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"Christian musicians know of the obligation to make music as agents of God's grace. They make music graciously, whatever its kind or style, as ambassadors of Christ, showing love, humility, servanthood, meekness, victory, and good example . . . Music is freely made, by faith, as an act of worship, in direct response to the overflowing grace of God in Christ Jesus." Co-sponsored by the Christian College Coalition, this thought-provoking study of music-as-worship leads both students and experienced musicians to a better understanding of the connections between music making and Christian faith. "Christian music makers have to risk new ways of praising God. Their faith must convince them that however strange a new offering may be, it cannot out-reach, out-imagine, or overwhelm God. God remains God, ready to swoop down in the most wonderful way, amidst all of the flurry and mystery of newness and repetition, to touch souls and hearts, all because faith has been exercised and Christ's ways have been imitated. Meanwhile, a thousand tongues will never be enough." Best relates musical practice to a larger theology of creation and creativity, and explores new concepts of musical quality and excellence, musical unity, and the incorporation of music from other cultures into today's music.
How do contemporary audiences engage with sacred music and what are its effects?
Experience daily the timeless truths contained in the many celebrated songs of the Christian faith. Each day's devotional includes the text of a classic hymn or song, the inside story about the author or origin of the song, and a related Scripture passage. Be refreshed and strengthened each day by the mighty words that have uplifted God's people through the ages.
This book is a study of music inculturation in Indonesia. It shows how religious expression can be made relevant in an indigenous context and how grassroots Christianity is being realized by means of music. Through the discussion of indigenous expressions of Christianity, the book presents multiple ways in which Indonesians reiterate their identity through music by creatively forging Christian and indigenous elements. This study moves beyond the discussion (and charge) of syncretism, showing that the inclusion of local cultural manifestations is an answer to creating a truly indigenous Christian expression. Marzanna Poplawska, while telling the story of Indonesian Christians and the multiple ways in which they live Christianity through music, emphasizes the creative energy and agency of local people. In their practices she finds optimism for the continuing existence of many traditional genres and styles. Indonesian Christians perform their Christian faith through music, dance, and theater, generating innovative cultural products that enrich the global Christian heritage. The book is addressed to a broad spectrum of readers: scholars from a variety of disciplines – music, religion, anthropology, especially those interested in interactions between Christianity and indigenous cultures; general music lovers and World Music enthusiasts eager to discover musics outside of European realm; as well as Christian believers, church musicians, and choir directors curious to learn about Christian music beyond Euro-American context. Students of religion, sacred music, (ethno)musicology, theater, and dance will also benefit from learning about a variety of indigenous arts employed in Christian churches in Indonesia.
This is a compelling and inspiring look at spiritual beliefs that influenced some of the world's greatest composers, now revised and expanded with eight additional composers.
Music has been at the heart of Christian worship since the beginning, and this lavishly illustrated and wonderfully written volume fully surveys the many centuries of creative Christian musical experimentation. From its roots in Jewish and Hellenistic music, through the rich tapestry of medieval chant to the full flowering of Christian music in the centuries after the Reformation and the many musical expressions of a now-global Christianity, Wilson-Dickson conveys 'a glimpse of the fecundity of imagination with which humanity has responded to the creator God.' Book jacket.
Seven years in development, Singing the Faith is authorised by the Methodist Conference and replaces Hymns and Psalms, published almost 30 years ago. Containing the classic, best loved hymns of the Christian tradition it also incorporates many bold and exciting elements including hymns, songs and liturgical chants from the world church.
Music, Education, and Religion: Intersections and Entanglements explores the critical role that religion can play in formal and informal music education. As in broader educational studies, research in music education has tended to sidestep the religious dimensions of teaching and learning, often reflecting common assumptions of secularity in contemporary schooling in many parts of the world. This book considers the ways in which the forces of religion and belief construct and complicate the values and practices of music education—including teacher education, curriculum texts, and teaching repertoires. The contributors to this volume embrace a range of perspectives from a variety of disciplines, examining religious, agnostic, skeptical, and atheistic points of view. Music, Education, and Religion is a valuable resource for all music teachers and scholars in related fields, interrogating the sociocultural and epistemological underpinnings of music repertoires and global educational practices.
For students and scholars in American music and religious studies, as well as for church musicians, this book is the first to study the ways in which music shapes the distinctive presence of religion in the United States. The sixteen essayists' contributions to this book address the fullness of music's presence in American religion and religious history.
Christian Congregational Music explores the role of congregational music in Christian religious experience, examining how musicians and worshippers perform, identify with and experience belief through musical praxis. Contributors from a broad range of fields, including music studies, theology, literature, and cultural anthropology, present interdisciplinary perspectives on a variety of congregational musical styles - from African American gospel music, to evangelical praise and worship music, to Mennonite hymnody - within contemporary Europe and North America. In addressing the themes of performance, identity and experience, the volume explores several topics of interest to a broader humanities and social sciences readership, including the influence of globalization and mass mediation on congregational music style and performance; the use of congregational music to shape multifaceted identities; the role of mass mediated congregational music in shaping transnational communities; and the function of music in embodying and imparting religious belief and knowledge. In demonstrating the complex relationship between ’traditional’ and ’contemporary’ sounds and local and global identifications within the practice of congregational music, the plurality of approaches represented in this book, as well as the range of musical repertoires explored, aims to serve as a model for future congregational music scholarship.