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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Rugwiji, Temba T. "REREADING TEXTS OF MUSIC AND DANCE IN THE HEBREW BIBLE: THE SPIRITUALITY OF MUSIC AND DANCE IN ZIMBABWE." Journal for Semitics 25, no. 1 (May 9, 2017): 72–98. http://dx.doi.org/10.25159/1013-8471/2527.
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The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.
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Lewis, Alan James. "Daniel Gottlob Turk on the Role of the Organist in Worship (1787) (review)." Notes 58, no. 2 (2001): 349–50. http://dx.doi.org/10.1353/not.2001.0207.
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Häger, Andreas. "Christian rock concerts as a meeting between religion and popular culture." Scripta Instituti Donneriani Aboensis 18 (January 1, 2003): 36–55. http://dx.doi.org/10.30674/scripta.67281.
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Different forms of artistic expression play a vital role in religious practices of the most diverse traditions. One very important such expression is music. This paper deals with a contemporary form of religious music, Christian rock. Rock or popular music has been used within Christianity as a means for evangelization and worship since the end of the 1960s. The genre of "contemporary Christian music", or Christian rock, stands by definition with one foot in established institutional (in practicality often evangelical) Christianity, and the other in the commercial rock musicindustry. The subject of this paper is to study how this intermediate position is manifested and negotiated in Christian rock concerts. Such a performance of Christian rock music is here assumed to be both a rock concert and a religious service. The paper will examine how this duality is expressed in practices at Christian rock concerts.
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Taylor, Yvette, Emily Falconer, and Ria Snowdon. "Sounding Religious, Sounding Queer." Ecclesial Practices 1, no. 2 (October 10, 2014): 229–49. http://dx.doi.org/10.1163/22144471-00102006.
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This paper explores the role music plays in ‘queer-identifying religious youth’ worship, including attitudes to ‘progressive’ and ‘traditional’ musical sounds and styles. It looks at approaches taken by inclusive non-denominational churches (such as the Metropolitan Community Church, mcc), to reconcile different, and at times conflicting, identities of its members. Focusing on ‘spaces of reconciliation’ we bring together the embodied experience of Christian congregational music with the ‘age appropriate’ temporality of modern music, to examine the complex relationship between age, music, faith and sexuality. Young queers did not always feel ill at ease with ‘tradition’ and in fact many felt pulled towards traditional choral songs and hymns. Embodied and affective responses to congregational music emerged in complex and multiple ways: faith infused creativity, such as singing practice, enables queer youth to do religion and Christianity and be a part of ‘sounding religious, sounding queer’.
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Loewe, J. Andreas. "Why do Lutherans Sing? Lutherans, Music, and the Gospel in the First Century of the Reformation." Church History 82, no. 1 (February 21, 2013): 69–89. http://dx.doi.org/10.1017/s0009640712002521.
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Martin Luther regarded music as a crucial instrument to communicate the Gospel and the Reformation message. From the outset of his Reformation, a distinctive Lutheran musical tradition was fostered in electoral Saxony, its dependent territories and neighboring principalities. A review of contemporary records from the second decade of the sixteenth century to the turn of the seventeenth century enables the assessment of the role music played as an educational and theological tool in the life of Lutheran communities: the School Ordinances of electoral Saxony and neighboring principalities show the incorporation of music as a key curricular requirement in Lutheran education, while the Statutes of Lutheran choirs [Kantoreien] illustrate how theologians, educators and musicians closely worked together to shape Lutheran communities centred on music-making, in order to reform worship, further the Reformation message and to create community cohesion.
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Beechey, G. "Review of book. Daniel Gottlob Turk, 'On the Role of the Organist in Worship (1787)'. MA Greenlimb Woolard [ed/trans]." Music and Letters 82, no. 4 (November 1, 2001): 631–32. http://dx.doi.org/10.1093/ml/82.4.631.
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Suna-Koro, Kristine. "The Ecstasy of Lament: Opera as a Model of Theology." Theology Today 63, no. 1 (April 2006): 66–87. http://dx.doi.org/10.1177/004057360606300108.
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Opera is often perceived as an elitist genre of music, admired by snobbish traditionalists and greatly suspected by radical feminists. By viewing opera as an innovative avenue for lament over tragic and sinful human reality long before any formal feminist critique, the essay examines the creative role of opera as a mode of encouragement for a different Theologia Primaworship in music as otherwise than intellectually satisfying certain theological assumptions. The risky speech of operatic lament as inverted ecstatic praise of the triune God affirms the relevance of critical attention toward the praise of God that, deprived of lament, risks becoming an inauthentic and vacuous worship.
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Wikström, Owe. "Liturgy as Experience - the Psychology of Worship. A Theoretical and Empirical Lacuna." Scripta Instituti Donneriani Aboensis 15 (January 1, 1993): 83–100. http://dx.doi.org/10.30674/scripta.67207.
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This article has three aims: 1) to plead for an approach to the study of the liturgy based on the psychology of religion, 2) to draw up a preliminary theoretical model for how the liturgy can be interpreted, and 3) to narrow down the field for further interdisciplinary development and empirical analysis. People undergo more or less strong experiences during and in conjunction with church services. Perhaps people are moved, experience holiness, reverence, fellowship or closeness to the risen Christ. The problem is what factors during the service strengthen such a religious experience. What is the role played by the music, symbols, the place or building where the service is held, the number of participants and the liturgical event?
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Lebaka, Morakeng E. K. "Misconceptions About Indigenous African Music and Culture: the Case of Indigenous Bapedi Music, Oral Tradition and Culture." European Journal of Social Sciences 2, no. 2 (May 30, 2019): 18. http://dx.doi.org/10.26417/ejss-2019.v2i2-61.
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Indigenous Bapedi music and oral tradition have been dismissed as myth, superstition and primitive stories. Such dismissal has been based on the misconception and assumption that indigenous Bapedi music and oral tradition are proletarian, steeped in evil religious experiences and unacceptable for worship. In Bapedi society, indigenous music and traditional oral stories are utilized to buttress and demonstrate the collective wisdom of Bapedi people, as well as to transmit Bapedi culture, values, beliefs and history from generation to generation. This article examines misconceptions about indigenous Bapedi music and traditional oral stories. It argues that indigenous Bapedi music and oral tradition should not be dismissed at face value as practices overtaken by circumstances and hence irrelevant to the present Bapedi community developmental needs. The findings of the present study faithfully reflect that indigenous Bapedi songs and traditional oral stories resonate in people’s personal lives, in religious rituals and in society at large. These findings suggest that Bapedi people should keep and perpetuate their valuable heritage, which is still needed for survival and for the welfare of our next generation. The main question the study addressed is: What role do indigenous Bapedi music and oral tradition play in Bapedi culture?
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Hage, Jan, and Marcel Barnard. "Muziek als missie: Over Willem Mudde en zijn betekenis voor de kerkmuziek." NTT Journal for Theology and the Study of Religion 66, no. 4 (November 18, 2012): 283–98. http://dx.doi.org/10.5117/ntt2012.66.283.hage.
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Under the influence of Calvinism, the musical situation in the Protestant churches in the Netherlands was for a long time marked by sobriety, with attention focused on congregational singing. In the 20th century, church music gained importance through a dominant flow of Lutheran influence. Generally, the liturgical movement highlighted the role of music in worship. The Lutheran church musician Willem Mudde successfully called attention to the German church music reform movement. Inspired by the writings of the German theologian Oskar Söhngen, he strived to apply the ideals and practices of this German movement to the Dutch Protestant churches. He succeeded through his zeal and organisational skills, not only in the Lutheran church but also in other Protestant churches. The idealistic character and educational aims of the movement, however, could not offset the growing individualism and the ongoing crisis in the churches.
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Khare, Mrs Asha. "ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3400.
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Hegel, a well-known scholar of Jammani, has placed music in the category of love arts. Indian music has been called the essence of all four languages. Music has been worshiped extensively in India and has been worshiped as Veena Vavadani. Sa vidya or liberation is music. In the divine period, the reins of music were in the hands of Brahmins. In this period, music flourished in religious atmosphere. Samudragupta was self-effacing. In this period, music began to develop in Rajashraya. Classical and folk music was also promoted. Kaval Das and Bhasa, the great poet and playwright of Sanskrit, wrote important texts in this period. The Rajputs were ruled after the Gupta period. Indian music, which was embedded in the thread of unity, began to be divided into two streams, the music of North India and the music of South India. Important texts of music were written. In the Muvassalam era, Sharangadee wrote a famous book of music called Sangeet Ratnakara. During this period, Amir Khusro brought a new verse in the field of music. The origins of the plants became popular for singing songs and singing ghazali. Bhagakat music was emphasized during the Mughal period. Dhrupad Dhamar singing was popular. The reign of Akbar in the Mughal period has been called the era of music. During this period, musicians and artists enjoyed royalty, and art greatly developed.
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Papachristopoulos, Ioannis. "Von der kompositorischen Funktion und Stellung der Kratemata im byzantinischen Kirchengesang." Review of Ecumenical Studies Sibiu 7, no. 3 (December 1, 2015): 348–87. http://dx.doi.org/10.1515/ress-2015-0029.
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The Byzantine church chant is a purely liturgical song. The music that is practiced here is primarily linked to the understanding of the text and its comprehension. That’s why the sound-word ratio is very pronounced in the syllabic and semi-melismatic chants. This harmonious relationship between music and poetry is partly destroyed in the very extensive and highly melismatic kalophonic songs, because long note chains are set over a single word, even over the vowel of a single syllable. Closely related to the kalophonic pieces often Kratema are executed, representing the total abolition of the connection between the music and the text message. They are likewise extensive melismata, but have no concrete text and are usually built on the meaningless syllables te-ri-rem. In this study, first some of the different explanations as to the origin and the role of Kratemata in worship events will be presented shortly. The actual core of the investigation are the reflections about what a compositional meaning (in music content, formal, compositional and sound aesthetic way) these pieces have and how they affect the structure and organization of their respective total song (kalophonic piece and Kratema together).
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Sihombing, Adison Adrianus. "Music in The Liturgy of The Catholic Community in Jakarta, Indonesia." Al-Albab 9, no. 1 (June 8, 2020): 3–18. http://dx.doi.org/10.24260/alalbab.v9i1.1542.
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This article discusses music in the Catholic liturgy in Jakarta, Indonesia in the postmodern era within the context of the autonomy of the Catholic Church. The Indonesian Catholic Church is an independent and autonomous church where liturgical music is a form of original artistic expression. However, in practice, the majority of Catholics in Indonesia view the liturgical celebration as uninteresting and dull. Conversely, pop music has increasingly influenced liturgical music. This reality is discussed and analyzed specifically in regards to liturgical music that experiences contextual data inference, especially in the specific cultural contexts of the community. The data analysis shows, in perception of Catholics in Jakarta, the role of liturgical music in worship is not homogeneous, but rather depends on the educational background, attention from Pastors of the Parish, cultural factors, and individual past experiences. For the most part, the level of understanding regarding the nature and important position of liturgical music in religious holy celebrations is low. Most consider that all music is the same and can therefore be used in the liturgy. Music is considered only a complement to enhance religious celebrations. In this context, the government and the Indonesian Catholic Church established the Catholic Church Choir Development Institute (LP3K) as a forum for fostering Catholics in Indonesia in the liturgical field and discussing issues related to music. This article confirms that the position of the liturgical music is crucial and has an irreplaceable significance in the liturgy, and the two are inextricably woven to each other.
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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (January 29, 2019): 85. http://dx.doi.org/10.3390/rel10020085.
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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.
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Jiménez, Juan Ruiz. "‘THE SOUNDS OF THE HOLLOW MOUNTAIN’: MUSICAL TRADITION AND INNOVATION IN SEVILLE CATHEDRAL IN THE EARLY RENAISSANCE." Early Music History 29 (July 21, 2010): 189–239. http://dx.doi.org/10.1017/s0261127910000094.
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With the restoration of the Seville diocese in 1248, its organisation followed the model established by other Castilian cathedral chapters. Seville Cathedral's symbolic importance and the wealth created by its endowments resulted in a flourishing development of worship, in which music played a key role. The ritual space in the Mozarabic cathedral was radically transformed with the construction of the Gothic building over a period of almost a hundred years, from 1434 to 1517. In tandem with this architectural programme, the cathedral's musical resources also underwent transformation, being adapted according to changing aesthetic considerations, liturgical modifications and new spatial and acoustical demands. The city of Seville periodically welcomed the court, with the monarch and the royal household residing for extended sojourns in the Alcázar, which was renovated by Pedro I in the fourteenth century. These royal visits favoured musical exchange with the royal chapels, especially during the reign of Ferdinand and Isabel. Seville became the paradigm for the consolidation and standardisation witnessed during the fifteenth century throughout the ecclesiastical institutions of Castile and Aragon. The direct consequence of this reforming impulse was an exponential increase in the number of composers active in this environment, and the amount of polyphonic repertory created through church patronage in both the institutional and private spheres, as well as the increase in the use of that polyphony in liturgical and devotional ceremony.
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Trocmé-Latter, Daniel. "The psalms as a mark of Protestantism: the introduction of liturgical psalm-singing in Geneva." Plainsong and Medieval Music 20, no. 2 (September 15, 2011): 145–63. http://dx.doi.org/10.1017/s0961137111000039.
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ABSTRACTIt is widely believed that musical creativity suffered under the control of many sixteenth-century Protestant church leaders, especially in the Reformed (as opposed to Lutheran) branch of Protestantism. Such views are generalisations, and it is more accurate to say that music in Geneva and other Reformed strongholds developed in a very different way from the music of the Lutheran Church. The very specific beliefs about the role of music in the liturgy of Jean Calvin, Genevan church leader, led to the creation and publication of the Book of Psalms in French, in metre, and set to music. The Genevan or Huguenot Psalter, completed in 1562, formed the basis for Reformed worship in Europe and throughout the world, and its impact is still felt today. Despite the importance of the Psalter, relatively little is known about the precise liturgical musical practices in Geneva at the time of the Reformation, and little research has been carried out into the aspirations of either reformers or church musicians in relation to the Psalter. This article explores the significance of Calvin's interest in the Psalms as theological material, observing how this interest manifested itself, and outlines Calvin's views on music and the ways in which his plans for psalm-singing were implemented in Geneva from the 1540s onwards. After giving a brief explanation of the process through which the psalm melodies were taught and learnt, it also asks whether Calvin's vision for congregational singing would, or could, have been fully realised, and to what extent the quality of music-making was important to him. This article suggests that in the Genevan psalm-singing of the sixteenth century, matters of spiritual significance were most important.
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Pawaskar, Pinky, and Mridula Goel. "Tourism and Acculturation: A Study of Goa." Atna - Journal of Tourism Studies 7, no. 1 (January 1, 2012): 1–14. http://dx.doi.org/10.12727/ajts.7.1.
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Renowned for its beaches, places of worship and world heritage architecture, Goa is visited by large number of international and domestic tourists each year. The culture of the Goan people and their acceptability of tourists from different lands play a critical role in making this small state a popular tourist destination in India. In this paper we attempt to study how acculturation through Portuguese rule has given Goa a „Westernized‟ image. The ease with which this cultural change can be exhibited in tourist products like food, music, dress, language has helped to promote cultural diffusion. It has also resulted in attitudinal change. These symbols of cultural diffusion, along with the attitude of the natives make this beautiful coastal paradise a popular destination. A warm welcome with the westernized attitude of non interference helps the tourists „to be your-self and provides a competitive advantage to the region
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Potvin, Noah, and Cathleen Flynn. "Music Therapy as a Psychospiritual Ministry of Intercession During Imminent Death." Music Therapy Perspectives 37, no. 2 (2019): 120–32. http://dx.doi.org/10.1093/mtp/miz002.
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Abstract Imminent death is a critical stage in end-of-life care requiring a shared attention to the preparatory needs of both patient and caregiver(s). For many patients and caregivers who identify as Christian, the Holy Spirit can be an integral resource capable of facilitating a healthy death experience. Music therapy, as a resource-oriented practice, has the potential to be a ministry facilitating access to the Holy Spirit for patients and caregivers to use for unique purposes. Drawing from both music therapy and theological concepts and identifying their intersections, this paper frames an ethical and effective model of music therapy as ministry as shaped through three unique stakeholder roles: music therapist as minister of intercessory prayer; patient as vertically transcendental worshiper; and caregiver(s) as horizontally transcendental worshiper. These roles are implicitly and simultaneously assumed, fulfilling the functions necessary for a holistic, comprehensive plan of care to be enacted during a time-limited stage of urgent need such as imminent death. Theoretical postulations related to each stakeholder role are posited and discussed in context of clinical practice. Future examinations of music therapy as ministry through other faith lenses have the potential to yield additional psychospiritual functions of music therapy at the end of life, including identifying additional resources music therapy can address with Christian patients in end-of-life care settings.
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Çınar, Sevilay. "Female Representatives of Traditional Folk Instruments (Saz): in The Representation of Sipsili, Uyguncaklı Düdük, Delbek and Bağlama." Rast Müzikoloji Dergisi 1, no. 1 (April 15, 2013): 236–57. http://dx.doi.org/10.12975/rastmd.2013.01.01.0010.
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Folk instruments, which play an important role in the production and transferof music, are cultural products that sometimes give voice to non-expressible feelings,save time for remembering the lyrics, increase the joy by adding to the sound, andsometimes maintain the rituals and serves as a means of communication. Thematerials they are made from, their shape and sound, they bear the traces of societyand they are also the most important indicator of character of music. As ancient ashumanity in terms of existence, they are the proof of cultural values of humanity withtheir rich variety. Besides the variety of our traditional folk instruments that take onthe primary task in continuation of musical tradition, they have representatives too.Such representatives sometimes take the name of the traditional art which theyproduce and sometimes they are called by the name of the folk instrument they play;they show themselves by various names and qualities such as minstrel, bard,tambourine (tef/def) player, tabor (deblek/delbek) player, reed (sipsili) player,uyguncak playerThe representatives, who contribute to the creation and maintenance oftraditional music in company with the traditional folk instruments, represent theirinstruments by remaining loyal to their cultural identities as well as their social roles.The places where they produce music with such traditional instruments rangesdepending on mentioned indicative elements in indoor-outdoor verbal culturalenvironments such as village wedding, henna night, farewell ceremonies for soldiers,city/town festivals, culture houses, places of worship, high pastures, nomad campingsites, etc. In this point, when we look at the adventure of our traditional folkinstruments, we see that women take over the role of representative and even thoughthey create special expression styles in terms of music and lyrics during thisadventure, they do not have a room for themselves under such roof.In this context, considering the fact that although female representatives oftraditional folk instruments have moved to big cities or their local characteristicshave somehow changed even though they continue living in their hometowns, theyare a part of this tradition with their current characteristics and productions styles; wewant to keep such musical soul alive, which has existed in all periods and willcontinue to exist, to make artistic identities of female representatives visible and toaccompany to their existence stories. Date obtained via field records have beenanalyzed within the contexts of expression styles of female representatives oftraditional folk music in the 21stcentury, their playing techniques, creation process oftheir musical products, transfer methods, the function of music in the lives of suchfemale representatives and reflection of their female identities into music
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Zhu, Dong, and Wei Ren. "An Inquiry into the Semiotic Thought of Laozi." Signs and Media 1, no. 1 (August 25, 2020): 26–39. http://dx.doi.org/10.1163/25900323-12340003.
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Abstract Tao Te Ching, the masterpiece of Laozi the renowned philosopher of Pre-Imperial China, plays an important role in Chinese history. Laozi’s philosophy centres on such concepts as ming (names), li (rituals), and dao (the way). Ming, originally developed as a result of human beings’ endeavours to understand the world in which they live and to bring order to their society, has degenerated into the sources of evils and the reason for turbulence when people stop at nothing for fame and fortune; Li, an effective and efficient means for the kings of West Zhou Dynasty to maintain social stability, has become but a collection of empty sign vehicles with the disintegration of rituals and music; Dao concerns Laozi’s metaphysical reflection on the origin of the universe and its ultimate laws. Ming and li are but artificial restraints imposed on human intelligence whereas dao provides the way out. Therefore, to lead a simple and natural life, it is advisable to eliminate ming and li, and worship dao. In semiotic terms, this means that desemiotisation is the solution to the crisis.
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Ellis, Katharine. "Lyon's Wagnerian Diva: Louise Janssen (1863–1938)." Cambridge Opera Journal 30, no. 2-3 (November 2018): 214–36. http://dx.doi.org/10.1017/s0954586719000077.
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AbstractIt seems historiographically implausible to ascribe the reputation of fin-de-siècle Lyon as France's Bayreuth to the impact of a single middle-ranking soprano, but the Danish singer Louise Janssen's long-term presence, galvanic musical influence and box-office value suggest precisely that conclusion. Part of the explanation lies with the diva-worship of her supporters (‘Janssenistes’), who curated her image both during her career and in her retirement to create an adopted musical heroine whose memory remains guarded by Lyon council policy. That image, selectively constructed from among her Wagner roles, also typecast her as a singer who had much in common with Symbolist art – a potential Mélisande that Lyon never saw. This article brings together archival and press materials to explain how a foreign-born singer's agency and mythification contributed to a double French naturalisation – her own, and that of Wagner(ism).
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Shelley, Braxton D. "“I Love It When You Play that Holy Ghost Chord”: Sounding Sacramentality in the Black Gospel Tradition." Religions 11, no. 9 (September 4, 2020): 452. http://dx.doi.org/10.3390/rel11090452.
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This essay argues that the distinctive aesthetic practices of many African American Christian congregations, indexed by the phrase “the Black gospel tradition”, are shaped by a sacramentality of sound. I contend that the role music routinely plays in the experience of the holy uncovers sanctity in the sound itself, enabling it to function as a medium of interworldly exchange. As divine power takes an audible form, the faith that “comes by hearing” is confirmed by religious feeling—both individual and collective. This sacramentality of sound is buttressed by beliefs about the enduring efficacy of divine speech, convictions that motivate the intensive character of gospel’s songs, sermons, and shouts. The essay begins with a worship service from Chicago, Illinois’ Greater Harvest Missionary Baptist Church, an occasion in which the musical accompaniment for holy dancing brought sound’s sacramental function into particularly clear relief. In the essay’s second section, I turn to the live recording of Richard Smallwood’s “Hebrews 11”, a recording that accents the creative power of both divine speech and faithful utterances, showing how reverence for “the word of God” inspires the veneration of musical sound. In the article’s final move, I show how both of the aforementioned performances articulate a sacramental theology of sound—the conviction that sound’s invisible force brings spiritual power to bear on the material world.
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Folga-Januszewska, Dorota. "HISTORY OF THE MUSEUM CONCEPT AND CONTEMPORARY CHALLENGES: INTRODUCTION INTO THE DEBATE ON THE NEW ICOM MUSEUM DEFINITION." Muzealnictwo 61 (April 17, 2020): 39–57. http://dx.doi.org/10.5604/01.3001.0014.1129.
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The topic discussed in the paper is the change and evolution the concept of museum (Greek: museion, Latin: musaeum) has been undergoing for over 2500 years, as well as many of its different meanings: from the definition of a spot in space, including a place of worship, up to the name of learning form, research and knowledge centre, collection of texts and poetry, music and theatre festival, synonyms of a dictionary and encyclopaedia, library and a secluded study spot, up to large institutions co-creating culture and educating socially. Once museums had become social institutions, the process of defining their organizational form and their mission limits began. The International Council of Museums (ICOM), as an organization grouping museum employees and museologists, namely both practitioners and theoreticians, ever since its establishment in 1946 has on a number of occasions initiated works on a shared definition of museum. The paper assembles all the ICOM-proposed definitions in 1946–2007 presented both in English and Polish. The latest proposal submitted at the Kyoto ICOM General Conference on 7 September 2019 (Annex 1), however, for the first time aroused a heated debate and was not finally voted on by the ICOM General Assembly; instead, the debate has continued on the proposed phrasing since. The historical overview of the museum concept and the history of the ICOM museum definition presented against the opinions of invited Polish museum professionals is the ‘record of time’, documenting the considerations on the role and tasks of museum in contemporary society.
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Thistlethwaite, Nicholas. "Re-Making the English Organ: Musical and Liturgical Contexts, 1830–1870." Nineteenth-Century Music Review 12, no. 1 (June 2015): 71–93. http://dx.doi.org/10.1017/s1479409815000051.
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The article describes the evolution of the English organ under the influence of changes in musical style and liturgical practice between 1830 and 1870. A preliminary discussion of the Georgian organ and the performance conventions of its players provides a benchmark against which to measure the ensuing changes. S.S. Wesley is taken as a case study with reference to changes made to the Hereford Cathedral organ in 1832; it is argued that these reflect Wesley's musical priorities, a point that is further illustrated by a consideration of the registration markings found in the original manuscripts of ‘The Wilderness’ (1832) and ‘Blessed be the God and Father’ (1834). They also demonstrate an innovative use of the pedals.In the following section the influence of Mendelssohn is discussed. His performances of Bach in England during the 1830s and 1840s promoted a radical change is organ design and performance practice; the C-compass organs with German pedal divisions built by (among others) William Hill were ideal instruments both for Bach's organ music and for Mendelssohn's own organ sonatas which combined classical form with a romantic sensibility.The concluding section reviews developments in the years 1850–70. It considers changes in console design and the growing taste for orchestral registers, even in church organs. Choral accompaniments also became more orchestral in character, and a number of representative examples from Ouseley's Special Anthems (1861, 1866) are discussed. Liturgical changes after 1850 are also considered, together with their impact on the role of the organ in worship.
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Ocktarizka, Tria. "MAKNA PENYAJIAN GONDANG PADA PROSESI KEMATIAN MASYARAKAT BATAK TOBA DI KECAMATAN DOLOK MASIHUL PROVINSI SUMATERA UTARA." INVENSI 2, no. 2 (January 10, 2018): 72–85. http://dx.doi.org/10.24821/invensi.v2i2.1869.
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Penelitian ini bertujuan untuk mendeskripsikan prosesi kematian masyarakat Batak Toba di Kecamatan Dolok Masihul, dan makna penyajian musik gondang pada prosesi kematian masyarakat Batak Toba di Kecamatan Dolok Masihul. Penelitian ini merupakan penelitian kualitatif deskriptif. Pengumpulan data dilakukan dengan teknik observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan bahwa gondang memiliki peranan penting sebagai iringan setiap upacara Suku Batak. Prosesi kematian saur matua (kematian yang diharapkan) menyajikan gondang dan tortor sesuai dengan tata aturan adat. Setiap jenis gondang yang didendangkan oleh pargonsi (pemain gondang) dalam prosesi kematian memiliki makna yang berbeda beda. Gondang mula-mula ini ditujukan untuk Tuhan. Gondang Mula-mula memiliki makna bahwa semula Dia (Tuhan) sudah ada, dan Dia (Tuhan) memulai ada. Gondang Somba dimaksudkan sebagai sembah syukur kepada Tuhan yang telah menciptakan dan memelihara hidup manusia. Gondang Mangaliat memiliki makna bahwa Tuhan senantiasa memberikan keselamatan, kebahagiaan dan kesejahteraan bagi keluarga yang ditinggalkan. Gondang Hasahatan memiliki makna bahwa segala pinta yang meliputi hidup sejahtera bahagia dan penuh rejeki didengar Tuhan. This study aims to describe the procession of Batak Toba’s death in Subdistrict of Dolok Masihul, and the meaning of serving music gondang on procession Batak Toba’s death in subdistrict of Dolok Masihul. This study is using a qualitative approach with descriptive type. The data collection was done by using observation, interview, and documenttaion techinques. The results showed that gondang has an important role as an accompaniment in every ceremony performed by Batak tribe community. Saur Matua (the expected death) funeral procession presented gondang and tortor based on the customary rules. Every kind of gondang which sang by pargonsi (gondang’s player) in funeral procession has the meaning all it is own. Gondang mula-mula is presented for God. Gondang mula-mula originally means that since the very beginning Him (God) is already there. Gondang Somba means as a praise to worship God who created and maintain human life. Gondang Mangaliat has a meaning that God is always giving a salvation, joy and prosperity for the family remained. Gondang Hasatan means that every request including the prosperity life and full of fortune which listened by God.
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Williamson, Magnus. "Liturgical Polyphony in the Pre-Reformation English Parish Church: A Provisional List and Commentary." Royal Musical Association Research Chronicle 38 (2005): 1–43. http://dx.doi.org/10.1080/14723808.2005.10541008.
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The great majority of late-medieval lay people encountered the Universal Church most directly, and in some cases exclusively, through their local parish church. The parish has therefore been at the heart of research into lay piety, as witnessed in a range of detailed studies of pre-Reformation beliefs, rituals, rites of passage, clergy, episcopal oversight, parochial administration and social organization. Until recently, however, the ‘soundscape’ of the pre-Reformation parish has received less exhaustive attention, perhaps because the parish has been seen as peripheral or subordinate to the mainstream of musicological research (few first-rank composers are known to have worked within English parish churches), but also because the documentary sources are more disparate and often less complete and informative than the archives of more superficially prestigious institutions. Nevertheless, if the widespread cultivation of polyphonic singing within divine worship was one of the seminal cultural achievements of late-medieval England, what contribution did the parish make towards this revolution? How many parishes maintained polyphonic choirs? What role did the laity play in promoting liturgical polyphony? And what might such initiatives reveal concerning lay attitudes towards liturgical music? Studies of Bristol, London, Louth, Ludlow and York have highlighted the potential of the parish as a focus for musicological research, and have begun to answer some of these questions. The following handlist, an earlier form of which was prepared for the 2002 Harlaxton Medieval Symposium, is intended to serve as a springboard for further research in this field. Although neither complete nor definitive, its aims are to bring together, as comprehensively as possible, the available evidence concerning the singing of liturgical polyphony before 1559, and to provide an overview of the contextual factors which have informed the underlying methodology: to this end, the list itself is preceded by an extended commentary.
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Marsh, Clive. "Preparing for Worship." Ecclesial Practices 1, no. 2 (October 10, 2014): 192–206. http://dx.doi.org/10.1163/22144471-00102003.
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This article uses insights from an empirical study of music-users to explore the assumptions and expectations which everyday music is likely to create within a Western Christian congregation. It identifies the desire to be happy, the search for a safe space, a concern about personal identity and a willingness to use music to acknowledge negative emotions as four key emphases of the practice of contemporary listening. These four emphases are explored in relation to the practice of contemporary worship. It is shown that whilst it could be argued that everyday music dulls the expectations of the non-musical – for the musical may gain much through performance and participation in music-making – it is nevertheless vital that theological attention is paid to what is happening to congregation-members. The potentially salvific work to which music contributes is in need of further exploration and articulation in contemporary theology.
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Andrew Mall. "Worship Capital: On the Political Economy of Evangelical Worship Music." American Music 36, no. 3 (2018): 303. http://dx.doi.org/10.5406/americanmusic.36.3.0303.
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Pathak, Sontesh, and Manisha Bhatt. "RELATION OF SOCIAL BACKGROUND AND FOLK MUSIC OF UTTARAKHAN." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3473.
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The world is the largest unit of human society and its important part is society. Folk literature, folk art and consequent folk culture are the creation of this way of life. Many families form a society by joining one family. Every person in the family plays an important role in building the family, society, nation and the world. India is a culture oriented country in the whole world. The word Sanskrit is related to Sanskar which means to amend, to refine and to make perfect. The word culture became synonymous with the English word culture. It means to create or improve. Rites are hidden in culture itself. Even though the music art originated in the religion-oriented India, the innate feelings and inspirations of human beings have changed. It has been developed and brought up in the womb of music. The social background and folk music of Uttarakhand is closely related. Garhwal and Kumaon divisions, Uttarakhand, the birthplace of Adyashakti Parvati, has been the taphbhoomi of sages and sages since ancient times, Mahakavi Kalidas has worshiped the Himalayas in the Mangal Shloka of his epic and called Nagadhiraj the deity of God and earth. Both these centers of Devbhoomi took their area of influence, due to which the influence area of Kedar came to be called 'Kedarkhand' and Kailash Mansarovar's area of influence was called 'Manaskhand'.
विश्व मानव समाज की वृहत्तम इकाई है और इसका महत्वपूर्ण अंग है, समाज। लोक साहित्य, लोककला और परिणामस्वरूप लोक संस्कृति इस जीवन पद्धति की निर्मिति है। एक परिवार से जुड़कर अनेक परिवार समाज बनाते हैं। परिवार में प्रत्येक व्यक्ति, परिवार, समाज, राष्ट्र और विश्व के निर्माण में एक महत्वपूर्ण भूमिका निभाता है। समस्त विश्व में भारत संस्कृति प्रधान देश है। संस्कृति शब्द का सम्बन्ध संस्कार से है जिसका अर्थ है - संशोधन करना, परिष्कार करना एवं उत्तम बनाना। संस्कृति शब्द अंग्रेजी शब्द कल्चर का पर्यायवाची बना। इसका अर्थ है पैदा करना या सुधारना। संस्कृति में ही संस्कार छिपे होते हैं। धर्म प्रधान भारत में संगीत कला का उद्गम भले ही मानव की सहज भावनाओं एवं प्रेरणाओं के अभ्यंतर हुआ हो। उसका विकास व पालन-पोषण संगीत की कोख में हुआ है। उत्तराखण्ड की सामाजिक पृष्ठभूमि और लोकसंगीत का गहरा सम्बन्ध है। ‘‘गढ़वाल तथा कुमाऊँ मण्डल, आद्यशक्ति पार्वती की जन्मभूमि उत्तराखण्ड, प्राचीनकाल से ही ऋषि-मुनियों की तपोभूमि रही है, महाकवि कालिदास ने अपने महाकाव्य के मंगल श्लोक में हिमालय की वंदना कर नगाधिराज को देवात्मा एवं पृथ्वी का मानदण्ड कहा है। देवभूमि के इन दोनों केन्द्रों ने अपने प्रभाव क्षेत्र में लिया था जिस कारण केदार के प्रभाव क्षेत्र को ‘केदारखण्ड’ और कैलाश मानसरोवर के प्रभाव क्षेत्र को ‘मानसखण्ड’ कहा जाने लगा।9
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양정식. "A Study for Modern Worship and Christian Music ―Blended Worship." Theology and Mission ll, no. 53 (September 2018): 243–84. http://dx.doi.org/10.35271/cticen.2018..53.243.
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Zaroum, Abdulhamid Mohamed Ali, Mohd Abbas Abdul Razak, and Abdul Latif Abd. Razak. "Creativity in Islamic Entertainment: A Case Study of Malaysian Nashid Groups (Rabbani, Raihan and Hijjaz) (Kreativiti dalam Hiburan Islam: Kajian Kes Kumpulan Nasyid Malaysia (Rabbani, Raihan And Hijjaz))." Journal of Islam in Asia (E-ISSN: 2289-8077) 15, no. 2 (December 24, 2018): 500–519. http://dx.doi.org/10.31436/jia.v15i2.761.
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This paper attempts to shed some light on Islamic Nashid (Nasyid) groups in Malaysia, in particular Rabbani, Raihan and Hijjaz. With the emergence of globalization and its entertainment aspect, and due to the huge influence of modernization on the society especially among the youth, there was a need for an alternative entertainment. And, as far as Muslims are concerned, the most effective way in this regard was, to a great extent, Islamic Nashid. Entertainment itself has been an area of great discussion and dispute among Muslim scholars throughout the ages all over the world. In Malaysia, the issue of allowing or disallowing entertainment specifically songs and music is no longer a big issue. As a matter of fact, entertainment is part of the traditions and culture of the Muslims in this part of the world. Nevertheless, the major concern here is what kind of songs and music do Nashid groups present? Could Islamic Nashid be an alternative to the conventional or non-Islamic songs? Is it possible for Nashid performance to be viewed as an act of worship? To what extent Nashid groups are contributing in the Islamization of entertainment and enhancement of Islamic awareness in Malaysian society?? The focus of this research is: (1) The historical background of Rabbani, Raihan and Hijjaz Nashid groups (2) The role these groups have been playing in creating Islamic awareness; (3) The Islamization of songs and music as promoted by these three groups; (4) The challenges these Nashid groups are facing in terms of publication and audience attendance etc.; and (5) The future of Islamic Nashid in Malaysia. This research is expected to provide important findings that will enhance Islamic awareness among the society members. Besides, it is hoped that this paper will highlight the effectiveness of Islamic Nashid in Malaysia especially in this borderless globalized village.
Keywords: Nasyid, Nashid, Islamic Entertainment, Creativity, virtues, Malaysia.
Abstrak
Makalah ini cuba menerangkan beberapa kumpulan Nasyid Islam di Malaysia, khususnya RABBANI, RAIHAN DAN HIJJAZ. Dengan kemunculan globalisasi dan aspek hiburannya, dan disebabkan oleh pengaruh besar pemodenan terhadap masyarakat terutama kalangan belia, hiburan alternatif amatlah diperlukan. Cara yang paling berkesan dalam hal ini adalah, sebahagian besarnya, Nasyid Islam. Hiburan itu sendiri merupakan bidang perbincangan dan pertikaian hebat di kalangan para ulama Islam sepanjang zaman di seluruh dunia. Di Malaysia, isu membenarkan atau menolak hiburan khususnya lagu dan muzik tidak lagi menjadi masalah besar. Hakikatnya, hiburan adalah sebahagian daripada tradisi dan budaya umat Islam. Walau bagaimanapun, kebimbangan utama di sini, apakah jenis lagu dan muzik yang didendangkan oleh kumpulan Nasyid tersebut? Bolehkah Nasyid Islam menjadi alternatif kepada lagu konvensional atau yang bersifat tidak Islamik? Adakah mungkin Nasyid dilihat sebagai satu ibadah? Sejauh manakah kumpulan Nasyid menyumbang kepada Islamisasi hiburan dan meningkatkan kesedaran Islam dalam masyarakat Malaysia? Fokus penyelidikan ini adalah: (1) latar belakang kumpulan-kumpulan Nasyid RABBANI, RAIHAN DAN HIJJAZ (2) Peranan kumpulan-kumpulan ini dalam membentuk kesedaran Islam; (3) Islamisasi lagu dan muzik seperti yang diketengahkan oleh ketiga-tiga kumpulan ini; (4) Cabaran yang dihadapi kumpulan-kumpulan Nasyid ini dari segi penerbitan dan menarik minat pendengar; dan (5) Masa depan Nasyid Islam di Malaysia. Penyelidikan ini dijangka memberikan penemuan penting yang akan meningkatkan kesedaran Islam di kalangan masyarakat. Di samping itu, diharapkan makalah ini akan menonjolkan keberkesanan Nashyd Islam di Malaysia terutamanya dalam dunia globalisasi tanpa sempadan.
Kata Kunci: Nasyid, Hiburan yang bersifat Islamik, kreativiti, nilai-nilai murni, Malysia.
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Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (October 22, 2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.
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Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of worship bulletins, personal interviews with art music composers, choirmasters and pastors within the denomination. Textual analysis of art music compositions reveals that there are four different modes of communication in the drama of worship: Kerigmatic, Leitourgic, Koinonia, and Reflexive. The emergence and performance of art music compositions in the drama of worship have facilitated communication, indigenisation and acculturation of Christian worship among Baptists in Nigeria.
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Morris, Anne. "Music in Worship: The Dark Side." Practical Theology 3, no. 2 (March 17, 2010): 203–17. http://dx.doi.org/10.1558/prth.v3i2.203.
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Jackson-Brown, Irene V. "Gospel Music and Afro-American Worship." Liturgy 9, no. 1 (January 1990): 8–15. http://dx.doi.org/10.1080/04580639009409162.
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Bowler, Kate, and Wen Reagan. "Bigger, Better, Louder: The Prosperity Gospel's Impact on Contemporary Christian Worship." Religion and American Culture: A Journal of Interpretation 24, no. 2 (2014): 186–230. http://dx.doi.org/10.1525/rac.2014.24.2.186.
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AbstractThis article makes several claims about the relationship between praise and worship music and prosperity megachurches. First, it argues that the prosperity gospel has had a significant impact on contemporary worship music in America owing to its leadership in the twin rise of the megachurch and televangelism. Second, beginning in the 1990s, prosperity megachurches pioneered forms of worship music mimicking “arena rock” that capitalized on both the scale of their sanctuaries and the sophistication of their audio/visual production. The result was a progression toward music that would be a liturgy of timing, lighting, volume and performance designed for large venues. Finally, prosperity megachurches were ideally situated to benefit from this new music, both in the music industry and in their theology. Prosperity megachurches partnered with the expanding worship industry in the creation of new worship music, while the prosperity gospel theologically undergirded the affective power and performative pageantry of Christian arena rock, narrating worship music as a tool for releasing spiritual forces of prosperity. The result was a Sunday experience for the blessed that reinforced the celebration of God’s abundant blessings through music that was bigger, better, and louder.
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Swarbrick, John. "Martin Luther: music and mission." Holiness 3, no. 2 (June 16, 2020): 235–56. http://dx.doi.org/10.2478/holiness-2017-0008.
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AbstractThis article seeks to demonstrate Martin Luther's often-overlooked credentials as a musician. Luther was convinced that music was the viva voce evangelii (living voice of the gospel), and unlike other more radical Reformation movements, he encouraged the use of choral and congregational singing in worship. Some of his familiar hymns – Nun freut euch, Ein’ feste Burg and Aus tiefer Not – offer insights into his ambitions to embed congregational singing into his vision of reformed worship, which went hand in hand with liturgical reform. Luther's Formula Missae and the vernacular Deutsche Messe lay the groundwork for Lutheran worship, which restructured the service around the centrality of the gospel proclamation. Luther's musical tradition reached its zenith in the work of J. S. Bach, which continues to echo in the Western musical canon, leaving Luther with a lasting musical legacy.
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Vaught, Lyndel. "Worship Models and Music in Spiritual Formation." Journal of Religion, Spirituality & Aging 22, no. 1 (January 2010): 104–19. http://dx.doi.org/10.1080/15528030903313912.
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Myrick, Nathan. "Music, Emotion, and Relationship in Christian Worship." Liturgy 36, no. 1 (January 2, 2021): 27–31. http://dx.doi.org/10.1080/0458063x.2020.1865030.
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Sawkins, L. "Review: The Sun King at worship." Early Music 33, no. 1 (February 1, 2005): 119–21. http://dx.doi.org/10.1093/em/cah046.
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ALTAS, FAKHRUNNISA. "Tari Ratoeh Duek Perspektif Nilai Estetika Islam." Gesture : Jurnal Seni Tari 6, no. 2 (August 23, 2017): 52. http://dx.doi.org/10.24114/senitari.v6i2.7203.
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This study aims to find a way of presenting the music as accompaniment in the Sikh religious worship terkhususnya part Asadivaar, music functions as an accompaniment in implementing Asadivaar, and uses musical instruments in worship Asadivaar music as an accompaniment. This study is based on a theoretical foundation to explain the meaning form of presentation, understanding the function, the music, the music instrument, understanding of the Sikhs. This research was conducted at Gurdwara Nanak DevJiKampungKeling Medan in June until August 2016. The method in this research use descriptive qualitative research. Population Board Gurdwara and Sikh People who worship Gudawara Nanak DevJi while samples numbered 20 people. Data collected through observation, interviews, documentation, and literature study. The results of this study indicate that the form of presentation in the rituals of the Sikh religion is particularly Asadivaar implemented during worship takes place. There are four functions of music in the liturgy Asadivaar, namely Disclosure Emotional Function, Communication Function, Aesthetics Appreciation Function, Function and Stability Contribution to Cultural Survival. The usefulness of instrumental music in the worship of the Sikh religion which serves as a Tabla rhythm in the song, Harmonium function as chords and melody in a song, and tambourine serves as tempo and rhythm. Keywords: aesthetics Islam