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Relevant bibliographies by topics / Worship music Praise of God

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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 (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

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2

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 (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 diamp

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3

Lestari, Dewi Tika. "Etnisitas, teologi, dan musik dalam nyanyian gereja: sketsa awal studi etnoteomusikologi nyanyian Gereja Protestan Maluku." Kurios 7, no. 1 (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 ethn

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4

Ward, James C. "The Lord Will Make a Way Somehow: Strategies for Cross-Cultural Music and Worship." Review & Expositor 109, no. 1 (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 a

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5

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 (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 ha

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6

Ocktarizka, Tria. "MAKNA PENYAJIAN GONDANG PADA PROSESI KEMATIAN MASYARAKAT BATAK TOBA DI KECAMATAN DOLOK MASIHUL PROVINSI SUMATERA UTARA." INVENSI 2, no. 2 (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

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7

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 evid

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8

Pittard, John. "Worship and The Problem of Divine Achievement." Faith and Philosophy 38, no. 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 b

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9

Boulton, Matthew. "Forsaking God: a theological argument for Christian lamentation." Scottish Journal of Theology 55, no. 1 (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

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10

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 (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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