Rozprawy doktorskie: „Church music”

1

Koo, Gregory J. "The meaning of liturgical music". Theological Research Exchange Network (TREN), 1992. http://www.tren.com.

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Sherwin, Ronald Glynn. "The Church Music Program: The Effect of Moving from Performance-based to Education-based Emphasis in a Church Music Program". Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/SherwinRG2004.pdf.

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Stevenson, William. "Excellence in Scottish church music". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14473.

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Two propositions are advanced in the present study: firstly, national, not theological, attitudes have been the main influence on Scottish church music from the earliest days to the present; secondly, the present vitality of Scottish music can be traced back to a 19th-century search for musical excellence in church services by clergy, precentors and organists. Until the 19th century Scottish church music reflected a national indifference to music in general. Neither in pre-Reformation nor post-Reformation times is there completely convincing evidence of high-quality secular musical activity before a brief, if brilliant, period in Edinburgh during the late 18th century. Improvements in the national awareness of classical music came as a result of sweeping changes the Scottish churches had to make when they confronted the scientific and philosophical revolutions of the 19th century. Despite some resistance on the part of congregations, music came to be seen as a way of emphasising confidence and solidarity in the Christian faith. Thereafter more and more expert musicians were attracted to work in Scottish churches with long-term benefits for the churches themselves and for the community in which many of then worked as teachers and administrators. With a greater awareness of the potential benefits of music making, Scottish church and school soon began to regard musical excellence not only as desirable but also as a rationale - excellence equals truth. The pursuit of excellence on the part of leading clergy and church musicians from the late 19th century to the present, which has done so much for the musical health of the nation, has recently given rise to increasing concerns about accessibility. These concerns have fundamental implications for the music of the Scottish Church.

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4

Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation". Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.

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Milam, Kenneth Baker. "A music training program for Baptist church music leaders and pastors in Indonesia". Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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6

Arnold, David F. "Seeking balance between subjective and objective criteria for music in the liturgical assembly of the Orthodox Church in America". Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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7

Burrows, Donald. "Handel's Church Music - Modern Performances in Britain". Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37227.

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Munro, Gordon James. "Scottish church music and musicians, 1500-1700". Thesis, Connect to e-thesis, 1999. http://theses.gla.ac.uk/882/.

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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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Kinder, Patrick J. "God's instrument of praise liturgical and para-liturgical music /". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Recek, Andrea Rose. "The Aquitanian sacred repertoire in its cultural context : an examination of Petri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude /". Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/9445.

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Arnold, Susan Joy. "Singing in the community of faith regaining the incarnational voice of the church /". Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p090-0357.

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13

Bidgood, Lee, i Smoky Mountain Bluegrass band. "Performance At St. John's Episcopal Church". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1053.

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Bidgood, Lee, i Emily Bidgood. "Performance At St. John's Episcopal Church". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1060.

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Smith, Kevin Bryan. "Phōs hilaron and the macro-liturgical approach text and context elevated through song and rite /". Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Bidgood, Lee. "Performance at St. John's Episcopal Church". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3251.

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Bidgood, Lee. "Performance at St. John's Episcopal Church". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3252.

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18

Ealy, Gregory. "Medieval Russian chant and the contemporary church". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p015-0469.

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19

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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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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21

Miller, Timothy. "Benjamin Britten's liturgical music and its place in the Anglican Church music tradition". Thesis, University of Surrey, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583252.

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This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which function well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer's musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten's creative character; it casts additional light on the composer's technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten's commitment to the idea of a composer serving society. The importance of church-going in Britten's early life and the influence it exerted on his music for the church is considered. It is argued that 'Tradition' is a key concept in the music of the Anglican Church. The presentation of an adumbration of the Church of England's history shows what the totems of this Tradition are and that they are clearly recognisable in the music of composers at the heart of it. It is shown that Britten both respected and fed off Tradition and that his liturgical music clearly relates to the Anglican Church Music Tradition in a specific way. This study concludes that Britten's liturgical music can most intelligently be viewed in relation to a specific branch of the Tradition: the Parish Church Musical Tradition. It is a context that has not previously been clearly recognised in previous critical studies and this has therefore led, it is argued, to an insufficient understanding of its particular aesthetic characteristics.

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22

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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23

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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24

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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Aquilina, Frederick. "The life and music of Benigno Zerafa (1726-1804) : a mid-18th century Maltese composer of sacred music". Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250319.

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The aim of the following thesis is to provide a study of the life and music of Benigno Zerafa (1726-1804), a mid-18th-century Maltese composer of sacred music. As a model adopted in this dissertation, research on Benigno Zerafa is divided into four categories which the author chose as important points of evidence in musicology: i) biographical, historical and literary studies (based mainly on official documents, the musical documents, and the informative descriptions of performances at the Cathedral, all housed in the archives of the Cathedral Museum) dealing with the composer's life, the environment in which he was brought up and in which he worked, the liturgy and local religious life, the texts he used for his vocal works, performance practice, the reception of his music, and its performance history; these are given in chapters one, two, three and four; ii) source studies - (i) gathering the sources, (ii) identifying the composer's musical and textual handwriting, (iii) determining the authenticity of works attributed to him - involving documentary or external evidence, provenance, paper studies of handwriting, watermarks and staving (rastrography), methods of dating, etc.: these are discussed in chapter four and the thematic catalogue; iii) style analysis concerned with internal evidence deriving from the music itself, and ultimately confronting questions of eesthetics, the place of the composer in music history and, especially, his influence on the development of the Maltese Baroque style - chapters five, six and seven. Empirical methods involving analysis of motifs, phrase structure, harmony, style characteristics, texture, form and word-painting are all considered. The arguments presented demonstrate how topoi, rhetorical figures and systematic overall planning are essential features of Zerafa's works in general; iv) a thematic catalogue of Zerafa's 148 works - volumes three and four - in chronological order concludes this study; a general preface and various indexes to facilitate quick reference are also included. A critical edition of Zerafa's Z116, Nisi Dominus for soprano solo, is presented as appendix A. Other appendices (B to G) follow as aids to the main text. To the best of my knowledge (as of 31 October 2001), no critical editions, books, papers and theses on the composer have yet been published and are in the process of being published. The present author's critical edition of Z2, Messa a due cori (1743), has appeared as part-fulfilment of requirements for the M. Mus. degree (Liverpool, 1997) in a computerised version, and was performed professionally in four locations in France in 1998 under the direction of French conductor Jean-Marc Labylle . One or two dissertations on Zerafa have now appeared. A doctoral thesis by Franco Bruni (Sorbonne, 1998) entitled La Cappella musicale della Cattedrale di Malta nel diciasettesimo e diciottesimo secolo presents a detailed study of the Cappella Musicale of the Cathedral up to the 18th century; a concise biographical note on Benigno Zerafa and an analysis of watermarks of the manuscript paper used are included. There is also a brief analysis of a small number of works, followed by a general thematic catalogue of the works according to manuscript number. The aims of this thesis and the results achieved lie within the context of . the composer's life and career, and are intended to promote a better understanding of the man and his music.

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Byrne, John Henry. "Sacred or profane: The influence of Vatican legislation on music in the Catholic Archdiocese of Melbourne". Thesis, Australian Catholic University, 2005. https://acuresearchbank.acu.edu.au/download/302c48649e343e88b395aea59780b8ee0e34d7346ca52720a98afcebac9c0b5d/1609021/64808_downloaded_stream_33.pdf.

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Despite the authoritative and very explicit directions from the Vatican in 1903, the Catholic Archdiocese of Melbourne successfully resisted the demands for a major reform of liturgical Church music for 35 years. This thesis will examine the reasons for this strong and effective resistance to the demands of the Holy See and show that despite being complex and interrelated these reasons can be summarised under two fundamental headings. The thesis will examine the broad spectrum of music performed in the Melbourne Archdiocese, but because of the limited availability of information and the prime importance of the two principal churches of the Archdiocese, it shall concentrate on St. Patrick's Cathedral and on St. Francis Church. The thesis shall also examine in detail the documents of the Holy See concerning liturgical music which were relevant to musical practice in Melbourne. Special attention is drawn to the influential Motu proprio Tra le sollecitudini (1903) issued by Pope Pius X. The time span of this thesis covers the 95 years from March 1843 when the first music was sung in Melbourne's only Catholic church to 1938 when Archbishop Daniel Mannix ordered the reforms to liturgical music as demanded by the Vatican. The thesis shall demonstrate that the resistance to the reform of liturgical music in the Catholic Archdiocese of Melbourne was due to the two following influences: the fact that the new freedom and wealth that the immigrant Irish community of the Archdiocese of Melbourne experienced enabled them to establish churches and liturgies whose grandeur and artistic excellence symbolized their success in establishing a major new social and cultural status in their new home. Church music was one of the great manifestations of this and as an integral part of their new significance and sense of achievement, it was to be jealously guarded.;the second was the matter of authority and the independence of the Catholic bishops from the dictates and interference of the Vatican authorities. These Irish-born bishops were trained in an historical milieu in Ireland and Europe which fostered a fierce pride in the value of autonomy from external and alien authority. In this they were given a great degree of protection by the isolation of Australia and its distance from outside authority. In this Archbishops Carr and Mannix both proved to be strongly independent leaders who proved to be most reluctant to automatically implement reforms imposed by the Vatican. It will be shown that only in the fourth decade of the twentieth century was Episcopal authority finally brought to bear to make reforms to liturgical music a reality in the Catholic Church in Melbourne.

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27

Chongson, Mary Arlene Pe. "Pasyon and holy week : a study of music, acculturation, and local Catholicism in the Philippines /". Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/main.

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28

Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.

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xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski

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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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Maximova, Galina, i res cand@acu edu au. "Russian Orthodox Music in Australia: The translation of a tradition". Australian Catholic University. School of Arts and Sciences, 1999. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp217.04092009.

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For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999. The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors. Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.

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31

Lloyd, Richard. "Music in the parish church in late Medieval London". Thesis, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326165.

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Tacconi, Marica. "Liturgy and chant at the Cathedral of Florence a survey of the pre-Tridentine sources (tenth-sixteenth centuries) /". Full text available online (restricted access), 1999. http://images.lib.monash.edu.au/ts/theses/tacconi.pdf.

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Forsyth, James. "Music of the Anglican churches in Sydney and surrounding regions". Thesis, The University of Sydney, 2002. http://hdl.handle.net/2123/2447.

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Taylor, Joshua. "Missa eclectic: mass settings of the world church". Kansas State University, 2013. http://hdl.handle.net/2097/15529.

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Master of Music
Department of Music
Julie Yu
Matthew and Mark both conclude their Gospel accounts of the first Mass, the last supper, the same way: “while singing a hymn they went out to the Mount of Olives.” Since the beginning of the Christian tradition the Mass has been accompanied by religious song. The structure of the Roman Mass grew, changed, and took its present form over the course of many years from the Ordo romanus I of ad 700 to the modern rite. The movements of the Mass Ordinary were all present in the Roman Mass as early as the 8th century, while the sections of the Mass Proper took longer to develop. Though early settings of the Ordinary were sung to modal chants, the introduction of organum and polyphony in the 14th century gave rise to inventions in compositions that continue to influence music history. Numerous composers have composed Mass settings for liturgical use. Through their work, these composers shaped compositional techniques and paved the way for additional settings of the Mass. Many other composers’ works have outgrown their liturgical use. Composers have used every form from a cappella missa brevis’, large-scale cori spezatti compositions, to orchestral works rarely intended for liturgical use. Following the Second Vatican Council (1962-1965) the liturgy could be spoken and set musically in the vernacular creating a new collection of compositions in a variety of languages. Movements from five compositions are the subject of this paper. Each piece was selected to for its compositional techniques from its respective time period and region of the world. The composers represent England, Brazil, Germany, France, and the United States.

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Hall, Margaret. "Today’s Song for Tomorrow’s Church: The Role Played by Contemporary Popular Music in Attracting Young People to Church". Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365393.

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This thesis is a phenomenology highlighting the phenomenon of declining youth attendance at mainstream churches where traditional church music is used in worship and the emergence of megachurches where young people are attending and contemporary popular styles of music is used in worship. An Australian Broadcasting Authority survey in 1999 revealed that music is a major influence in the lives of youth, assisting in their identity creation, in their making friends, and in relieving their stress. The survey also notes that youth prefer contemporary popular music and, in particular, rock. This is in stark contrast to the traditional music played and sung in mainstream churches, which tends to be neither meaningful nor relevant to youth, largely because they do not identify with it. An increasing proportion of youth are rejecting the mainstream traditional churches such as Anglican, Catholic, Baptist, Uniting Church. National Church Life Surveys in Australia show that by 2001, only fourteen percent of church attenders were young adults. Young non-attenders complained they found church services boring and unfulfilling. This declining youth membership does not auger well for the mainstream church’s future. It is clearly evident that, in Australian society a culture gap has emerged between the secular world and the mainstream Christian church. This thesis examines the role of contemporary popular music in attracting young people to church. Although, in comparatively recent times there has been some movement towards contemporizing worship services in mainstream churches, the change has met strong resistance, but that resistance is based on invalid arguments and the mainstream church is yet to respond effectively to the increasing culture gap and growing alienation of the young. Mainstream congregations are not adequately encouraged to participate in singing praise and thanks to God. Although the lyrics of songs that focus on thanks and praise can teach a Christian message, as well as promote an awareness of the presence of God, the importance of this aspect of worship appears to have been overlooked, even though music has always been a part of worship, with multiple biblical scriptures cementing its pivotal role. In 1980 twelve people began Christian City Church (CCC), a new church which was not one of the mainstream churches, with a vision to communicate the Christian message to the whole of Sydney. CCC used contemporary music as a vehicle to make their message relevant. That church has been strikingly successful, and had grown to five thousand members by 2004. This thesis focusses on a case study of the music of CCC to test a hypothesis that the use of contemporary popular styles of music, with a focus on thanks and praise, can play a significant role in attracting young people to join and remain as members, and that such music can be influential in communicating an experiential understanding of the Christian message. The aim of the case study was to discover whether the music was similar in style to young people’s preferred styles of music, whether they actively participated in its performance, whether it communicated to them, whether the lyrics conveyed a Christian message, and finally whether the congregation was both increasing and retaining young people as members. The songs examined in the study revealed that the music and paramusical aspects of the songs were similar to those of contemporary popular songs. The lyrics of the songs included themes of thanks and praise to God, and as such conveyed a Christian message. Thirty percent of the worship service was devoted to music praising God, and forty-nine percent of the church’s 5,000 members in 2004, were under twenty-five years. Further, the congregation participated enthusiastically in singing, an emphasis on belonging to small groups encouraged fellowship, and sermons addressed problems relevant to young people. It is proposed that CCC provides a pattern that mainstream churches could adapt, including the encouragement of congregational singing and worship, creation of effective small groups, relevant preaching, education opportunities, and culturally appropriate music. It is clear that contemporary and culturally appropriate music has played a significant and vital role in CCC’s successful development. To attract and retain youth membership, music needs to be contemporary, and culturally appropriate, thereby filling the gap between the secular world and the church. Contemporary popular music could provide today’s song for tomorrow’s church.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Popular Music
Full Text

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36

Cataylo, Vilma May Chavez. "Musical works built on the native language to bring about musical knowledge and cultural development /". Access Digital Full Text version, 1986. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10624090.

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Thesis (Ed. D.)--Teachers College, Columbia University, 1986.
Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore Pogonowski. Bibliography: leaves 291-295.

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Kamuwanga, Liswaniso. "The role and function of music at Pretoria Central Baptist Church". Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-10252004-125517/.

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38

Rigney, Ranelle. "The hymn-book controversy of 1882". Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Hall, Margaret, i N/A. "Todays Song for Tomorrows Church: The Role Played by Contemporary Popular Music in Attracting Young People to Church". Griffith University. School of Popular Music, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070912.141700.

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This thesis is a phenomenology highlighting the phenomenon of declining youth attendance at mainstream churches where traditional church music is used in worship and the emergence of megachurches where young people are attending and contemporary popular styles of music is used in worship. An Australian Broadcasting Authority survey in 1999 revealed that music is a major influence in the lives of youth, assisting in their identity creation, in their making friends, and in relieving their stress. The survey also notes that youth prefer contemporary popular music and, in particular, rock. This is in stark contrast to the traditional music played and sung in mainstream churches, which tends to be neither meaningful nor relevant to youth, largely because they do not identify with it. An increasing proportion of youth are rejecting the mainstream traditional churches such as Anglican, Catholic, Baptist, Uniting Church. National Church Life Surveys in Australia show that by 2001, only fourteen percent of church attenders were young adults. Young non-attenders complained they found church services boring and unfulfilling. This declining youth membership does not auger well for the mainstream churchs future. It is clearly evident that, in Australian society a culture gap has emerged between the secular world and the mainstream Christian church. This thesis examines the role of contemporary popular music in attracting young people to church. Although, in comparatively recent times there has been some movement towards contemporizing worship services in mainstream churches, the change has met strong resistance, but that resistance is based on invalid arguments and the mainstream church is yet to respond effectively to the increasing culture gap and growing alienation of the young. Mainstream congregations are not adequately encouraged to participate in singing praise and thanks to God. Although the lyrics of songs that focus on thanks and praise can teach a Christian message, as well as promote an awareness of the presence of God, the importance of this aspect of worship appears to have been overlooked, even though music has always been a part of worship, with multiple biblical scriptures cementing its pivotal role. In 1980 twelve people began Christian City Church (CCC), a new church which was not one of the mainstream churches, with a vision to communicate the Christian message to the whole of Sydney. CCC used contemporary music as a vehicle to make their message relevant. That church has been strikingly successful, and had grown to five thousand members by 2004. This thesis focusses on a case study of the music of CCC to test a hypothesis that the use of contemporary popular styles of music, with a focus on thanks and praise, can play a significant role in attracting young people to join and remain as members, and that such music can be influential in communicating an experiential understanding of the Christian message. The aim of the case study was to discover whether the music was similar in style to young peoples preferred styles of music, whether they actively participated in its performance, whether it communicated to them, whether the lyrics conveyed a Christian message, and finally whether the congregation was both increasing and retaining young people as members. The songs examined in the study revealed that the music and paramusical aspects of the songs were similar to those of contemporary popular songs. The lyrics of the songs included themes of thanks and praise to God, and as such conveyed a Christian message. Thirty percent of the worship service was devoted to music praising God, and forty-nine percent of the churchs 5,000 members in 2004, were under twenty-five years. Further, the congregation participated enthusiastically in singing, an emphasis on belonging to small groups encouraged fellowship, and sermons addressed problems relevant to young people. It is proposed that CCC provides a pattern that mainstream churches could adapt, including the encouragement of congregational singing and worship, creation of effective small groups, relevant preaching, education opportunities, and culturally appropriate music. It is clear that contemporary and culturally appropriate music has played a significant and vital role in CCCs successful development. To attract and retain youth membership, music needs to be contemporary, and culturally appropriate, thereby filling the gap between the secular world and the church. Contemporary popular music could provide todays song for tomorrows church.

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Rowland, Michael L. "Adult learning through religious music in an African American church /". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951907959578.

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Moore, Laurence James. "Sing to the Lord a new song: A study of changing musical practices in the Presbyterian Church of Victoria, 1861-1901". Thesis, Australian Catholic University, 2004. https://acuresearchbank.acu.edu.au/download/55825981c46c5554a830cf2776e02713b2f8f2840796b65b0adf525817c4d717/2632941/65007_downloaded_stream_232.pdf.

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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 1861 with 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 forward-looking 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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Weber, Karl A. "What is at stake for Lutheran hymnody in a postmodern age". Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Chung, Hee Won. "A conductor's guide to the Roman liturgy /". Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11307.

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Vickers, Laura Maxey. "An annotated list of standard piano literature for use in the Christian church service /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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Trocmé, Latter Daniel. "The singing of the Strasbourg Protestants, 1523-1541". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610281.

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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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Stephenson, Mark H. "African music in the Methodist Church of Southern Africa : a case study in the Western Cape". Master's thesis, University of Cape Town, 1985. http://hdl.handle.net/11427/15673.

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This study is an appraisal of African Music within the Methodist Church of Southern Africa with particular reference to the Western Cape. I develop and amplify a pilot study 4 in order to provide a model for further research into African Music in the Methodist Church of Southern Africa. The subject has a certain topical relevance. Many Churches are not only producing new hymn books but are also experimenting with new ways of communicating the gospel through music. 5 More recently, the Africanisation committee of the C.U.C. (Church Unity Commission) directed by its convenor the Rev. E. Baartman (President Elect of the Methodist Church of Southern Africa) recommended that the C.U.C. co-ordinate research into "Black theology, African liturgy and furthermore, at the Fifth Annual Symposium on Ethnomusicology, 30 August 1984 - 1 September 1984, Alain Barker reported that "while all agreed that the international perspective the Conference provided was of great value, serious debate on how the subject should be dealt with in this country was limited to a brief discussion at the end" . Some critics felt more practical involvement in African Music should have been a part of the Conference. In other words an academic assessment needs to be grounded in practice. (a) My purpose is to determine the meaning of African Music in the Methodist Church of Southern Africa, and to show that African Music is a contact point between Church and Culture, facilitating cultural liberation. (b)I have erected a framework to order the results of my research. It may be claimed that the method of approach is in many ways novel. Field work, recording and documentation on African Music in the Methodist Church of Southern Africa has to my knowledge never been published. This research is an attempt to make a start. We need to listen to Africa. As a fourth generation Methodist Minister, where else could I begin other than in the Methodist Church? As can be expected in an exploratory study, these findings point to areas which need more investigation. African Music articulates the most viable approach to respond to both the demands of the Gospel and African Culture. The aim of this study is to promote and teach people an appreciation of African Music within the broader context of the Church. (c) In the light of this, I have attempted four things: (i) African Music in the Methodist Church of Southern Africa is located in its broader African context by an examination of the roots of the Church within the Protestant tradition. (ii) Oral evidence was collected as a basis for critical reflection. (iii) A critical reflection is undertaken on some of the issues implicit in the words and music. (iv) An attempt is made to suggest ways and means of developing African Music within the life of the Church.

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Engström, Maria. "Kheruvimskie pesnopenii︠a︡ v russkoĭ liturgicheskoĭ tradit︠s︡ii". Stockholm, Sweden : Almqvist och Wiksell International, 2004. http://books.google.com/books?id=kGw5AAAAMAAJ.

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Palionis, Solveiga. "Formation of pastoral musicians in Lithuania pastoral project : intensive one week summer course /". Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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Pott, Francis. "'An awkward reverence' : composing oneself in the 21st-century Anglican Church". Thesis, University of West London, 2008. http://repository.uwl.ac.uk/id/eprint/2322/.

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This thesis was written as the supporting reflective and contextual statement within a submission for the PhD by Publication at the University of West London (under its previous nomenclature of Thames Valley University). It refers extensively to the author/composer's body of published and/or recorded sacred choral music up to the year 2008. These items are not uploaded onto the Repository, but data on several of them can be located here.

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