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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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Cherkashina, O. V., N. M. Utesheva, and O. M. Yakymchuk. "Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 60–73. http://dx.doi.org/10.34064/khnum2-17.04.
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Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The holistic musical-theoretical analysis is applied to determine the figurative content of the work, to identify the peculiarities of form-building and the use of compositional ways of expressiveness (the intonational structure of the basic elements of the form, the tonal-harmonic plan, the methods of development of the thematic material). In the analysis of music the method of comparison was used (to identify correspondence between the means of musical expressiveness and the features of the canonical text). Results. The material of the analysis are four chants (“The King of Heaven”, “Glory to the Father, and the Son, and the Holy Spirit”, “My voice to the Lord”, “Holy, holy, Lord of Sabaoth”), which are united in the cycle “Spiritual chants for female choir a cappella”. In the process of researching the algorithm of sequence of the chants in the cycle is revealed, as well as the correspondence of musical means of expressiveness to canonical text. It is concluded that all chants expressly convey the meaning and the features of the canonical text. Musical structures clearly correlate to verbal. The greatest number of repetitions in the chants the stable formulations of the canonical text acquires: “Lord have mercy”, “Hallelujah”, “Glory to the Father, and to the Son, and to the Holy Spirit”, “Holy Lord”. The semantic significance of the canonical text is reproduced through the rich harmony and inventional polyphony, through the changes of time signatures, text repetitions, the wide choir range, dramatic development and contrasts of all means of expressiveness. Four abovementioned spiritual chants for the female choir a cappella on the canonical texts were written by I. Aleksiichuk in different times during 2002–2011. The order of the canonical text and the logic of the deployment of the musical material allowed the composer to combine them into a fourpart concert for a female choir. The cycle begins with the evening prayer “The King of the Heaven” (prayer to the Holy Spirit). This prayer is а part of the early and evening Church rules. Anumber of services that are performed during the day in the Orthodox Church opens by the evening Divine service, since the day, according to the Church’s Charter, begins in the evening. That is why in first the evening service is, which included the repentant prayers for everyday sins and gratitude to God for this day. The chanting begins and ends with the sound of the bells that by and by go silent. The similarity of the finale to the introduction, the repetition of the musical and verbal texts contributes to the roundness of the musical form and helps to its holistic perception. The music of the incantation “Glory to the Father, and the Son, and the Holy Spirit” reproduces his exalted character. Applied by the author the ways of expressiveness correspond to the canonical text, which glorifies the God in his three hypostases. The definitive feature of the musical work is the presence of a genre sign characterizing of Orthodox worship, the bells. This feature is reproduced in the homophonic-harmonic texture of the composition relying on the main harmonic functions, singing the repeated sounds, etc. In this chant, I. Aleksiichuk is working on three small parts of the canonical text: “Glory to the Father, and to the Son, and to the Holy Spirit”, “now and always and forever” and “Hallelujah”, giving each of them the certain musical themes. The complete formula of prayer sounds in the work three times gaining dynamic development. In the third chorus, “My voice to the Lord”, verses from Psalm 141 are used. This Psalm is the prayer of David to the Lord in the cave in time of his persecution by Saul. Of the seven verses of David’s Psalm, I. Aleksiychuk used four – 1, 2, 4, 5, in which the main content of the work is concentrated. The last part of the cycle is the hymn “Holy, holy, Lord of Sabaoth” performing finale function. This prayer is a part of the Eucharistic canon and it sounds in the most important section of the Divine Liturgy – the Liturgy of the Faithful. The chant begins immediately with the glorification of the God. Conclusions. An analysis of spiritual chants with canonical texts for the female choir a cappella by I. Aleksiichuk illustrates the following. All the songs very clearly express the meaning and features of the canonical text. I.Aleksiichuk choses three-part forms with reprise, in which clearly, according to the text, the musical structures built; the stable formulations of the canonical text “Lord have mercy”, “Hallelujah”, “Glory to the Father, and the Son, and the Holy Spirit”, “Holy Lord” are most often repeated; at the end of the three chants (except «My voice to the Lord»), the final confirming formula of the prayers “Amen” sounds; means of expressiveness (changing of meter signatures, repetitions of the sounds, a wide range of the choir, singing of the main sounds of melody) are designed to create the illusion of chime that is the genre sign of the Orthodox worship; the semantic meaning of the canonical text is passing through the rich harmony, in which dissonances and chromaticism aggravate the expressiveness of the spoken words, through the dramatic development of the words of praise (“Hallelujah”, “Glory to the Father, and Son”), poly-timbre sounds, contrasting of all means of expressiveness, etc.
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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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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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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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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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Atkins, Peter Joshua. "Praise by animals in the Hebrew Bible." Journal for the Study of the Old Testament 44, no. 3 (December 16, 2019): 500–513. http://dx.doi.org/10.1177/0309089219862824.
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Among ancient Near Eastern societies was a widespread and particularly intriguing belief that animals were able to worship and praise deities. This study shows the Hebrew Bible evidences the idea that animals were capable of praising God too and proceeds to observe and document the presence of numerous examples of this in specific biblical texts. Through understanding the place of animals in the Hebrew Bible, and their perceived activity in the ancient Near East, this study suggests animals are distinct agents of praise in their own right in the biblical texts.
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Benjamins, Laura. "Musicking as Liturgical Speech Acts: An Examination of Contemporary Worship Music Practices." Studia Liturgica 51, no. 2 (August 23, 2021): 143–58. http://dx.doi.org/10.1177/00393207211033993.
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This article examines the genre of Contemporary Worship Music (CWM) within worship contexts in terms of its formative and purposeful nature. In CWM settings, the worship leader plays a particular role in the selection and facilitation of CWM repertoire to be led by praise bands. Through the leader's consideration of the message of the CWM lyrics, and the relational nature of CWM practices, a worship leader's pedagogical decisions are integral to contributing to a space of dialogue for worship musicians. Drawing on previous literature addressing liturgical language in worship, I analyze the CWM context as a particular case where liturgical language shapes musicians’ spiritual formation. This examination of CWM practices includes an analysis of musicians’ engagement in relational musicking and meeting through I-Thou encounters. I therefore explore both the need for worship leaders to consider the multitudinous theological implications of their actions, as well as the way musicians are shaped and formed intimately through their musical engagement with CWM.
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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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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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Saliers, Don E., and Emily A. Saliers. "Music as a Door to the Holy." Interpretation: A Journal of Bible and Theology 71, no. 1 (December 20, 2016): 7–12. http://dx.doi.org/10.1177/0020964316670843.
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When we reflect on music and theology, we find that questions about God and religious practice are also questions about deep human emotions: awe, wonder, fear, grief, sorrow, confusion, joy, hope, gratitude, and ecstatic praise. Music can sound the language of the heart before God and neighbor, into mystery and suffering.
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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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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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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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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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Kim, Minji. "Handel’s choruses of ‘praise and thanksgiving after victory’ and Non nobis Domine." Early Music 47, no. 4 (November 2019): 551–68. http://dx.doi.org/10.1093/em/caz070.
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Abstract Handel highlights several climactic moments in his works with choruses composed of closely related cantus firmus themes and contrapuntal settings. Parallels can be traced through individual sections of some of the key compositions that define his career in England: ‘Oh Lord, in thee have I trusted’, from the Utrecht Te Deum (1713), ‘Blessed be God’, from Let God arise (1717–18/1726), ‘I will sing’, from Israel in Egypt (1738), and ‘Hallelujah’ from Messiah (1741). The common purpose of giving thanks and praise to God for military victory further links these choruses. While several different melodic sources have been suggested for the cantus firmus subjects thus far, the affinity of all four of Handel’s themes to the incipit of a very well-known canon, Non nobis Domine, invites an exploration of its possible citation. The customary practice of singing the canon or reciting its psalm text at celebratory moments, modelling the psalmist’s deflection of all the honour of his accomplishments to God, makes its reference in Handel’s works highly appropriate. Understanding Handel’s multiple reuse of his choral setting in the context of this tradition deepens the relevance of his music as well as our perspective on his self-borrowing.
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Rose, John. "In Praise of the Sun: Zodiac Sun-Gods in Galilee Synagogues and the Palestinian Heritage." Holy Land Studies 9, no. 1 (May 2010): 25–49. http://dx.doi.org/10.3366/hls.2010.0002.
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Zodiac sun-gods on ancient synagogue mosaic floors have been discovered by archaeological excavations of sites in the Galilee and elsewhere in late antiquity Palestine. This was the period when the Roman Empire converted to Christianity – only to be followed by an attempt to restore pagan beliefs which the sun-god came to symbolise. One of these sites is located in the Roman Jewish city, Sepphoris. Its geographical and historical link to the Israeli-destroyed, Palestinian Galilee peasant village of Saffuriyya raises the further question of Arab historical claims on these ancient sites. Sun-god worship, its links to early Judaism, and its contribution to the evolution of the monotheistic religions of the Middle East will be examined.
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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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Burch Brown, Frank. "Religious Music and Secular Music: A Calvinist Perspective, Re-formed." Theology Today 63, no. 1 (April 2006): 11–21. http://dx.doi.org/10.1177/004057360606300103.
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Although Calvin's theology of music runs counter to the tenor of our times, it can be reformed so as to alert us to both assets and risks of music in Christian worship and life. In particular, Calvin can help reintroduce critical discernment in a context in which churches appear eager to absorb virtually every style of secular music (the reverse of what Calvin desired). More positively, he can encourage us to find and create music that not only touches the heart but lends itself to the high calling of lifting hearts into “the presence of God and the angels.”
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Desk, D. J. Human. "Gebed: 'n Proses wat verandering bemiddel." Verbum et Ecclesia 22, no. 1 (August 11, 2001): 58–71. http://dx.doi.org/10.4102/ve.v22i1.622.
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Prayer is an integral part of the believer's communion with God. It reflects different dimensions and functions in the faith-relationship between God and man. Worship, praise, thanksgiving, intercession, petition, confession and trust are only a few to be mentioned. A neglected aspected of the prayer experience is the lament. Prayer is, in this sense, an exposure of the self and the circumstances of the petitioner before God. The purpose of this article is to illuminate the theological meaning of the lament as prayer for the individual and the faith community. Prayer is also understood within the broader scope of different expressive human deeds. It is a process which mediates perspective and essential change in the life of the believer and faith community. In a final application it is argued that the lament-prayer can contribute to change and renewal in a transitional and disturbed South African church and society.
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Foster, Ruth Ann. "Mary's Hymn of Praise in Luke 1:46–55: Reflections on Liturgy and Spiritual Formation." Review & Expositor 100, no. 3 (August 2003): 451–63. http://dx.doi.org/10.1177/003463730310000308.
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For Christians, memory is not mental recall of facts or events, but the continuation of a revelatory event in subsequent generations through narrative rehearsal and interpretation. Memory forms attitudes and actions. The earliest church, lacking canonical writings witnessing to Jesus, preserved his memory through worship. Hymns were particularly important. From this perspective of memory, the Magnificat is examined. This hymn places in the mouth of an ordinary woman the proclamation of Jesus as one in whom the Reign of God has come. This Reign reverses fortunes and discloses God's regard of what the world calls “power” and “weakness.” So disclosing God's righteousness, it brings the perception of those who join it into line with God's.
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de Jong, Marinus. "Heaven Down Here." Journal of Reformed Theology 9, no. 4 (2015): 375–95. http://dx.doi.org/10.1163/15697312-00904012.
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In comparing how the presence of the Holy Spirit is understood in Reformed and Pentecostal-Charismatic worship many differences come to the fore. In accounts of Reformed worship his presence is less prominent than in Pentecostal-Charismatic accounts and is understood in close relation with a fixed set of means of mediation. In Pentecostal-Charismatic worship this connection is unconsciously connected to different means of mediation: bodily engagement and music. This comparison reveals deeper theological differences between the two traditions concerning the image of God and his Trinitarian nature. From this theological analysis the Reformed tradition can learn from Pentecostal-Charismatic worship by emphasizing more clearly that the Spirit is present in worship, by an improved reflection of the freedom of the Spirit in its order of worship and through a more embodied liturgy.
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McLaughlin, Fiona. "Youssou N'Dour's Sant Yàlla/Egypt: a musical experiment in Sufi modernity." Popular Music 30, no. 1 (January 2011): 71–87. http://dx.doi.org/10.1017/s0261143010000656.
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AbstractIn collaboration with the Cairene composer Fathy Salama, Youssou N'Dour released an album that appeared in Dakar in 2003 as Sant Yàlla (‘Praise God’), and internationally in 2004 as Egypt. Sung in Wolof to the accompaniment of an Egyptian orchestra, the album consists of a suite of eight interrelated pieces, seven of which are praise songs to Senegalese Sufi shaykhs, while the remaining piece praises God, the Prophet Mohammed, and some important Mauritanian shaykhs. In this essay I argue that in bringing Senegalese Islam to the international arena, N'Dour uses his stature as a world-class musician to both articulate and participate in the creation of a Sufi modernity, namely a way of being a Sufi Muslim in a globalised world. In addition to being a personal journey for Youssou N'Dour, both musically in its orientation towards the East rather than the West, and in his own religious faith, Sant Yàlla/Egypt also echoes many of the current preoccupations of Muslim intellectuals and artists as they seek to renew and reinterpret their own local religious traditions for a global audience.
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Caccamo, James F. "Been There, Sung That: How the Music of Worship Shapes People of God." Liturgy 22, no. 1 (February 2007): 47–54. http://dx.doi.org/10.1080/04580630600993210.
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Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.
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AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adventist Churches in Masvingo should incorporate African instruments and dance to a certain extent if they are to make significant impact on the indigenous people. It advocates mission by translation as opposed to mission by diffusion.
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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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Smith, Therese. "“There Is a Higher Height in the Lord”: Music, Worship, and Communication with God." Religions 6, no. 2 (April 29, 2015): 543–65. http://dx.doi.org/10.3390/rel6020543.
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Hartje, Gesa F. "Keeping in Tune with the Times-Praise & Worship Music as Today's Evangelical Hymnody1 in North America." Dialog 48, no. 4 (December 8, 2009): 364–73. http://dx.doi.org/10.1111/j.1540-6385.2009.00485.x.
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De Klerk, BJ, and FW Leuschner. "Die atmosfeer in die erediens deur die loop van die geskiedenis." Verbum et Ecclesia 28, no. 1 (November 17, 2007): 66–87. http://dx.doi.org/10.4102/ve.v28i1.97.
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The worship service occupies a central position in the life of the believer and therefore the atmosphere in the worship service is vital. The variations through history are studied in this article. The viewpoints of the first four centuries, the Middle Ages, Reformation, post-Reformation and twentieth century came under discussion. Lessons from history are stated. The atmosphere in the worship service should be such that the worshipper meets God with the necessary awe and respect. The service must also create an atmosphere of love, warmth, friendliness, and joy. All present must be invited and made welcome by the service. The atmosphere must further encourage and create room for everybody to participate and use their specific gifts. It can therefore change from service to service and within a single service. Important instruments in the atmosphere are the liturgical space, symbols, rituals, physical movement, gestures, music, song and the senses.
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Smolarek, Dariusz. "Kult Miłosierdzia Bożego w twórczości polskich muzyków." Seminare. Poszukiwania naukowe 2020(41), no. 3 (September 30, 2020): 125–40. http://dx.doi.org/10.21852/sem.2020.3.09.
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The development of the worship of Divine Mercy was perpetuated by St. John Paul II, who instituted the first Sunday after Easter as the Feast of Divine Mercy. He did this on the day of the canonisation of Sister Faustina Kowalska (April 30, 2000). Worshipping God's mercy was an impulse to write musical compositions related to this subject, and cantos, chants and songs contributed to propagating the worship. The 31st World Youth Day held under the slogan „Blessed are the merciful, for they will be shown mercy” (Mt 5,7), which took place in Cracow on the 26-31 July, 2016 with the participation of Pope Francis, was a stimulus for the creation of new pieces, music videos and organising concerts in honour of Divine mercy. The interest in this subject translated into the creation of pop-oratorio and music written by W. Kilar for the film about Sister Faustina. The Year of Divine Mercy, which was announced by Pope Francis (2016), inspired P. Łukaszewski to compose the vocal and instrumental Symphony on the Mercy of God.
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Price , Emmett G. "The Spirit Of Praise: Music and Worship in Global Pentecostal-Charismatic Christianity, written by Monique M. Ingalls and Amos Yong." PNEUMA 38, no. 4 (2016): 515–17. http://dx.doi.org/10.1163/15700747-03804007.
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Richard A., Smith. "Roots into the Future: Recovering Gregorian Chant to Renew the Church's Voice." Theology Today 63, no. 1 (April 2006): 48–54. http://dx.doi.org/10.1177/004057360606300106.
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In the Christian church, the people are the body of Christ. Somehow in the last half-century of reinventing, reimagining, re-creating, reviving, renewing, and restoring ourselves in the rush to become or stay “relevant,” that identity has frequently become blurred or lost altogether. Music in the church has been both a victim and a cause of this corrupted identity. Gregorian chant is well worth considering as a model for recovery in twenty―first―century worship. Its spiritual power and musical excellence may lead us to recover our voice as the people of God.
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Nainggolan, Dapot. "KAJIAN TEOLOGIS TERHADAP MUSIK GEREJAWI." JURNAL LUXNOS 6, no. 1 (June 21, 2020): 32–52. http://dx.doi.org/10.47304/jl.v6i1.4.
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Abstract: Church music must be understood correctly based on the principles contained in the word of God. By having a correct understanding of the meaning, purpose, who, and how and when church music should be performed, our worship of God through music and singing will build faith and glorify God. Church music are absolutely based on God's will. Church music is not an option, but an obligation for every church in response to God's redemptive work in his life. Church music and singing are not in the framework of introducing one element to another in an arrangement of liturgical events, and not in the context of an enjoyable joint activity to sing favorite songs. Our encounter with God through His maintenance work at all times, that is the motor that drives the music and songs that we offer to God. Therefore, in this study, it will explain clearly what is meant by ecclesiastical music and then be examined theologically based on the description of Bible verses as a basic material and supported by existing literature sources. Abstrak: Musik gerejawi harus dipahami secara benar berdasarkan prinsip-prinsip yang terkandung dalam firman Allah. Dengan memiliki pemahaman yang benar akan makna , tujuan, siapa, dan bagaimana serta kapan seharusnya musik gerejwi itu dilakukan, maka penyembahan kita kepada Allah melalui musik dan nyanyian akan membangun iman dan memuliakan Allah. Musik dan nyanyian gerejawi mutlak didasari oleh kehendak Allah. Musik gerejawi bukan merupakan pilihan, melainkan kewajiban bagi setiap gereja sebagai respon atas karya penebusan Allah dalam hidupnya. Musik dan nyanyian gerejawi bukan dalam rangka sebagai pengantar antar unsur yang satu dengan unsur lainnya dalam sebuah susunan acara liturgi, dan bukan pula dalam rangka suatu aktifitas kegiatan bersama yang menyenangkan untuk menyanyikan lagu-lagu kesayangan. Perjumpaan kita dengan Allah melalui karya pemeliharaan-Nya pada setiap waktu, itulah yang menjadi motor yang menggerakkan musik dan nyanyian yang kita persembahkan kepada Allah. Oleh karena itu dalam penelitian ini akan menguraikan secara jelas apa yang dimaksud dengan musik gerejawi dan kemudian dikaji secara teologis berdasarkan uaraian ayat-ayat Alkitab sebagai bahan dasar dan didukung oleh sumber-sumber pustaka yang ada.
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Grant, Andrea Mariko. "Noise and Silence in Rwanda’s Postgenocide Religious Soundscape." Journal of Religion in Africa 48, no. 1-2 (December 7, 2018): 35–64. http://dx.doi.org/10.1163/15700666-12340125.
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AbstractThis article explores conflicts around noise and silence in Rwanda’s postgenocide religious soundscape. After the genocide, new Pentecostal (or abarokore) churches grew rapidly in the country and offered up noise and a specific understanding of praise and worship music (guhimbaza Imana) as important ways to enact healing. However, Catholics emphasised silence and viewed the new Pentecostal churches as distracting interlopers. Far from being trivial differences, I argue that these conflicts around sound hint at wider divides in Rwandan society and a worrying new convergence between religious and ethnic identity. Focusing on aural conflicts between Christian denominations can therefore help us gain a better sense of the limits of Pentecostal conversion. Instead of assuming that Pentecostals are necessarily ‘noisy’, I suggest we pay closer attention to the ways in which they may also cultivate silence, and how this relates to wider power structures.
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Ngala, Erna, and Veydy Yanto Mangantibe. "Penginjilan Terhadap Masyarakat Plural Berdasarkan Surat Efesus." Excelsis Deo: Jurnal Teologi, Misiologi, dan Pendidikan 5, no. 1 (June 29, 2021): 1–16. http://dx.doi.org/10.51730/ed.v5i1.58.
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This article discusses evangelism to plural societies based on the epistle of ephesians. Evangelism is god’s program, design and work that bring for himself, people to fellowship, worship / praise and serve him in wholeness and harmony. Evangelism is established by god from eternity, because all things are designed by god from eternity in his omniscience and power in evangelism (eph. 1: 4-14). God wants his people to have fellowship with him, become his worshipers and serve him, the true god. The challenge in evangelism is that every religion is different, all religions have objects that are worshiped, therefore it will not be possible to be completely equated between one religion and another. Plural society equates christian faith with other beliefs by looking for loopholes to align christianity with other religions. The duty of the believer is to preach the gospel so that unbelievers hear and believe in the lord jesus and are saved, not compromising the gospel or juxtaposing christian faith with other beliefs. Keywords: Evangelism; Plural Society; Ephesians Letter AbstrakArtikel ini membahasa mengenai penginjilan terhadap masyarakat plural berdasarkan surat Efesus. Penginjilan merupakan program, rancangan dan karya Allah yang membawa bagi diriNya sendiri suatu umat untuk bersekutu, menyembah/memuji dan melayani Dia dalam keutuhan dan keserasian. Penginjilan ditetapkan Allah sejak kekekalan, sebab segala sesuatu dirancang Allah dari kekal dalam kemahatahuanNya dan kuasaNya didalam penginjilan (Ef. 1:4-14). Allah menghendaki agar umatNya bersekutu dengan Dia, menjadi penyembahNya dan melayani Dia, Allah yang benar. Tantangan dalam penginjilan adalah setiap agama berbeda, semua agama memiliki objek yang disembah, oleh sebab itu tidak akan mungkin dapat disamakan secara keseluruhannya antara agama satu dengan yang lain. Masyarakat plural, menyamakan iman Kristen dengan kepercayaan lain dengan mencari celah untuk dapat menjajarkan kekristenan dengan keagamaan lain. Tugas dari orang percaya ialah memberitakan Injil agar orang-orang yang belum percaya mendengar dan menjadi percaya kepada Tuhan Yesus serta diselamatkan, bukan mengkompromikan Injil atau menjajarkan iman Kristen dengan kepercayaan lain. Kata Kunci: Penginjilan; Masyarakat Plural; Surat Efesus
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Hellberg, Jan. "To worship God in our way: disaffection and localisation in the music culture of the Evangelical Lutheran Church in Namibia." Journal of Musical Arts in Africa 7, no. 1 (December 2010): 17–50. http://dx.doi.org/10.2989/18121004.2010.575987.
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Fogleman, Alex. "Becoming the Song of Christ." Augustinian Studies 50, no. 2 (2019): 133–50. http://dx.doi.org/10.5840/augstudies201943051.
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While the connections between exegesis, music, and moral formation are well known, what Augustine’s use of particular metaphors reveals about his theology that more literal renderings do not is less clear. This article explores how Augustine’s use of musical metaphors in Enarratio in Pslamum 32(2) illuminate his understanding of the relationship between grace and human virtue. After first offering a doctrinal description of the rightly ordered will and its Christological foundation, Augustine proceeds to narrate the Christian life as one of various stages of learning to sing the “new song” of Christ. He interprets references to the lyre and psaltery as figures of earthly and heavenly life, and then exegetes the psalm’s language of jubilation as laudatory praise of the ineffable God. The chief contribution of the musical metaphors here are twofold. First, they enable Augustine to display the mysterious process of the will transformed over time. Second, the musical figures help Augustine account for how a human will, encompassed in time, can align with the will of an eternal God whose will is ultimately inexpressible. Augustine’s musical exegesis is able to gesture towards the profound mystery of human life in time and its relation to an eternally un-timed God.
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Lubis, Layla Takhfa, Laras Sati, Naura Najla Adhinda, Hera Yulianirta, and Bahril Hidayat. "Peningkatan Kesehatan Mental Anak dan Remaja Melalui Ibadah Keislaman." Al-Hikmah: Jurnal Agama dan Ilmu Pengetahuan 16, no. 2 (October 16, 2019): 120–29. http://dx.doi.org/10.25299/jaip.2019.vol16(2).3898.
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In modern situation giving positive and negative impacts to children and adolescent development, including moral development and mental health for children stage to adolescent development phase. According to the previous studies described the adolescent need self-control to think, act, attitude, based on religion value, especially in Islam perspective. To develop and improving the potential of adolescent health, especially mental health or mental hygiene. In early adolescence development phase, the mind develops into abscond, conceptual, and future-oriented. Adolescence as a formal operating stadium, shows a lot of extraordinary creativity potential that should be express in writing, music, art, poetry, and other positive or productive works. Therefore, with the great potential on adolescents phase, they need reference for improving their mental health according to Psychology and Islam through Islamic worship, so that their goals of life as students become focused. This scientific article uses library research method. The results of library research showing these children and adolescent which understanding and appreciating the implementation of worship are be able to overcoming the problems of life experienced, capable to adjust the environment, maintaining relationships with the environment and thankful to God, so they tend to have good mental health standards.
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Atwood, Craig. "The Mother of God's People: The Adoration of the Holy Spirit in the Eighteenth-Century Brüdergemeine." Church History 68, no. 4 (December 1999): 886–909. http://dx.doi.org/10.2307/3170208.
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“Lord God, now we praise you, you worthy Holy Spirit! The church in unity honors you, the mother of Christendom. All the angels and the host of heaven and whoever serves the honor of the Son; also the cherubim and seraphim, sing with a clear voice: ‘Divine majesty, who proceeds from the Father, who praises the Son as the creator and points to his suffering.’ … Daily O Mother! whoever knows you and the Savior glorifies you because you bring the gospel to all the world.” These lines are from the Te Matrem, a prayer to the Holy Spirit that for nearly thirty years was a regular part of worship for a German Protestant group known as the Brüdergemeine. The Brüdergemeine, commonly called the Moravian Church today, was an international religious community that developed an elaborate and creative liturgical life for its carefully regulated communities. The Brethren's intense devotion to the suffering of Christ is the most famous aspect of their worship, but in the mid-eighteenth century their leader, Nikolaus Ludwig von Zinzendorf, actively encouraged the Brüdergemeine to worship the Holy Spirit as the mother of the church. Surprisingly, though, this aspect of Zinzendorf's theology has been largely overlooked or downplayed by historians and theologians in the past two hundred years. When it has been discussed, it has been dismissed as a brief aberration or experiment that was discarded after the so-called Sifting Time (Sichtungzeit.) The Sifting Time was a period of liturgical and social excess in the community, the details of which remain quite obscure. The Brethren used the word Sichtungzeit to refer to a time when the community was in danger of becoming a fanatical sect. Dates for the Sifting Time range from a high of 1736–52 to a low of 1746–49, but the most common dating is 1743–50. This article will show that the use of maternal imagery for the Holy Spirit was not a tangential or quixotic aspect of Zinzendorf's theology, but thrived for more than thirty years and was, in Zinzendorf's words, “an extremely important and essential point … and all our Gemeine and praxis hangs on this point.”