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Academic literature on the topic 'Worship music Praise of God'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Worship music Praise of God"

1

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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Kusradi, Sri Wahyuni. "Makna Ungkapan “Petiklah Kecapi Baik-Baik” Dalam Mazmur 33: 3 Sebagai Upaya Peningkatan Kualitas Pelayanan Musik." SCRIPTA: Jurnal Teologi dan Pelayanan Kontekstual 5, no. 1 (June 18, 2020): 1–25. http://dx.doi.org/10.47154/scripta.v5i1.43.

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Pelayanan musik adalah sangat penting dalam ibadah. Karena itu Kitab Mazmur juga menyatakan hal-hal mengenai pelayanan tersebut. “petiklah kecapi baik-baik” memberikan pengertian bahwa pelayanan musik bukanlah semata-mata menyangkut kemampuan memainkan alat musik saja. Tetapi lebih jauh dari hal itu adalah menyangkut kedalaman batin pemusik dalam penyembahannya kepada Tuhan yang menyangkut keseluruhan kehidupan sang pelayan tersebut. Ia adalah orang yang benar di dalam Tuhan: ia adalah seorang yang memiliki hati yang telah dibaharui oleh Tuhan, dia adalah seorang yang dosanya telah diampuni, telah diselesaikan di hadapan Tuhan. Dia adalah seorang yang jujur artinya dia adalah seorang yang berintegritas dan tidakada kemunafikan. Seorang pelayan musik yang benar adalah yang memiliki sikap yang benar yang jiwanya penuh sukacita dalam memuji Tuhan, yang hatinya penuh dengan pujian kepada Allah. Dia juga dapat memainkan alat-alat musik dengan benar: ia memahami musik dengan benar dan memahami bagaimana bermusik yang dikenan Tuhan. Seorang pelayan musik juga memiliki kesungguhan hati dan perlu mempersiapkan dengan matang melalui latihan-latihan sebelum memulai pelayanannya. Seorang pelayan musik juga adalah seorang yang tiap waktu mengharapkan kasih setia Tuhan, sehingga ia tidak mengandalkan dirinya sendiri, yang hatinya penuh pengagungan dan kekaguman kepada Tuhan. Ia hendaknya mengetahui alasan kenapa ia bermain musik dan melayani musik dengan baik-baik. Ia mengerti alasannya yaitu karena Firman Tuhan telah menjadikan segala sesuatu, bahwa Tuhan yang ia layani adalah yang memiliki rancangan ygng menentukan sejaah umat-Nya, yang perhatian-Nya kepada manusia seluruhnya, dan Ia adalah Tuhan yang menyelamatkan orang yang takut akan Dia. Pemahaman akan hal-hal tersebut akan sangat berpengaruh pada seluruh ibadah dan kemajuan penyembahan umat kepada Allah dan kehidupan umat yang mempermuliakan Allah, Sang Juruselamat. Music ministry is very important in worship. Therefore the Psalms also state matters regarding the ministry. "Pick the harp well" gives the sense that the service of music is not solely concerned with the ability to play an instrument. But further than that it concerns the inner depth of the musician in his worship of God concerning the whole life of the servant. He is a righteous person in God: he is a person who has a heart that has been renewed by God, he is a person whose sins have been forgiven, resolved before God. He is an honest person meaning he is a person of integrity and no hypocrisy. A true music steward is one who has the right attitude whose soul is full of joy in praising God, whose heart is full of praise to God. He can also play musical instruments correctly: he understands music correctly and understands how music is pleasing to God. A music steward also has sincerity and needs to prepare carefully through exercises before starting his ministry. A music steward is also someone who is always expecting God's love, so he does not rely on himself, whose heart is full of admiration and admiration for God. He should know the reasons why he plays music and serves music well. He understands the reason that is because the Word of God has made everything, that the Lord he serves is the one who has a design that determines the history of His people, whose attention is to the whole human being, and He is the God who saves those who fear Him. Understanding these things will greatly affect the entire worship and progress of the worship of the people to God and the lives of people who glorify God, the Savior.

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Lestari, Dewi Tika. "Etnisitas, teologi, dan musik dalam nyanyian gereja: sketsa awal studi etnoteomusikologi nyanyian Gereja Protestan Maluku." Kurios 7, no. 1 (May 2, 2021): 81. http://dx.doi.org/10.30995/kur.v7i1.259.

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Church music is an essential part of Christian worship. The primary source to create Church music is commonly from the Bible, Christian tradition, and believers' experience. Yet, in the church music of the Protestant Church in the Moluccas (GPM), there is harmony between some elements such as ethnicity, theology, and music. In ethnicity, there is some local cultural tradition derived from the old local religion, which Christianity contextualizes. Using a descriptive qualitative research method, the harmony of all elements, ethnicity, theology, and music result in a new perspective, namely ethno-theo-musicology, to analyze and understand the church music existence. This research found that the Protestant Church member in the Moluccas appreciates all church music substances, which led them not only to praise God but also to experience God in their cultural experience in Maluku. Abstrak Musik gereja merupakan salah satu unsur penting dalam peribadahan Kristen. Musik gereja umumnya diciptakan bersumber dari kesaksian Alkitab, tradisi atau ajaran gereja tertentu, dan pengalaman iman orang percaya. Namun, dalam nyanyian Gereja Protestan Maluku (GPM), musik gereja bersumber dari harmonisasi unsur budaya lokal, teologi, dan musik. Dalam unsur budaya lokal juga ditemukan proses kontekstualisasi narasi-narasi mistik dari kepercayaan asli masyarakat sebelum menjadi Kristen. Dengan penelitian deskriptif kualitatif, artikel ini menjelaskan adanya perpaduan unsur etnisitas, teologis, dan musik yang kemudian menghasilkan suatu pendekatan etnoteomusikologis dalam mengartikan suatu nyanyian gereja. Penelitian ini menemukan bahwa Warga Gereja Protestan Maluku sebagai pemilik dari Nyanyian GPM, sangat mengapresiasi pendekatan etnotheomusikologis sebab dirasakan bahwa musik gereja selain memuliakan Allah juga mengantarkan mereka mengalami kehadiran Allah di dalam pengalaman-pengalaman budaya yang mereka miliki

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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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Deliana, Frida, and Suprayitno. "Training of Moria choir conductor members and conductors in efforts to improve quality in Medan city." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, no. 1 (May 30, 2020): 1–6. http://dx.doi.org/10.32734/abdimastalenta.v5i1.4017.

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In ecclesiastical worship activities in the Christian community, singing activities both in the format of 'choir', congregational singing and others are integrated in a series of worship services in the church. It is also found among members of the Runggun Benameriah Protestant Karo Batak Church (GBKP) congregation who also use the choir format in activities to praise and glorify God. For Christians singing is a spiritual need. In both churches there are several types of choirs, both the choir moria (mothers), mamre choirs (fathers) gem choirs or youth / youth and elderly choirs. Each choir has a trainer (amateur) who also acts as choir leader, referred to as Dirigen. The problem is that often the quality of the choir that is displayed is low. This means that there are always a lot of technical errors and un-melodious voices from the choir members during the choir presentation. If this condition continues and occurs continuously, the presence of the choir can eventually interfere with the implementation of worship. Another condition is that almost all Dirigens in the GBKP choir are people who have limited musical abilities, and have no background in formal music education. His managerial ability and technical ability to teach choir is very weak. Dirigen's lack of musical knowledge and technical ability will certainly have a profound impact on the quality of the choir he leads. Therefore this dedication team will improve the choir management ability in vocal material and the ability of conducting to all participants so as to minimize the technical difficulties found in the preparation and presentation of the choir. This community service activity is expected that members and conductors / choir leaders can utilize their knowledge and experience as professionals in the field of choir training among community members in general.

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Ocktarizka, Tria. "MAKNA PENYAJIAN GONDANG PADA PROSESI KEMATIAN MASYARAKAT BATAK TOBA DI KECAMATAN DOLOK MASIHUL PROVINSI SUMATERA UTARA." INVENSI 2, no. 2 (January 10, 2018): 72–85. http://dx.doi.org/10.24821/invensi.v2i2.1869.

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Penelitian ini bertujuan untuk mendeskripsikan prosesi kematian masyarakat Batak Toba di Kecamatan Dolok Masihul, dan makna penyajian musik gondang pada prosesi kematian masyarakat Batak Toba di Kecamatan Dolok Masihul. Penelitian ini merupakan penelitian kualitatif deskriptif. Pengumpulan data dilakukan dengan teknik observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan bahwa gondang memiliki peranan penting sebagai iringan setiap upacara Suku Batak. Prosesi kematian saur matua (kematian yang diharapkan) menyajikan gondang dan tortor sesuai dengan tata aturan adat. Setiap jenis gondang yang didendangkan oleh pargonsi (pemain gondang) dalam prosesi kematian memiliki makna yang berbeda beda. Gondang mula-mula ini ditujukan untuk Tuhan. Gondang Mula-mula memiliki makna bahwa semula Dia (Tuhan) sudah ada, dan Dia (Tuhan) memulai ada. Gondang Somba dimaksudkan sebagai sembah syukur kepada Tuhan yang telah menciptakan dan memelihara hidup manusia. Gondang Mangaliat memiliki makna bahwa Tuhan senantiasa memberikan keselamatan, kebahagiaan dan kesejahteraan bagi keluarga yang ditinggalkan. Gondang Hasahatan memiliki makna bahwa segala pinta yang meliputi hidup sejahtera bahagia dan penuh rejeki didengar Tuhan. This study aims to describe the procession of Batak Toba’s death in Subdistrict of Dolok Masihul, and the meaning of serving music gondang on procession Batak Toba’s death in subdistrict of Dolok Masihul. This study is using a qualitative approach with descriptive type. The data collection was done by using observation, interview, and documenttaion techinques. The results showed that gondang has an important role as an accompaniment in every ceremony performed by Batak tribe community. Saur Matua (the expected death) funeral procession presented gondang and tortor based on the customary rules. Every kind of gondang which sang by pargonsi (gondang’s player) in funeral procession has the meaning all it is own. Gondang mula-mula is presented for God. Gondang mula-mula originally means that since the very beginning Him (God) is already there. Gondang Somba means as a praise to worship God who created and maintain human life. Gondang Mangaliat has a meaning that God is always giving a salvation, joy and prosperity for the family remained. Gondang Hasatan means that every request including the prosperity life and full of fortune which listened by God.

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Carleton, Kenneth W. T. "John Marbeck and The Booke of Common Praier Noted." Studies in Church History 28 (1992): 255–65. http://dx.doi.org/10.1017/s0424208400012481.

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The liturgical section of The New English Hymnal contains musical settings for both eucharistie orders of the Church of England’s Alternative Service Book 1980. The modern-language service, Rite A, is provided with a newly-composed congregational setting in speech rhythm. The texts of Rite B use the traditional language of the Book of Common Prayer, and are given a musical setting taken from The Booke of Common Praier Noted by John Marbeck, published in 1550. An accompaniment is added, and the text is adapted where the original is no longer accurate. Its inclusion in this new hymn-book is evidence of the popularity which Marbeck’s setting has enjoyed for more than a hundred years. Its rediscovery took place in the nineteenth century through the influence of the Tractarians and their successors, who sought to revive traditional liturgical practices such as the singing of plainsong during worship. The Booke of Common Praier Noted is a musical setting of parts of the first English Prayer Book, which had been promulgated in 1549. The appearance of a second Prayer Book in 1552 rendered Marbeck’s work obsolete, as the new book expresses a different attitude towards music in worship. The 1549 Prayer Book encourages singing in many of the services, not least the Office of Holy Communion. The clerks, singing-men usually in minor orders, are expected to take a full part, and the normal eucharistie celebration is one which is sung virtually throughout. The Offices in the 1552 Book contain very few references to singing, and the clerks are nowhere mentioned. The only direction for singing any part of the order for Holy Communion is found at the end, when ‘Glory be to God on high’ may be said or sung. A rubric at Morning Prayer allows for the singing of the lessons in that service and at Evening Prayer, as well as the Epistle and Gospel at Holy Communion, so that the people may hear them more clearly. It is possible that the retention of this reference to singing from the first Prayer Book may have been an oversight, as the rubric is situated away from the main body of the service.

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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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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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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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Dissertations / Theses on the topic "Worship music Praise of God"

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

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

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

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

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

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Buerer, Harry F. "Winds of praise symphonic band recital /." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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

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

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

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

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Smoak, Alfred M. "Identifying contemporary praise & worship songs for use during the church year at Trinity Baptist Church, Livermore, California." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Gardner, David B. "Filled with the fullness of God a choral concert expressing God's design for mankind /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Lim, Daewoong. "Open church and closed worship? : a practical theology study of the dialectic relationship between fear and hospitality in worship." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71602.

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Thesis (MTh)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: In the rites of Christian worship, various aspects are operated, and some of them seem to have opposite attributes that cannot exist at the same place and be performed at the same time. Since all the aspects are so important to worship, we cannot over-stress or exclude either one of them. The relationships between the aspects being confronted with cause tensions in worship. The aim of this thesis is to synthesize these tensions, esp. concerning fear and hospitality in worship. Fear and hospitality cannot be expressed with one perspective, because they in themselves have various aspects. Fear of God has a dimension of Mysterium Tremendum but, at the same time, it has a dimension of Fascinosum. Hospitality also has two dimensions: of God and of human beings. Thus, what is significant is to relieve the tension between fear and hospitality and the tension implied in themselves. To accomplish this goal, we endeavour to find the agent for the synthesizing the two aspects in worship so that they can stand in a dialectical relationship. We apply a Christological approach and pneumatological insights for this task. In Jesus a negative dimension of fear of God can be altered to hospitality of God while still grabbing a positive sense of fear of God in worship. Therefore, In Jesus fear and hospitality is synthesized. This synthesizing is different from blending or balancing fear and hospitality in worship just in quantity and quality for they cannot relieve the tensions. Lastly, we deal with a matter of opening and closing as a pragmatic task. The church and worship can be open for God’s hospitality, but at the same time they are closed to some for fear of God. Opening or closing in itself cannot be the solution for this contradiction. The answer for the matter of opening and closing lies in a dialectical relationship between fear and hospitality in Jesus Christ, because in Him all the tensions are relieved.
AFRIKAANSE OPSOMMING: In die rituele van Christelike aanbidding is verskeie elemente aan die werk, en dit wil voorkom asof sommige hiervan teenoorgestelde eienskappe het wat nie gelyktydig kan bestaan of uitgevoer kan word nie. Aangesien al die aspekte so belangrik is vir aanbidding, kan ons nie een van hulle oorbeklemtoon of uitsluit nie. Die verhoudings tussen die elemente gee aanleiding tot spanninge. Die doel van hierdie tesis is om die spanninge te sintetiseer, veral wat betref vrees en gasvryheid in aanbidding. Vrees en gasvryheid kan nie met een perspektief uitgedruk word nie omdat hulle uit verskeie aspekte bestaan. Vrees vir God het 'n dimensie van Mysterium Tremendum, maar terselfdertyd ook 'n dimensie van Fascinosum. Gasvryheid het ook twee dimensies: van God en van die mens. Dit is dus betekenisvol om die spanning tussen vrees en gasvryheid en die spanning binne dié aspekte te verlig. Om hierdie doel te bereik, probeer ons om die agent te vind vir die sintese van die twee aspekte in aanbidding, sodat hulle in 'n dialektiese verhouding tot mekaar kan staan. Ons wend 'n Christologiese benadering en pneumatologiese insigte vir hierdie taak aan. In Jesus kan 'n negatiewe dimensie van vrees verander word in die gasvryheid van God, terwyl die positiewe sin van die vrees vir God in aanbidding beklemtoon word. Vrees en gasvryheid word in Jesus gesintetiseer. Hierdie sintetisering verskil van die vermenging of die balansering van vrees en gasvryheid in aanbidding in die hoeveelheid en kwaliteit omdat hulle nie die spanning kan verlig nie. Ten slotte, behandel ons die aspekte van opening en sluiting as 'n pragmatiese taak. Die Kerk en aanbidding kan oop wees vir God se gasvryheid, maar op dieselfde tyd is hulle vir sommige geslote weens ŉ vrees vir God. Om oop te maak of om te sluit kan op sigself nie die oplossing vir hierdie teenstrydigheid wees nie. Die antwoord vir opening en sluiting lê net in 'n dialektiese verhouding tussen vrees en gasvryheid in Jesus Christus, want in Hom is al die spanninge verlig.

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Books on the topic "Worship music Praise of God"

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Michael, Coleman. Come and worship. Old Tappan, N.J: Chosen Books, 1989.

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

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

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

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Levite Praise. Lake Mary, Florida: Creation House, 2009.

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Law, Terry. The power of praise and worship. Tulsa, Ok: Victory House, 1985.

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Law, Terry. The power of praise and worship. Tulsa, Ok: Victory House, 1985.

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The power of praise and worship. Tulsa, Ok: Victory House, 1985.

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

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Jim, Gilbert, ed. The power of praise and worship. Shippensburg, Pa: Destiny Image Pub. Inc., 2008.

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Book chapters on the topic "Worship music Praise of God"

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Zotter, Astrid. "Bells, auspiciousness and the god of music." In Worship Sound Spaces, 122–39. New York : Routledge, 2020. | Series: [Research in architecture]: Routledge, 2019. http://dx.doi.org/10.4324/9780429279782-8.

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Wirzba, Norman. "The Witness of Praise—The Hope of Dwelling." In Theology, Music, and Modernity, 336–57. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0016.

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Praise has long been identified as a linguistic and musical form that is a response to the goodness and beauty of creaturely life. More generally, it reflects forms of life that seek to participate in God’s creative, nurturing, and reconciling ways with the world. In Western modernity, however, praise is rendered difficult and more tenuous because people find it hard to perceive and engage with the world as God’s creative realm. It is, instead, reduced to a brute material realm devoid of purpose or sanctity. The muting of praise is reflected in modern musical forms, but also in changes in the built environment. After describing the logic of praise, this essay argues that the action of praising God is much more than a personal, pious gesture. It is also a primary and practical way of being that communicates a desire to dwell in the world in ways that honour creatures and their creator. Understood this way, praise mobilizes worship and world-making at the same time.

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

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

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

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

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

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Chafe, Eric. "Music and the Praise of God." In Tears into Wine, 251–78. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780190217297.003.0006.

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

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

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

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

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