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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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Schulman, Grace. "Praise Songs." Sewanee Review 121, no. 4 (2013): 544–47. http://dx.doi.org/10.1353/sew.2013.0113.
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Clark, Neville. "Baptist Praise and Worship." Baptist Quarterly 35, no. 2 (January 1993): 95–100. http://dx.doi.org/10.1080/0005576x.1993.11751914.
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Ball, Michael. "Baptist Praise And Worship." Baptist Quarterly 40, no. 4 (October 2003): 196–214. http://dx.doi.org/10.1179/bqu.2003.40.4.002.
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Thunberg, Lars. "Grundtvig og de latinske salmer - et teologisk perspektiv." Grundtvig-Studier 43, no. 1 (January 1, 1992): 67–92. http://dx.doi.org/10.7146/grs.v43i1.16076.
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Grundtvig and the Latin Hymns - A Theological PerspectiveBy Lars ThunbergA number of scholars have devoted attention to Grundtvig’s hymns, as they are represented in his magnificent Sang-Værk. The hymns form a kind of corona of Christian poetry, intended for the congregation to use in its worship and outside the church. A number of them are congenial renderings of hymns from other traditions: the Greek, the Latin, the Anglo-Saxon, beside the Lutheran. As far as the Greek and the Latin material is concerned, Jørgen Elbek, the literary historian, has made a remarkable contribution. This article follows up Elbek’s intentions.In his Sang-Værk Grundtvig follows the principle that his collection of hymns should reflect what is given - to Christendom as a whole, and the Danish congregation specifically - through the seven historical traditions: the Hebraic, the Greek, the Latin, the English, the German, the Nordic (= Danish) and possibly a seventh, not yet fully discovered. Theoretically Grundtvig develops this idea in his late work Christenhedens Syvstieme, where an Indian congregation is indicated as the seventh one. Elbek has shown that - against this background - Grundtvig wanted to give to the Danish Church a collection of hymns, expressing the unison hymnody of the present day Danish congregation..Among the classical traditions, the Latin ‘congregation’ occupies a particular place. This particularity, however, is a problem to Grundtvig at the same time. Elbek has underlined that Grundtvig was aware of the fact that no Christian is basically able to speak on behalf of the universal Church. Thus, this is also true of Grundtvig himself in his translation/rendering of Greek or Latin hymns. His translation of them into present-day Danish involves a contextualisation, which means that they are at the same time felt to be close and familiar as well as distinct from their original setting. They become songs of praise, integrated into the Danish contemporary situation.However, it is characteristic of Grundtvig that he is very faithful to his Latin originals (which he studied in different versions and very carefully), and at the same time feels free to render them according to his own understanding of what is of importance to his own Danish Church. This combination of faithfulness and freedom is a genuine expression of Grundtvig’s unique ability as a hymn writer. He uses it to express his very personal feeling of what is - as a matter of fact - universal Christian belief.In the article these principles of Grundtvig are illustrated through a short analysis of his rendering of the following 14 Latin hymns: Conditor alme siderum, Veni redemptor gentium, Puer natus in Bethlehem, Vexilla regis prodeunt, Salve crux arbor, Stabat mater dolorosa, Salve mundi salutare, Mane prima sabbad, Mundi renovatio, Zyma vetus expurgetur, Laus tibi Christi, Beata nobis gaudia, Urbs beata Ierusalem and Pange lingua gloriosi.
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Moleck, Fred. "Many Songs, One Worship." Liturgy 9, no. 1 (January 1990): 22–25. http://dx.doi.org/10.1080/04580639009409164.
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S, Senthamizh Pavai, and Arivudainambi C. "Power worship of Bharatiyar songs." International Research Journal of Tamil 3, S-2 (April 30, 2021): 164–69. http://dx.doi.org/10.34256/irjt21s232.
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Bharathi has sung about the power and Goddesses in his songs. It is noteworthy that most of the deities sung by Bharathi are Female Deities. This article evinces about Bharathi who claims “Sakthi” to be the source of all the powers. The state men and women in worshiping sakthi. She acts as ‘Kalaimagal’ (Saraswathi) when she gives wisdom, she acts as a ‘Thirumagal’ (Lakshmi) when shegives wealth and she acts as‘Mother Sakthi’ (Parvathi) when she gives valor.
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Rees, Mags. "Songs of praise for practice nursing." Practice Nursing 14, no. 11 (November 2003): 520. http://dx.doi.org/10.12968/pnur.2003.14.11.11816.
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Castle, Brian. "Hymns—More Than Songs of Praise." Theology 94, no. 758 (March 1991): 101–6. http://dx.doi.org/10.1177/0040571x9109400204.
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Knights, Chris. "Hymns—More Than Songs of Praise." Theology 94, no. 761 (September 1991): 354–55. http://dx.doi.org/10.1177/0040571x9109400508.
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Pittard, John. "Worship and The Problem of Divine Achievement." Faith and Philosophy 38, no. 1 (January 1, 2021): 65–90. http://dx.doi.org/10.37977/faithphil.2021.38.1.5.
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Gwen Bradford has plausibly argued that one attains achievement only if one does something one finds difficult. It is also plausible that one must attain achievement to be worthy of “agential” praise, praise that is appropriately directed to someone on the basis of things that redound to their credit. These claims pose a challenge to classical theists who direct agential praise to God, since classical theism arguably entails that none of God’s actions are difficult for God. I consider responses to this challenge and commend a view according to which God’s loving character is not necessitated by God’s nature but is a contingent and difficult achievement. I argue that this view can still satisfy the explanatory ambitions of natural theology.
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Hussey, Ian. "The Songs We Sing: A Textual Analysis of Popular Congregational Songs of the 20th and 21st Century." Ecclesial Practices 6, no. 2 (November 26, 2019): 217–34. http://dx.doi.org/10.1163/22144471-00602003.
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Contemporary worship songs have been the subject of criticism over their lyrical quality. Objective assessment of the veracity of the criticisms has been difficult to achieve. This research seeks to address this issue by performing a textual analysis of the most popular hymns of the 19th and 20th centuries and contemporary popular worship songs and comparing the results. The research concludes that although there are differences in the lyrical content they are not crucial and that both contemporary worship songs and traditional hymns should find a home in congregational song.
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Davies, Omar. "Songs of Worship in Life and at Death." International Journal of Public Theology 7, no. 4 (2013): 458–75. http://dx.doi.org/10.1163/15697320-12341312.
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AbstractThis article analyses and contrasts two songs that reflect on the meaning of life and death: the traditional hymn, ‘Farther Along’ and the song by late reggae icon, Peter Tosh, ‘Jah Say No’. Both songs consider how believers engage with the challenges of life; however, the comparison of these songs may be considered unusual as, while most Christians would accept ‘Farther Along’ as a religious song, there would be very few who would classify ‘Jah Say No’ in a similar fashion. Nevertheless, the lyrics of the two songs present diametrically different views of the nature of our earthly existence; hence, the comparison sheds light on diverse spiritual experiences in the Caribbean today.
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Cherkashina, O. V., N. M. Utesheva, and O. M. Yakymchuk. "Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 60–73. http://dx.doi.org/10.34064/khnum2-17.04.
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Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The holistic musical-theoretical analysis is applied to determine the figurative content of the work, to identify the peculiarities of form-building and the use of compositional ways of expressiveness (the intonational structure of the basic elements of the form, the tonal-harmonic plan, the methods of development of the thematic material). In the analysis of music the method of comparison was used (to identify correspondence between the means of musical expressiveness and the features of the canonical text). Results. The material of the analysis are four chants (“The King of Heaven”, “Glory to the Father, and the Son, and the Holy Spirit”, “My voice to the Lord”, “Holy, holy, Lord of Sabaoth”), which are united in the cycle “Spiritual chants for female choir a cappella”. In the process of researching the algorithm of sequence of the chants in the cycle is revealed, as well as the correspondence of musical means of expressiveness to canonical text. It is concluded that all chants expressly convey the meaning and the features of the canonical text. Musical structures clearly correlate to verbal. The greatest number of repetitions in the chants the stable formulations of the canonical text acquires: “Lord have mercy”, “Hallelujah”, “Glory to the Father, and to the Son, and to the Holy Spirit”, “Holy Lord”. The semantic significance of the canonical text is reproduced through the rich harmony and inventional polyphony, through the changes of time signatures, text repetitions, the wide choir range, dramatic development and contrasts of all means of expressiveness. Four abovementioned spiritual chants for the female choir a cappella on the canonical texts were written by I. Aleksiichuk in different times during 2002–2011. The order of the canonical text and the logic of the deployment of the musical material allowed the composer to combine them into a fourpart concert for a female choir. The cycle begins with the evening prayer “The King of the Heaven” (prayer to the Holy Spirit). This prayer is а part of the early and evening Church rules. Anumber of services that are performed during the day in the Orthodox Church opens by the evening Divine service, since the day, according to the Church’s Charter, begins in the evening. That is why in first the evening service is, which included the repentant prayers for everyday sins and gratitude to God for this day. The chanting begins and ends with the sound of the bells that by and by go silent. The similarity of the finale to the introduction, the repetition of the musical and verbal texts contributes to the roundness of the musical form and helps to its holistic perception. The music of the incantation “Glory to the Father, and the Son, and the Holy Spirit” reproduces his exalted character. Applied by the author the ways of expressiveness correspond to the canonical text, which glorifies the God in his three hypostases. The definitive feature of the musical work is the presence of a genre sign characterizing of Orthodox worship, the bells. This feature is reproduced in the homophonic-harmonic texture of the composition relying on the main harmonic functions, singing the repeated sounds, etc. In this chant, I. Aleksiichuk is working on three small parts of the canonical text: “Glory to the Father, and to the Son, and to the Holy Spirit”, “now and always and forever” and “Hallelujah”, giving each of them the certain musical themes. The complete formula of prayer sounds in the work three times gaining dynamic development. In the third chorus, “My voice to the Lord”, verses from Psalm 141 are used. This Psalm is the prayer of David to the Lord in the cave in time of his persecution by Saul. Of the seven verses of David’s Psalm, I. Aleksiychuk used four – 1, 2, 4, 5, in which the main content of the work is concentrated. The last part of the cycle is the hymn “Holy, holy, Lord of Sabaoth” performing finale function. This prayer is a part of the Eucharistic canon and it sounds in the most important section of the Divine Liturgy – the Liturgy of the Faithful. The chant begins immediately with the glorification of the God. Conclusions. An analysis of spiritual chants with canonical texts for the female choir a cappella by I. Aleksiichuk illustrates the following. All the songs very clearly express the meaning and features of the canonical text. I.Aleksiichuk choses three-part forms with reprise, in which clearly, according to the text, the musical structures built; the stable formulations of the canonical text “Lord have mercy”, “Hallelujah”, “Glory to the Father, and the Son, and the Holy Spirit”, “Holy Lord” are most often repeated; at the end of the three chants (except «My voice to the Lord»), the final confirming formula of the prayers “Amen” sounds; means of expressiveness (changing of meter signatures, repetitions of the sounds, a wide range of the choir, singing of the main sounds of melody) are designed to create the illusion of chime that is the genre sign of the Orthodox worship; the semantic meaning of the canonical text is passing through the rich harmony, in which dissonances and chromaticism aggravate the expressiveness of the spoken words, through the dramatic development of the words of praise (“Hallelujah”, “Glory to the Father, and Son”), poly-timbre sounds, contrasting of all means of expressiveness, etc.
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Ward, Pete. "Spiritual Songs as Text: Genre and Interpretation." Journal of Youth and Theology 1, no. 1 (January 27, 2002): 49–64. http://dx.doi.org/10.1163/24055093-90000089.
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Contemporary worship songs are a contextualisation of the Christian faith in popular culture. As such they may be read as genre in relation to other styles of popular music. This paper discusses the use of genre in the study of popular music and then uses the interpretative pattern resulting from this discussion to develop a complex multilayered reading of one specific worship song.
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Wauran, Max H. "Clapping In Seventh-Day Adventist Worship." Klabat Theological Review 1, no. 1 (August 31, 2020): 33. http://dx.doi.org/10.31154/ktr.v1i1.464.33-48.
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Clapping is considered as a media of praise and thanks in Christian worship. Some give space to this practice while other reject it. This article tried to identify the biblical foundation of these ideas, and was carried out through the following phases: formulating the problem, preparing the title, and searching the related supporting materials in the library research and electronic facilities. The research focused on three main aspects: the clapping in the Bible, the Christian and practice of clapping in worship services, and clapping in Seventh-day Adventist Church. It is found that there is no Bible text and theological evidence which support the practice of clapping in the place of worship, in other words clapping in the church services is unbiblical, and for this reason clapping in Seventh-day Adventists worship services is not necessary. Instead of clapping, the use of amen is suggested in responding the message or musical presentation. Since clapping has become controversial issue in Adventist worship services, the church leaders need to instruct and guide the church members to the right understanding of clapping.
Keywords: clapping; applaus; worship; praise
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Holmes, Stephen R. "Listening for the Lex Orandi: The Constructed Theology of Contemporary Worship Events." Scottish Journal of Theology 66, no. 2 (April 10, 2013): 192–208. http://dx.doi.org/10.1017/s0036930613000033.
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AbstractScholarly attention to the popular style of contemporary worship has so far been infrequent, and generally dismissive. Dismissive attitudes have generally been based on claims that individual contemporary worship songs are lacking in theological development, and that contemporary worship merely apes the mores of pop culture, replacing a proper liturgical event with something akin to a rock concert. In this paper I suggest that both these criticisms are false. The first is a misunderstanding of the nature of the liturgical tradition of contemporary worship, in which the crucial liturgical event is the ‘time of worship’, constructed out of a number of songs and other liturgical elements, which together construct a liturgical narrative with theological and pastoral depth; criticising individual songs is therefore largely irrelevant. The second fails to pay attention to the nuanced negotiation with popular culture that is evident in the tradition of contemporary worship, when observed carefully; dominant cultural practices are not unreflectively adopted, but modified and, if embraced, embraced critically and put to use. I demonstrate these two points by offering readings of two (video recordings of) contemporary worship events, Matt Redman's Facedown DVD and Tim Hughes's Happy Day DVD; in each case I explore the ways in which cultural practices are modified and effectively subverted in pursuit of a liturgical goal, and offer a theological reading of the narrative of the time of worship. I propose that, whilst there are significant differences, both can be seen to be liturgically responsible and theologically deep experiences of worship.
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Ellis, Robert, and J. Stuart Weir. "In Praise of God: Sport as Worship in the Practice and Self-Understanding of Elite Athletes." Religions 11, no. 12 (December 17, 2020): 677. http://dx.doi.org/10.3390/rel11120677.
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The relationships between sport and religion have been examined from a number of perspectives, and parallels between sporting activity and worship are often observed, positively or negatively. Elite sports participants often perform religious gestures and many speak of their sporting performance in terms of their religious faith, including the assertion that it constitutes an act of worship. The authors begin by considering the nature of Christian worship, examining worship as a phenomenon, key biblical and theological ideas, the relationship of worship to sacred places and times, and the relation of worship to everyday life. The self-understanding of elite athletes of faith is then considered, as articulated in interviews collected over several years with one of the authors and in other published statements. This data is then mapped back on to the previously considered ideas of worship. The article suggests that, while the correspondence may not be complete or exact, there is good reason to take seriously the claims of elite athletes of faith that their sporting performance should be regarded as an act of worship.
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Richardson, Paul A. "Book Review: Thankful Praise: A Resource for Christian Worship." Review & Expositor 87, no. 3 (August 1990): 511–12. http://dx.doi.org/10.1177/003463739008700334.
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Benjamins, Laura. "Learning through praise: How Christian worship band musicians learn." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 417–33. http://dx.doi.org/10.1386/jpme_00004_1.
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Popular music education continues to increase in North American educational settings. While popular music teaching and learning are recognized in a variety of contexts, contemporary Christian church praise bands have not been significantly addressed in music education literature. In addressing this gap, the purpose of this study is to examine the musicking practices occurring in the contemporary worship music (CWM) context and how these lead contemporary Christian musicians to acquire and develop their musical skills. Green’s five principles of informal music learning were found to apply in part, yet other distinctive features were also present in study findings. Themes such as elitism, excellence, hierarchies of musical engagement, and inclusion/exclusion of worshippers and the congregation also arose, providing interesting areas for future research.
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Scheer, Greg. "A musical ichthus: Praise & worship and Evangelical identity." International Journal of Community Music 2, no. 1 (May 1, 2009): 91–97. http://dx.doi.org/10.1386/ijcm.2.1.91_1.
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Boulton, Matthew. "Forsaking God: a theological argument for Christian lamentation." Scottish Journal of Theology 55, no. 1 (February 2002): 58–78. http://dx.doi.org/10.1017/s0036930602000145.
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In this essay I argue that lament, as the primary liturgical witness to divine absence in times of human need, functions in worship as a discipline of negation and disruption through which what might be termed the God of glory – the God installed by liturgical gestures of ‘praise’ – is opposed and denied, in effect forsaking God by clinging to God's promise over and against God. To spell out this argument, I turn first to Psalm 22, then to the choreography of Holy Week, contending that in proper Christian worship and life, the doxology of triumph (‘hosanna’) is transformed via lamentation into an eschatological form of praise (‘hallelujah’).
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Воронцов, Василий. "The Place and Significance of Litany in the Divine Service and the Manner of its Execution." Праксис, no. 2(4) (August 15, 2020): 137–48. http://dx.doi.org/10.31802/praxis.2020.4.2.009.
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Поводом для написания данной статьи послужила обеспокоенность автора состоянием богослужения в наши дни. Причём тревогу вызывает не сокращение объёма литургических текстов, а потеря понимания и чувства значимости некоторых из них. Отсюда, естественно, развивается достаточно вольное отношение к ним и, соответственно, небрежное исполнение их во время богослужения. После краткого упоминания о том, как должна совершаться служба Богу, автор переходит к основному предмету статьи. А она посвящена ектении как важнейшей части почти всех особо значимых богослужебных чинов Православной Церкви. В публикации представлены виды ектений, дана характеристика их содержания, показано их место во всех службах, где они встречаются, выявляется их особая роль среди множества других молитвословий, из которых состоит то или иное богослужение. Особое внимание уделено причине неоднократного употребления ектений в составе канонов утрени. Здесь ектении призваны снять напряжение внимания при исполнении подряд большого количества тропарей. В наибольшей степени это относится к канону в первый день Пасхи. Неслучайно, только на этой службе ектении произносятся после каждой песни канона. Кроме этого, в статье даётся обоснование неоднократного произнесения ектений и на службах, не относящихся к суточному кругу, каковы ми являются все пространные чинопоследования Требника, такие как службы таинств Крещения и Венчания, чины отпевания усопших, молебные пения. Отдельно отмечается образ исполнения ектении священнослужителями и хором. При этом особый акцент делается на те изъяны при совершении богослужения, которые укоренились почти во всех современных храмах. The reason for writing this article was the author’s concern about the state of Orthodox divine service in our days. Moreover, it is not the reduction in the volume of liturgical texts that causes concern, but the loss of understanding and a sense of the significance of some of them. Of course, this follows a rather free attitude to them and their careless performance during the worship service. After a brief mention of how the worship service to God should be performed, the author proceeds to the main subject of the article. And it is dedicated to the litany as the most important part of almost all particularly important liturgical ranks rites of the Orthodox Church. The publication presents the types of litanies, describes their content, shows their place in all wor ship services where they occur, and reveals their special role among the many other prayers of which this or that Orthodox divine service consists. Special attention is paid to the reason for the repeated use of litanies in the canons of Matins. Here litanies are designed to relieve the stress of attention when performing a large number of troparia in a row. To the greatest extent it relates to The Canon of Easter in the first day of Easter. It is no coincidence that only at this worship ser vice litanies are pronounced after each song of the canon of Matins. In addition, the article justi fies the repeated pronunciation of litanies also in worship services not related to the daily circle, which are all the lengthy extensive ranks rites Orthodox Breviary (Trebnik), such as the services of the sacraments of Baptism and Marriage, the funeral rites for the deads, prayer services. The ar ticle separately notes the manner of litany execution by the clergy and choir. At the same time, special attention is paid to those shortcomings in the worship that are rooted in almost all mod ern Orthodox temples.
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Sasongko, Michael Hari. "IDIOM MUSIK KLASIK DI GEREJA KARISMATIK." Tonika: Jurnal Penelitian dan Pengkajian Seni 1, no. 1 (November 26, 2018): 1–14. http://dx.doi.org/10.37368/tonika.v1i1.7.
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Church music has long history and experiences in its periods. It began when they, the believers, mentioned themselves as the “Christian”. From the time that phenomenon the christians commenced their act of devotion tradition included their musical tradition of worship. The existence of church music more developed till Middle Age or Dark Age Period. It was dominantly covering to others music genre. At the Renaisance Period, the church reformation movement occured and it was pioneered by Martin Luther. Western music changed at the time. Luther changed of scene; He changed the tradition of Catholic church that used Latin lirics to folk language; He changed the gregorian chant tradition with folksong. The phenomenon was the first time of event of inculturation in world history of music after it undergone stagnancy during the authorization of Roman empire, especially when Pope Gregory created the standarization to all christian music. At the present day we are familiar with charismatic music tradition which is developed from American music tradition. It has a characteristic which is used as the band instrument in praise and worship by christian believers. But sometimes, the believers also use arpeggio or broken-chord as the main charracter on Classical Period in part the way of Western music history. Pass through the reasearch, the reasearcher look into the idioms are used in praise and worship in charismatic church. The reasearcher found that the using of idiom in Classical Period has enriched the nuance of music aesthetic in praise and worship.
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Diaconu, George. "One of the First Liturgical Hymns of the Eastern and Western Christian Church: the Great Doxology – Gloria in excelsis Deo." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 313–35. http://dx.doi.org/10.1515/ress-2015-0027.
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Abstract The doxological character is one of the essential aspects of the Christian worship, taken from the Hebrew divine worship. Thus, the doxological character of many Christian prayers and liturgical hymns represents the foundation and at the same time the key which reveals and explains the theology of the Creation, its mystery and purpose. The role of the Creation is to praise the Creator, as invited conclusively by the last verse of the last canonical Psalm: ”Let everything that has breath praise the Lord!” (Ps. 150, 6). We will bring to the forefront of our debate the Great Doxology, one of the first liturgical hymns of the three basic doxological structures (the small, the great and the maximum doxologies) of the Eastern and Western Christian Church.
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Clements, John, Mark Rapley, and Robert A. Cummins. "SONGS OF FAINT PRAISE: A REPLY FROM THE DAMNED." Behavioural and Cognitive Psychotherapy 27, no. 2 (March 1999): 125–28. http://dx.doi.org/10.1017/s1352465899272037.
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In this response to the commentary on our original article (Clements, Rapley, & Cummins, 1999), we examine the rhetoric of the commentary as well as some of the substantive issues raised. Although there are areas of agreement we challenge some of the views put forward in the commentary, particularly those related to the institutional power of ‘‘science’’, the questions of accountability and the involvement of vulnerable people in research decision making. We argue strongly for action now to increase the checks and balances in the system and to promote more vigorously examples of good practice.
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Chitando, Ezra. "Songs of Praise: Gospel Music in an African Context." Exchange 29, no. 4 (2000): 296–310. http://dx.doi.org/10.1163/157254300x00229.
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Goodliff, Andrew. "‘It’s all about Jesus’:." Evangelical Quarterly 81, no. 3 (April 30, 2009): 254–68. http://dx.doi.org/10.1163/27725472-08103004.
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This article examines the songs of four contemporary worship songwriters in regard to the christology they present. The article argues that although the majority of songs are focused on Jesus, they fail to articulate a sufficient christology. It is claimed that this is due to an inadequate attention given to the doctrine of the trinity and to Christ’s priestly and prophetic offices. The article concludes by suggesting that the broader context and expectations of contemporary worship songwriters means that it is difficult for a richer christology to be developed.
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Greggs, Tom. "In gratitude for grace: praise, worship and the sanctified life." Scottish Journal of Theology 70, no. 2 (April 19, 2017): 147–65. http://dx.doi.org/10.1017/s0036930617000047.
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AbstractThis article seeks to offer a theological account of gratitude from a Protestant perspective by arguing that the Christian life is one marked by a covenant of grace and gratitude in which the creature's response of gratitude to divine grace is a participating in that grace, and, as such, is a full recognition of the ways of grace which flow from the divine life to creation. The first section of this article examines this theme in relation to creation from nothing. The second establishes God's electing will as the foundation of God's willing to be for another in creation. The third section examines justification by grace as the soteriological form of God's gracious turning towards the creature in divine mercy. The fourth section sketches the forms of gratitude that one might find in the Christian life as these are brought together in the sacraments of baptism and the eucharist.
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Carty, Jarrett A. "Martin Luther's Political Interpretation of the Song of Songs." Review of Politics 73, no. 3 (2011): 449–67. http://dx.doi.org/10.1017/s0034670511003445.
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AbstractMartin Luther argued that the Hebrew Bible's Song of Songs was “an encomium of the political order,” a praise and thanksgiving to God for the gift of temporal government. Luther's political interpretation of this book was unique in his age, and remains so in the history of biblical commentary. This paper offers an account of Luther's peculiar interpretation, as well as its place in his interpretation of the Bible and in the history of biblical commentary, by arguing that it exhibits the foundational idea of his political thought that secular authority is a precious gift from God, and that the Song of Songs, as a praise of conjugal love, provides for political authority a fitting biblical encomium.
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Bidu. "Classifications of Macca Oromoo Girls’ Nuptial Songs (Sirba Cidhaa)." Humanities 8, no. 3 (August 28, 2019): 145. http://dx.doi.org/10.3390/h8030145.
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Girls’ nuptial songs of the Oromoo of Horn of Africa are powerful folksong genres, but are rarely practiced today. Ethnographic data were collected and analyzed contextually, structurally, functionally, and semantically from multidisciplinary approaches: folklore, ethnomusicology, anthropology, sociology, literature, linguistic, gender, and others’ theories. They are classified into arrabsoo (insult), faaruu (praise), mararoo (elegiac/dirge), ansoosillee (bridal praise), fala (resolution), and raaga (prediction) with their distinct natures. Macca Oromoo girls compose these competitively to making weddings memorable, express themselves, inspire and encourage men for brave and appropriate actions. These genres form binary oppositions in their respective orders and enrich the culture. They also depict identities and roles of girls in creations and maintaining of culture.
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Tan, Tian Yuan. "In Praise of This Prosperous and Harmonious Empire: Sanqu, Ming Anthologies, and the Imperial Court." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 139–62. http://dx.doi.org/10.1215/23290048-8898661.
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Abstract This article explores the textual world and functionalities of sanqu songs in relation to the court milieu. The imperial court is not usually considered a natural habitat for the sanqu genre, best known for its portrayal of “disengagement” and “retirement” from official life, yet one cannot ignore the presence of a substantial number of sanqu songs that addressed and engaged with various court contexts and imperial occasions. I call this type of songs “courtly sanqu songs,” written in a style suitable for presentation to the imperial court or for courtly occasions. By identifying a number of Ming dynasty qu anthologies that prominently feature courtly sanqu songs, this article examines how these anthologies, through their organizational structure, draw the reader's attention to courtly sanqu songs. Ming anthologies also act as the major source for tracing the textual lineage of courtly sanqu and the spectrum of songs contained within this textual world. Using one song suite (“Nation Blessed”) as a case study, the article traces its variations and different “positions” over time, across anthologies, and across different editions of the same anthology, thereby uncovering the status and place of such songs in the court milieu and beyond.
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Atkins, Peter Joshua. "Praise by animals in the Hebrew Bible." Journal for the Study of the Old Testament 44, no. 3 (December 16, 2019): 500–513. http://dx.doi.org/10.1177/0309089219862824.
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Among ancient Near Eastern societies was a widespread and particularly intriguing belief that animals were able to worship and praise deities. This study shows the Hebrew Bible evidences the idea that animals were capable of praising God too and proceeds to observe and document the presence of numerous examples of this in specific biblical texts. Through understanding the place of animals in the Hebrew Bible, and their perceived activity in the ancient Near East, this study suggests animals are distinct agents of praise in their own right in the biblical texts.
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Benjamins, Laura. "Musicking as Liturgical Speech Acts: An Examination of Contemporary Worship Music Practices." Studia Liturgica 51, no. 2 (August 23, 2021): 143–58. http://dx.doi.org/10.1177/00393207211033993.
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This article examines the genre of Contemporary Worship Music (CWM) within worship contexts in terms of its formative and purposeful nature. In CWM settings, the worship leader plays a particular role in the selection and facilitation of CWM repertoire to be led by praise bands. Through the leader's consideration of the message of the CWM lyrics, and the relational nature of CWM practices, a worship leader's pedagogical decisions are integral to contributing to a space of dialogue for worship musicians. Drawing on previous literature addressing liturgical language in worship, I analyze the CWM context as a particular case where liturgical language shapes musicians’ spiritual formation. This examination of CWM practices includes an analysis of musicians’ engagement in relational musicking and meeting through I-Thou encounters. I therefore explore both the need for worship leaders to consider the multitudinous theological implications of their actions, as well as the way musicians are shaped and formed intimately through their musical engagement with CWM.
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McGlone, Terry. "Songs of Power, Songs of Praise: Modern Visions from Haiti, Nigeria, and Papua New Guinea." African Arts 24, no. 2 (April 1991): 80. http://dx.doi.org/10.2307/3336858.
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Johnson. "Back to the Heart of Worship: Praise and Worship Music in a Los Angeles African-American Megachurch." Black Music Research Journal 31, no. 1 (2011): 105. http://dx.doi.org/10.5406/blacmusiresej.31.1.0105.
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Bailey, David. "Living Amongst the Fragments of a Coherent Theology." Journal of Youth and Theology 15, no. 2 (September 30, 2016): 173–95. http://dx.doi.org/10.1163/24055093-01502005.
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The paper examines the theological shorthand within five contemporary worship songs.1 The central argument is that key words within this espoused and operant theology (Cameron et al., 2010) function as theological shorthand,2 identified as fragments of a coherent theology. To illuminate the text within the songs as theological shorthand these theological fragments are brought into discussion with the work of Bretherton (2007), Christie (2012), Hauerwas (1983), MacIntyre (1996), Ward (2005) and Vanhoozer (2010). These authors act as the voice of formal theology (Cameron et al., 2010) to help articulate a critical, philosophical, and theologically informed enquiry that facilitates faithful theological reflection from within the Christian tradition on how the theological shorthand within worship songs functions as icons of epistemology. In turn, those of us who inhabit the world of formal theology may act as dialogical guides and storytellers of the Christian tradition.
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Dawosing, Jayganesh. "THE PSYCHOLOGY OF WORSHIP IN THE MAURITIAN BHOJPURI FOLK SONGS." PEOPLE: International Journal of Social Sciences 4, no. 3 (January 30, 2019): 1113–27. http://dx.doi.org/10.20319/pijss.2019.43.11131127.
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Dawosing, Jayganesh. "THE PSYCHOLOGY OF WORSHIP IN THE MAURITIAN BHOJPURI FOLK SONGS." PEOPLE: International Journal of Social Sciences 4, no. 3 (January 28, 2019): 985–99. http://dx.doi.org/10.20319/pijss.2019.43.985999.
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Old, Hughes Oliphant. "The Psalms of Praise in the Worship of the New Testament Church." Interpretation: A Journal of Bible and Theology 39, no. 1 (January 1985): 20–33. http://dx.doi.org/10.1177/002096438503900103.
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The Old Testament psalms of praise, which expressed the awe and joy of being in the presence of God, presented the early Christians both text and model for the expression of their joy that in Jesus Christ God had revealed himself.
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Wild-Wood, Emma, and Peter Wood. "'One Day we Will Sing in God's Home': Hymns and Songs Sung in the Anglican Church in North-East Congo (drc)." Journal of Religion in Africa 34, no. 1-2 (2004): 145–80. http://dx.doi.org/10.1163/157006604323056750.
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Abstract'Songs preach a lot' claim members of the Anglican Church in North-East Congo (DRC). This article analyses what these songs preach and how they convey their message. It examines the theology of the texts as sung in their musical and social context. The songs fall into two broad categories: western hymns translated by missionaries and contemporary songs often composed locally or nationally. They have different but overlapping theologies and functions within worship. Heaven emerges as a central motif in both categories, presenting an eschatological oral theology, which offers comfort, escape and social comment.