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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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Dickerson, Valerie Anne. "Are those congas in the pulpit? hymns, alabanza y adoración (praise and worship) music, and the evangelical subculture of western Cuba /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2009368981&sid=3&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Tonsing, Johanna Gertrud. "Searching for the "Good Song" - Determining the quality of Christian songs within the polarities of worship." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/40212.
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This thesis tries to answer the question what Christians should be singing in worship and why. The situation in many congregations is one of conflict around music and worship styles. The question is how these can be bridged and how worship leaders can be guided to make responsible choices about what is sung in Sunday worship. It is argued that what is sung, strongly influences the theology and faith of congregants.
The thesis locates the discipline of hymnology within a hermeneutical approach to practical theology and tries to develop a theory to answer the question how to determine quality in Christian songs. The current discussions in practical theology and hermeneutics are examined for their relevance to hymnology, particularly some of the insights of Habermas, Gadamer and Ricoeur. Here particularly the idea of “dialogue” and “fusion of horizons” becomes relevant for bridging the divides in the conflicts around worship music. The dissertation examines biblical and church historical answers to the question of whether and what Christians should be singing. It becomes clear that the answers have varied widely during the course of church history, sometimes swinging between extremes. The next chapter looks at songs in the context of the worship service, their function within various parts of the service, and particularly looks at the dialectical poles of worship which should be kept in balance. Musical perspectives are discussed looking at ways to help people not formally trained in music to evaluate tunes.
This theoretical section leads to a catalogue of criteria for “Good songs”:
These are criteria for quality, for “Good Text”, such as biblical and theological value, how easily it is understood, whether it takes human experience seriously and its poetic value. Criteria for “Good Tune” include its level of difficulty, how heavily it depends on accompaniment, and its balance between the familiar and the interesting and new. The third category of criteria evaluate the match between text and tune in mood, rhythm and climax. The last category looks at the balance in the song between different polarities, such as, amongst others, the balance of past and present, cognitive and emotive elements, between challenge and affirmation, and between universal and particular emphases.
This list of criteria is then tested on three songs each of four different songwriters: two traditional and two contemporary: Paul Gerhardt, Charles Wesley, Graham Kendrick and Noel Richards. In each case a background is given, an overview of their work as a whole and a detailed analysis of each song.
In the end the criteria themselves are evaluated as to their usefulness and user-friendliness. Suggestions are then made how these criteria can guide worship leaders in their choices of songs for the Sunday service.Thesis (PhD)--University of Pretoria, 2013.
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Practical Theology
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Campbell, Colin Archibald 1970. "Music ministry in the missional worship service of the Dutch Reformed Church in South Africa / Colin Archibald Campbell." Thesis, North-West University, 2013. http://hdl.handle.net/10394/8998.
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This thesis investigated the approach to, and the conducting of worship services in ten missional faith communities of the Dutch Reformed Church in South Africa during the period 2004 – 2009. It investigated the shift in theological paradigm (towards mission) taking place in the Dutch Reformed Church from 2002 onwards, and the effects thereof on liturgy and music in the worship domain.
In order to contextualise the liturgical developments emanating from the case studies, the history and liturgy of the Dutch Reformed Church in South Africa were traced back to the early Dutch pastors arriving with the first settlers at the Cape Colony in 1652. The historical events leading to the Dutch Reformed Church being labelled as the state church and its sanctioning of the apartheid ideology were placed in perspective as a result of the successes of missionary work in South Africa.
The missional paradigm was unpacked according to the missio Dei. God is the primal agent in mission and calls His church into mission, and sending the church to restore society. Created in the imago Dei, human beings have a responsibility towards contextual society in everyday life. Missional worship therefore becomes a paradigmatic way of life. God is the focal point in worship and liturgy: it is all about God.
The core of the research revolves around the ten missional faith communities, eight of which were part of the initial Southern African Partnership for Missional Churches project. Unstructured interviews were conducted with pastors, musicians and persons involved in the focussed missional activities within these congregations. Having an insider's perspective on the project, the researcher included his own narrative in order to further underline the changes taking place in the worship domain.
Liturgy in the faith communities under investigation was found to be shifting towards ecumenical models: the gathering, the service of the Word, the service of the Table, and the sending. A trend to celebrate the Eucharist/Holy Communion more frequently than the tradition dictated was also noted in the communities. In general, a more creative approach towards the planning and execution of liturgy has been observed – this freedom allowing for the Holy Spirit to move the faith community during worship, and was vastly different to the cognitive historical liturgy.
The music ministry has developed into a new paradigm from the historical role of the organist. Music was found to become a focal point, manifesting as liturgical art, pointing towards God and enabling the faith community to meet God in worship. This led to the change in the role of the church musician in terms of scope and spiritual/religious value. The shift towards leading the liturgy and shaping the faith community through music has been noted – thus establishing a music ministry.
The Eucharist/Holy Communion is presented as a metaphor, the underlying basis for a model in music ministry. Music ministry is now defined under the theological lens as being sacramental in nature. In closing, recommendations are made to address the re-education of church musicians and theologians to deal with the theological changes taking place in worship.Thesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.
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Brasaemle, Karla Anne. "For glory and for beauty implications of the theology of beauty for creating worship space /." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Elyon, Johny Robert. "Die rol van musiek as heelbrein-strategie by innerlike verandering : 'n prakties-teologiese studie / Johny Robert Elyon." Thesis, North-West University, 2008. http://hdl.handle.net/10394/1009.
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In the past, pastoral-therapeutic support was mainly approached only from the functioning of the left hemisphere of the brain. This implies that pastoral therapists mainly interacted with people in therapy at an intellectual-analytical level under modernistic influence. Since man's destitution and need changes along with time, it is essential for pastoral therapists/counsellors to supplement and adapt their modus operandi and strategies if they wish to remain relevant regarding their pastoral dealings with people. In this study the researcher attempted to formulate from the Scriptures a basis theory regarding the role of music as a whole-brain strategy in inner change. For the sake of a more holistic approach, a meta-theoretical investigation was also undertaken. To confirm the basis and meta-theoretical information, researcher entered the living reality of seven individuals during which a qualitative research was done. The results of the study, according to which the basis and meta-theoretical perspectives were placed in hermeneutical relation to one another, led to practice-theoretical guidelines within the subject domain of Practical Theology regarding the role of music as a whole-brain strategy in inner change.Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2008.
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Yang, Vaugh-An. "Spiritual transformation through worship in the presence of God with the aid of music an exploration of Pan-Chiao Ling Liang Church /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Dawson, Lisa. "Attitudes, opinions, and beliefs of musicians serving Church of God (Anderson, Indiana) congregations within the United States regarding continuing education in music and worship arts." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390658.
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The primary purpose of this research was to ascertain the attitudes and opinions of Church of God (Anderson, Indiana)* musicians regarding continuing education. The secondary purpose of the study was to determine the types of continuing education experiences that are needed by current church musicians who are employed by, or volunteer for Church of God congregations.An online survey was developed and made available to current musicians serving in Church of God congregations. One hundred and fourteen participants responded to the survey.The writer gathered data from participants regarding their personal information, details about their congregation, about their responsibilities with their congregations, their personal belief statements about their position with their congregation and their interest in and/or barriers to receiving further education.The initial hypotheses for this study were: 1) many who lead worship in Church of God congregations are not trained or educated in the skills and knowledge needed to serve effectively. 2) Many of these persons are not opposed to continued education in church music topics, but they do not know where to look for the training, and, in many cases, the type of educational resources they need do not exist.The results of the study indicated a great interest in receiving continuing education in the worship arts The study also indicated that time, money and family constraints prove to be significant obstacles in the pursuance of further education by music and worship leaders.The data gathered from the study indicated that the types of continuing educational experiences that musicians practicing in the Church, of God congregations need are many and varied. The writer concluded that those who would provide such experiences must take into consideration the constraints and barriers most of these leaders experience and provide practical and theological and philosophical elements.Data were presented in narrative form with the help of listings and figures when appropriate. Based on the data received, the writer gave recommendations for continuing educational opportunities.School of Music
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Janse, Rhe, H. J. Hendriks, and J. H. Cilliers. "Spiritualiteitsdiversiteit as uitdaging aan die erediens : 'n verkenning van die funksie van lofprysing in die Nederduitse Gereformeerde Kerk." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/15497.
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Thesis (DTh)--University of Stellenbosch, 2002.AFRIKAANSE OPSOMMING: Die Nederduitse Gereformeerde Kerk is die afgelope paar jare in debatte gewikkel oor die een aktiwiteit wat uniek aan die kerk is, naamlik haar aanbidding. Aanbidding het vandag een van die belangrike redes geword waarom kerke groei, maar is terselfdertyd ook een van die oorsake waarom gemeentes lidmate verloor en kwyn. Aan die voorpunt van die debat oor aanbidding, is die kwessie van lofprysing. Lofprysing het vandag vir baie gelowiges 'n middel geword om hulle geloof en aanbidding tot uitdrukking te bring. In plaas daarvan dat die nuwe beklemtoning en behoefte aan lofprysing die kerk in haar aanbidding van God verenig het, het dit egter 'n bron van frustrasie en konflik geword. Hierdie konflik sentreer hoofsaaklik om die styl waarin lofprysing plaasvind en word aangehelp deur die gebrek aan kennis oor die onderwerp en die diversiteit wat in gemeentes heers. Gemeentes van die Nederduitse Gereformeerde Kerk bestaan vandag uit lidmate wat uiteenlopende lewensuitkyke handhaaf en verskillende spiritualiteite besit. Om die hele kwessie van lofprysing binne die konteks van diverse gemeentes aan te spreek, moes die studie eerstens die aard en funksie van lofprysing binne die liturgie bepaal. Daarna moes 'n wyse gevind word waarop die diversiteit in gemeentes hanteer kon word. Deur middel van 'n spiritualiteitstipologie wat Holmes in 1980 opgestel het, en wat later as basis van verskillende spiritualiteitsanalises gedien het, is 'n instrument daargestel waarmee gemeentes en individue se spiritualiteit getoets kon word. In hierdie studie is die analises nie net gebruik om mense se spiritualiteit vas te stel nie, maar ook om te bepaal of daar 'n korrelasie tussen spiritualiteitsgroepe en hulle aanbiddingsbehoeftes bestaan. Die navorsing het daarin geslaag om nie net 'n verband tussen spiritualiteit en aanbiddingspatrone aan te toon nie, maar ook die waarde van 'n spiritualiteitsanalise te beklemtoon om die diversiteit ten opsigte van aanbidding en lofprysing in gemeentes aan te spreek.
ENGLISH ABSTRACT: Over the past few years the Dutch Reformed Church has been embroiled in a debate regarding worship within the church. Whilst the worship within a congregation has become one of the most important factors in church growth, it is also one of the reasons why some congregations loose membership and shrink in size. A major point of contention within this debate relates to the use of praise. To many believers, praise has become a process through which they worship and reinforce their faith. Instead of unifying the church in her worship of God, the current emphasis on praise within the church has become a source of frustration and a point of contention. This controversy mainly centres around the style with which praise is practiced within the congregation and is exacerbated by a lack of knowledge surrounding the topic and the diversity that exists within congregations. Members of the Dutch Reformed Church has widely divergent life views and also possess different spiritualities. To determine the use of praise within divergent congregations, this study evaluated the nature and function of praise within the context of the liturgy. Subsequently, a method to manage the diversity within congregations was developed. In 1980, Holmes developed a spirituality typology within which he identified four spirituality groups. Based on the spirituality typology, some spirituality analyses were formed to help congregations and individuals to test their spirituality. These analyses were used to identify the correlation between a spirituality group and their worship requirements. The results from this research clearly showed a positive correlation between these two parameters and also highlighted the value of using the spirituality analysis as a method to manage the different praise and worship requirements that exists within congregations.
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Loewen, Paul Dennis Thielmann. "Du Wohnst unter den Lobgesangen Israels: eine Untersuchung der charismatischen Lobpreiskultur im Hinblick auf das implizierte Gottesdienstverstandnis." Diss., 2018. http://hdl.handle.net/10500/25700.
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Abstracts in German and EnglishDiese Studie befasst sich mit einer Untersuchung und Einordnung einiger theologischer Aspekte der charismatischen Lobpreispraxis im deutschsprachigen Raum. Dies erfolgt mittels Analyse einschlägiger Literatur sowie repräsentativer Liedtexte der charismatisch geprägten Lobpreismusik der letzten Jahre. Insbesondere durch die Untersuchung des Tempelmotivs und seine Bedeutung in der charismatischen Lobpreispraxis, werden Charakteristika eines zugrundeliegenden Gottesdienstverständnisses und sich daraus ergebende weltanschauliche Implikationen herausgearbeitet. Der Befund zeigt, dass den untersuchten Lobpreisliedern ein Narrativ der Begegnung des Menschen mit Gott und seiner Gegenwart (in „heiliger Atmosphäre“) als Grundmotiv zugrunde liegt. Dieses Narrativ folgt der Logik und dem Vorbild des alttestamentlichen Tempelkults. Wie der Eintritt des Priesters ins „Allerheiligste“, soll das gottesdienstliche Lobpreiserlebnis als eine transzendente Begegnung mit dem „Heiligen“ verstanden werden, wodurch sich Tendenzen zu einem sakral-kultischen Gottesdienstverständnis und Hinweise eines Dualismus zwischen „profanen“ und „sakralen“ wirklichkeitsdimensionen des zugrundeliegenden Weltbildes aufzeigen lassen.
This study evaluates some theological aspects of the charismatic praise and worship practice in the German-speaking area by analyzing relevant literature and representative lyrics of the charismatically influenced worship songs of recent years. In particular, by examining the temple theme and its significance in charismatic worship, the characteristics of the underlying conception of worship and the resulting worldview implications are worked out. The results show that the studied praise and worship songs are based on an underlying narrative of man's encounter with God and his presence (in a "holy atmosphere") through the singing. This narrative follows the logic and model of the Old Testament temple cult. Like the priest's entry into the "holy of holies", the worship experience is to be understood as a transcendent encounter with the "holy", whereby tendencies towards a sacral-cultic understanding of worship and a dualism between a "profane" and a "sacred" dimension of the underlying worldview can be shown.
Practical Theology
M. Th. (Practical Theology)
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Reagan, Wen. "A Beautiful Noise: A History of Contemporary Worship Music in Modern America." Diss., 2015. http://hdl.handle.net/10161/9836.
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How did rock and roll, the best music for worshipping the devil, become the finest music for worshipping God? This study narrates the import of rock music into church sanctuaries across America via the rise of contemporary worship music (CWM). While white evangelicals derided rock n' roll as the "devil's music" in the 1950s, it slowly made its way into their churches and beyond over the next fifty years, emerging as a multi-million dollar industry by the twenty-first century.
This study is a cultural history of CWM, chronicling the rise of rock music in the worship life of American Christians. Pulling from several different primary and secondary sources, I argue that three main motivations fueled the rise of CWM in America: the desire to reach the lost, to commune in emotional intimacy with God, and to grow the flock. These three motivations evolved among different actors and movements at different times. In the 1970s, the Jesus People movement anchored in Southern California, adopted the music of the counterculture to attract hippies to church. In the early 1980s, the Vineyard Fellowship combined rock forms with lyrics that spoke of God in the second person in order to facilitate intimate worship with the divine. In the late 1980s, the church growth movement embraced CWM as a tool to attract disaffected baby boomers back to church. By the 1990s, these three motivations had begun to energize an entire industry built around the merger between rock and worship.
Dissertation
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Tung, Chien-Lung, and 佟建隆. "The Trend of Worship Music Composition in Chinese Protestant Churches: A Case Study of “Stream of Praise”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/w669eq.
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碩士國立臺北藝術大學
音樂學研究所
102
The Christian worship music in Psalm showed how the gentile musical instrument and secular tone which impurity, were sanctified for worship God’s purpose. For the function of worship liturgy made the music sanctify. Since from the Old Testament to the early church, from the Middle Ages of Gregory time, through the Renaissance, the Reformation, until the Religion Revival movements in Twentieth century. For the cross-fertilization of secular and ecclesiastical styles is continuing acculturation. Since the half of twentieth century, the acoustic instrument such as piano and organ in church was replaced by using the electric guitar and synthesizer, the plug-in instrument which is plug in the popular musical culture. The worship music in European and Americans’ protestant churches by absorbing the style of rock and roll, jazz, hip-hop and techno music, in developing the popular music style, worship and praise. The culture meaning of popular music styles was transformed from negative to positive, from entertained secular music to worship service. The phenomenon of the cross-fertilization of cultures is more frequently by the mass media and the net. The Christian worship music in Taiwan’s church also been effected by the wave of the culture. This article will be the case of ‘Stream of Praise’, which found since in 1995, composed the worship songs for Chinese protestant church. By studying twenty-two albums, to analysis how the element of popular music adopted in the song arrangement, and how the composer to express ones experience in faith so that make the songs easy to learn and sing for the congregation in the worship service. The study is aim to find out how the American popular music culture, where developed from African culture affected and acculturated the trend of the composition.
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Dhliwayo, Elizabeth. "A critical study of the praise singer yesterday, today and tomorrow." Diss., 2007. http://hdl.handle.net/10500/1334.
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The study sets to establish trends with regard to the role of the praise singer, the changes with regard to the traditional praise singer's rendition/performance and the material or content of his/her poetry. Thus the study highlights the distinction observed between the praise singer of the past and the present praise singer. The study also shows that the praise singer's performance, in terms of his/her role and content, is in the state of flux.
The study also demonstrates that the singer of the past and the present praise singer have the same role and their chants or poetry or songs have the same effect. It also highlights situations where praises are chanted in modern times. These are graduation ceremonies, weddings, political gatherings and traditional ceremonies, for example, the annual rain making ceremonies. These events or occasions are inextricably linked to traditional praises. The study also highlights the fact that traditional praises present the history and heroic deeds of members of the clan to which the beneficiary belongs. They also express the deep feeling of royalty and loyalty. Like in the past they boost morale.African Languages
M.A. (African Languages)
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Lu, Hsiu-yun, and 陸秀雲. "An Investigation on the Attitude of the Congregation in Taiwan Christian Church Toward Traditional Liturgical Music and Contemporary Praise and Worship Music---Between Tainan and Kaohsiung City." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/03381113677638807010.
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碩士國立臺南大學
音樂教育學系教學碩士班
97
This research aims at investigating the attitudes of the congregation in Taiwan Christian church toward traditional liturgical music and contemporary praise and worship music between Tainan and Kaohsiung city, and also investigating the difference in the attitudes of the congregation from different background toward traditional liturgical music and contemporary praise and worship music, and the related conditions of each dimension. This research was conducted through the poll, and it adopted a self-designed questionnaire as the measurement tool, “Opinions of the Congregation in Taiwan Christian Church on Traditional Liturgical Music and Contemporary Praise and Worship Music.” This research took the Christian churches in Tainan and Kaohsiung city as population, 898 copies of the questionnaire were sent out by stratified sampling, and 867 copies were returned. Among them, 20 copies were invalid, and therefore there were 847 copies are valid. The collected data were analyzed by descriptive statistics, t test, One-Way ANOVA, multiple comparisons by scheffe’s method, Pearson’s product-moment correlation, etc. Besides, interviews were also conducted. In the end, according to the outcomes and findings, this research came to the following conclusions. The following conclusions were drawn up from the outcomes of the research into the attitude of the congregation in Tainan and Kaohsiung Christian churches toward traditional liturgical music and contemporary praise and worship music: 1. The congregation takes an active and accepting attitude toward traditional liturgical music and contemporary praise and worship music. 2. The background variables, such as sex, educational background, residing area, individual music learning experience, were not significant differences in the overall attitude toward traditional liturgical music, but the congregation’s age, identity, preference for liturgical music, music attribute, and the experience in group music participation were significant differences at .05 level in the attitude toward traditional liturgical music. 3. The background variable of sex were not lead to significant differences in the overall attitude toward contemporary praise and worship music, but the congregation’s age, identity, educational background, residing area, preference for liturgical music, music attribute, and the experience in group music participation had significant differences at .05 level in the overall attitude toward contemporary praise and worship music. 4. There is no significant correlation between the overall attitudes of congregation toward traditional liturgical music and contemporary worship music. However, there is positive correlation existing between the comparisons of each subscale of traditional liturgical music and contemporary praise and worship music, and the positive correlation is medium-high between each other. This research also summarizes the reasons why the congregation likes liturgical music and their opinions on improving liturgical music. Finally, according to the foregoing research outcomes, the integrated conclusion is drawn up and concrete suggestions are raised for the reference of related organizations and follow-up researchers.
24
Dittrichová, Johana. "Současné trendy protestantské liturgické hudby v České republice." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321573.
Full textAbstract:
anglicky The diploma thesis Contemporary Trends of Protestant Liturgical Music in the Czech Republic deals mainly with both - musical and unmusical - element of contemporary praise and worship songs used at protestant Sunday services. The aim of praise and worship music in a Sunday service, is to give praise to God, as well as it was in biblical times. Therefore the first chapter of the thesis presents observations about music in the Bible and examines its connections to non-musical ways of praising God, which throws light upon the situation today. The part of the thesis which makes the reader familiar with current situation of protestant liturgical music in the Czech Republic, points out weaknesses in present-day song writing and shows a need of musical education for Christians, who take part in performing music at Church, compose songs and translate them from other languages. There is also a notable trend of adapting hymnbook songs, which therefore become friendlier to younger generation who prefers livelier music. Although there is not any board for protestant liturgical music, there are several influential personalities, whose view on various components of music liturgy and relationship to God's praise are presented in the third chapter. All of them agree on the fact that praising God through...
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Ehlebracht, Simon. "Lobpreis- und Anbetungslieder – Eine kritisch-würdigende Analyse der aktuellen Hillsong-Lieder." Diss., 2018. http://hdl.handle.net/10500/25603.
Full textAbstract:
Text in German with summaries in German and EnglishDie Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt gerechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion.
The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are underrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function
Practical Theology
M. Th. (Practical Theology)
26
Ehlebracht, Simon. "Lobpreis- und Anbetungslieder: eine kritisch-wurdigende Analyse der aktuellen Hillsong-Lieder." Diss., 2018. http://hdl.handle.net/10500/25694.
Full textAbstract:
Abstract in German and EnglishDie Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt erechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion.
The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are nderrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function.
Practical Theology
M. Th. (Practical Theology)