Dissertations / Theses: '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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Whitener, Russell E. "The worship reformation examining trends in worship, worship music, and possible revival implications /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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Austell, Robert M. "Biblical worship through music." Theological Research Exchange Network (TREN) Access this title online Theological Research Exchange Network (TREN), 2008. http://www.tren.com.

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Kasper, Matthew J. "Schleiermacher's influence on contemporary worship music." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Baker, Wesley L. "Worship, contemporary Christian music, and Generation 'Y'." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Amusan, Samuel. "Music and spirit possession in Yorùbá worship." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/music-and-spirit-possession-in-yoraba-worship(a1241239-d079-4b2c-aac5-15889fc2a11a).html.

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This is a study of the relationship between music and spirit possession among the Yorùbá of the South-Western part of Nigeria. Through the ages, philosophers and scholars have been interested in the relationship between music and trance possession, especially the question of whether music triggers, influences or sustains trance or spirit possession, and if so, how. This thesis seeks to focus on the relationship between the music used in worship practices where possessions take place, and how the music might initiate and drive the possession states. Spirit possession is a phenomenon which springs from and is associated with the social and belief systems of different people. However, the Aládurà church (an Independent African Church - AIC) worshippers dissociate themselves from the possession practices that are experienced among the Yorùbá indigenous traditional worshippers, while the traditionalists claim that the spirit possession practised in the Aládurà churches originated and has its roots in the traditional practices. This suggests an inherent difference in the two belief systems even though the possession experiences among them are characterised by similar presentations. Following the theory that spirit possession practices are culturally determined, this research seeks to identify the specific cultural elements in the music used in Yorùbá worship traditions where possessions take place, not as a cause and effect, but how music affects the possession process. My study, therefore, sets out to investigate what could be a common factor between the two structurally and contextually different types of music used by the two sects of worshippers with the aim of identifying the common factors in the music, which seem to be the link between the two worship groups. Key words: Music, Spirit Possession, culture, worship.

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Chan, Philip Hong. "Music and worship: a textbook for music and worship (B40-01 0-1) offered by the Hong Kong Baptist Theological Seminary." Theological Research Exchange Network (TREN), access this title online, 2005. http://www.tren.com/search.cfm?p089-0077.

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Johnson, Terri Lynne. "Worship Styles, Music, and Social Identity: A Communication Study." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209671319.

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18

Kim, Baeksok. "A survey of Korean pastors' awareness of worship music /." Free full text is available to ORU patrons only; click to view:, 2006. http://proquest.umi.com/pqdweb?did=1268599541&sid=1&Fmt=2&clientId=456&RQT=309&VName=PQD.

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Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2006.
Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 195-198).

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Seda, Jonathan P. "Presbyterian worship and the Mexican context." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Lauterbach, W. Grant. "Study of worship styles in the Mid-Maryland Baptist Association." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Beesley, David. "Worship style preferences comparison of younger and older Canadian Pentecostals /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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22

Porter, Mark James. "That's not my music : experiences of contemporary worship music in relation to extraecclesiastical musical attachments." Thesis, City University London, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.665452.

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Whilst Contemporary Worship Music arose largely out of a desire to relate the music of the church to the music of everyday life, this function has been called increasingly into question by the diversity of musical lives present in contemporary society. Whilst Contemporary Worship Music is often a relatively homogenous genre the broader musical landscape rarely coheres any longer into a single universal mainstream. In this thesis I examine the relationship between individuals' musical lives away from a Contemporary Worship Music environment and their experience of the music within it. Through extended interviews with worshippers at St Aldates Church, Oxford I interrogate the ways in which they frame and articulate their experiences within and outside of a worship context and examine the connections and disjunctures between their experience and evaluation of these different environments. Whilst assimilation and multiculturalism are often deployed as models for handling diversity within church congregations, I find these models of musical diversity to be misleading and prefer instead to describe the congregational environment in terms of recent understandings of cosmopolitanism. Likewise, I find ontologies of neutrality that have arisen within Contemporary Worship Music discourse which relegate musical tastes and preferences to a level which is both private and lacking in significance to be problematic and suggest instead that a focus on ethics leads to important but neglected areas of concern.

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Bruneel, Benjamin. "Art and worship in Zwinglian theology." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1141.

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Trull, Gregory V. "The role of the Psalms of ascents in the worship of Israel." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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25

Fultz, Daniel D. "Style Matters: Worship Preferences of University Students Regarding the use of Music and Technology." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1282329069.

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Johnson, Clare Veronica. "Music, ritual and the therapeutic exploring the therapeutic potential of liturgical music in Roman Catholic worship /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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27

Allder, Bruce George, and n/a. "Preaching in Context: The Role of Preaching in Nazarene Worship." Griffith University. School of Vocational, Technology and Arts Education, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060914.114727.

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This qualitative research study explores the role of the sermon in corporate Nazarene worship. The context of this study is located with the Christian, Protestant, evangelical, Wesleyan theological tradition as expressed through the Church of the Nazarene in Australia. The church is briefly described from a Wesleyan perspective. Seven features are identified as historically important within the worship experience of Nazarenes; Biblically centred, centrality of the sermon, connection with Christian tradition, the preacher's life, encounter with self and the divine, community, and practical and relevant to present life. The conceptual lens through which the worship experiences are described is Cultural Historical Activity Theory (CHAT), as primarily articulated by Yrjö Engeström (1999). The philosophical roots of CHAT and the concept of activity are described along with the structure of activity. Additionally, the compatibility of Wesleyan theology with the conceptual understanding of CHAT is presented. The interactive context of Nazarene worship is one of the compelling reasons given for using CHAT as the conceptual base for this study. Three corporate Nazarene worship experiences in three different Nazarene congregations are examined in detail using four research methodologies; namely, video taping, video stimulated recall interviews, focus groups, and observation reports. The data gathered is by way of transcriptions based on the video taping of the sermons, stimulated recall interviews and focus groups and is managed by use of the NUD*IST (5) computer program. The observation reports are used to gain insight into specific context issues. Nazarene worship is then mapped by relating the features found to be historically important in Nazarene worship to elements of the activity system. The role of the Bible, the sermon, Christian tradition, the preacher's life, the church community, personal encounter, divine encounter, and the application and the call to decision are identified in CHAT terms. The focus of this study is within Steps 1 and 2 of Engeström's (2000) expansive development cycle. Through the mapping of Nazarene worship, tensions are identified and their possible sources explored. The tensions of confrontation versus care, creation of a quiet, meditative environment versus noisy, dynamic environment, planning versus spontaneity, and individual versus community orientation are all explored in turn. Possibilities for resolution of these tensions are suggested as a means of guiding the continued development of the activity of Nazarene worship. Possible resolution of these tensions includes the change of the focus of sermons from confrontation to empowerment, the change of the structure of sermons to encompass the visualisation of the change sought, the change of the perceptions of the preacher to one of a sojourner, and the cultivation of spontaneity within sermon delivery. The static nature of the sermon as an instrument in both the sermon's historical development and the development of the corporate worship experience points to the need for the development of the sermon as a more flexible instrument. These conclusions have implications for the teaching of preaching in schools preparing Nazarene preachers. This study contributes to the conceptual basis for the ongoing development of clergy in their preaching ministry. This study has also made visible the difficulty of applying the conceptual framework of CHAT to the complex situation of corporate Nazarene worship experience. While conceptually it may be possible to differentiate between elements within an activity system, their practical distinction is less precise. This imprecision can create confusion especially at the tertiary and quaternary levels of contradictions and may need more precise articulation of the interactions within the activity system as well as between activity systems.

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Mager, Sibylle. "The debate over the revival of ancient church music in Victorian England." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368613.

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Gillis, Leslie Myers. "Contemporary practices in Southern Baptist Church music: a collective case study of worship, ministry design and music education." Thesis, Boston University, 2013. https://hdl.handle.net/2144/11001.

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Thesis (D.M.A.)--Boston University
The widespread popular music-based modem worship movement begun in the 1960's brought the styles and sounds of popular music into worship as churches sought to increase cultural connection in their worship. The worship transformation brought significant challenges. Church musicians trained in traditional skills had to adapt and incorporate skills associated with popular musics. Music ministers had to train themselves and ministry musicians. The worship transformation altered the design of many music ministries, changing personnel, practices, repertoire, and ensembles. The purpose of this study was to explore the worship transition experience and how it impacted the musical processes and training within seven Baptist churches in Hartford County, Georgia. Using a qualitative collective case study design, I explored three primary areas: 1). the worship style implementation; 2). the structure and activities of the music ministry leadership and program; and 3). how the skills necessary for nontraditional music ministry have been developed. Within the primary focus, I also investigated the transferability of school music education training into current music ministries, examining if and how school-trained musicians can engage within nontraditional music ministries. The research highlights commonalities existing between school and church music, and parallels training challenges shared by church and school music educators. This additional inquiry stems from the call of music education experts for classroom learning to be expanded in content, encourage lifelong engagement, and connect with community life. Data was collected through in-depth interviews, pre-interview profiles, ministry documents and materials, and field observations. Results provided nuance for prior survey-based research. Data revealed that worship style interpretation is diverse in implementation. Worship changes have altered the structure of church leadership roles and job descriptions. Ministry programs have changed, but traditional ensembles maintain significance. Data revealed challenges in skill development, requiring retraining for music ministers and ministry musicians, usually achieved through independent learning. Results showed that school-based training does transfer into current ministries. Church music ministries have expanded their musical practices in a manner that parallels the challenge given to music education. Data from the music minister's experiences transfers in applicability to school music educators who are also challenged by expanding practices.

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Schultz, Randy P. "An evaluation of praise music as a genre for incorporation into Lutheran worship." Online full text .pdf document, available to Fuller patrons only, 1999. http://www.tren.com.

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31

Galbraith, Douglas. "Aspects of Koinonia : developing an ecclesiological approach to music in contemporary Christian worship." Thesis, Bangor University, 2010. https://research.bangor.ac.uk/portal/en/theses/aspects-of-koinonia-developing-an-ecclesiological-approach-to-music-in-contemporary-christian-worship(83fd935b-3b9c-4afe-8c0b-b7da1421a8dd).html.

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This thesis takes the form of an exploration and discourse on koinonia (a New Testament concept meaning 'communion' used by St Paul in his discussions of the nature of the church) and its potential application to the shaping of a better understanding of music for worship and its use in liturgical worship. It falls into three parts. While the investigation is relevant and applicable to the Western Church in general, the thesis relates specifically to the locale, culture and religious traditions of Scotland. Part One (chapters 2-5) begins with a consideration of recent debate on liturgy and music, taking as its starting point the outcomes of the 1997 congress of Societas Liturgica on that theme. This is followed (chapter 3) by a review of recent theological writings about music and music in worship, and (chapter 4) a consideration of five dimensions of koinonia derived in particular from reports of recent ecumenical dialogue and a related ecclesiological model (following on from Gordon Lathrop) as the basis for an alternative mode for discourse on music in worship with greater potential for application and implementation in the local church. This part ends with a summary overview of selected branches of musicology as resources to enhance theological discussion of liturgical music. Part Two consists of just one long chapter (chapter 6). Here the findings from wider theological discourse on music and the insights gained from aspects of musicology are used to inform the investigation of each of the five dimensions of koinonia as the basis for the evaluation of liturgical music within an ecclesiological model: eucharistic community, relational community, community growing into maturity in Christ, diaconal community, diverse community. Part Three is more applied. Three contrasting case studies are explored (chapter 7) for signs of koinonia that might illuminate the preparation of a usable resource derived from the findings of Part Two. Each is directly related to the writer's own experience: the preparation of the third and fourth editions of the Scottish-produced Church Hymnary; the Wild Goose Worship Group of the Iona Community; the Craigmillar Festival. As evidence of current practice and attitudes, two enquiries into local churches are reported (chapter 8). The final chapter offers an outline for a discourse based on the findings of the thesis so far in a form that might be used in a local church. Taking each of the five dimensions of koinonia, this addresses both the strengthening of that church and its individual members through the discussion of music, and the better understanding of the evaluation and use of music in worship through the exploration of faith and the nature of church.

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32

Noland, Thomas E. "Developing a strategy to strengthen the adult choir and orchestra of the Eastern Shore Baptist Church, Daphne, Alabama, as biblical lead worshipers." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p053-0304.

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Noland, Thomas E. "Developing a strategy to strengthen the adult choir and orchestra of the Eastern Shore Baptist Church, Daphine, Alabama, as biblical lead worshipers." Theological Research Exchange Network (TREN), access this title online, 2006. http://dx.doi.org/10.2986/tren.053-0304.

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34

Park, Young Jun. "In the Presbyterian worship a case study on Presbyterian Church of Korea (TongHap) /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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35

Muller, B. A. "The role of worship and ethics on the road towards reconciliation." AOSIS OpenJournal, 2009. http://hdl.handle.net/10019.1/21415.

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The original publication is available at http://www.ve.org.za
Reconciliation in a divided society, like the South African one, is in dire need of a new moral discourse and praxis. This article argues that this moral discourse must also be conducted on an often forgotten level, namely in the worshipping praxis of the Church. The article describes the renewed interest of ethicists and liturgists in the relationship between liturgy and ethics and especially the role of rituals. The article then focuses on the renewal of basic Christian rituals like preaching and sacraments, prayer and praise to serve this much needed moral discourse.
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36

Noden, Shelagh. "The revival of music in the worship of the Catholic Church in Scotland, 1789-1829." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=211007.

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37

Handman, Deborah Fleenor. "Healing songs understanding and creating powerful music for the American church /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Smoak, Alfred M. "Identifying contemporary praise & worship songs for use during the church year at Trinity Baptist Church, Livermore, California." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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39

Prest, Vallen L. "Developing worship leaders as servant artists at Woodside Bible Church, Troy, Michigan." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p089-0141.

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40

Hunt, Richard T. "Recovering the role of the congregation in Sunday worship a curriculum for adult members of Central Baptist Church in Jonesboro, Arkansas /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Pedraza, Jennifer. "WHAT IS THEATRE'S ROLE AS A WORSHIP TOOL IN A MESSIANIC SYNAGOGUE?" Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4041.

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In this study, I worked with an ensemble of teenagers from Ayts Chayim Messianic Synagogue in Boca Raton, Florida to develop an original Purim play to be presented for the congregation and the public. I specifically explored "What is theatre's role as a worship tool in a Messianic Jewish Synagogue?" My ultimate goal in this process was to honor God through the creative arts, and I used the process of creating the play to discover the specific ways that theatre can be used as a worship tool, from script development to theatrical presentation. I hypothesized that theatre could be used as a worship tool if both the attitude of the artists is one of worship and the artists strive for excellence because it is ultimately for God. I furthermore hypothesized that worshipping throughout the process by way of the group's teamwork, attitude, and quality of work would be an integral part of producing a successful product. I sought to discover specifically what theatre as a worship tool looks like in the context of a Messianic Synagogue and what practices I glean from models of Christian drama ministries and what practices emerge from my process that are unique to Messianic theatre when used as a worship tool. How can I infuse my spiritual foundation with my artistic training? The majority of this project focused on the process of creating the play, from writing the script to dress rehearsals. The ensemble met weekly to explore the themes of the biblical story of Esther, brainstormed ideas for our adaptation, developed a script, and executed production aspects such as acting and design elements. Simultaneously, I kept a rehearsal journal with reflections on each lesson and the process as a whole. I completed research on contemporary theories and practices of Christian theatre artists in order to compare and contrast different approaches to faith-based theatre; these approaches are described in this thesis and conclusions are made as to how this research can be applied to my study. At the end of the presentation, I conducted interviews with members of the ensemble and the leaders of the congregation to receive feedback about the process, final presentation, and their perception of how theatre may be used as a worship tool. In this thesis, I write about the experience as a whole, evaluating our ability to use theatre as a worship tool for this specific presentation. I then process the implications this project has for future Messianic Jewish theatre, as well as the project's impact on my growth as a theatre artist. My final conclusions based on this experience are that theatre's role as a worship tool is to create an atmosphere where people are comfortable worshipping. Furthermore, the process of creating the play helped the youth and I discover how to be effective "ministers" and artists that create an atmosphere of worship. Based on my research, I posit that theatre can play many "roles" in the context of a Messianic synagogue: a bypass, sandpaper, or light, to name a few. Finally, artists and places of worship have something to contribute to one another, but both parties must move forward with the understanding that the Scripture provides a theological framework from which to base artistic choices and that artists need to develop their own specific approach to theatre while suiting the mission, vision, and values of the host congregation.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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42

Schill, Harold Gus. "The minister's role in leading Presbyterian worship a practical and pastoral guide /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Tonsing, Johanna Gertrud. "Searching for the "Good Song" - Determining the quality of Christian songs within the polarities of worship." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/40212.

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This thesis tries to answer the question what Christians should be singing in worship and why. The situation in many congregations is one of conflict around music and worship styles. The question is how these can be bridged and how worship leaders can be guided to make responsible choices about what is sung in Sunday worship. It is argued that what is sung, strongly influences the theology and faith of congregants. The thesis locates the discipline of hymnology within a hermeneutical approach to practical theology and tries to develop a theory to answer the question how to determine quality in Christian songs. The current discussions in practical theology and hermeneutics are examined for their relevance to hymnology, particularly some of the insights of Habermas, Gadamer and Ricoeur. Here particularly the idea of “dialogue” and “fusion of horizons” becomes relevant for bridging the divides in the conflicts around worship music. The dissertation examines biblical and church historical answers to the question of whether and what Christians should be singing. It becomes clear that the answers have varied widely during the course of church history, sometimes swinging between extremes. The next chapter looks at songs in the context of the worship service, their function within various parts of the service, and particularly looks at the dialectical poles of worship which should be kept in balance. Musical perspectives are discussed looking at ways to help people not formally trained in music to evaluate tunes. This theoretical section leads to a catalogue of criteria for “Good songs”: These are criteria for quality, for “Good Text”, such as biblical and theological value, how easily it is understood, whether it takes human experience seriously and its poetic value. Criteria for “Good Tune” include its level of difficulty, how heavily it depends on accompaniment, and its balance between the familiar and the interesting and new. The third category of criteria evaluate the match between text and tune in mood, rhythm and climax. The last category looks at the balance in the song between different polarities, such as, amongst others, the balance of past and present, cognitive and emotive elements, between challenge and affirmation, and between universal and particular emphases. This list of criteria is then tested on three songs each of four different songwriters: two traditional and two contemporary: Paul Gerhardt, Charles Wesley, Graham Kendrick and Noel Richards. In each case a background is given, an overview of their work as a whole and a detailed analysis of each song. In the end the criteria themselves are evaluated as to their usefulness and user-friendliness. Suggestions are then made how these criteria can guide worship leaders in their choices of songs for the Sunday service.
Thesis (PhD)--University of Pretoria, 2013.
gm2014
Practical Theology
unrestricted

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44

Aguillard, Ronald W. "Training the worship leaders and adult members of the First Baptist Church, Raceland, Louisiana, to assume their role and responsibility in corporate worship." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Lattimer, Paul. "Sacred Metalcore: A worship, culture, and missiology study of the Christian metal scene." Ashland University Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=auhonors1366039234.

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Wright, Andrew J. O. "The pastor as change agent a study of role, character, and personality /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p028-0243.

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Stevenson, Bruce Alan. "God is our refuge and strength." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.

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Wiederkehr, George A. "The role of music theory in music production and engineering." Thesis, University of Oregon, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1602500.

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Due to technological advancements, the role of the musician has changed dramatically in the 20^th and 21^st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.

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Wiederkehr, George. "The Role of Music Theory in Music Production and Engineering." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19679.

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Due to technological advancements, the role of the musician has changed dramatically in the 20th and 21st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.

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Ritchie, Martin Scott. "'Dour-mongers all?' : the experience of worship in the Early Reformed Kirk, 1559-1617." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25907.

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This thesis studied the experience of worship in Scotland in the first generations after the Scottish Protestant Reformation. It was inspired by the realisation that earlier historiography had been a denominational battle-ground whose dogmatism had obscured the view of worship in the parish. Aonghus MacKechnie’s phrase, ‘Dour-Mongers All?’ sums up the leading question; was Reformed worship as austere and colourless as its detractors and advocates suggested? Questions surrounding the key components of Reformed worship: architecture, liturgy, music and preaching have more recently been addressed with less sectarian interest, but these individual strands have tended to be studied in isolation. In terms of the experience of worship, they belong together. Traditionally, the period 1560-1638 has been used as the period defining the first phase of the Reformed Kirk, with the National Covenant of 1638 marking the end of what could be called the experimental phase of the new dispensation. However, 1559 was chosen as the starting point to recognise the significant changes to worship that began with the “cleansing” of the churches and friaries of Perth and St Andrews in that year. The terminal date of 1617 marked King James VI’s return to Scotland, during which worship at Holyrood Palace was conducted in the manner of the English court both in terms of liturgical materials, music, and the refurbishment of the Chapel Royal. This proved to be a portent of James’ vision for liturgical change by statute in the Five Articles of Perth that were a significant watershed for the Kirk. Whilst it took another 20 years for the full outworking of this policy under his son Charles I, after 1617 the vibrant and complex worship culture of the Scottish Kirk that had been developed since 1559 began to be squeezed. That culture became a victim of the polemicized battle between extreme Scottish and English Reformed models advocated in the growing controversy over the relationship between Church, Crown and State within the Three Kingdoms. By 1650, an austere new psalter and worship directory had been adopted by the victors and the diversity and richness of the earlier Scottish worship culture had been lost. The first part of the necessarily multi-disciplinary thesis explores the experience of worship by isolating its key components: church buildings and furnishings, liturgical material, and singing. It does this by analysing the surviving material culture and the written and visual documentary evidence of church buildings and interior furnishings used for worship after 1559; surveying the nature, extent and use of the liturgical material included within the Psalme Buiks, with particular focus on the Henrie Charteris edition of 1596; and exploring the development and impact of the new and popular phenomenon of metrical Psalm-singing. The second part assesses the contribution of four significant ministers: John Davidson, James Melville, William Cowper, and John Welch, examining their lives, writing and preaching and judging how their contribution enriched the experience of worship in their parishes. This evidence is used to reconstruct the experience of worship in this period and show that it was vibrant and compelling, influenced in its raw materials by much from outside Scotland but strongly developed in the diverse contexts of Scottish parishes.

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Dissertations / Theses on the topic 'Role of music in worship'

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