua liturgia, foi feito um levantamento de toda estrutura da mesma. E como se processa o louvor e o significado das letras dos cânticos compostos por membros deste ministério, com a ação que começa no individual, reporta-se ao coletivo e que gera transformação social dentro e fora da comunidade.(AU)
26
DeValve, John. "Singing foreign songs in the Lord's House : an examination of the worship music sung in Songhai/Zarma protestant churches of the West African Sahel, with special reference to Niger." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/23886/.
Full textAbstract:
Music is a key marker of a person’s identity. It is commonly assumed that people identify most strongly with the music of their own culture and upbringing. The Songhai people of West Africa have a rich historical and musical heritage. Songhai Christians, however, rarely make use of their musical traditions, relying mostly on borrowed forms of worship music. This qualitative study uses insights and methods from ethnomusicology and liturgical study to examine why Songhai Christians ignore or neglect their musical traditions in worship. Using data elicited from eighty semi-structured interviews and lessons on the three-stringed lute, the thesis presents a comprehensive synopsis of Songhai traditional music, including ideas about music, genres/occasions for music, musical instruments, musicians, and dance. With this information as a basis for comparison, the thesis proceeds to examine Protestant Songhai music using information obtained during observations of twenty-three churches and case studies of three of those churches. The analysis of the data shows a significant confusion or loss of identity amongst Songhai Christians under the powerful impact of five cultural and historical forces: tradition, Islam, the Christian subculture, the West/globalization, and the political nation/state. Music plays a role in each of these subcultures and helps shape people’s choices and identities. Additionally, each subculture is undergoing rapid change, causing further destabilization of believers’ identities as individuals and as a church. Using grid/group cultural theory as a frame for analysis, the thesis proposes a new model for investigating the mix of cultural and historical causes which affect worship music in the Songhai church. It further presents a ‘logophonic’ principle of soundly ordered words and words soundly ordered which the church could use to build on current worship practices and construct a more robust Songhai Christian identity.
27
Collingridge, Lorna Marie, and n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
Full textAbstract:
Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
28
Wagner-Ferreira, Elizabeth Catharina. "'n Prakties-teologiese ondersoek na die inkleding van die erediens met die doel om die verskillende generasies in 'n gesamentlike familie-erediens aan te spreek." Thesis, Pretoria ; [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11052008-140050/.
Full text
29
Janse, Rhe, H. J. Hendriks, and J. H. Cilliers. "Spiritualiteitsdiversiteit as uitdaging aan die erediens : 'n verkenning van die funksie van lofprysing in die Nederduitse Gereformeerde Kerk." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/15497.
Full textAbstract:
Thesis (DTh)--University of Stellenbosch, 2002.AFRIKAANSE OPSOMMING: Die Nederduitse Gereformeerde Kerk is die afgelope paar jare in debatte gewikkel oor die een aktiwiteit wat uniek aan die kerk is, naamlik haar aanbidding. Aanbidding het vandag een van die belangrike redes geword waarom kerke groei, maar is terselfdertyd ook een van die oorsake waarom gemeentes lidmate verloor en kwyn. Aan die voorpunt van die debat oor aanbidding, is die kwessie van lofprysing. Lofprysing het vandag vir baie gelowiges 'n middel geword om hulle geloof en aanbidding tot uitdrukking te bring. In plaas daarvan dat die nuwe beklemtoning en behoefte aan lofprysing die kerk in haar aanbidding van God verenig het, het dit egter 'n bron van frustrasie en konflik geword. Hierdie konflik sentreer hoofsaaklik om die styl waarin lofprysing plaasvind en word aangehelp deur die gebrek aan kennis oor die onderwerp en die diversiteit wat in gemeentes heers. Gemeentes van die Nederduitse Gereformeerde Kerk bestaan vandag uit lidmate wat uiteenlopende lewensuitkyke handhaaf en verskillende spiritualiteite besit. Om die hele kwessie van lofprysing binne die konteks van diverse gemeentes aan te spreek, moes die studie eerstens die aard en funksie van lofprysing binne die liturgie bepaal. Daarna moes 'n wyse gevind word waarop die diversiteit in gemeentes hanteer kon word. Deur middel van 'n spiritualiteitstipologie wat Holmes in 1980 opgestel het, en wat later as basis van verskillende spiritualiteitsanalises gedien het, is 'n instrument daargestel waarmee gemeentes en individue se spiritualiteit getoets kon word. In hierdie studie is die analises nie net gebruik om mense se spiritualiteit vas te stel nie, maar ook om te bepaal of daar 'n korrelasie tussen spiritualiteitsgroepe en hulle aanbiddingsbehoeftes bestaan. Die navorsing het daarin geslaag om nie net 'n verband tussen spiritualiteit en aanbiddingspatrone aan te toon nie, maar ook die waarde van 'n spiritualiteitsanalise te beklemtoon om die diversiteit ten opsigte van aanbidding en lofprysing in gemeentes aan te spreek.
ENGLISH ABSTRACT: Over the past few years the Dutch Reformed Church has been embroiled in a debate regarding worship within the church. Whilst the worship within a congregation has become one of the most important factors in church growth, it is also one of the reasons why some congregations loose membership and shrink in size. A major point of contention within this debate relates to the use of praise. To many believers, praise has become a process through which they worship and reinforce their faith. Instead of unifying the church in her worship of God, the current emphasis on praise within the church has become a source of frustration and a point of contention. This controversy mainly centres around the style with which praise is practiced within the congregation and is exacerbated by a lack of knowledge surrounding the topic and the diversity that exists within congregations. Members of the Dutch Reformed Church has widely divergent life views and also possess different spiritualities. To determine the use of praise within divergent congregations, this study evaluated the nature and function of praise within the context of the liturgy. Subsequently, a method to manage the diversity within congregations was developed. In 1980, Holmes developed a spirituality typology within which he identified four spirituality groups. Based on the spirituality typology, some spirituality analyses were formed to help congregations and individuals to test their spirituality. These analyses were used to identify the correlation between a spirituality group and their worship requirements. The results from this research clearly showed a positive correlation between these two parameters and also highlighted the value of using the spirituality analysis as a method to manage the different praise and worship requirements that exists within congregations.
30
Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene." Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.
Full textAbstract:
Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia.Thesis (DMus)--University of Pretoria, 2005.
Music
Unrestricted
31
Ehlebracht, Simon. "Lobpreis- und Anbetungslieder – Eine kritisch-würdigende Analyse der aktuellen Hillsong-Lieder." Diss., 2018. http://hdl.handle.net/10500/25603.
Full textAbstract:
Text in German with summaries in German and EnglishDie Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt gerechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion.
The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are underrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function
Practical Theology
M. Th. (Practical Theology)
32
Dittrichová, Johana. "Současné trendy protestantské liturgické hudby v České republice." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321573.
Full textAbstract:
anglicky The diploma thesis Contemporary Trends of Protestant Liturgical Music in the Czech Republic deals mainly with both - musical and unmusical - element of contemporary praise and worship songs used at protestant Sunday services. The aim of praise and worship music in a Sunday service, is to give praise to God, as well as it was in biblical times. Therefore the first chapter of the thesis presents observations about music in the Bible and examines its connections to non-musical ways of praising God, which throws light upon the situation today. The part of the thesis which makes the reader familiar with current situation of protestant liturgical music in the Czech Republic, points out weaknesses in present-day song writing and shows a need of musical education for Christians, who take part in performing music at Church, compose songs and translate them from other languages. There is also a notable trend of adapting hymnbook songs, which therefore become friendlier to younger generation who prefers livelier music. Although there is not any board for protestant liturgical music, there are several influential personalities, whose view on various components of music liturgy and relationship to God's praise are presented in the third chapter. All of them agree on the fact that praising God through...
33
Loewen, Paul Dennis Thielmann. "Du Wohnst unter den Lobgesangen Israels: eine Untersuchung der charismatischen Lobpreiskultur im Hinblick auf das implizierte Gottesdienstverstandnis." Diss., 2018. http://hdl.handle.net/10500/25700.
Full textAbstract:
Abstracts in German and EnglishDiese Studie befasst sich mit einer Untersuchung und Einordnung einiger theologischer Aspekte der charismatischen Lobpreispraxis im deutschsprachigen Raum. Dies erfolgt mittels Analyse einschlägiger Literatur sowie repräsentativer Liedtexte der charismatisch geprägten Lobpreismusik der letzten Jahre. Insbesondere durch die Untersuchung des Tempelmotivs und seine Bedeutung in der charismatischen Lobpreispraxis, werden Charakteristika eines zugrundeliegenden Gottesdienstverständnisses und sich daraus ergebende weltanschauliche Implikationen herausgearbeitet. Der Befund zeigt, dass den untersuchten Lobpreisliedern ein Narrativ der Begegnung des Menschen mit Gott und seiner Gegenwart (in „heiliger Atmosphäre“) als Grundmotiv zugrunde liegt. Dieses Narrativ folgt der Logik und dem Vorbild des alttestamentlichen Tempelkults. Wie der Eintritt des Priesters ins „Allerheiligste“, soll das gottesdienstliche Lobpreiserlebnis als eine transzendente Begegnung mit dem „Heiligen“ verstanden werden, wodurch sich Tendenzen zu einem sakral-kultischen Gottesdienstverständnis und Hinweise eines Dualismus zwischen „profanen“ und „sakralen“ wirklichkeitsdimensionen des zugrundeliegenden Weltbildes aufzeigen lassen.
This study evaluates some theological aspects of the charismatic praise and worship practice in the German-speaking area by analyzing relevant literature and representative lyrics of the charismatically influenced worship songs of recent years. In particular, by examining the temple theme and its significance in charismatic worship, the characteristics of the underlying conception of worship and the resulting worldview implications are worked out. The results show that the studied praise and worship songs are based on an underlying narrative of man's encounter with God and his presence (in a "holy atmosphere") through the singing. This narrative follows the logic and model of the Old Testament temple cult. Like the priest's entry into the "holy of holies", the worship experience is to be understood as a transcendent encounter with the "holy", whereby tendencies towards a sacral-cultic understanding of worship and a dualism between a "profane" and a "sacred" dimension of the underlying worldview can be shown.
Practical Theology
M. Th. (Practical Theology)
34
Ehlebracht, Simon. "Lobpreis- und Anbetungslieder: eine kritisch-wurdigende Analyse der aktuellen Hillsong-Lieder." Diss., 2018. http://hdl.handle.net/10500/25694.
Full textAbstract:
Abstract in German and EnglishDie Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt erechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion.
The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are nderrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function.
Practical Theology
M. Th. (Practical Theology)
35
K?ng-li?nN?g and 黃進蓮(勁連). "A Study on the Love Issues in the Po-kua Traditional Taiwanese Praise Songs." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/hc5mjc.
Full textAbstract:
碩士國立成功大學
台灣文學系碩博士班
98
Literature is the history of human heart, indeed, the Taiwanese praise song expresses the Taiwan people spiritual and emotional life history; through the image and the music language, the Taiwanese praise song shows the Taiwan people inner dreams, it also forms the collective subconscious, the joy or sorrow; regardless in folklore, sociology, linguistics, anthropology or literature, the Taiwanese praise song has certain value, in addition, in the Taiwan literary history, has its certain status. The preface mainly described the writing motivation and research methodology, as well as research and analysis of the text object. In the first chapter "national song and poetry," it explained "what is the praise song"; it also stressed that its origin is "game" and "labor", it is of the working class' game literature, of the civilian literature, not of the aristocratic literature, of the mass literature, and not of the author's literary. In the second chapter "praise song rheological origin," it briefly described the origin of the praise song, its formation, stray and development; how to crossing "the Taiwan Strait from China to Taiwan," to take root and grow in Taiwan; how to evolve from continental culture towards a large marine culture. In the third chapter "love joy and unrequited love," it discussed that the praise song shown is mainly the emotional content of life ---- also exactly the love-writing of young men and women's bold love and hate. In the fourth chapter "young girl cordial and attractive," it discoursed and analyzed the yearning and love hidden in the praise song. In the fifth chapter "picking girl's sugar without washing hands," it discussed and analyzed the love-writing of the hot love sweet love. In the sixth chapter "dating boy friend in the rear ditch," it discussed and analyzed that men and women in love steal secret to appointments. In the seventh chapter "yearning boy friend at sunset," it described and analyzed the hanging and cutting feeling. In the eighth chapter "my girl decidedly committed with me", it analyzed the curse swear that appears in the praise song. In the ninth chapter "discarded one flower then immediately picking another," it discussed the sudden and relentless change of boy's heart. In the tenth chapter "two lovers share mouth to mouth the sticky chewing gum," according to the pan-sexual theory of Sigmund Freud, it discussed and analyzed "erotic" in the praise song. In the eleventh chapter "being pregnant like a fragrant cinnamon," it briefly analyzed and discussed the praise song, its character of funny humor, and its use of humor to express the inner passions. Finally, the thesis repeatedly stressed that the Taiwanese praise song is the fertile soil of the Taiwan literature; in essence, it is almost the Taiwanese National Poetry; I hope that we all read it, study it and absorb its nutrients, lead to a lotus incarnation, to create a new era of literature, and establish we Taiwanese dignity. Appendix “the Taiwan Praise Song Common Terms and Explanations” is a small thesaurus of the Taiwanese praise song, which, I hope, would lend a hand to those who are interested in studying in depth the praise song.
36
Dhliwayo, Elizabeth. "A critical study of the praise singer yesterday, today and tomorrow." Diss., 2007. http://hdl.handle.net/10500/1334.
Full textAbstract:
The study sets to establish trends with regard to the role of the praise singer, the changes with regard to the traditional praise singer's rendition/performance and the material or content of his/her poetry. Thus the study highlights the distinction observed between the praise singer of the past and the present praise singer. The study also shows that the praise singer's performance, in terms of his/her role and content, is in the state of flux.
The study also demonstrates that the singer of the past and the present praise singer have the same role and their chants or poetry or songs have the same effect. It also highlights situations where praises are chanted in modern times. These are graduation ceremonies, weddings, political gatherings and traditional ceremonies, for example, the annual rain making ceremonies. These events or occasions are inextricably linked to traditional praises. The study also highlights the fact that traditional praises present the history and heroic deeds of members of the clan to which the beneficiary belongs. They also express the deep feeling of royalty and loyalty. Like in the past they boost morale.African Languages
M.A. (African Languages)
37
Reagan, Wen. "A Beautiful Noise: A History of Contemporary Worship Music in Modern America." Diss., 2015. http://hdl.handle.net/10161/9836.
Full textAbstract:
How did rock and roll, the best music for worshipping the devil, become the finest music for worshipping God? This study narrates the import of rock music into church sanctuaries across America via the rise of contemporary worship music (CWM). While white evangelicals derided rock n' roll as the "devil's music" in the 1950s, it slowly made its way into their churches and beyond over the next fifty years, emerging as a multi-million dollar industry by the twenty-first century.
This study is a cultural history of CWM, chronicling the rise of rock music in the worship life of American Christians. Pulling from several different primary and secondary sources, I argue that three main motivations fueled the rise of CWM in America: the desire to reach the lost, to commune in emotional intimacy with God, and to grow the flock. These three motivations evolved among different actors and movements at different times. In the 1970s, the Jesus People movement anchored in Southern California, adopted the music of the counterculture to attract hippies to church. In the early 1980s, the Vineyard Fellowship combined rock forms with lyrics that spoke of God in the second person in order to facilitate intimate worship with the divine. In the late 1980s, the church growth movement embraced CWM as a tool to attract disaffected baby boomers back to church. By the 1990s, these three motivations had begun to energize an entire industry built around the merger between rock and worship.
Dissertation
38
Ramzy, Carolyn Magdy Koen Benjamin D. "Taratîl Songs of praise and the musical discourse of nostalgia among Coptic immigrants in Toronto, Canada /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-03212007-130642/.
Full textAbstract:
Thesis (M.M.) Florida State University, 2007.Advisor: Benjamin D. Koen, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-29-2007). Document formatted into pages; contains 95 pages. Includes biographical sketch. Includes bibliographical references.
39
Tung, Chien-Lung, and 佟建隆. "The Trend of Worship Music Composition in Chinese Protestant Churches: A Case Study of “Stream of Praise”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/w669eq.
Full textAbstract:
碩士國立臺北藝術大學
音樂學研究所
102
The Christian worship music in Psalm showed how the gentile musical instrument and secular tone which impurity, were sanctified for worship God’s purpose. For the function of worship liturgy made the music sanctify. Since from the Old Testament to the early church, from the Middle Ages of Gregory time, through the Renaissance, the Reformation, until the Religion Revival movements in Twentieth century. For the cross-fertilization of secular and ecclesiastical styles is continuing acculturation. Since the half of twentieth century, the acoustic instrument such as piano and organ in church was replaced by using the electric guitar and synthesizer, the plug-in instrument which is plug in the popular musical culture. The worship music in European and Americans’ protestant churches by absorbing the style of rock and roll, jazz, hip-hop and techno music, in developing the popular music style, worship and praise. The culture meaning of popular music styles was transformed from negative to positive, from entertained secular music to worship service. The phenomenon of the cross-fertilization of cultures is more frequently by the mass media and the net. The Christian worship music in Taiwan’s church also been effected by the wave of the culture. This article will be the case of ‘Stream of Praise’, which found since in 1995, composed the worship songs for Chinese protestant church. By studying twenty-two albums, to analysis how the element of popular music adopted in the song arrangement, and how the composer to express ones experience in faith so that make the songs easy to learn and sing for the congregation in the worship service. The study is aim to find out how the American popular music culture, where developed from African culture affected and acculturated the trend of the composition.
40
CHEN, SHUN-FAN, and 陳蕣方. "The Benefit of Music Therapy Combined Hymns and Depression ──A Study of the Elderly Praise Songs Fellowship of a Hualien Church." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/wug7ys.
Full textAbstract:
碩士基督教台灣浸會神學院
基督教神學研究所
104
The Benefit of Music Therapy Combined Hymns and Depression ── A Study of the Elderly Praise Songs Fellowship of a Hualien Church Student: Shun Fan Chen Advisor: Yi Nuo Shih Taiwan Baptist Christian Seminary Master of Divinity Thesis Abstract Every person may encounter some difficulties, pressures and unexpected challenges in his lifetime and then fall into the morass of depression. Though sometimes, it is not him but his relatives or friends fell into depression, and need help. This research would like to study the effectiveness of ameliorating the degree of depression by combining hymns with music therapy. Hopefully, with positive results from this research, the method can be used in communities for families with members having depression. Through this, Gospel can be brought into these homes. And in the future, through churches, this kind of music ministry can serve those families in need. This study was to investigate the influence of Christian hymns and music on people’s depression, particularly for older people. The author specially designed a trial with an eight lessons pluralistic and lively music course. Before the first lesson, the elderly are asked to fill out a Geriatric Depression Scale (GDS). Then, teach them the lessons for weeks. The lyrics of hymns are expected to help their physical and mental health. And, through the music and the scriptures, the message of Christian faith may help them express their feeling and improve their memory. Finally, using Christian hymns and music may bring them peace and joy help them express their emotions, and bring healing to their depressive heart. After the completion of these eight music lessons, they were then asked to fill the GDS again. The GDS results of before and after the eight lessons were compared by using social science statistics software SPSS t – test analysis. The significance of the differences was analyzed. If the results shows highly significant, that means the combination of Christian hymns music with music therapy have significant benefits of improving the depressed person. In this study, the significant value of t – test is 0.057, almost a statistically significant value. This means combining Christian hymns and music with music therapy, indeed can improve the depression. Participants in their feedback form, also considered that the poetry music can bring them the spiritual consolation, and can relieve their depressions and anxiety. The results confirmed that soothing hymns and music is a medicine to anxious depression. Based on the research results, the author is convinced that the combination of hymns and music and therapy music will be able to achieve these goals: to ameliorate the degree of depression, to restore and improve the health of body and soul. Through music and hymns, people will receive comfort, healing and renewal of life. And besides all these benefits, with better understanding of biblical truth, their mind will be set free. 【Key Word】Depression, Music Therapy, Hymns, Geriatric Depression Scale(GDS)
41
林碧珠. "A Study of Po-kua, Taiwanese Praise Songs, in Ta-khe Area-Its Application of the Native Language Education in the Elementary School." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/924sd5.
Full textAbstract:
碩士國立臺灣師範大學
台灣文化及語言文學研究所
101
“Praise/banter songs” deliver fascinating stories with rich plots, through duets in scenes of daily life. Through sentence pattern, rhetoric and interpretation of love song styles, the audience experience lively scenarios. “Praise/banter” are based on realistic descriptions on ways of the world and delivers the beauty of popular literature. Their concise spoken language expresses artistic quality of sound and sense. They are not only text of singing and telling, but excellent teaching material for promoting cultural learning. There are few devotees still actively pushing for preservation of the heritage. They not only open course and teach in schools and communities, but even contact local radio networks. They hope to find a stage for these national treasures and children as well as adults will be actively involved in the development and preservation of the heritage. This thesis is divided into five chapters. Chapter 1 includes the introduction, research methods, and literature review. I interviewed 16 praise/banter song singers in Jiaoxi, Yilan, and then did some linguistic analyses of the recorded songs. Chapter 2 first explores the relationship between praise/banter songs and tea-making industry. Through linguistic analyses, many praise/banter songs recorded in Jiaoxi are full of pronunciation and diction of local color. Also, of all the types of rhyme schemes, 74.52% are monorhyme (AAAA), which proves that praise/banter singers rhyme their songs in the similar way naturally. During the fieldwork, a lady singer was found to have recorded the songs in pictures, which is similar to the Dongba symbols, a system of pictographic glyphs, and worthy of studying both in the aspects of folk literature and writing system. Chapter 3 introduces the song of "dragon boat racing." I consider that this song is suitable to being used as teaching materials in elementary school, for it emphasizes the sportsmanship and teamwork and can motivate more enthusiasm from students and make them love their homeland more. Chapter 4 describes the process of teaching the song of "dragon boat racing" in the class of the elementary school native language education. This praise/banter song teaching is conducted at one class from the third grade and another class from the fourth grade. During the five weeks, each session was incorporated with lessons on vowels, diphthongs, nasal tones, and consonants, as a preparation for rhymes and praise/banter songs. Chapter 5 is the conclusion of this thesis: through the fieldwork, it is found that the Tsiang-tsiu (Zhangzhou) accent is preserved well by the native speakers in Yilan. Besides, special local custom and tradition can be seen via the content of these praise/banter songs. Moreover, during the process of teaching the praise/banter songs to the children, I am surprised at their unlimited potentials both in learning and creating. Taiwanese preserves in particular a lot of ancient pronunciations and tunes, as well as classical phrases and colloquial proverbs. It is all-inclusive and full of diversity. To motivate more enthusiasm from students, it is productive and effective to incorporate in to teachings with proverbs, slangs, riddles, nursery rhymes, tongue twisters and riddles. From the result of my teaching experiment, I think praise/banter songs are also a good material. As long as they are promoted properly, I believe that the achievement will also be promising.
42
CHAO, Li-Chen, and 趙莉珍. "Study of Education and Training for Church Pianist in Taipei Area: Starting With the Korean "All Nations Worship and Praise Ministries" Group Visiting Taiwan in 1989." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/92574298178157142368.
Full textAbstract:
碩士東吳大學
音樂學系
92
Most churches in Taiwan, no matter consist of many or few people, have been in lack of pianists for a long period of time. After the 1989 visting Taiwan of Korean “All Nations Worship and Praise Ministries”, this group brought a reformation agenda for worship - lots of contemporary repertoires were taken into the worship procedures. The new program became a reform movement. Churches in Taiwan felt the new experience during this reformed worship. Moreover, some of them even practice the new form of procedures. The impact is so huge that the new form of worship is called “worship and praise” which is actually named after this Korean group. That is why I subtitle this thesis ‘Starting With the Korean “All Nations Worship and Praise Ministries” Group Visiting Taiwan in 1989’. In this study, by attending or interviewing assembly held by the ministries and affected churches, it summaries features and teaching requirements of this new form of worship. I also study several pianist training programs held by Christian institutes, seminaries and churches in Taipei Area. Thus to study whether or not those training programs can meet technical requirement of this new form of worship, and to conclude some suggestions for existing church pianist training and hopefully to solve the insufficiency of church pianist. Keywords: Christian, Church, Church Pianist, All Nations Worship and Praise Ministries, Worship and Praise, Training, Hymns, Contemporary Christian Songs
43
Lu, Hsiu-yun, and 陸秀雲. "An Investigation on the Attitude of the Congregation in Taiwan Christian Church Toward Traditional Liturgical Music and Contemporary Praise and Worship Music---Between Tainan and Kaohsiung City." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/03381113677638807010.
Full textAbstract:
碩士國立臺南大學
音樂教育學系教學碩士班
97
This research aims at investigating the attitudes of the congregation in Taiwan Christian church toward traditional liturgical music and contemporary praise and worship music between Tainan and Kaohsiung city, and also investigating the difference in the attitudes of the congregation from different background toward traditional liturgical music and contemporary praise and worship music, and the related conditions of each dimension. This research was conducted through the poll, and it adopted a self-designed questionnaire as the measurement tool, “Opinions of the Congregation in Taiwan Christian Church on Traditional Liturgical Music and Contemporary Praise and Worship Music.” This research took the Christian churches in Tainan and Kaohsiung city as population, 898 copies of the questionnaire were sent out by stratified sampling, and 867 copies were returned. Among them, 20 copies were invalid, and therefore there were 847 copies are valid. The collected data were analyzed by descriptive statistics, t test, One-Way ANOVA, multiple comparisons by scheffe’s method, Pearson’s product-moment correlation, etc. Besides, interviews were also conducted. In the end, according to the outcomes and findings, this research came to the following conclusions. The following conclusions were drawn up from the outcomes of the research into the attitude of the congregation in Tainan and Kaohsiung Christian churches toward traditional liturgical music and contemporary praise and worship music: 1. The congregation takes an active and accepting attitude toward traditional liturgical music and contemporary praise and worship music. 2. The background variables, such as sex, educational background, residing area, individual music learning experience, were not significant differences in the overall attitude toward traditional liturgical music, but the congregation’s age, identity, preference for liturgical music, music attribute, and the experience in group music participation were significant differences at .05 level in the attitude toward traditional liturgical music. 3. The background variable of sex were not lead to significant differences in the overall attitude toward contemporary praise and worship music, but the congregation’s age, identity, educational background, residing area, preference for liturgical music, music attribute, and the experience in group music participation had significant differences at .05 level in the overall attitude toward contemporary praise and worship music. 4. There is no significant correlation between the overall attitudes of congregation toward traditional liturgical music and contemporary worship music. However, there is positive correlation existing between the comparisons of each subscale of traditional liturgical music and contemporary praise and worship music, and the positive correlation is medium-high between each other. This research also summarizes the reasons why the congregation likes liturgical music and their opinions on improving liturgical music. Finally, according to the foregoing research outcomes, the integrated conclusion is drawn up and concrete suggestions are raised for the reference of related organizations and follow-up researchers.
44
Papenfus, Anna Francina. "'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV." Diss., 1994. http://hdl.handle.net/10500/15739.
Full textAbstract:
This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audienceThe reformed churches have theological and musicological criteria for their hymns, which, however, are not always unambiguous. After the introduction of the Jeugsangbundel (1984) an informal song, with informal accompaniment, entered the worship and forms a prominent part of the singing in Dutch Reformed Churches today. Some congregations compile their own volumes of songs. This study set out to identify these congregations by means of a questionnaire and evaluate the songs. Other relevant information was also required from congregations. 21 % of the respondent congregations sing unapproved songs. They have a larger percentage of young people than those singing official songs. Congregations prefer a balance of formal and informal hymns and both are sung with equal enthusiasm. The melody is the strongest characteristic of the informal song and edification the strongest of the formal hymn. The evaluation, however, shows that a considerable number of songs do not meet the required standard
Art History, Visual Arts & Musicology
M.A. (Musicology)
45
Taljaard, Dirk Cornelis. "Teologiese elemente van lofprysings en aanbidding in kontemporêre jeugbediening." Diss., 2000. http://hdl.handle.net/10500/16166.
Full textAbstract:
Text in AfrikaansLofprysing en aanbidding, wat die kern behoort le vorm van elke erediens, omdat God sentraal staan daarin, en wat ook die middelpunt van die erediens van die !ewe behoort le wees, omdat dit die reaksie van dankbaarheid op God se goedheid is, word in die Gereformeerde tradisie heel dik els met groot skeptisisme bejeen. Deels gebeur dit omdat die begrippe "lofprysing" en "aanbidding" dalk nog nie duidelik gedefinieer is nie en daar dikwels baie subjektiewe betekenis daaraan gegee word. Dis 'n groat jammerte omdat dit baie van die vreugde, die hartlikheid en die warmte van byeenkomste van die geloofsgemeenskap ontneem. Verder het dit tot gevolg dat sommige lid mate - en veral jongmense - hulle heil elders gaan soek, waar hulle behoeftes aangespreek word. Aangesien hierdie 'n studie is wat fokus op die Skriftuurlike en teologiese begronding van lofprysing en aanbidding, asook die behoeftes van jongmense, word aandag geskenk aan belangrike tendense wat 'n invloed uitoefen op hulle behoeftes, voor- en afkeure en algemene lewensuitkyk. Sake wat aan die orde kom is onder andere kultuur - met verwysing na subkulture en pop-kultuur - die sogenaamde Generasieteoriee en spiritualiteitstipes. Laastens word aanbevelings gemaak oor hoe gemeentes en kerke, met in agneming van veral die behoeftes van jongmense, lofprysing en aanbidding op 'n Skriftuurlike en teologiese verantwoorde wyse kan beplan en aanbied, terwyl jongmense in die proses bemagtig word om mede-verantwoordelikheid daarvoor te aanvaar.
Praise and worship, central to every church service, as a grateful response to God's goodness and mercy, is frequently met with scepticism within the Reformed tradition. This is, partly, due to different definitions, resulting in a variety of subjective interpretations. It deprives the faith community of the joy and warmth expected to be experienced at gatherings. It furthermore results in youth having to seek alternative pastures for their specific needs. This research focuses on the Scriptural and theological foundation of praise and worship, as well as the needs of the youth, relevant trends influencing their needs, their preferences and dislikes as well as their attitude towards life in general. Aspects such as culture and the so called Generational theories and types of spirituality will come under scrutiny. Lastly recommendations are made for planning and presentation of Scriptural sound praise and worship, whilst, at the same time, empowering them to take joint responsibility.
Philosophy, Practical & Systematic Theology
M. Diac. (Jeugwerk)
46
Hes, Jiří. "Magtál - Mongolská oslavná píseň, její jazyková a kulturní specifika." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336508.
Full textAbstract:
The subject of this M.A. thesis is magtaal (or mongolian praise song) in the context of mongolian traditional oral folklore a the main focus of the thesis lies in its linguistic specifics and its role in mongolian rural environment. The thesis is is solved in two main parts. First one provides a general characteristics of this genre with emphasis on its ethnolinguistic, sociolinguistic and performance aspects. Further division to subgenres is also provided. The second part deals with each particular subgenre based on an analysis built around translation of parts of praise songs and referential commentaries. The main contribution of this thesis lies in a more detailed view on this genre from a different perspective rather than a general folkloristic view. In this way praise song is displayed as genre that is transcending above a simple form of a song but becomes a mean of communication and a specific manner of construction and perception of mongolian image of the world.
47
Matějovský, Ondřej. "Odraz učení o sedmi svátostech v liturgickém díle Tobiáše Závorky Lipenského." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-388819.
Full textAbstract:
This master's thesis named Seven Sacraments Reflection in Tobias Zavorka Lipensky's Liturgical Work, deals with the transcription and analysis of liturgical acts which reflect seven sacraments of the Catholic Church. The appropriate texts were taken from Zavorka's agenda The Rule of Church Service, the hymn-book The Songs of Divine Praise and the song-book Funeral Chanting. The master thesis begins with brief Zavorka's curriculum vitae of Zavorka, who was the neo-utraquistic priest and Dean of the region of Doubravnik, and a description of his works. The main focus of the thesis is to describe the specifics of the special or sacramental liturgical acts that demonstrate the character of Zavorka's theological and liturgical work.