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

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Suna-Koro, Kristine. "The Ecstasy of Lament: Opera as a Model of Theology." Theology Today 63, no. 1 (2006): 66–87. http://dx.doi.org/10.1177/004057360606300108.

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Opera is often perceived as an elitist genre of music, admired by snobbish traditionalists and greatly suspected by radical feminists. By viewing opera as an innovative avenue for lament over tragic and sinful human reality long before any formal feminist critique, the essay examines the creative role of opera as a mode of encouragement for a different Theologia Primaworship in music as otherwise than intellectually satisfying certain theological assumptions. The risky speech of operatic lament as inverted ecstatic praise of the triune God affirms the relevance of critical attention toward the

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

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Pelayanan musik adalah sangat penting dalam ibadah. Karena itu Kitab Mazmur juga menyatakan hal-hal mengenai pelayanan tersebut. “petiklah kecapi baik-baik” memberikan pengertian bahwa pelayanan musik bukanlah semata-mata menyangkut kemampuan memainkan alat musik saja. Tetapi lebih jauh dari hal itu adalah menyangkut kedalaman batin pemusik dalam penyembahannya kepada Tuhan yang menyangkut keseluruhan kehidupan sang pelayan tersebut. Ia adalah orang yang benar di dalam Tuhan: ia adalah seorang yang memiliki hati yang telah dibaharui oleh Tuhan, dia adalah seorang yang dosanya telah diamp

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3

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

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Church music is an essential part of Christian worship. The primary source to create Church music is commonly from the Bible, Christian tradition, and believers' experience. Yet, in the church music of the Protestant Church in the Moluccas (GPM), there is harmony between some elements such as ethnicity, theology, and music. In ethnicity, there is some local cultural tradition derived from the old local religion, which Christianity contextualizes. Using a descriptive qualitative research method, the harmony of all elements, ethnicity, theology, and music result in a new perspective, namely ethn

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Ward, James C. "The Lord Will Make a Way Somehow: Strategies for Cross-Cultural Music and Worship." Review & Expositor 109, no. 1 (2012): 39–50. http://dx.doi.org/10.1177/003463731210900106.

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With neighborhoods shifting racially and economically, churches are challenged with meeting the new population with relevant and culturally meaningful worship music. Ethnic groups are diverse within themselves as well, with black and Latino peoples having disparate tastes and traditions from Church of God in Christ to South American Evangelicals. Congregations must have strong pastoral leadership and competent, spiritually alert musicians and singers. Although the leadership may want more effective outreach through music, it requires trained musicians, often in jazz, to educate the musicians a

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

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In ecclesiastical worship activities in the Christian community, singing activities both in the format of 'choir', congregational singing and others are integrated in a series of worship services in the church. It is also found among members of the Runggun Benameriah Protestant Karo Batak Church (GBKP) congregation who also use the choir format in activities to praise and glorify God. For Christians singing is a spiritual need. In both churches there are several types of choirs, both the choir moria (mothers), mamre choirs (fathers) gem choirs or youth / youth and elderly choirs. Each choir ha

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

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Penelitian ini bertujuan untuk mendeskripsikan prosesi kematian masyarakat Batak Toba di Kecamatan Dolok Masihul, dan makna penyajian musik gondang pada prosesi kematian masyarakat Batak Toba di Kecamatan Dolok Masihul. Penelitian ini merupakan penelitian kualitatif deskriptif. Pengumpulan data dilakukan dengan teknik observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan bahwa gondang memiliki peranan penting sebagai iringan setiap upacara Suku Batak. Prosesi kematian saur matua (kematian yang diharapkan) menyajikan gondang dan tortor sesuai dengan tata aturan adat. Setiap jenis

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

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The liturgical section of The New English Hymnal contains musical settings for both eucharistie orders of the Church of England’s Alternative Service Book 1980. The modern-language service, Rite A, is provided with a newly-composed congregational setting in speech rhythm. The texts of Rite B use the traditional language of the Book of Common Prayer, and are given a musical setting taken from The Booke of Common Praier Noted by John Marbeck, published in 1550. An accompaniment is added, and the text is adapted where the original is no longer accurate. Its inclusion in this new hymn-book is evid

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8

Pittard, John. "Worship and The Problem of Divine Achievement." Faith and Philosophy 38, no. 1 (2021): 65–90. http://dx.doi.org/10.37977/faithphil.2021.38.1.5.

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Gwen Bradford has plausibly argued that one attains achievement only if one does something one finds difficult. It is also plausible that one must attain achievement to be worthy of “agential” praise, praise that is appropriately directed to someone on the basis of things that redound to their credit. These claims pose a challenge to classical theists who direct agential praise to God, since classical theism arguably entails that none of God’s actions are difficult for God. I consider responses to this challenge and commend a view according to which God’s loving character is not necessitated b

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Boulton, Matthew. "Forsaking God: a theological argument for Christian lamentation." Scottish Journal of Theology 55, no. 1 (2002): 58–78. http://dx.doi.org/10.1017/s0036930602000145.

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In this essay I argue that lament, as the primary liturgical witness to divine absence in times of human need, functions in worship as a discipline of negation and disruption through which what might be termed the God of glory – the God installed by liturgical gestures of ‘praise’ – is opposed and denied, in effect forsaking God by clinging to God's promise over and against God. To spell out this argument, I turn first to Psalm 22, then to the choreography of Holy Week, contending that in proper Christian worship and life, the doxology of triumph (‘hosanna’) is transformed via lamentation into

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Old, Hughes Oliphant. "The Psalms of Praise in the Worship of the New Testament Church." Interpretation: A Journal of Bible and Theology 39, no. 1 (1985): 20–33. http://dx.doi.org/10.1177/002096438503900103.

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The Old Testament psalms of praise, which expressed the awe and joy of being in the presence of God, presented the early Christians both text and model for the expression of their joy that in Jesus Christ God had revealed himself.

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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 (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

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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 (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 rela

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Scheer, Greg. "A musical ichthus: Praise & worship and Evangelical identity." International Journal of Community Music 2, no. 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 (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 pa

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Sasongko, Michael Hari. "IDIOM MUSIK KLASIK DI GEREJA KARISMATIK." Tonika: Jurnal Penelitian dan Pengkajian Seni 1, no. 1 (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 Cathol

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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 (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

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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 (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 (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

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Kuwissy, David. "Analisa Ibadah Menurut Mazmur 100:1-5." TELEIOS: Jurnal Teologi dan Pendidikan Agama Kristen 1, no. 1 (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. Penilit

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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

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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 (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 (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 mean

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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 th

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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 (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 fa

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Prosén, Martina. "Songs that Carry Transformation: Pentecostal Praise and Worship Rituals in Nairobi, Kenya." Mission Studies 35, no. 2 (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

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Kim, Minji. "Handel’s choruses of ‘praise and thanksgiving after victory’ and Non nobis Domine." Early Music 47, no. 4 (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 dif

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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 (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

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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 (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 (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 (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

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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 (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 wh

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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 natu

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McLaughlin, Fiona. "Youssou N'Dour's Sant Yàlla/Egypt: a musical experiment in Sufi modernity." Popular Music 30, no. 1 (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-cl

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Caccamo, James F. "Been There, Sung That: How the Music of Worship Shapes People of God." Liturgy 22, no. 1 (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 Adv

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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 speci

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Smith, Therese. "“There Is a Higher Height in the Lord”: Music, Worship, and Communication with God." Religions 6, no. 2 (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 (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 (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

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Smolarek, Dariusz. "Kult Miłosierdzia Bożego w twórczości polskich muzyków." Seminare. Poszukiwania naukowe 2020(41), no. 3 (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 o

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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 (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 (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

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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 (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 reli

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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 (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 w

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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 (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

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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 (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 s

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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 (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

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