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Journal articles on the topic 'Praise and worship'
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Destyanto, Twin Yoshua R., Dony Lubianto, Jono, and Minerva Gabriela Tuanakotta. "PEMULIHAN PONDOK DAUD: LANDASAN TEOLOGIS DAN PEMBARUAN PUJIAN PENYEMBAHAN PENTAKOSTA MASA KINI." Way Jurnal Teologi dan Kependidikan 8, no. 1 (April 30, 2022): 1–22. http://dx.doi.org/10.54793/teologi-dan-kependidikan.v8i1.80.
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Pentecostal praise and worship always develop time by time. The pattern changes can be understood as a continuous process of church restoration from time to time towards the apostolic church. The restoration of Tabernacle of David (RTOD) is proposed to be a reference for Pentecostals to formulate the theological foundation in renewing the pattern of praise and worship in the present era. This paper aims to (i) explain the theological basis of the Pentecostal pattern of praise and worship in today's era, (ii) explain the theological meaning of RTOD prophecy and its relationship to praise and worship, and (iii) explain the application of RTOD in renewal of the Pentecostal praise and worship in the present era. This paper uses a qualitative method by applying a systematic literature study and phenomenological approaches to understand the theological basis of praise and worship pattern, the meaning of RTOD in general and related to praise and worship, components in RTOD, and its application in praise worship. The results of the study show that the RTOD can be used as a theological foundation and renewal of Pentecostal praise and worship in the present era.So, it can be concluded that the theological basis and definition RTOD can be used as a reference for applying it in the praise and worship of today's Pentecostals.
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Ball, Michael. "Baptist Praise And Worship." Baptist Quarterly 40, no. 4 (October 2003): 196–214. http://dx.doi.org/10.1179/bqu.2003.40.4.002.
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Clark, Neville. "Baptist Praise and Worship." Baptist Quarterly 35, no. 2 (January 1993): 95–100. http://dx.doi.org/10.1080/0005576x.1993.11751914.
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Sigmon, Casey T. "“Blessed Is the One Whose Bowels Can Move: An Essay in Praise of Lament” in Contemporary Worship." Religions 13, no. 12 (November 29, 2022): 1161. http://dx.doi.org/10.3390/rel13121161.
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The CCLI charts may not reflect it, yet one thing many Christian churches discovered as the pandemic raged across the world (and violence at home and abroad) was the need for songs of sacred lament. Unfortunately, many churchgoers, especially those who identify as practitioners of contemporary Christian worship, have cultivated a gap between the biblical give and take of praise and lament revealed most poignantly in the book of Psalms. This chasm between praise and lament is a problem, as a liturgical discourse about disastrous events is weakened. Churches sing congregational songs of praise in the church, the chorus of ‘what ought to be’. Meanwhile, outside the church, artists in genres as diverse as folk and rap sing the chorus of what frankly ‘is’. For the church to be transformative, it must be grounded in what is (lament) and aiming toward what ought to be (praise). This is the value of the cycle of praise and lament in the church’s liturgy. This article explores the impact of CCM (contemporary Christian music) and praise and worship culture as it laments the loss of lament in Christian worship. The essay articulates the missing sense of ‘Truth’ in contemporary congregational music, as defined by Don Saliers’ Worship Come to Its Senses. The article closes by amplifying emerging Christian songwriters reintroducing lament to contemporary worship.
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Pittard, John. "Worship and The Problem of Divine Achievement." Faith and Philosophy 38, no. 1 (January 1, 2021): 65–90. http://dx.doi.org/10.37977/faithphil.2021.38.1.5.
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Gwen Bradford has plausibly argued that one attains achievement only if one does something one finds difficult. It is also plausible that one must attain achievement to be worthy of “agential” praise, praise that is appropriately directed to someone on the basis of things that redound to their credit. These claims pose a challenge to classical theists who direct agential praise to God, since classical theism arguably entails that none of God’s actions are difficult for God. I consider responses to this challenge and commend a view according to which God’s loving character is not necessitated by God’s nature but is a contingent and difficult achievement. I argue that this view can still satisfy the explanatory ambitions of natural theology.
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Perez, Adam A. "“It’s Your Breath in Our Lungs”: Sean Feucht’s Praise and Worship Music Protests and the Theological Problem of Pandemic Response in the U.S." Religions 13, no. 1 (January 4, 2022): 47. http://dx.doi.org/10.3390/rel13010047.
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In response to U.S. government restrictions imposed as part of a nationwide response to the COVID-19 pandemic, charismatic worship leader Sean Feucht began a series of worship concerts. Feucht positioned these protests as expressions of Christian religious freedom in opposition to mandated church closings and a perceived double-standard regarding the large gatherings of protesters over police violence against Black and Brown persons. Government restrictions challenged the sine qua non liturgical act of encounter with God for evangelicals, Pentecostals, and Charismatics: congregational singing in Praise and Worship. However, as Feucht’s itinerant worship concerts traversed urban spaces across the U.S. to protest these restrictions, the events gained a double valence. Feucht and event attendees sought to channel God’s power through musical worship to overturn government mandates and, along the way, they invoked longstanding social and racial prejudices toward urban spaces. In this essay, I argue that Feucht’s events reveal complex theological motivations that weave together liturgical-theological, social, and political concerns. Deciphering this complex tapestry requires a review of both the history of evangelical engagement with urban spaces and the theological history of Praise and Worship. Together, these two sets of historical resources generate a useful frame for considering how Feucht, as a charismatic musical worship leader, attempts to wield spiritual power through musical praise to change political situations and the social conditions.
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Susanto, Yusak Noven. "EFEKTIFITAS LITURGI IBADAH DALAM GEREJA PANTEKOSTA ISA ALMASIH KASIH SURGAWI JEMBER." Alucio Dei 4, no. 2 (March 29, 2022): 1. http://dx.doi.org/10.55962/aluciodei.v4i2.17.
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The implementation of worship in a church can run well if it is based on the liturgyarranged and established in a church. Without a liturgy in the church organization, theworship process in the church will not take place. Because there is no measurable andwell-structured system that can manage the worship process. The liturgy of worshipwill bring the church organization to the neatness, regularity and deep appreciation ofGod's presence in the worship process. Seeing the function of worship liturgy that is soimportant and fundamental for church organizations, every church organization musthave a worship liturgy. The method used in the form of a narrative approach, namelyinterviews and documentation. The number of partisipan is 23 people. From all dataobtained through interviews that the definition of worship is the fellowship of the faithin God where that time is a very valuable time because at that time every people canworship, praise, give thanks and hear the very important Word of God. With this resultit is necessary to improve the deficiencies that exist specifically that have a large sectorof praise and worship and sermons.
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Sharndama, Emmanuel C., and Okoh Idam Onyinyechi. "ANALYSIS OF THE SYNTACTIC FEATURES OF SELECTED CHRISTIAN PRAISE AND WORSHIP SONGS." Ahyu: A Journal of Language and Literature 2 (December 4, 2018): 59–66. http://dx.doi.org/10.56666/ahyu.v2i.81.
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This study examines the syntactic features of selected christian praise and worship songs performed by two Nigerian Christian performing artists Panam Percy Paul and Osinachi Kalu. Qualitative approach was employed to identify and discuss the functions of the prevalent and significant syntactic features. The result of the analysis showed that thesyntactic features of praise and worship songs are fairly simple rather than complex. Prevalent occurrences of the simple and the imperative sentences were identified across the texts in the corpus. While the simple sentences have SVO structures which contribute to the straightforwardness of the messages of the song texts, the imperatives have their subjects elided thereby heightening the tempo of the praise. Other syntactic features identified but not prevalent are interrogative and compound sentences.
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Wauran, Max H. "Clapping In Seventh-Day Adventist Worship." Klabat Theological Review 1, no. 1 (August 31, 2020): 33. http://dx.doi.org/10.31154/ktr.v1i1.464.33-48.
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Clapping is considered as a media of praise and thanks in Christian worship. Some give space to this practice while other reject it. This article tried to identify the biblical foundation of these ideas, and was carried out through the following phases: formulating the problem, preparing the title, and searching the related supporting materials in the library research and electronic facilities. The research focused on three main aspects: the clapping in the Bible, the Christian and practice of clapping in worship services, and clapping in Seventh-day Adventist Church. It is found that there is no Bible text and theological evidence which support the practice of clapping in the place of worship, in other words clapping in the church services is unbiblical, and for this reason clapping in Seventh-day Adventists worship services is not necessary. Instead of clapping, the use of amen is suggested in responding the message or musical presentation. Since clapping has become controversial issue in Adventist worship services, the church leaders need to instruct and guide the church members to the right understanding of clapping.
Keywords: clapping; applaus; worship; praise
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BUSMAN, JOSHUA KALIN. "From Hipster to Hillbilly: Death, Bluegrass, and Gospel According to David Crowder." Journal of the Society for American Music 13, no. 03 (August 2019): 338–58. http://dx.doi.org/10.1017/s1752196319000221.
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AbstractEven with the widespread adoption of rock-styled “praise and worship” music in American churches, bluegrass and gospel musics still serve as potent musical signifiers, especially among the white southern evangelicals comprising praise and worship's primary demographic. Drawing repertoire and influence from Hank Williams, Loretta Lynn, and Bill Gaither, evangelical artist David Crowder uses strategic musical references to establish his own sense of “hillbilly” religiosity but often deploys these references in ways that align him with a “hipster” community of young musicians and music fans. In this paper, I demonstrate the ways that strategic references to bluegrass and gospel music allow Crowder to situate himself within these multiple discourses of evangelical authenticity.
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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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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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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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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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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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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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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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Sachius, Darto. "Karakteristik Mazmur Pujian." Predica Verbum: Jurnal Teologi dan Misi 1, no. 2 (December 30, 2021): 155–64. http://dx.doi.org/10.51591/predicaverbum.v1i2.29.
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The study is titled characteristics Psalm of Praise. This study will seek and discover the characteristics and principles of psalm praise in the Book of Psalms. To discover the characteristics of the Praise Psalm used qualitative rather than experimental research methods. This qualitative method can also be used for reflective speculators. With four steps: analyzing the passage according to its elements, the second step is to recognize the language style of poetry and stories that are historical, the third reveals the original meaning of Hebrew poetry, the fourth looks for the characteristics of the Hebrew satra of the author's motives and goals. So that preserved by this method can be formulated characteristics from the Psalm of Praise. There are three important things to remember in the Psalm of praise is, first the Psalm of praise begins with an invitation to worship The Lord, The second psalm of praise continues by giving a description of the reasons why God is worthy of praise. Third is the psalm praise usually includes and sometimes ends with a further invitation to praise God therefore the proper title is the characteristics Psalm of Praise so that the awkwardness of distinguishing the interpretation of different types of psalm can be well cleared.
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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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Harita, Nitani, and Hendro Hariyanto Siburian. "Pray, Praise and Worship: Mengembangkan Kecerdasan Spiritual Anak Usia Dini." IMMANUEL: Jurnal Teologi dan Pendidikan Kristen 3, no. 2 (October 31, 2022): 104–18. http://dx.doi.org/10.46305/im.v3i2.129.
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One of the problems found at the level of early childhood education is the undeveloped spiritual intelligence. The undevelopment of spiritual intelligence in class A of TK Harapan Bangsa, characterized by undevelopment in terms of care, meaning and value, self-control and love. Early childhood is a golden period that requires stimulation and guidance to develop all its potential and spiritual intelligence. Therefore, researchers applied Pray, Praise and Worship activities to develop the spiritual intelligence of students in class A TK Harapan Bangsa. The results of implementing PPW in an effort to develop students' spiritual intelligence are an average of 85% each indicator of spiritual intelligence is well developed. So, it can be concluded that the application of PPW can develop early childhood spiritual intelligence. AbstrakPermasalahan yang ditemukan pada jenjang pendidikan anak usia dini salah satunya adalah belum berkembangnya kecerdasan spiritual. Belum berkembangnya kecerdasan spiritual di kelas A TK Harapan Bangsa, ditandai dengan belum berkembangnya dalam hal kepedulian, memberi makna dan nilai, pengendalian diri dan kasih. Anak usia dini merupakan masa emas yang membutuhkan stimulasi dan bimbingan untuk mengembangkan semua potensi dan kecerdasan spiritual yang dimilikinya. Oleh karena itu, peneliti menerapkan kegiatan Pray, Praise and Worship (PPW) untuk mengembangkan kecerdasan spiritual peserta didik di kelas A TK Harapan Bangsa. Hasil penerapan PPW dalam upaya mengembangkan kecerdasan spiritual peserta didik sebesar rata-rata 85% tiap indikator kecerdasan spiritual berkembang dengan baik. Jadi, dapat disimpulkan bahwa penerapan PPW dapat mengembangkan kecerdasan spiritual anak usia dini.
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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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Baskoro, Paulus Kunto, and Joseph Christ Santo. "Kajian Biblika Makna Ibadah yang Murni dalam Yakobus 1:26-27 Dan Implikasinya Bagi Orang Percaya Masa Kini." Predica Verbum: Jurnal Teologi dan Misi 1, no. 2 (December 30, 2021): 93–105. http://dx.doi.org/10.51591/predicaverbum.v1i2.18.
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Worship is an important part of the life of a believer. Worship cannot be replaced with anything in this life. Because worship is part of the lifestyle of every believer. When it comes to worship, it is immediately focused on the concept of praise, worship and listening to God’s Word in church buildings, retreats or commission services. This is not wrong; indeed, the essence of worship is to perform religious rituals to meet God. But there is something interesting in James 1:26-27 mention of true worship. In order to obtain accurate and accountable data, in this study authors used the method of writing descriptive literature. The purpose of this writing is Frist, to reveal and straighten out an incorrect understanding of a concept of worship according to the truth of God’s Word. Second, contribute to believers in thinking to be able to be role models in society. Third, it provides a nuance of the mindset of believers to reflect practical worship into a holistic form of service.
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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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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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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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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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Tutik, Tutik, Ulfa Ulfa, and Mohammad Tsaqibul Fikri. "PUJIAN SETELAH ADZAN UNTUK PERKEMBANGAN KECERDASAN SPIRITUAL ANAK." At-Tuhfah 9, no. 1 (July 10, 2020): 56–65. http://dx.doi.org/10.36840/jurnalstudikeislaman.v9i1.285.
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Praise readings after the call to prayer as one method to be used as a guide for children in stimulating spiritual intelligence. This method is effective if used for early childhood. With praise, children can memorize the obligatory nature of God, prayer, and prayers. In it, there is a moral message so that the reading of praise can inspire children to be applied in everyday life. Praise readings have a high religious meaning in which there are meanings of monotheism, tawakal, istigfar, and worship to the Prophet. Praise also contains remembrance, exhortation, and advice. Living up to its meaning, it is very beneficial and has a role for children's spiritual intelligence. This research took place in the Madin Ula Al Huda Institute, Sumbertlaseh Village, Dander District, Bojonegoro Regency. This paper describes the spiritual intelligence of children in the Madin Ula Al Huda institution Sumbertlaseh Village, Dander District, Bojonegoro Regency. It can be concluded that praise can lead children to get to know the Attributes of God, to be prepared, pray so that it makes it easier for children to memorize them. This effort to instill spiritual intelligence through praise in Madin Ula Al Huda Sumbertlaseh Village is categorized as effective so that children can apply these habits not only in madrasas and children are motivated to implement those in the praise.
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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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Suna-Koro, Kristine. "The Ecstasy of Lament: Opera as a Model of Theology." Theology Today 63, no. 1 (April 2006): 66–87. http://dx.doi.org/10.1177/004057360606300108.
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Opera is often perceived as an elitist genre of music, admired by snobbish traditionalists and greatly suspected by radical feminists. By viewing opera as an innovative avenue for lament over tragic and sinful human reality long before any formal feminist critique, the essay examines the creative role of opera as a mode of encouragement for a different Theologia Primaworship in music as otherwise than intellectually satisfying certain theological assumptions. The risky speech of operatic lament as inverted ecstatic praise of the triune God affirms the relevance of critical attention toward the praise of God that, deprived of lament, risks becoming an inauthentic and vacuous worship.
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Bowler, Kate, and Wen Reagan. "Bigger, Better, Louder: The Prosperity Gospel's Impact on Contemporary Christian Worship." Religion and American Culture: A Journal of Interpretation 24, no. 2 (2014): 186–230. http://dx.doi.org/10.1525/rac.2014.24.2.186.
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AbstractThis article makes several claims about the relationship between praise and worship music and prosperity megachurches. First, it argues that the prosperity gospel has had a significant impact on contemporary worship music in America owing to its leadership in the twin rise of the megachurch and televangelism. Second, beginning in the 1990s, prosperity megachurches pioneered forms of worship music mimicking “arena rock” that capitalized on both the scale of their sanctuaries and the sophistication of their audio/visual production. The result was a progression toward music that would be a liturgy of timing, lighting, volume and performance designed for large venues. Finally, prosperity megachurches were ideally situated to benefit from this new music, both in the music industry and in their theology. Prosperity megachurches partnered with the expanding worship industry in the creation of new worship music, while the prosperity gospel theologically undergirded the affective power and performative pageantry of Christian arena rock, narrating worship music as a tool for releasing spiritual forces of prosperity. The result was a Sunday experience for the blessed that reinforced the celebration of God’s abundant blessings through music that was bigger, better, and louder.
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Wright, Roslyn H. "Book Review: In Praise of Worship: An Exploration of Text and Practice." Pacifica: Australasian Theological Studies 24, no. 3 (October 2011): 343–44. http://dx.doi.org/10.1177/1030570x1102400309.
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Stewart, Raedorah C. "Loop, Hook, Pull." Theology Today 77, no. 2 (July 2020): 179–85. http://dx.doi.org/10.1177/0040573620920673.
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As a disabled person, Psalm 139:13–14 has long presented as theologically problematic for me. How could “For you formed my inward parts; you knitted me together in my mother’s womb. I praise you, for I am fearfully and wonderfully made. Wonderful are your works; my soul knows it very well” fall as praise from my lips when as young as six years old I realized I was differently abled; and that with all of the shameful, negative connotations assumed with being so. The theological narrative about disability centered on sins of the mother, shame of the family, pity of the public, and sympathetically low expectations for achieving, excelling, and fitting into mainstream ableism. This article weaves biographical vignettes and theological reflections to develop a liberation hermeneutic for creating a narrative theology of disability in the church; challenges commonly held perceptions about disabled personhood; examines familiar efforts to enhance the worship experience for disabled persons; admonishes practices which inconvenience or otherwise undermine a disabled parishioner; and examines the efficacy of ministry accommodations to equip disabled persons to worship, serve, and lead in the church.
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M, BA. "The role of worship and ethics on the road towards reconciliation." Verbum et Ecclesia 27, no. 2 (November 17, 2006): 641–63. http://dx.doi.org/10.4102/ve.v27i2.168.
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Reconciliation in a divided society, like the South African one, is in dire need of a new moral discourse and praxis. This article argues that this moral discourse must also be conducted on an often forgotten level, namely in the worshipping praxis of the Church. The article describes the renewed interest of ethicists and liturgists in the relationship between liturgy and ethics and especially the role of rituals. The article then focuses on the renewal of basic Cristian rituals like preaching and sacraments, prayer and praise to serve this much needed moral discourse.
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Hovi, Tuija. "Praising as bodily practice: the neocharismatic culture of celebration." Scripta Instituti Donneriani Aboensis 23 (January 1, 2011): 129–40. http://dx.doi.org/10.30674/scripta.67384.
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Rhythmic body movements and dancing, as well as singing, have been used as a means and inspiration for both individual and communal spiritual experience throughout the history of religions. This article takes a tentative look at the contemporary neocharismatic culture of celebration as a means of aiming at religious experience through collective bodily practice; namely praising, which is generally understood to take the form of singing but is, in fact, expressed also in bodily movements such as dancing. In the neocharismatic context, a celebration means a certain type of a meeting with a special focus on contemplative worship and prayer, accompanied with lively music of praise. First, the historical background of the neocharismatic branch is outlined shortly. Secondly, the tradition of praise itself within this context is described – what are the insider definitions and what kinds of forms praise in the culture of celebration actually includes, especially in Finland. The description is basically based on internet material and the author's previous field experiences in the Word of Life congregational meetings and other charismatic Christian events. In conclusion, acts of praise as a source of religious experience are discussed.
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Tapingku, Joni. "IBADAH YANG DISUKAI TUHAN DALAM AGAMA KRISTEN MENURUT TEKS AMOS 5:21-24." Religi: Jurnal Studi Agama-agama 16, no. 2 (August 30, 2020): 132. http://dx.doi.org/10.14421/rejusta.2020.1602-01.
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AbstrakPenelitian ini bertujuan untuk mendeskripsikan pemahaman warga Gereja Toraja Klasis Sillanan di Kabupatan Tana Toraja, Sulawesi Selatan, tentang ibadah yang disukai Tuhan berdasarkan teks Amos 5:21-24. Penelitian ini menggunakan metode kualitatif. Teknik pengumpulan data adalah wawancara, observasi dan studi pustaka. Hasil penelitian menunjukkan bahwa ibadah yang disukai Tuhan harus berpusat pada Tuhan sendiri. Yang diagungkan dalam ibadah bukan manusia melainkan hanya Tuhan. Ibadah yang disukai Tuhan dapat pula dilakukan dalam bentuk perayaan yang di dalamnya terdapat unsur persekutuan, pujian, penyembahan, ucapan syukur dan perilaku hidup yang adil dan benar dalam kehidupan sehari-hari.Abstract This qualitative research aimed to describe the understanding of the members of the Toraja Church of Klasis Sillanan in Tana Toraja Regency, South Sulawesi, about worship that is liked by God based on the text of Amos 5: 21-24. The techniques of collecting data were interview, observation and library study. The results of research showed that worship that God liked must be centered on God himself. The glorified in worship is not human but only God. Worship that God likes can also be done in the form of celebration in which there are elements of fellowship, praise, worship, thanksgiving and fair and righteous behavior in daily life.
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Lucas, Karen. "Essays on the History of Contemporary Praise and Worship, by Lester Ruth (ed.)." Pneuma 43, no. 2 (June 29, 2021): 312–14. http://dx.doi.org/10.1163/15700747-04301017.
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Nelson, Timothy J. "Sacrifice of Praise: Emotion and Collective Participation in an African-American Worship Service." Sociology of Religion 57, no. 4 (1996): 379. http://dx.doi.org/10.2307/3711893.
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Putri, Agustin Soewitomo. "Makna Tarian dalam Ibadah sebagai Sarana Pemulihan Jiwa." PROSIDING PELITA BANGSA 1, no. 2 (December 30, 2021): 139. http://dx.doi.org/10.30995/ppb.v1i2.524.
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The pattern of Church worship has undergone many developments from time to time, even from the Old Testament. In the Pentecostal and Charismatic churches, this development seems very sharp, especially in the Praise and Worship section, which on the one hand tries to accommodate the tastes of young people who follow technological developments such as the use of sound systems, lighting, music, and dance. This resulted in an uproarious form of worship, where some groups, such as older church members, felt something foreign, even far from being "spiritual". One of the contemporary worship instruments is the dance (tambourine player), which is still controversial among the people; there are those who can accept and there are those who do not agree that it exists. Meanwhile, dance forms continue to develop forms and expressions, as well as the use of various properties. This paper aims to provide a response in the midst of many questions: How should dance be in worship, and what is its function and role for God's people. With the observation method, both object, and literature, this study concludes that dance in worship is a way for people to express their love and respect for God so that it becomes a forum for God's fellowship with humans in the Holy Spirit, which can restore life. AbstrakPola ibadah gerejawi telah mengalami banyak perkembangan dari masa ke masa, bahkan dari masa Perjanjian Lama. Di lingkungan gereja-gereja Pentakostal dan Kharismatik, perkembangan tersebut nampak begitu tajam, khususya pada bagian Praise and Worship, yang di satu sisi mencoba mengakomo-dir selera anak muda yang mengikuti perkembangan teknologi seperti penggunaan sound system, lighting, musik, dan tarian. Hal ini menghasilkan bentuk ibadah yang gegap gempita, di mana sebagian kelompok, seperti anggota jemaat yang berusia tua merasakan hal yang asing, bahkan jauh dari kesan “rohani”. Salah satu instrumen ibadah kekinian tersebut adalah tarian (pemain rebana), yang hingga kini masih menyisakan kontroversi di antara umat; ada yang bisa menerima dan ada yang kurang menyetujui itu ada. Sementara, bentuk tarian pun terus mengalami perkembangan bentuk dan ekspresi, serta penggunaan berbagai macam properti. Makalah ini bertujuan untuk memberi tanggapan di tengah maraknya pertanyaan: Bagaimana seharusnya tarian dalam ibadah, dan apakah fungsi dan peranannya bagi umat Tuhan. Dengan metode pengamatan, baik secara objek maupun literatur, maka kajian ini sampai pada kesimpulan bahwa tarian dalam ibadah merupakan cara umat untuk mengekspresikan rasa cinta dan hormatnya kepada Allah, sehingga hal tersebut menjadi wadah persekutuan Allah dengan manusia di dalam Roh Kudus, yang dapat memulihkan hidup.
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Siregar, Maringan Pahala, and Octavianus Nathanael. "Pengaruh Ibadah Keluarga terhadap Loyalitas Iman Jemaat di Gereja Kristen Maranatha Indonesia." HAGGADAH: Jurnal Teologi dan Pendidikan Kristen 2, no. 2 (April 2, 2022): 120–32. http://dx.doi.org/10.57069/haggadah.v2i2.29.
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Christian family service is a praise, respect given by humans to the Creator as the giver of life. Christian family service is very important in the life of a believer, because in family service there is praise, worship, prayer, study of God's word, and personal testimony. Faith loyalty is a process of faithfulness or good and healthy progress in the life of a believer. This study aims to determine the effect of Christian family service on the loyalty of the faith of Gereja Kristen Maranatha Indonesia. The research method used is qualitative research, the type of descriptive research. The results of this study indicate that Christian family worship has a positive and significant effect on the loyalty of the faith of Gereja Kristen Maranatha Indonesia.Ibadah adalah suatu pujian, penghormatan yang diberikan oleh manusia kepada Sang Pencipta sebagai pemberi hidup. Ibadah sangat penting dalam kehidupan orang percaya, karena dalam ibadah ada pujian, penyembahan, berdoa, belajar firman Tuhan, dan kesaksian pribadi. Loyalitas iman merupakan suatu proses kesetiaan atau kemajuan yang baik dan sehat dalam kehidupan orang percaya. Penelitian ini bertujuan untuk mengetahui pengaruh ibadah keluarga terhadap loyalitas iman jemaat di Gereja Kristen Maranatha Indonesia. Metode penelitian yang digunakan adalah penelitian kualitatif, jenis penelitian deskriptif. Hasil penelitian ini menunjukkan bahwa ibadah keluarga berpengaruh positif dan signifikan terhadap loyalitas iman jemaat di Gereja Kristen Maranatha Indonesia.
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Anderson, Allan H. "Book Review: The Spirit of Praise: Music and Worship in Global Pentecostal-Charismatic Christianity." International Bulletin of Mission Research 40, no. 2 (April 2016): 190–91. http://dx.doi.org/10.1177/2396939316638336.
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Crawford, Janet, and Thomas F. Best. "Praise the Lord with the Lyre… and the Gamelan?1: Towards Koinonia in Worship." Ecumenical Review 46, no. 1 (January 1994): 78–96. http://dx.doi.org/10.1111/j.1758-6623.1994.tb02909.x.
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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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Shamardina, N. V. "GALICIAN-RUSSIAN PRAISE OF THE VIRGIN ICONS OF THE 15th – 16th CENTURIES: GENESIS AND METAMORPHOSIS." Rusin, no. 60 (2020): 22–38. http://dx.doi.org/10.17223/18572685/60/3.
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The Galician-Russian icons of Praise of the Virgin are interesting both due to their origin from the hymns of akathist worship, the circumstances of their appearance in the Galician-Russian lands (probably related to the Western Russian metropolitan Gregory Tsamblak), and their unprecedented abundance. This type includes the outstanding works of the 15th century belonging to the Przemysl School, the main icon-painting centre in Poland. In the 16th century small trading towns, primarily Sambir, housed icon-painters who created icons in the democratic version of the national icon-painting style, associated with the artistic achievements of the neighboring coreligious Moldova. The Lviv Renaissance affected all aspects of the spiritual life of Galician Rusins around 1600 during the events around the Brest Union (1596). A final episode of the twocentury history of Praise of the Virgin in its Galician version is presented in Fyodor Senkovich’s icon from the Ripnev village near Lviv, dated 1599. The Praise of the Virgin icons of the 15h – 16th centuries demonstrate the iconographic type transformation caused by the changes in the mentality of the Orthodox population in the east of the Polish Catholic state, indicating both involvement in the Balkan-Slavic church and cultural impulses, as well as general patterns of sacred art development.
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Jolley, Nicholas. "Hobbes and Religious Freedom." Roczniki Filozoficzne 70, no. 4 (December 30, 2022): 193–211. http://dx.doi.org/10.18290/rf2204.7.
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This paper seeks to examine Hobbes’s credentials as a defender of religious freedom along three dimensions. The first section analyzes what might be called Hobbes’s core position on freedom of conscience and worship; it is shown how, by means of a characteristically reductionist strategy, he seeks to persuade the reader that the absolute state allows room for freedom of conscience and worship in all ways that they have reason to care about. The second section turns to Hobbes’s praise of Independency and addresses the issue whether it is consistent with his core position; it is argued that though it supplements this position it does not represent a fundamental departure from it. The final section takes up the perennially fascinating issue of the relationship between Locke’s mature defence of religious toleration and the teachings of his great precursor in the social contract tradition. Without seeking to minimize the differences I argue that Locke is able to adapt Hobbesian themes to his own distinctive purposes.
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Mejbel, M. M. Ahmed Humaid, and M. M. Ahmed Rashid Mejbel. "The most important physical and natural manifestations in Shintoism religion." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 2 (March 1, 2018): 151–68. http://dx.doi.org/10.36473/ujhss.v224i2.272.
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The cosmic manifestations characterized by beauty and great scenery cause a catalyst to move the religious feeling when you follow some religions, Vantage his admiration for these appearances, which move in the Doakhlhm delinquency toward enjoy it and thanks and praise it and then it developed thereafter until they thought that these manifestations of the lives and hearts of analogy to them spirits and souls of these spirits and enemy forces lurking behind the appearances by a hand that gives them these appearances that liked it Vtqrbwa worship and offerings and enemy goddess or expressing these gods.
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Lin, Wei, and Wei Hwa Chiang. "Acoustical Design Study on Application of Absorption Materials." Applied Mechanics and Materials 711 (December 2014): 546–49. http://dx.doi.org/10.4028/www.scientific.net/amm.711.546.
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Taipei Top Church Auditorium is a hall primarily intended for praise and worship. A three dimensional ray tracing computer simulation was used to provide sound energy distribution on the audience area of the hall, realistic design have been performed. The volume of the hall is 24600m3, which is occupied for 2200 people and equipped the hall with acoustical curtains by modifying its acoustical characteristics. Objective measurements of impulse response are reported, and background noise control and noise isolation are also be considered in the design phase. Reinforcement system is conducted to meet all the activity for the acoustical environments.
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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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Khan, Dominique-Sila. "The Kāmaḍ of Rajasthan — Priests of a Forgotten Tradition." Journal of the Royal Asiatic Society 6, no. 1 (April 1996): 29–56. http://dx.doi.org/10.1017/s1356186300014759.
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In Rajasthan, one of the north-western states of India, whoever has heard of the Kāmaḍ (or Kāmaḍiyā) would define them as wandering minstrels or jugglers, singing hymns in praise of Bābā Rāmdeo, a famous saint from Mārwāṛ, whose footprints they worship. Most people could not say much more about this community of religious singers who, since Independence, have been listed among the “scheduled castes”. In any case, everybody seems to be aware of their connection with Rāmdeo, a famous folk deity, also popular in Gujarat and Madhya Pradesh, now venerated by devotees of all castes and creeds, but mostly by Hindus, as an avatār of Vishnu-Krishna.
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Muñoz-Henríquez, Wilson, M. Esther Fernández-Mostaza, and José Julián Soto Lara. "The Spirit Is within Us! Ritual Practices of Latin American Pentecostals in Barcelona." Religions 13, no. 6 (May 31, 2022): 501. http://dx.doi.org/10.3390/rel13060501.
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In recent years, Christian Pentecostalism has been one of the most successful religious movements in the province of Barcelona, while the high level of immigration from Latin America has clearly been an influential factor in its development. Yet, despite the fact that Pentecostalism has played a prominent role in religious diversification in Catalonia, it has been the subject of very few studies. This paper seeks to address this gap in research and shed light on an area of fundamental importance to the movement: its ritual dimension. Drawing on ethnographic information from the Iglesia Evangélica el Vallès (Canovelles), we describe and analyze the principal channels of communication with the sacred established by the Latin American Pentecostals. In our conclusions, we show that the communicative practices developed during worship are oriented toward manifesting the presence of the Holy Spirit, leading to the emergence of ritual condensation around this symbolic force. For this purpose, practices such as “praise”, the “laying on of hands” and “speaking in tongues” establish sequential and progressive communication with the Holy Spirit throughout the process of worship, culminating in mimetic communication.