Journal articles on the topic 'Church music'
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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.
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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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Beedon, David Kirk. "Church Music." Theology 93, no. 751 (January 1990): 51–52. http://dx.doi.org/10.1177/0040571x9009300112.
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Barus, Rodenita Br, and Antonius Richard Gondowijoyo. "Peranan Alat Musik Dalam Ibadah Gerejawi Abad I-V." Journal Kerusso 7, no. 2 (September 13, 2022): 14–31. http://dx.doi.org/10.33856/kerusso.v7i2.244.
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The problem in this paper lies in the use of musical instruments where in the Old Testament musical instruments played a very important role in worship, but in the New Testament the role of musical instruments is not explained and the Greek Orthodox Church does not use musical instruments in worship. This discussion aims to First, the role and use of musical instruments in worship ceremonies during the Old Testament period. Second, to answer the role and use of musical instruments in the ministry of the Lord Jesus and in the early church. The third, to explain why musical instruments are not used in the worship of the Greek Orthodox Church. So this paper uses a historical literature research approach. This paper will describe the role of music in the Old Testament, the role of music in the ministry of the Lord Jesus and in the early church, and the role of music in the Greek Orthodox Church. The conclusion of this paper proves that the role of music has different meanings in the Old Testament, the role of music during the ministry of the Lord Jesus and the early church, and the role of music in the worship of the Greek Orthodox Church.
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Permasalahan dalam tulisan ini terletak pada penggunaan alat musik dimana dalam Perjanjian Lama alat musik sangat berperan dalam peribadahan, namun berbeda dalam Perjanjian Baru peran alat musik tidak dijelaskan dan Gereja Orthodox Yunani tidak menggunakan alat musik dalam ibadahnya. Pembahasan ini bertujuan untuk Yang Pertama, peran dan penggunaan alat musik dalam upacara peribadahan pada masa Perjanjian Lama. Yang kedua, untuk menjawab peran dan penggunaan alat musik dalam masa pelayanan Tuhan Yesus dan pada masa gereja mula-mula. Yang ketiga, untuk menjelaskan mengapa alat musik tidak digunakan dalam peribadahan Gereja Orthodox Yunani. Maka tulisan ini menggunakan pendekatan penelitian pustaka bersifat historis. Tulisan ini akan menjabarkan peran musik dalam Perjanjian Lama, peran musik dalam pelayanan Tuhan Yesus dan pada masa gereja mula-mula, dan peran musik dalam Gereja Orthodox Yunani. Kesimpulan dari tulisan ini membuktikan bahwa peran musik memiliki makna yang berlainan baik dalam Perjanjian Lama, peran musik pada masa pelayanan Tuhan Yesus dan gereja mula-mula, dan peran musik dalam ibadah Gereja Orthodox Yunani.
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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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Pahan, Berth Penny. "Perkembangan Musik Gereja dan Interpretasi Pemusik Gereja Terhadap Nyanyian Jemaat Di Gereja Sinta Kuala Kapuas." Danum Pambelum: Jurnal Teologi Dan Musik Gereja 1, no. 1 (May 30, 2021): 118–31. http://dx.doi.org/10.54170/dp.v1i1.40.
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Church music is part of worship service in a church. Each church denomination has church musik management according its tradition and habitual. Sinta Church in Kuala Kapuas as an old church is hoped as a barometer locally or regionally of Kalimantan Evangelical Church in singing congregation song. In its development so far church music at Sinta Church has been arranged in such a way for improving the quality and quantity in singing congregation songs. In this research, the researcher tried to conduct the problem dan development of church musik in Sinta Church Kuala Kapuas. The goal was to find out a general about church music management so it would be found the solutions constructively in improvinf the quality and quantity in singing congregation songs. By using descriptive qualitative method, it would be presented the research data from depth interview. The conclusion of this research that church music management in Sinta Church has been developed in such a way just like practicing and scheduling in Sunday news and also has been held by musicions and song leaders.
Musik gereja adalah bagian dari ibadah atau pelayanan di gereja. Setiap denominasi gereja mempunyai penataan musik gereja masing-masing sesuai dengan tradisi atau kebiasaan gereja tersebut. Gereja Sinta di Kuala Kapuas sebagai salah satu gereja yang cukup tua dari segi usia diharapkan menjadi barometer di tingkat lokal atau bahkan di tingkat regional Gereja Kalimantan Evangelis (GKE) dalam hal menyanyikan nyanyian jemaat. Selama ini dalam perkembangannya musik gereja di Gereja Sinta telah diatur sedemikian rupa untuk meningkatkan kualitas bernyanyi dan kuantitas nyanyian jemaat yang dinyanyikan. Dalam penelitian ini penulis mencoba mengangkat permasalahan dan perkembangan musik gereja di Gereja Sinta Kuala Kapuas. Tujuannya untuk mendapatkan suatu gambaran umum sehingga nantinya diharapkan akan dilakukan solusi-solusi yang bersifat konstruktif untuk peningkatan kualitas dan kuantitas bernyanyi nyanyian jemaat. Dengan metode penelitian deskriptif kualitatif akan dipaparkan data penelitian dari hasil wawancara mendalam. Kesimpulan dari penelitian ini musik gereja di Gereja Sinta Kuala Kapuas telah berkembang cukup baik secara penataan dan diatur sedemikian rupa dalam bentuk latihan dan penjadwalan pada berita jemaat Minggu dan dilaksanakan oleh organis serta pemandu lagu.
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Janawati, Janawati, and Kornelius Gulo. "MUSIK DAN PERANANNYA DALAM IBADAH." Inculco Journal of Christian Education 2, no. 3 (September 19, 2022): 268–80. http://dx.doi.org/10.59404/ijce.v2i3.109.
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Abstrak: Artikel ini adalah suatu pengangkatan judul yang dilatar belakangi oleh, keinginan seorang Penulis untuk mengetahui apa yang menjadi peran musik, yang digunakan dalam setiap Ibadah Kristen, serta bagaimana supaya musik yang dimainkan oleh seorang musisi, boleh menjadi musik yang berjalan tidak sebagai simbol saja, tetapi ada fungsi dan tujuan dari musik yang dimainkan. Berbicara tentang musik dan peranannya dalam ibadah bukanlah sesuatu hal yang asing lagi, sebab banyak gereja yang sudah menggunakan musik dalam melaksanakan ibadah, baik itu dari aliran Injili, Protestan, Karismatik atau Pantekosta. Artikel ini bertujuan menjawab 1. Apa peranan musik gereja dalam ibadah? 2. Bagaimana musik yang berkenan bagi Tuhan? 3. Apa itu Musik Gereja dan bagaimana Liturgi Nyayian Jemaat dalam Ibadah? Dengan hasil: 1. Peranan musik menjadi sebuah pertempuran krisis, kuasa penyembahan, memulihkan pelayanan. 2. Musik yang berkenan kepada Tuhan adalah musik yang penuh dengan ketaatan, yang berisi ucapan syukur. 3. Musik gereja yang karena isinya serta dengan pernyataan Iman penciptanya atau orang yang menampilkan karya tersebut, dalam liturgi ibadah meliputi berarti perayaan iman, termasuk dalam liturgi adalah tata ruang, tata Ibadah, tata waktu, simbol-simbol, pembacaan Alkitab, musik gereja dan sebagainya. Abstract: This article is an appointment of a title based on the desire of an author to know what is the role of music, which is used in every Christian worship, and how the music played by a musician may become music that operates not only as a symbol , but there is a function and purpose of the music being played. Talking about music and its role in worship is not something new, because many churches already use music in carrying out their services, whether they are from Evangelical, Protestant, Charismatic or Pentecostal. This article aims to answer 1. What is the role of church music in worship? 2. How is music pleasing to God? 3. What is Church Music and how is the Liturgy of Congregational Singing in Worship? With the results: 1. The role of music becomes a crisis battle, the power of worship, restoring ministry. 2. Music that pleases God is music that is full of obedience, which contains thanksgiving. 3. Church music which, because of its content and the statement of faith by the creator or the person performing the work, in the liturgy of worship includes the meaning of the celebration of faith, including in the liturgy are spatial planning, worship arrangements, timing, symbols, Bible readings, church music and etc.
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MATIYCHYN, Iryna. "UKRAINIAN CHURCH MUSIC: THE ISSUE OF LANGUAGE." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 67–79. http://dx.doi.org/10.30970/vas.20.2019.10640.
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The article considers developmen to fUkrainian church music from the perspective of the accompanying linguistic processes. The issue of liturgical language was actualized when Ukraine gained its independence,Ukrainian churches (the Autocephalous Orthodox Church, Greek Catholic Church) resume dtheir work, and new church organizations appeared. The linguistic issue assumed critical importance with the restoration of autocephaly of the Orthodox Church in Ukraine. Ukrainianization of all areas of church life is also reflected in church music and determines certain tendencies of its present-day existence. At the same time, certain traditions left their marks on the spiritual heritage of Ukrainian composers, who worked in different confessional and political circumstances. The purpose of the proposed article is to highlight the dynamics of linguistic changes that accompanied Ukrainian church music at various stages of its creation, and to identify the specificity of its functioning in modern conditions. The following methods are used for this purpose: the method of retrospective (to explore the processes of historical development of Ukrainian church music),the comparative historical method(to reveal the general tendencies of the liturgical language evolution in different parts of Ukraine in a particular historical period), the method of musical and textual analysis for considering the texts of church musical compositions and identifying the historical features of their text fixation), the linguistic method (to analyze linguistic phenomena in church music). Scientific novelty. The study validates a significant influence of linguistic processes that accompanied the evolution of Ukrainian church music on the modern practice of liturgical singing. The logic of historical development proves an indisputable vector for Ukrainianization of the church life of Ukrainians. At the present stage we can talk about Ірина МАТІЙЧИН ISSN 2078-6794. Вісник Львівського університету. Серія мист-во. 2019. Вип. 20 79 convergence of two tendencies in Ukrainization of church music: the performance of ancient song samples in Church Slavonic with Ukrainian pronunciation; the performance of ancient church songs translated into Ukrainian, as well as the performance of liturgical and paraliturgical songs written in Ukrainian. Conclusions. Preserving an original linguistic basis in old compositions, liturgical singing becomes a conservative element of church services, because it prolongs an active life of the Church Slavonic language, in which a wide array of Ukrainian church songs was written.
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Ramsey, Basil, and Paul Fisher. "New Church Music." Musical Times 133, no. 1788 (February 1992): 98. http://dx.doi.org/10.2307/965876.
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Kershaw, Edward. "Tudor Church Music." Musical Times 130, no. 1754 (April 1989): 221. http://dx.doi.org/10.2307/966481.
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Portsmouth, Timothy. "Music in Church." Musical Times 129, no. 1750 (December 1988): 643. http://dx.doi.org/10.2307/966651.
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Trendell, D. "Tudor church music." Early Music 36, no. 4 (November 1, 2008): 641–44. http://dx.doi.org/10.1093/em/can104.
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Simanjuntak, Fredy. "Musik Sebagai Media Terapi Penyembuhan: Sebuah Penelusuran Historis dalam Alkitab." Jurnal EFATA: Jurnal Teologi dan Pelayanan 8, no. 2 (July 2, 2022): 115–26. http://dx.doi.org/10.47543/efata.v8i2.66.
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Music has evolved in such a way, including within the church itself, but there is a part of music that is often overlooked in the church, namely the power of music in healing. In particular, the researcher takes the setting of the use of music in pentecostal-charismatic churches. This paper is a historical search in the Bible regarding the use of music in worship as a healing medium. The researcher as one of the music activists in the church gives an assessment that the sound produced by musical instruments in a series of praise and worship in worship affects the welfare of the congregation. The type of research used is descriptive research, using a qualitative approach. Researchers conclude that musical healing is real and far from speculation. Relying on the biblical basis of music as a therapeutic medium, the researchers revealed that music has the potential to have a therapeutic function in worship. AbstrakMusik telah berkembang sedemikian rupa termasuk di dalam gereja sendiri, namun ada bagian dari musik yang sering terabaikan dalam gereja, yaitu kekuatan musik dalam kesembuhan. Secara khusus peneliti mengambil setting penggunaan musik pada gereja-gereja bercorak pentakosta-kharismatik. Tulisan ini merupakan sebuah penelusuran historis dalam Alkitab mengenai penggunaan musik dalam ibadah sebagai media penyembuhan. Peneliti sebagai salah seorang penggiat musik dalam gereja memberikan penilaian bahwa suara yang dihasilkan oleh alat musik dalam rangkaian pujian maupun penyembahan dalam ibadah mempengaruhi kesejahteraan jemaat. Jenis penelitian yang digunakan adalah penelitian deskriptif, dengan menggunakan pendekatan kualitatif. Peneliti menyimpulkan bahwa penyembuhan musik adalah nyata dan jauh dari spekulasi. Mengandalkan dasar alkitabiah musik sebagai media terapi, peneliti mengungkapkan bahwa musik berpotensi terhadap fungsi terapi dalam ibadah.
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Harahap, David, and Simon Simon. "Pentingnya Musik Gereja dalam Ibadah untuk Pertumbuhan Kerohanian Jemaat." TELEIOS: Jurnal Teologi dan Pendidikan Agama Kristen 2, no. 2 (December 17, 2022): 135–46. http://dx.doi.org/10.53674/teleios.v2i2.49.
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Abstract: The background of this writing was that the church's attention towards music was declining, especially in small churches that did not pay attention to the important role of music and worship, which certainly influenced the congregation’s spiritual growth. Karl Barth once said a church that did not sing was not a church, therefore the presence of expert musicians and worshippers were needed. In describing the topic, the researchers used qualitative methods by obtaining data sources from literature studies, both printed books and online media. The discussion on this topic suggested that we should not forget the early history of music and its development, everyone had to be trained to become expert in art, this was written in the Bible, so that the church music could affect the congregation’s spirituality. Consequently, it was hoped that church music would be proper and right before God. Worship could give everything: life, strength, expertise in music and singing to serve God the creator. Thus, the conclusion obtained from this paper was that church music played a vital role in developing not only the quantity but also the spiritual quality of the congregation.Abstrak: Tulisan ini dilatar belakangi oleh menurunnya perhatian gereja kepada musik gereja, khususnya pada gereja-gereja kecil yang tidak perhatian betapa pentingnya peranan musik dan pujian yang tentunya berdampak terhadap pertumbuhan kerohanian jemaat. Karl Barth pernah berkata gereja yang tidak bernyanyi bukanlah gereja, sebab itu gereja membutuhkan kehadiran pemusik dan pemuji yang ahli di bidangnya. Di dalam menguraikan topik ini, peneliti menerapkan metode kualitatif dengan mengambil sumber data dari studi kepustakaan baik buku cetak maupun dari media online. Uraian pembahasan pada topik ini mengemukakan bahwa jangan melupakan sejarah awal musik dan perkembangannya, semua harus dilatih sehingga menjadi ahli seni, hal inilah yang tertulis di Alkitab, sehingga musik gereja mampu memberikan dampak pada kerohanian Jemaat. Dengan demikian diharapkan musik gereja menjadi sehat dan benar dihadapan Allah, ketika beribadah dapat memberi segala yang ada, hidup, kekuatan, keahlian bermusik dan bernyanyi di dalam melayani Allah sang pencipta. Oleh sebab itu, kesimpulan yang diperoleh terkait dari topik ini bahwa,musik gereja mengambail peran vital dalam pengembangan kuantitatas terlebih kualitas kerohanian jemaat.
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Maksoud, Marilyn, and E. Yu Ivanova. "Church Culture and Orthodox Music in Syria." Contemporary problems of social work 5, no. 3 (September 30, 2019): 17–21. http://dx.doi.org/10.17922/2412-5466-2019-5-3-17-21.
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Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (October 7, 2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.
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In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades, church concerts, and inter-churches music festivals. This strengthens the need for church worship ministers with music and leadership training. Universities in Kenya are, therefore, obligated to offer church music programmes that will enable these worship ministers to fit in the current job market. The discourse on church music, though, is rare in Kenya hence limited literature on the same. The study had an objective of establishing the relevance of university music curricula to the requirements of church music job market in Kenya. Elliot's Praxial theory underpinned the study. The study found out that universities are not keen to include music programmes that are relevant to the music job market. The Simple Matching Coefficient (SMC) of university X and Y music curricula to the requirements of church music job market was 0.00. Both universities did not have a church music program hence missing all the requirements of the given job market. The study recommends that there is a need to develop church music programmes in universities in Kenya, and this can be done in collaboration with the Schools of Theology at the university.
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Tubagus, Steven. "MAKNA MUSIK GEREJA DALAM ALKITAB." Tambur : Journal of Music Creation, Study and Performance 3, no. 1 (August 10, 2023): 26–37. http://dx.doi.org/10.52960/jt.v3i1.191.
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The crisis in the presence of God is that the congregation does not experience an encounter with the Lord Jesus, so the feelings of the congregation are ordinary. Entering the church to hear music but not entering the presence of God means that the congregation does not enjoy or feel anything just as ordinary singing. And coming home to church felt the same way. The Meaning of Church Music in the Bible. The purpose of this paper is to describe the theological meaning of church music in the Bible. By analyzing the text in accordance with the principles of exegesis, to get the meaning contained in the context of the meaning of church music in the Bible. The result of the analysis is that the Bible itself has proven the power of music and the message of God's word as the power to build the nation of Israel in the Old Testament. Messages and advice originating from God's word have always been a solution in generating faith and understanding in facing life from the past until now. Meanwhile, music that has developed into modern times with motivational messages that are also motivational. Description of the Meaning of Church Music in the Bible consists of: First, Church Music That Presents the Presence of God. Spiritually, church music is a gateway into God's presence. Spiritual praise is a way or action to glorify, exalt, and glorify God. This is the basis of a believer's life to praise God. Second, Church Music That Brings In Worship. Church music as an introduction to worship, worship is not intended for humans, but is primarily aimed at the Lord Jesus. Third, Church Music That Brings Repentance. Church music can be a tool to influence human behavior so church music can be a tool to achieve change, namely church music that brings repentance. Fourth, Church Music That Brings Joy. Church music as a means to express joy through the faith or religious beliefs of believers individually or together.
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Tantra, Carolien Eunice, and Mark Peters. "J. S. Bach’s Church Cantatas and Church Music Today." Veritas: Jurnal Teologi dan Pelayanan 20, no. 1 (July 19, 2021): 137–52. http://dx.doi.org/10.36421/veritas.v20i1.473.
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How do we as Christians today learn about worship and church music? How do we think about not only what music we will sing in Christian worship, but also the principles that should guide us in choosing and leading church music? Certainly, there are many different ways we answer that question: we study the Bible, we sing the words of the Scriptures, we read what theologians, worship leaders, and scholars of church music are writing today, we attend lectures and conferences by scholars and practitioners of church music. In this article, I offer and explore yet another example of how we live out God’s call in leading music for the Christian church: by studying the example of a faithful Christian musician from the past. My particular example for this article is the German composer and church musician Johann Sebastian Bach (1685-1750). I want to clarify from the start that I am not arguing that J. S. Bach is the best example of a Christian church musician and certainly not that he is the only example. But Bach does offer us one example of a musician who dedicated most of his life to creating and leading music for the Christian church and sought to do so faithfully, creatively, and skillfully.
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Sasongko, Michael Hari. "Hakikat Musik Sekular dan Musik Gereja: Kajian Ontologis dari Perspektif Teori Idealisme Plato." Danum Pambelum: Jurnal Teologi Dan Musik Gereja 3, no. 2 (December 24, 2023): 199–211. http://dx.doi.org/10.54170/dp.v3i2.209.
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In essence, secular music is different from church music. Secular music is the music industry, which built on the basis of a capitalistic system. Secular music is created and performed for the glory and benefit of the composer or singer himself. That is the reason secular is called worldly music. Not so with church music. The subject, goal, and message of church music is the person of Jesus Christ himself, so this music is spiritual. Based on Plato’s theory of idealism (which s related to Plato’s theory of the soul), it can be said that secular music is in the area of ephitumia and thumos, while church music is in area of logostikon. Secular music leads to something that is not eternal while the church music is directed to eternal goals. The goal of church music is ultimately divine intellect; rational but faithful.
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Hutagalung, Roy J. M., and Plores Sitorus. "Kontekstual Musik Dalam Gereja: Kolaborasi Sulim Dan Keyboard Dalam Mengiringi Ibadah Minggu Di HKBP Pagar Beringin." Areopagus : Jurnal Pendidikan Dan Teologi Kristen 20, no. 1 (May 3, 2022): 44–54. http://dx.doi.org/10.46965/ja.v20i1.1038.
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Abstrak: Fokus dan tujuan penelitian ini menyangkut tentang kontekstualisasi musik dalam gereja: kolaborasi sulim dan keyboard dengan musik sebagai alat musik mengiringi ibadah minggu atau nyanyian di HKBP Pagar Beringin. Penelitian dilakukan dengan metode kualitatif. Serta didukung dengan metode wawancara terhadap pihak yang terkait dengan penelitian setela data yang di dapatkan maka data tersebut akan di olah serta di dasarkan atas beberapa teori. Dalam kolaborasi sulim dan keyboard penulis menggambarkan lagu hupasahat ma tu jesus buku ende no. 691 nada dasar Es= do birama 4\4. Hasil penelitian menunjukkan kontekstualisasi musik dalam gereja tentang kolaborasi sulim dan keyboard sebagai pengiring ibadah minggu di HKBP Pagar Beringin, memberi suasana baru dan riang. Dalam tata ibadah sebuah musik menunjukkan nada secara nyaring atau lembut menggambarkan perasaan yang terkandung khususnya di gereja HKBP Pagar Beringin. Dengan pendekatan penggunaan kedua alat musik dengan kaidah- kaidah musik akan memberi penekanan tentang majunya sebuah kegiatan ibadah di gereja. Kata kunci: kontekstualisasi musik, kolaborasi sulim dan keyboard Abstract: The focus and purpose of this research concerns the contextualization of music in the church: collaboration of sulim and keyboard with music as a musical instrument to accompany Sunday worship or singing at HKBP Pagar Beringin. The research was conducted with qualitative methods. And supported by the method of interviews with parties related to the research after the data obtained, the data will be processed and based on several theories. In collaboration with Sulim and the keyboard, the author describes the song Hupasahat Ma tu jesus from the book Ende no. 691 basic Es= do time 4\4. The results showed that the contextualization of music in the church about the collaboration of sulim and keyboard as an accompaniment of Sunday worship at HKBP Pagar Beringin, gave a new and refreshing atmosphere. In the worship service, music shows a loud or soft tone describing what is contained, especially in the HKBP Pagar Beringin church. By approaching the use of both musical instruments with musical principles, it will emphasize a worship activity in the church. Keywords: music contextualization, collaboration sulim and keyboard
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Beechey, Gwilym. "Harold Darke's Church Music." Musical Times 129, no. 1746 (August 1988): 427. http://dx.doi.org/10.2307/965989.
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Bowers, Roger. "Scotland's early church music." Early Music XXIX, no. 4 (November 2001): 644–46. http://dx.doi.org/10.1093/earlyj/xxix.4.644.
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Mcelrath, Hugh T. "Church Music at Southern." Review & Expositor 82, no. 1 (February 1985): 101–10. http://dx.doi.org/10.1177/003463738508200109.
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Saint-Saëns, Camille. "Music in the Church." Musical Quarterly 75, no. 4 (1991): 19–26. http://dx.doi.org/10.1093/mq/75.4.19.
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Fasipe, Emmanuel Olusola. "The Church and Music Ministry." Journal of Advances in Education and Philosophy 8, no. 07 (July 5, 2024): 447–52. http://dx.doi.org/10.36348/jaep.2024.v08i07.001.
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The music ministry is an invaluable ministry of the church. A church music ministry exists to develop a comprehensive music programme that ministers to all areas of the church’s life. An effective music ministry, therefore, provides the church with good music that members may use for worship, education and evangelism. The study adopts literary and theological approaches and engages pertinent scholarly literature. It discusses the value of music ministry to the congregation, the choir, the instrumentalists who play musical instruments and individuals who lead in the ministry. Furthermore, the study examines the various activities of the music ministry and factors that must be considered when organising a church’s music ministry. Finally, the paper discusses the criteria for enlisting leaders and workers for the music ministry. The study concludes that an effective music ministry must be put in place if the church music will be functional within the church.
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Suggs, Julian S. "Music Training for Volunteer Church Music Leaders." Review & Expositor 93, no. 1 (February 1996): 41–49. http://dx.doi.org/10.1177/003463739609300105.
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Mawusi, Foster Eddison, and Eric Kwadzo Klutse. "The Church Music, Transition and Reforms in the Ghanaian Christian Church." International Journal of Culture and Religious Studies 4, no. 1 (June 7, 2023): 46–59. http://dx.doi.org/10.47941/ijcrs.1301.
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Purpose: The discourse examines the origin of Church music, its transition and reforms in the Christian church in Ghana in the late 19th and early 20th centuries. The paper explores the seeming connection and embodiment of elements of Judaism as well as features characterized by the early Patriarchal Church Music policy. It also seeks to unravel the forgotten process that unpins the transition characterized by these musical reforms in the church in Ghana.
Methodology: To do this, the paper engaged in a desk study review of the existing empirical literature on the origin of church music and specifically, the various transitional periods between the late 19th and early 21st Centuries.
Findings: It became evident from the study that the church in Ghana, just like in many other African nations broke the imposing dictatorship of Patriarchal Church Music policy giving birth to new movements in church music reforms. This major breakthrough was achieved through the indigenization activities such as the integration of traditional features and acceptance of secular music into the church by the locally formed independent churches.
Unique Contribution to Theory, Policy and Practice: The discourse, therefore, concludes that the church in Ghana made considerable strive with heavy transformation in gaining musical autonomy despite the intensity of resistance. However, ironically the Ghanaian church music scene remains the embodiment of converging cultures; partly Western, partly Ghanaian. This must be a major concern for further study.
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Stevanović, Sanja. "Theologico-ecclesiological analysis of the term 'Church music' in the light of anthropological understanding of music." Zbornik Akademije umetnosti, no. 11 (2023): 281–96. http://dx.doi.org/10.5937/zbaku2311281s.
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Throughout centuries, the concept of church music has held significant importance within the Orthodox Church. Its positive reception in the life of the Serbian Orthodox Church is evident by its frequent usage to describe various musical practices, such as: 'church singing, 'choral singing, 'polyphonic singing (or singing from sheet music)', 'Serbian folk singing', 'Karlovac chant', 'Belgrade chant' or 'Byzantine chant'. Drawing from anthropological research, we establish the definition of music through two interdependent approaches. Music is a cultural construct that lacks uniqueness and universality, but rather possesses a multitude of meanings dependent on collective and individual perspectives. Simultaneously, music is a cultural phenomenon that engenders diverse forms of identity, ranging from ethnic, gender, individual, collective, to local or global identities. From the perspective of Eucharistic theology, the Church is presented as the Mystery of unity between the created and the uncreated, founded in the Trinitarian nature of existence. The identity of the Church is not confined to historical and institutional frameworks, but is found in eschatology - the Kingdom of God. The Eucharistic church singing is examined in relation to church music and its connection with the anthropological understanding of music. The findings are analyzed from the standpoint of Orthodox ecclesiology. This paper aims to explore whether the identification of Eucharistic church singing with music, as a human category, can be positively argued within Orthodox theology.
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Lontoh, Frederich Oscar. "Pengaruh Kotbah, Musik Gereja Dan Fasilitas Gereja Terhadap Tingkat Kehadiran Jemaat." Journal Kerusso 1, no. 1 (March 9, 2016): 1–15. http://dx.doi.org/10.33856/kerusso.v1i1.42.
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This research is titled " The influence of sermon, church music and church facilities on the level of attendance”. The purpose of research is to identify and analyze whether sermon, church music and church facilities have influence on the the level of attendance. The target population in this study is a Christian church members who live in the city of Surabaya.. Sample required is equal to 47 respondents. Through sampling stratified Random techniques.These influence was measured using Pearson correlation coefficient and multiple regression analysis, t-test and analysis of variance. Descriptive analysis were taken to analyze the level of attendance according to demographic groups.The hypothesis in this study are the sermon, church music and church facilities have positive and significant on the level of attendance. The results showed that collectively, there are positive and significant correlation among the sermon, church music and church facilities on the level of attendance 96,2%. It means that 96,2 % of level of attendance influenced by sermon, church music and church facilities and the other 28,9% by others. All of the variable partially have significant correlation to level of attendance.
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Bako, Yefta, Patce Orianus Snae, Cici Nullik, and Frengki Metkono. "PERAN UNIT PEMBANTU PELAYANAN MUSIK GEREJA DALAM MEMBANGUN IBADAH JEMAAT GMIT ANUGERAH ATAMBUA." Tambur : Journal of Music Creation, Study and Performance 2, no. 1 (June 30, 2022): 38–44. http://dx.doi.org/10.52960/jt.v2i1.102.
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Church Musik Service Assistant Unit (UPP) is a collection of assemblies that have been confirmed/legitimated to manage music services in every worship service. The purpose of this study was to find out how the church music UPP played it’s role in building sunday worship at the GMIT Anugerah Atambua Congregation by using qualitative methods and observing participation an informational role, decision maker and resource allocator to build sunday worship with 4 stages of management functions consisting of planning, coordinating, directing and supervising stages.
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Moon, Hwarang. "Church Music, Community, and Faith Formation." International Journal of Asian Christianity 7, no. 1 (February 26, 2024): 119–34. http://dx.doi.org/10.1163/25424246-07010014.
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Abstract Has there ever been a time in history when the status of music in worship was as high as it is now? From the early church to the present, the Word and the Lord’s Supper have formed an important framework for worship. This is an emphasis that transcends denominations and is found in any liturgy. However, after the praise and worship movement evolved in the 1960s, music in worship came to occupy an important place no less than that of the Word and the Lord’s Supper. Regardless of the denomination’s theology and liturgical traditions, it is no exaggeration to say that the first half of the service is dominated by the band-leading praise and worship style music. Believers of this age are looking for a church that longs for good quality of preaching, but at the same time, they are searching for a church that provides good worship music. While music ministries are in the spotlight, pastors and leaders have a fundamental question: Is church music necessary in worship? Would not the negative function of music be greater than the positive one in this era? What hymns will churchgoers sing in worship? What kind of music is suitable for worship? Why are church hymns important? Humans are created as homo musicus beings who love and use music. It expresses a person’s inner feelings and emotions and it shapes as well a person’s character and thoughts. Not only does the melody of music stimulate people’s nerves and bring about psychological changes, but the lyrics woven into the music also convey thoughts that become ingrained knowledge in the mind. Above all, music contributes to the togetherness of the community, its formation, identity, and transmission of its traditions. This study, due to space limitations, does not delve into the diverse views of theologians regarding church music or the historical controversies surrounding it. From a liturgical theological point of view, I will discuss why church music is important, which church music could be used, how church music forms personal faith identity, and how it affects community faith formation will be analysed. In the end, this article will demonstrate that the music people sing shapes the character of their faith.
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Thyssen, Peter. "Grundtvig, Laub og kirkesangen." Grundtvig-Studier 45, no. 1 (January 1, 1994): 229–55. http://dx.doi.org/10.7146/grs.v45i1.16148.
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Grundtvig, Laub and Church Singing.By Peter ThyssenThe article deals with the importance that Grundtvig’s hymn writing acquired for the development of church music in Denmark through the 19. and 20. centuries. At first, the lack of tunes for the hymns written by Grundtvig for his own metres, resulted in the appearance of a great number of romantic hymn tunes which became widely used in church singing all over the country through the 19. century. Compared with these new lively and romantic tunes, however, the old chorales, isorhytmical at that time, were bound to seem more and more »stiff« and »dead« when used in the church service. Inspired by the reform movements in church music, which had developed in Germany since the 1840s, Thomas Laub (1852-1927), the organist and composer, advocated a restoration of the old chorale tunes in accordance with their original melodics, rhythmics, and tempo (in his book Om kirke-sangen (On Church Singing) from 1887). After his work on the restoration of the old church tunes in the years 1888-1910, Thomas Laub embarked in earnest on the task of composing new tunes for Grundtvig’s hymns (thus, out of 100 original hymn tunes by Laub, 68 were composed for hymns by Grundtvig). Laub’s hymn tunes were written with .the old church tone. as a source of inspiration, but are equally influenced by the late romantic tone of his own age.The point then is that Laub’s work on the historical and modem mode of expression of church music can be understood as a parallel to Grundtvig’s hymns, viz. as a »renewal on the foundation of the old church« - a programme that Laub himself explains in the book Musik og kirke (Music and Church) from 1920. Owing to this »Grundtvigian programme«, Laub’s tunes have not only achieved a unique congeniality with Grundtvig’s hymns; among Danish church composers Thomas Laub is also the one who has created the largest number of original hymn tunes still in use in church services in Denmark today. Thus, modem Danish church singing has been decisively influenced by the two »learned artists«, N.F.S. Grundtvig and Thomas Laub.
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Tamonob, Jeny. "MANAJEMEN PELAYANAN MUSIK GEREJA STUDI DESKRIPTIF GEREJA SIDANG JEMAAT ALLAH (GSJA) SUNSET KUPANG DALAM MASA PANDEMI CORONA." Tambur : Journal of Music Creation, Study and Performance 2, no. 1 (June 29, 2022): 13–24. http://dx.doi.org/10.52960/jt.v2i1.105.
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This study aims to describe and examine church music services during the Covid-19 pandemic and to find out how the church music service management was used by the worship team of GSJA Sunset Church Kupang during the Covid- 19 pandemic. The research method used is descriptive qualitative research. Data collection techniques were carried out using interview methods, direct observation and document recording in the research area. Qualitative data analysis techniques, namely data reduction, data presentation and verification using general management function theory and church music ministry management theory to analyze the data in the study.
Given that because there was during the Covid-19 pandemic, the church music ministry carried out its ministry role only on Sunday services which were conducted online. Team Worship at GSJA Sunset Church Kupang has managed to carry out its management function well, but there are still some obstacles that make the church music service less than optimal, including: it takes longer to get good music and vocals, mistakes occur when taking music and vocals, lack of adequate facilities to carry out the recording process and the occurrence of differences of opinion between fellow serving teams. After explaining the management functions that occurred in the worship team during the pandemic, namely the function of planning, organizing, directing, coordinating and monitoring, according to the writer of the worship team at GSJA Sunset Church Kupang, it has been successfully implemented even though GSJA Sunset Church Kupang did not learn about management science in theory.
In line with the results of the above research, the writer can suggest that it would be better if every worship team should be able to train their ability in music and be able to build cooperation between fellow service teams and can learn from other churches in terms of music management or human resource management. exist in the church with the aim of improving the quality of the church.
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Eko AgusSetiawan. "PERANAN ARANSEMEN MUSIK GEREJA MODEREN TERHADAP DINAMIKA IBADAH." JURNAL TABGHA 4, no. 1 (April 30, 2023): 46–55. http://dx.doi.org/10.61768/jt.v4i1.68.
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Music arrangement is one of the important things to pay attention to its use in worship by everyone who is expected to make a positive contribution to the development of music specifically for the church, and in general for the Indonesian people in the future. This is one of the ways in which popular culture works in the modern church based on the author's understanding of the general values developed in worship by the church today as the foundation for the development of music at a later stage. This study uses a descriptive qualitative method with the process of collecting data through interviews, observation, and documentation of participants. Based on the data analysis conducted, it was concluded that the role of modern church music arrangements has an influence on the dynamics of church worship. In applying the role of church music arrangements to the dynamics of worship, music ministers need an understanding of the importance of musical arrangements and an understanding of how patterns of developing effective arrangements in carrying out worship activities.
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Malec, Marek. "Music in the context of teaching about the Church of Augustine of Hippo." Kwartalnik Naukowy Fides et Ratio 56, no. 4 (December 16, 2023): 56–63. http://dx.doi.org/10.34766/fetr.v56i4.1223.
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The article presents some of Augustine’s assumptions about church music. Nowadays, his thoughts related to music contained in his philosophical works are widely known and studied. This paper, however, concentrates mainly on his homiletic speeches and speeches delivered on special occasions in which Augustine taught about the Church. In his speeches, Augustine portrayed music as an external sign of the unity and universality of the Church, which were taken care of in the ancient community. The music performed during the Church’s liturgy also became a good example for polemics with pagans and heretics. In Augustine’s opinion, music also supports eschatology well, as it pictures future events in which the worship of God through music will have no end. Many of Augustine’s thoughts referring to the Church and music have been preserved, however the work is limited to only a few of the more interesting examples. The results of the analysis can be compared with the contemporary teaching of the Church on sacred music, which emphasizes, for example, the active participation of the faithful in the liturgy, as well as internal activity–the source of these suggestions is embedded in the ancient Church and reminds us of those theses, among others, recorded in his works and preached by Saint Augustine of Hippo.
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Călin Boba, Adrian. "SERBIAN CHURCH MUSIC IN BANAT - HISTORICAL ASPECTS." ИСХОДИШТА 8, no. 1 (August 18, 2022): 87–95. http://dx.doi.org/10.46630/ish.8.2022.7.
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Serbian church music includes, in addition to the church compositions of Serbian composers, the folk song of the church. The song of the Serbian church represents, according to its characteristics, acquired during the historical development, an original work, created with the help of the influence of the church and the people. How fast the Serbian church folk song developed towards independence, from the adoption of Christianity until the middle of the 13th century and how much it could separate from its model in that short time, cannot be determined, because there are no data. about that and there are no records. In the Serbian autocephalous archdiocese (since 1219) and later the Patriarchate of Peci (since 1346), the care of Serbian church leaders, which is reflected in numerous donations, has created favorable opportunities for the full expansion of church life. With the transfer of the people and national and church leaders to the Habsburg Empire, many of them in the region of Banat, the singing of the church, in the more favorable circumstances of the civilized state, developed freely, but increasingly independent of the distant model. Church authorities have taken steps to preserve, renew and develop the song. With the founding of the seminary in Sremski Karlovci in 1794 and the appointment of the first teacher of church singing in 1797, an important center was created for maintaining a certain unity in church singing. The most difficult and important, however, is the problem of the structure and essence of Serbian folk church singing.
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Péter, Éva. "Jenő Ádám’s Church Music Compositions." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 265–76. http://dx.doi.org/10.24193/subbmusica.2021.2.19.
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"In the present study I intend to present the church music compositions of Jenő Ádám. I will analyze the choral works of the composer that were based on the melodies of Protestant church hymns. The composer was also active as a conductor, but his name is primarily known in the field of music pedagogy. He played an important role in the elaboration and implementation of the Kodály method. In his works pertaining to church music, he adapted the melodies of the most representative church hymns of different ages. He uses both homophonic and polyphonic approaches with his works that have strophic structure or are through-composed. Keywords: Genevan Psalter, Protestant hymn, Kodály method, strophic form, through-composed works, homophonic and polyphonic approaches in composition."
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Harvey, Jonathan. "An Approach to Church Music." Musical Times 131, no. 1763 (January 1990): 52. http://dx.doi.org/10.2307/965634.
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Harvey, Philip. "Three major church music collections." ANZTLA EJournal, no. 57 (May 7, 2019): 10–13. http://dx.doi.org/10.31046/anztla.v0i57.1298.
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Leaver, Robin A., and David Poultney. "Dictionary of Western Church Music." Notes 49, no. 1 (September 1992): 170. http://dx.doi.org/10.2307/897247.
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Bowers, Allan. "Book Reviews : Composing Church Music." Expository Times 115, no. 4 (January 2004): 137. http://dx.doi.org/10.1177/001452460411500419.
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Clark, Linda. "Aesthetic Value in Church Music." Liturgy 6, no. 3 (January 1987): 46–53. http://dx.doi.org/10.1080/04580638709409062.
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Maunder, R. "Vivaldi concertos and church music." Early Music 42, no. 2 (April 26, 2014): 312–14. http://dx.doi.org/10.1093/em/cau045.
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Bond, Ann, and Albert Dunning. "Church Organs." Musical Times 126, no. 1714 (December 1985): 756. http://dx.doi.org/10.2307/965225.
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Chrisnahanungkara, Ariel Januar. "GEREJA DAN PENDIDIKAN SENI MUSIK BAGI ANAK." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 63–74. http://dx.doi.org/10.37368/tonika.v2i1.43.
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The purpose of this study is to understand the importance of carrying out music education by the church. This study explains the importance of art education for humans, the life of art in church and the process of art education that has been occurred in church. In particular, this study reminds us that church should not ignore music education in the church in an effort to maintain the church traditions.
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Akande, Sunday. "Engaging the Efficacy of Nigerian Popular Gospel Music and Pentecostalism for Nigerian Church Growth." NIU Journal of Humanities 8, no. 4 (December 31, 2023): 209–15. http://dx.doi.org/10.58709/niujhu.v8i4.1745.
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In the 1970s and 1980s there was the emergence of Pentecostalism that gave rise to the establishment of many Churches in Nigeria. Among the churches that were established are ; Deeper Life Bible Church, New Living Faith Church also known as Winners Chapel, The Redeemed Christian Church of God, Gospel Faith Mission and many others. The rate at which other churches are springing up and the founding of many other branches is alarming till date. The Proliferation of churches led to the existence of churches everywhere in Nigerian society. However, the numeric increase or proliferation of Churches in Nigeria is not attributed only to the mode of worship, prayers and to signs and miracles introduced to Churches through Pentecostalism but also influenced by music. The value of music should never be lost sight of in worship. The relationship between music and Pentecostalism cannot be undermined as music cannot be separated from worship. This paper examines the efficacy of contributions of music in genre, form and performance practice in Church growth, specifically in Nigeria. This research reviewed the history and explosion of Pentecostalism in Nigeria. The materials used in this research were sourced from books, journals, magazines and Internet. Historical research design was used for this study. This paper concludes that the mystic effect and intrinsic value of music affects church growth and should be considered as a viable tool together with Pentecostalism for Church growth in Nigeria. Keywords: Efficacy, Music, Pentecostalism, Church Growth
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Peno, Vesna. "Church music in the light of national legislation in the principality of Serbia and the Kingdom of Serbia." Muzikologija, no. 12 (2012): 9–36. http://dx.doi.org/10.2298/muz120215001p.
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Officially, the Serbian Orthodox Church enjoyed a legally guaranteed status throughout the 19th century and Orthodox faith was considered to be prevalent both in the Principality of Serbia and in the Kingdom of Serbia. Nevertheless, after gaining its autonomy within the Constantinople Patriarchate in 1831 (under whose forced jurisdiction it had been since 1766), Knez Milos?s attitude and a number of state provisions led to the unsparing diminishing of the Church authority together with frequent subversions of the Church Canon law. Introduction of the constitutional and legislative framework for the activities of the Serbian church, the enforcement of institutionalized mechanisms of control, and above all, direct interference of the State authorities in the elections of Church hierarchs and their activities, marked relations of the Church and the State in the 19th century. ?Might makes right? rule was always on the State side. Investigations so far have least examined those provisions of the Government concerning general and theological education, in which church music also found its place. Presentation and analysis of the facts about the beginnings of organized music education go in favor of the existing findings on concurrencies and discrepancies in two cultural policies - that of the State and the one of the Church. Attitudes of the Sovereign and the Government towards the educational process, so vital during the decades of the State formation, are also indicative for affirmation of chanting practice and music art in general, as are (non-) conflicting interests between the prelates and distinguished public figures on one, and those in charge at the ministries on the other side. This paper presents all relevant government legislations regulating religious and music education at regular and theological schools. Attempts of the Church dignitaries and learned Serbian musicians to raise the level of music culture with the help of the State authorities are particularly emphasized. The emphasis was especially on the promotion of polyphonic church music and endeavors to print notated church chanting books. All relevant direct and indirect contributors to the expansion of church music are mentioned, among them especially music teachers at the Theological high school in Belgrade. Eventually, the paper points to those legal regulations which imposed on teachers certain duties related to everyday church services and reactions of the teachers to those regulations.
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Simangunsong, Emmi, Ari G. Parasian, and Hizkia Lasro. "Upaya Peningkatan Bernyanyi Paduan Suara untuk Remaja Gereja HKBP Taman Deli dalam Kegiatan Praktik Lapang Tematik." Jurnal Pengabdian Seni 4, no. 1 (June 9, 2023): 36–42. http://dx.doi.org/10.24821/jps.v4i1.9409.
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Dalam kegiatan Praktik Lapang Tematik (PLT), mahasiswa Program Studi Seni Musik melakukan pelatihan paduan suara untuk remaja Gereja HKBP Taman Deli, Medan Labuhan. Di Gereja HKBP Taman Deli anak remaja sangat berminat belajar bernyanyi dalam bentuk paduan suara. Permasalahan yang dihadapi pihak gereja/mitra adalah anak remaja belum mampu membaca notasi dengan baik dan bernyanyi dengan benar. Oleh karena itu, anak remaja diberi pembelajaran teori dasar musik dan belajar lagu “Ku Berbahagia” dalam bentuk paduan suara. Metode yang digunakan oleh tim pelatih metode pelatihan dan pendampingan. Dalam hal belajar bernyanyi, pengajar mempraktikkan langsung lagu “Ku Berbahagia” dengan menggunakan fasilitas yang ada di lingkungan Gereja HKBP Taman Deli seperti piano dan keyboard. Hasil pengajaran teori dasar musik telah meningkatkan pengetahuan anak remaja membaca not angka dan not balok, membaca ritem dan melodi lagu “Ku Berbahagia”, dan menampilkan lagu tersebut dalam perayaan Natal Gereja HKBP Taman Deli. In this Thematic Field Practice activities, students from the Music Arts Study Program conducted choir training for youth at the HKBP Taman Deli Church, Medan Labuhan. At Taman Deli HKBP Church, teenagers are very interested in learning to sing in the form of a choir. The problem faced by the church/partners is that teenagers are not yet able to read notation and sing properly. Therefore, teenagers were given basic music theory lessons and learned the song "Ku Berbahagia" in the form of a choir. The results of the authors’ basic music teaching theory are the increasing of young singers’ abilities in reading numbers and musical notes, the ability to read the rhythm and melody of the song "Ku Berbahagia", and the performance of the choir in HKBP Taman Deli Church Christmas celebration.
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Sihombing, Adison Adrianus. "Music in The Liturgy of The Catholic Community in Jakarta, Indonesia." Al-Albab 9, no. 1 (June 8, 2020): 3–18. http://dx.doi.org/10.24260/alalbab.v9i1.1542.
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This article discusses music in the Catholic liturgy in Jakarta, Indonesia in the postmodern era within the context of the autonomy of the Catholic Church. The Indonesian Catholic Church is an independent and autonomous church where liturgical music is a form of original artistic expression. However, in practice, the majority of Catholics in Indonesia view the liturgical celebration as uninteresting and dull. Conversely, pop music has increasingly influenced liturgical music. This reality is discussed and analyzed specifically in regards to liturgical music that experiences contextual data inference, especially in the specific cultural contexts of the community. The data analysis shows, in perception of Catholics in Jakarta, the role of liturgical music in worship is not homogeneous, but rather depends on the educational background, attention from Pastors of the Parish, cultural factors, and individual past experiences. For the most part, the level of understanding regarding the nature and important position of liturgical music in religious holy celebrations is low. Most consider that all music is the same and can therefore be used in the liturgy. Music is considered only a complement to enhance religious celebrations. In this context, the government and the Indonesian Catholic Church established the Catholic Church Choir Development Institute (LP3K) as a forum for fostering Catholics in Indonesia in the liturgical field and discussing issues related to music. This article confirms that the position of the liturgical music is crucial and has an irreplaceable significance in the liturgy, and the two are inextricably woven to each other.
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Sarpong, F. A. Sarpong. "The place of music in missions work in Ghana: with reference to the church of Pentecost." Pentecost Journal of Theology and Mission 3 (December 31, 2019): 101–11. http://dx.doi.org/10.62868/pjtm.v3i1.125.
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This article gives a brief narrative of the role that music has played and continues to play in the churches in Ghana with particular reference to the Church of Pentecost. It begins by acknowledging that the COP as an indigenous Ghanaian church sees music as an integral part of its missions in Ghana and beyond. It then examines the musical tradition of the churches in Ghana, and examines four models of musical types in Ghanaian churches, namely, Contrafactum, Eclectic, Creative Essays of Afro-Identity and Spontaneous types. The rest of the paper focuses on the Spontaneous Type of music as the Church of Pentecost’s preference in worship and in its missional activities. It concludes with a brief comment on the importance of the Psalms in church music.
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Graham, Gordan. "The theology of music in church." Scottish Journal of Theology 57, no. 2 (May 2004): 139–45. http://dx.doi.org/10.1017/s0036930604000043.
Full textAbstract:
This paper is concerned with how we should understand the distinctive contribution of music to Christian worship. It considers two contrasting views that have powerfully influenced contemporary church music – the pursuit of musical excellence by highly competent performers on the one hand, and the adoption of simpler, popular and more inclusive musical forms on the other. This contrast is explored against the background of a biblical understanding of prayer and sacrifice, and in the light of some philosophical issues surrounding both the idea of divine service and the nature of music.