Relevant bibliographies by topics / Role of music in worship

Academic literature on the topic 'Role of music in worship'

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Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Role of music in worship"

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Martopo, Hari. "Role of Taizé Music in Catholic Adoration and Protestant Ecumenical Community in Yogyakarta." Journal of Urban Society's Arts 8, no. 1 (June 9, 2021): 28–35. http://dx.doi.org/10.24821/jousa.v8i1.5447.

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Taizé’s music comes from an ecumenical monastic order with an intense devotion to peace and justice through prayer and meditation. It was founded by Brother Roger Louis Schütz-Marsauche in 1940 in the French village of Taizé and later spread throughout the world. Now the Taizé community is also growing in Indonesia, especially in the city of Yogyakarta. The Taizé community introduced its model of worship consisting of prayer, music, and meditation. The Taizé community entered Indonesia through Ursuline nuns’ work, and some of them later chose Taizé music as their worship accompaniment. In Yogyakarta, Taizé music is being used formally in adoration worship, namely The Holy Hour Worship by the Congregational Scholastic Congregation of SCJ Yogyakarta. Simultaneously, an ecumenical community called DNTZ Yogyakarta sings Taizé music in ecumenical fellowship activities. These are voluntary activities which are performed at different places and open for public. These two models of Taizé music in Catholics and Protestants communities have become a unique phenomenon as both communities play an essential role in its development by helping each other and working together in harmony.
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Brits, Hans J. "’n Ondersoek na ’n gemeente se aanbiddingsvoorkeure om lidmaatdeelname ten opsigte van sang en musiek te bevorder binne die raamwerk van ses aanbiddingsmodelle." STJ | Stellenbosch Theological Journal 2, no. 2 (December 31, 2016): 153–79. http://dx.doi.org/10.17570/stj.2016.v2n2.a08.

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Examining the worship preference of a congregation in order to enhance worshippers’ participation in song and music within the framework of six worship modelsThe important role of music and singing within the dialogue of the liturgy should never be underestimated. It is imperative for any congregation to understand its members’ preference to liturgical song and music. Knowledge gained from this understanding can assist congregations to make informed decisions with regard to the different forms and genres of church music and hymns which may enhance worshippers’ participation. This article reflects on a study that was conducted at a Dutch Reformed congregation to investigate the worship preferences with specific reference to church music and hymns, based on six worship models. The study is performed from a reformed perspective and can be used as a conceptual framework by congregations that have a similar need to ensure improved worship participation.
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Taranger, Angela. "Multiple Meanings: The Role of Black Gospel in an Interracial and Multi-Ethnic Edmonton Church." Canadian University Music Review 19, no. 2 (March 1, 2013): 61–69. http://dx.doi.org/10.7202/1014447ar.

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This paper examines the process by which Black gospel music (performed according to aesthetic standards determined by African Americans) has become a site of meaning for both Black and White congregants at Edmonton Community Worship Hour, a church with an interracial and multi-ethnic ministry. Certain "transformations" (or "inversions") are at play in the conceptual systems of the people who attend; each individual has disparate, though intersecting, webs of meaning which become operational in a cross-cultural setting, relating to: the music itself, the method of worship, and the interpersonal relationships of the church's Black majority and White minority.
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Benjamins, Laura. "Musicking as Liturgical Speech Acts: An Examination of Contemporary Worship Music Practices." Studia Liturgica 51, no. 2 (August 23, 2021): 143–58. http://dx.doi.org/10.1177/00393207211033993.

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This article examines the genre of Contemporary Worship Music (CWM) within worship contexts in terms of its formative and purposeful nature. In CWM settings, the worship leader plays a particular role in the selection and facilitation of CWM repertoire to be led by praise bands. Through the leader's consideration of the message of the CWM lyrics, and the relational nature of CWM practices, a worship leader's pedagogical decisions are integral to contributing to a space of dialogue for worship musicians. Drawing on previous literature addressing liturgical language in worship, I analyze the CWM context as a particular case where liturgical language shapes musicians’ spiritual formation. This examination of CWM practices includes an analysis of musicians’ engagement in relational musicking and meeting through I-Thou encounters. I therefore explore both the need for worship leaders to consider the multitudinous theological implications of their actions, as well as the way musicians are shaped and formed intimately through their musical engagement with CWM.
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Said, Shannon. "White Pop, Shiny Armour and a Sling and Stone: Indigenous Expressions of Contemporary Congregational Song Exploring Christian-Māori Identity." Religions 12, no. 2 (February 16, 2021): 123. http://dx.doi.org/10.3390/rel12020123.

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It has taken many years for different styles of music to be utilised within Pentecostal churches as acceptable forms of worship. These shifts in musical sensibilities, which draw upon elements of pop, rock and hip hop, have allowed for a contemporisation of music that functions as worship within these settings, and although still debated within and across some denominations, there is a growing acceptance amongst Western churches of these styles. Whilst these developments have taken place over the past few decades, there is an ongoing resistance by Pentecostal churches to embrace Indigenous musical expressions of worship, which are usually treated as token recognitions of minority groups, and at worst, demonised as irredeemable musical forms. This article draws upon interview data with Christian-Māori leaders from New Zealand and focus group participants of a diaspora Māori church in southwest Sydney, Australia, who considered their views as Christian musicians and ministers. These perspectives seek to challenge the relationship between Indigenous and non-Indigenous relations within a church setting and create a more inclusive philosophy and practice towards being ‘one in Christ’ with the role of music as worship acting as a case study throughout. It also considers how Indigenous forms of worship impact cultural identity, where Christian worship drawing upon Māori language and music forms has led to deeper connections to congregants’ cultural backgrounds.
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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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Sigler, Matthew. "Reconsidering the Role of Music in Worship: A Tale From the Vineyard." Liturgy 32, no. 1 (November 7, 2016): 46–53. http://dx.doi.org/10.1080/0458063x.2016.1229455.

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Nekola, Anna E. "Review Essay: “Seeking and Singing: Exploring Popular Music's Role in Christian Worship Practices”." Journal of Popular Music Studies 31, no. 4 (2019): 161–66. http://dx.doi.org/10.1525/jpms.2019.31.4.161.

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Justice, Deborah. "When Church and Cinema Combine: Blurring Boundaries through Media-savvy Evangelicalism." Journal of Religion, Media and Digital Culture 3, no. 1 (December 6, 2014): 84–119. http://dx.doi.org/10.1163/21659214-90000042.

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The use of social media presents new religious groups with opportunities to assert themselves in contrast to established religious institutions. Intersections of church and cinema form a central part of this phenomenon. On one hand, many churches embrace digital media, from Hollywood clips in sermons to sermons delivered entirely via video feed. Similarly and overlapping with this use of media, churches in cinemas have emerged around the world as a new form of Sunday morning worship. This paper investigates intersections of church and cinema through case studies of two representative congregations. CityChurch, in Würzburg, Germany, is a free evangelical faith community that meets in a downtown Cineplex for Sunday worship. LCBC (Lives Changed by Christ) is one of the largest multi-sited megachurches on the American East Coast. While LCBC’s main campus offers live preaching, sermons are digitally streamed to the rest. Both CityChurch and LCBC exemplify growing numbers of faith communities that rely on popular musical and social media to 1) redefine local and global religious relationships and 2) claim identity as both culturally alternative and spiritually authentic. By engaging with international flows of worship music, films, and viral internet sensations, new media-centered faith communities like CityChurch and LCBC reconfigure established sacred soundscapes. CityChurch’s use of music and media strategically differentiates the congregation from neighboring traditional forms of German Christianity while strengthening connections to the imagined global evangelical community. LCBC creates what cultural geographer Justin Wilford dubs a “postsuburban sacrality” that carves out meaning from the banality of strip-mall-studded suburban existence. Analyzing the dynamics of music and media in these new worship spaces assumes growing importance as transnational music and media choices play an increasingly a central role in locally differentiating emergent worship communities from historically hegemonic religious neighbors.
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Remes, Hanna. "”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija." Trio 10, no. 1 (July 10, 2021): 91–100. http://dx.doi.org/10.37453/trio.110132.

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Hanna Remes’s artistic doctoral degree, which focuses on choral church music in worship, is the first of its kind in Finland. The demonstration of proficiency carried out 2016–2020 comprises two masses, a worship service, a passion drama and an Easter concert. She elucidates changes in guidelines for the liturgical use of the choir according to the Evangelical Lutheran Church of Finland’s 2000 church manual from those of the 1968 church manual. The dissertation stands at the junction of liturgy and the history of church music. Remes compares and analyses the liturgical role of the choir in the Church of Finland as stated in the latest church manuals and supplementary materials and explains the guiding principles of the manuals’ preparation.
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Dissertations / Theses on the topic "Role of music in worship"

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Detwiler, David Franklin. "The role of music in worship according to Paul an exegetical inquiry /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Keith, Shannon D. "The Perceived Role of Music in the Pentecostal and Charismatic Worship Experience." Thesis, University of Louisiana at Lafayette, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1553877.

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Two churches were studied through observations and interviews to examine the role of music in their worship services. One of the churches was a Pentecostal church that was predominantly Caucasian and the other was a nondenominational church that was predominantly African-American. The interviews determined that despite cultural differences, including musical style, the perceived role of the music was basically the same in both churches. The role of the music is to create an environment that encourages and enhances high levels of praise. Both churches were consistent in the belief that God is actually present in some form if there are high levels of praise.

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Moss, Phyllis Anita. "The role of the praise and worship leader: a model for preparing the singer for leadership in contemporary worship." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2001. http://digitalcommons.auctr.edu/dissertations/AAIDP14652.

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This dissertation proposes an educational model for use by praise and worship leaders and those who endeavor to guide them in becoming skillful musicians and spiritually mature leaders of contemporary praise and worship. Primarily aimed toward the singer as praise and worship leader, the model centers on dimensions of instruction that help singers to know the meaning and purposes of worship and principles of leading worship, the nature of spirituality and vocal leadership in worship, and context-specific applications of vocal leadership in worship. The model is interdisciplinary in orientation and builds on foundational biblical, theological, historical, and ethical ideas and principles contained in normative literature; socio-psychological material found in empirical literature, and practice of ministry guides appearing in operational literature. The final diagram of a holistic instructional model results from the development, implementation and evaluation of a course at Beulah Heights Bible College, from interviews with selected Atlanta area praise and worship leaders representing six denominations, and from reflections on the roles of the praise and worship leader as observed in the praise and worship ministry of Babbie Mason. The diagrammatic representation of the educational model identifies the important relational worship environment about which the praise and worship leader must be aware. The model is inclusive of prophetic, priestly, and revivalist roles of praise and worship leaders and specific activities of guiding and mediating a congregation's experience of and closer relationship with God. It also includes the ethicist role with the specific activity of perpetuating biblical principles, values, and images of justice, inclusivity, and non-violence; the role of the change agent with the specific activity of drawing attention to a vision and activity toward societal transformation; the role of pastoral agent who brings the healing qualities of music to bear on a congregation; the role of the clear communicator of the messages of God; the role of administrator; the role of the worshipper who is familiar with the nature of worship; and the cultural leader who is familiar with the culture of the setting and ensures that the music and style of worship is relevant to the worshippers. And finally, the diagrammatic representation highlights important qualities which the praise and worship leader must develop and exhibit in the conduct of worship including pastoral sensitivities to the congregation's cognitive, affective, psychomotor, and kinesthetic needs, involvement in the spiritual disciplines, and cultural understanding and receptivity.
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Abdalah, Gregory John. "The role of youth choirs in the Orthodox Church." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0477.

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Mayden, Brandon. "The role of the Restoration Movement editors concerning the use of instrumental music in worship 1866-1906 /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p031-0172.

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Friedmann, Jonathan Lawrence. "A musical people : the role of music in Biblical life / by Jonathan L. Friedmann." Thesis, North-West University, 2011. http://hdl.handle.net/10394/8006.

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This thesis aims to uncover music’s important role in shaping and defining the selfidentity of ancient Israel. Functional music was integrated into Israel’s daily life, accompanying activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to formulate and deliver messages, convey and heighten emotions, assert and strengthen communal bonds, and establish and intensify human-divine contact. The intricate and multi-faceted nature of this music will be demonstrated through a detailed look into four main episodes and genres: the Song of the Sea (Exod. 15), King Saul and David’s harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. Specifically, it will be argued that Israel’s birth as a free nation was marked by the Song of the Sea, its monarchic system was defined by the archetypical musician-king David, it depended on God’s word delivered through the often musical messages of prophecy, and its appointed institution for mediating worship was designed and officiated by a class of priestly musicians. Moreover, three of these four areas involve the main leadership categories of Old Testament society—king, prophet and priest—giving added support to the view that music held a prominent place and played a defining role within that civilization. The conception of music as a central element of biblical society will be developed using an interdisciplinary approach, wherein pertinent information from an array of specializations and sources is put into conversation and Old Testament passages are analyzed through a modern-scientific lens. Rather than relying on a single methodology, this study is rooted in the premise that by applying a variety of contemporary theoretical tools to selected Old Testament passages, essential functions of music in biblical life can be illuminated. Such an endeavour requires tools from a number of fields, including but not limited to theology, sociology, anthropology, musicology, cognitive science and music therapy, as well as the classification of musical references into four primary functions: cohesive, therapeutic, emotive/spiritual and didactic. The result is a thesis that identifies reasons for—and not just the existence of—music in biblical life, and, most centrally, shows significant ways music informed Israel’s understanding of itself.
Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2012.
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Rees, Robin Lodowick Douglas. "The role of music and musicians in current English parish church worship : the attitudes of clergy and organists." Thesis, University of Sheffield, 1990. http://etheses.whiterose.ac.uk/1808/.

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One of the many issues currently confronting the Church of England is the role of music in worship. It is not a new debate, but has been brought into sharper focus in recent years in the wake of liturgical change. After examining the fundamental issues of the debate, the author considers them in the context of the present day. Other current matters of concern will also be discussed. The effects of liturgical change are then considered. The discussion is then widened to include: - a review of current hymnals and psalters; - a survey of the courses and qualifications in church music available in Great Britain; - three case studies demonstrating the problems that can arise when clergy and church musicians are in conflict; - a review of surveys in church music undertaken since 1950. The main work comprises a detailed survey by questionnaire to the priest-in-charge and organist at almost half the churches in a large diocese (that of Oxford). This yields an overall picture of: - respondents' personal backgrounds and general attitudes; - respondents' perceptions, both objective and subjective, of the situation at their church, and of each other. From these varied strands are drawn certain conclusions for improving clergy-organist relationships, and suggestions for further research in the subject.
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Koonce, James D. "Development of the worship leader role of the Celebration Choir at Shirley Hills Baptist Church through an intentional process of reflection, study and choral community interaction." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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Saint, L. "Choral music in Canterbury Cathedral, 1873-1988 : the role of service settings and anthems in the regeneration, preservation and sustenance of cathedral worship." Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10812/.

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'What service settings and anthems were sung in Canterbury Cathedral during 1873- 1988' is a straightforward question to answer. The significance of the practice of choral music making in Canterbury Cathedral in the restoration and growth of Cathedral worship and early music repertoire deserves close examination through the information discovered in that first answer. The implication is that reinstatement of the worship and development of early music, following a period of impoverishment, was necessary. Investigation of the nature of changes made in Canterbury Cathedral, together with the progress of expansion of that worship, through music, becomes a challenging essential. Regeneration describes the breathing of new life, as in recovery from serious illness, which was shown to be necessary in the music and worship of the early 19th century, following the vicissitudes of disagreement, war and apathy regarding style of worship in general and the role and compositional characteristics of music in particular. Preservation implies maintenance and safeguarding something of value, which had been hard won, in the battle for wellcrafted music that conveyed and supported the meaning of the words that the music carried. Sustenance speaks of active feeding and nurture of something that has been made healthy, on a daily basis, so that it will have future life. The churchmanship evident in regular choral services in Canterbury Cathedral is middle to high, as is that of the writer, (akin to the Via Media recommended by John Henry Newman, between 'the superstitions of Rome ... and the errors of Protestantism'). The Cathedral building, its people and its musical life were historically damaged by those of excessive Puritanism. A teenage exposure to The Wilderness: John Goss, made a deep and life-changing impression on the writer; in later years serving as Organist and Choir Master of an Anglo-Catholic church choir, together with singing in a national chamber choir in Cathedral services made a significant contrast to the crushing puritanism experienced in childhood and also to some extent the low Anglican church services of early adulthood. However, a respect for those with different approaches to spirituality and worship remains an essential component of the Cathedral ethos and the views of the writer. The knowledge of the Real Presence of Christ in the Eucharist has given purpose to the writer's life, especially when combined with well-crafted music, and in its original language wherever possible. One of the chief roles of this study is to demonstrate the way in which Canterbury Cathedral's music has been an essential part of the movement towards reconciliation of the differing tenets of Roman Catholicism and Protestantism.
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Moore, Laurence James, and res cand@acu edu au. "Sing to the Lord a New Song: a Study of changing musical practices in the Presbyterian Church of Victoria, 1861-1901." Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp49.29082005.

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The latter half of the 19th century was a time of immense change in Presbyterianism worldwide in respect of the role of music in worship. Within this period the long tradition of unaccompanied congregational psalmody gave way to the introduction of hymnody, instrumental music (initially provided by harmoniums and later by pipe organs) and choral music in the form of anthems. The Presbyterian Church of Victoria, formed in 1859 as a union of the Church of Scotland and the majority of the Free Presbyterian and the United Presbyterian churches and numerically the strongest branch of Presbyterianism in Australia, was to the forefront in embracing this tide of change. Beginning in 1861with the proposal for the compilation of a colonial hymnbook, issues associated with musical repertoire and practice occupied a prominent place in discussions and decision making over the next 30 years. Between 1861 and 1901 hymnody was successfully introduced into church worship with the adoption of three hymnals in 1867, 1883 and 1898. Programs of music education were devised for the teaching of the new repertoire and for improving the standard of congregational singing. A hallmark tradition of Presbyterianism was overturned with the introduction of instruments into worship, initially as a support for congregational singing but in time as providers of purely instrumental music also. The profile of the choir changed dramatically. Making extensive use of primary sources, this study aims to document the process of change in Victoria between 1861 and 1901, exploring the rationales underlying decisions taken and historical factors facilitating change. Musical developments in Victoria are viewed in the context of those elsewhere, especially Scotland and of general changes in aesthetic taste. The study concludes that the process of musical change shows the Presbyterian Church of Victoria to have been a forwardlooking and well-endowed institution with the confidence to take initiatives independent of Scottish control. It is also concluded that changes in musical practice within the worship of the Presbyterian Church of Victoria reflect developments taking place in other denominations and the changing aesthetic tastes of the Victorian era.
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Books on the topic "Role of music in worship"

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In God's Presence: Worship in the Bible; The Nature of Music; Music's Role in Worship. Greenville, SC: BJU Press, 2000.

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Garba, Daniel. The role of music in evangelism and worship: A hand book for Christian musicians and pastoral workers. Jos: Ade Printing Press, 2000.

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Türk, Daniel Gottlob. Daniel Gottlob Türk on the role of the organist in worship: (1787). Lanham, Md: Scarecrow Press, 2000.

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Samama, Leo. The Meaning of Music. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089649799.

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For virtually all of our lives, we are surrounded by music. From lullabies to radio to the praises sung in houses of worship, we encounter music at home and in the street, during work and in our leisure time, and not infrequently at birth and death. But what is music, and what does it mean to humans? How do we process it, and how do we create it? Musician Leo Samama discusses these and many other questions while shaping a vibrant picture of music's importance in human lives both past and present. What is remarkable is that music is recognised almost universally as a type of language that we can use to wordlessly communicate. We can hardly shut ourselves off from music, and considering its primal role in our lives, it comes as no surprise that few would ever want to. Able to transverse borders and appeal to the most disparate of individuals, music is both a tool and a gift, and as Samama shows, a unifying thread running throughout the cultural history of mankind.
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Bush, Margo. Foundations in worship & music. Tulsa, Okla: Daystar Resources, 2003.

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Holmes, Norman. Anointed music and worship. Cainta, Rizal, Philippines: Zion Ministerial Institute, 1996.

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What is worship music? Phillipsburg, N.J: P&R Pub., 2010.

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Spinks, Bryan D. Colloquium: Music, worship, arts. New Haven, CT: Yale Institute of Sacred Music, 2005.

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Aniol, Scott. Worship in song: A biblical approach to music and worship. Winona Lake, Ind: BMH Books, 2009.

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Aniol, Scott. Worship in song: A biblical approach to music and worship. Winona Lake, Ind: BMH Books, 2009.

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Book chapters on the topic "Role of music in worship"

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Steuernagel, Marcell Silva. "Body in worship." In Church Music Through the Lens of Performance, 97–127. [1.] | New York : Routledge, 2021. | Series: Congregational music studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781003080329-1e.

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Dueck, Jonathan. "Making space for worship." In Congregational Music, Conflict and Community, 100–123. New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315546247-5.

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Zotter, Astrid. "Bells, auspiciousness and the god of music." In Worship Sound Spaces, 122–39. New York : Routledge, 2020. | Series: [Research in architecture]: Routledge, 2019. http://dx.doi.org/10.4324/9780429279782-8.

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Warren, Raymond. "Music and the Liturgy." In Language and the Worship of the Church, 196–211. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20477-9_10.

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Félix-Jäger, Steven. "Music: Eros and Embodiment in Renewal Worship." In Spirit of the Arts, 67–91. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67919-8_4.

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Harrison, Scott D., and Daniel K. Robinson. "Singing in Church: The Role of Men in Contemporary Worship worship Singing." In Perspectives on Males and Singing, 149–63. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2660-4_10.

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Abbington, James. "Music and Worship in Black Church Studies Curricula." In The Black Church Studies Reader, 101–15. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137534552_9.

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Temperley, Nicholas. "Worship Music in English-Speaking North America, 1608-1820." In Taking a Stand, edited by Timothy McGee, 166–84. Toronto: University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781487578008-012.

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Andemicael, Awet. "The Theology of Richard Allen’s Musical Worship." In Theology, Music, and Modernity, 260–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0013.

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This chapter examines the role music may have played in Bishop Richard Allen’s struggle for African-American liberation from slavery, and empowerment as full participants in church and state affairs. It begins with a broad survey of music in American and British abolitionist efforts in the late eighteenth and early nineteenth centuries, including two hymns of Allen’s own composition, to provide context for Allen’s engagement with music. In comparison to such protest songs, the hymns Allen selected for his hymnbooks were not overtly political. Nevertheless, the theology of music they represented resonated with socio-political significance, coalescing around three key themes: musical worship as (a) a means for conversion and a telos for the Christian life; (b) a bridge between heaven and earth; and (c) a reflection of, and aide to, the formation of community and ecclesial unity.
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Butler, Melvin L. "The Anointing Makes the Difference." In Island Gospel, 68–98. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042904.003.0004.

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This chapter introduces the life and ministry of Pastor Hermine Bryan, whose explanations of ritual flow and spiritual anointing serve as critical "data” to support an analysis of Pentecostal conceptions of human and divine musical agency. An emphasis is placed on women’s roles in musical worship, which are presented as vital to the negotiations of social and spiritual power that occur within and beyond Pentecostal services. Based on fieldwork at Riversdale Pentecostal Church in the parish of St. Catherine, this chapter argues that the gendered processes of experiencing transcendence and “being anointed” by God are of paramount importance to those seeking divine approval and power. Reaching these goals requires practitioners to engage their bodies and minds in the act of worship, and music is shown to be critical to the perceived success of this endeavor.
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Conference papers on the topic "Role of music in worship"

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Kleiner, Mendel, and David L. Klepper. "Acoustics of music and voice in Jewish worship spaces." In 153rd Meeting Acoustical Society of America. ASA, 2007. http://dx.doi.org/10.1121/1.2920165.

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Tjandradipura, Carina, Imam Santosa, and Gregorius Adhitama. "The Role of Light in The Worship Space In Culture and Religion Context." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338649.

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Yu, Fang. "Role of College Music Education in Music Cultural Diversity Protection." In 2014 International Conference on Education Technology and Social Science. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetss-14.2014.8.

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French, Kenneth. ""Topomusica" in rap music: Role of geography in hip-hop music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.18.

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Rybina, Iryna. "THE ROLE OF MUSIC IN LEARNING ENGLISH." In ТЕХНОЛОГІЇ, ІНСТРУМЕНТИ ТА СТРАТЕГІЇ РЕАЛІЗАЦІЇ НАУКОВИХ ДОСЛІДЖЕНЬ. Міжнародний центр наукових досліджень, 2020. http://dx.doi.org/10.36074/20.03.2020.11.

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Batubara, Junita, and Kamaluddin Galingging. "The Role of Indonesian Worship Songs at Rise Up Generation (RG) Ministry Church in Tanjong Malim-Malaysia." In Proceedings of the First Nommensen International Conference on Creativity & Technology, NICCT, 20-21 September 2019, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296590.

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Laato, Samuli, Sampsa Rauti, and Erkki Sutinen. "The Role of Music in 21st Century Education-Comparing Programming and Music Composing." In 2020 IEEE 20th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2020. http://dx.doi.org/10.1109/icalt49669.2020.00088.

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Behzadaval, Bahareh, and Mahdi Vahedi. "THE ROLE OF INSTRUCTIONAL DESIGN IN MUSIC EDUCATION." In International Conference on Research in Teaching and Education. Acavent, 2019. http://dx.doi.org/10.33422/rteconf.2019.06.331.

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Gao, Rui. "The Role Of Music Education In Children's Growth." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.34.

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Bačlija Sušić, Blaženka, Katarina Habe, and Jasna Kudek Mirošević. "THE ROLE OF IMPROVISATION IN HIGHER MUSIC EDUCATION." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1120.

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Reports on the topic "Role of music in worship"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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