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This book examines the influence of music on the development of the Church of God (Cleveland, Tennessee). This narrative is historically driven, but relies upon an interdisciplinary approach to draw on the insights of ecclesiology, theology, liturgiology, church development, and especially music. This study utilizes a chronological and systematic approach to the relationship between music and the Church of God in the United States during the first 125 years of the denomination’s history, from 1886 to 2011. For over a century, music has been an often-neglected dialogue partner at the table of academic discussion and this research argues for recognition and a proper place in Pentecostal history. Along with primary and secondary sources, the important element of “living archives” is investigated in this work; these are interviews with people who participated in historical music events in the Church of God. The book also relies upon musical examples to explore the influence of music upon the shaping of the denomination’s history and theology.
Shares uplifting advice about the virtues of forgiveness, offering strategic and biblically based advice on how to achieve peace and personal fulfillment by letting go of past wrongs.
During the 1980s an explosion of Pentecostalism across Latin America attracted considerable attention among sociologists, political scientists and regional experts, eventually spreading to other academic disciplines. Indeed, ongoing spectacular growth and the social and political impact of the movement have strongly challenged secularization theory. Yet while studies exploring the phenomenon are plentiful, many limit their analysis to a single country, issue or the perspective of a particular discipline. Thus, this edited volume provides readers with a multidisciplinary and continent-wide treatment of the nature and effects of Latin American Pentecostalism (including a theological analysis, notably absent in most studies) by various experts with published work in the field, and as such represents an important contribution to the current literature.
Ukah describes with great historical and sociological incisiveness one of the prime movers of this transformation, the Redeemed Christian Church of God (RCCG), which has more than 10,000 congregations in more than 80 countries around the world.
The Oxford Handbook of Music and World Christianities investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book's contributors, while mostly rooted in ethnomusicology, examine Christianities and their musics in methodologically diverse ways, engaging with musical sound and structure, musical and social history, and ethnography of music and musical performance. These broad materials explore five themes: music and missions, music and religious utopias (and other oppositional religious communities), music and conflict, music and transnational flows, and music and everyday life. The volume as a whole, then, approaches Christian groups and their musics as diverse and powerful windows into the way in which music, religious ideas, capital, and power circulate (and change) between places, now and historically. It also tries to take account of the religious self-understandings of these groups, presenting Christian musical practice and exchange as encompassing and negotiating deeply felt and deeply rooted moral and cultural values. Given that the centerpiece of the volume is Christian religious musical practice, the volume reveals the active role music plays in maintaining and changing religious, moral, and cultural values in a long history of intercultural and transnational encounters.
A book containing everything needful for gospel meetings, Sunday schools, revival services, young peoples' societies, prayer and praise services, the home. The best of the old hymns, the latest of the new.
Comprehensive and richly illustrated, Close Harmony traces the development of the music known as southern gospel from its antebellum origins to its twentieth-century emergence as a vibrant musical industry driven by the world of radio, television, recordings, and concert promotions. Marked by smooth, tight harmonies and a lyrical focus on the message of Christian salvation, southern gospel--particularly the white gospel quartet tradition--had its roots in nineteenth-century shape-note singing. The spread of white gospel music is intricately connected to the people who based their livelihoods on it, and Close Harmony is filled with the stories of artists and groups such as Frank Stamps, the Chuck Wagon Gang, the Blackwood Brothers, the Rangers, the Swanee River Boys, the Statesmen, and the Oak Ridge Boys. The book also explores changing relations between black and white artists and shows how, following the civil rights movement, white gospel was influenced by black gospel, bluegrass, rock, metal, and, later, rap. With Christian music sales topping the $600 million mark at the close of the twentieth century, Close Harmony explores the history of an important and influential segment of the thriving gospel industry.
This is book four of a six volume series that focuses on the salvation experiences of the people called Nazarenes. This book covers the years 1895-1928. We examine every book of theology used in the Ministerial Course of Studies. We examine the hymnals used and songs sung during each period of Nazarene history. We listen to the testimonies of the people involved. We discuss the liturgy and worship patterns. We ask scores of “Crazy Good Questions” for discussions. The book includes hundreds of Scripture verses and references to over two hundred academic journals and articles on Nazarene theology.