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Sing! has grown from Keith and Kristyn Getty’s passion for congregational singing; it’s been formed by their traveling and playing and listening and discussing and learning and teaching all over the world. And in writing it, they have five key aims: • to discover why we sing and the overwhelming joy and holy privilege that comes with singing • to consider how singing impacts our hearts and minds and all of our lives • to cultivate a culture of family singing in our daily home life • to equip our churches for wholeheartedly singing to the Lord and one another as an expression of unity • to inspire us to see congregational singing as a radical witness to the world They have also added a few “bonus tracks” at the end with some more practical suggestions for different groups who are more deeply involved with church singing. God intends for this compelling vision of His people singing—a people joyfully joining together in song with brothers and sisters around the world and around his heavenly throne—to include you. He wants you,he wants us, to sing.
This book updates and expands on decades of experience from Dr. Whaley's notable ministry in worship and music studies. These inseperable dual elements in the life of the Church are enhanced by his biblically based insights for practical instruction to renew thier function in the local church . Designed for music and worship leaders, vocalists, instrumentalists, and the congregation at large. This study course will be helpful helpful and enouraging , regardless of the church's worship style.
In The Spirit of Praise, Monique Ingalls and Amos Yong bring together a multidisciplinary, scholarly exploration of music and worship in global pentecostal-charismatic Christianity at the beginning of the twenty-first century. The Spirit of Praise contends that gaining a full understanding of this influential religious movement requires close listening to its songs and careful attention to its patterns of worship. The essays in this volume place ethnomusicological, theological, historical, and sociological perspectives into dialogue. By engaging with these disciplines and exploring themes of interconnection, interface, and identity within musical and ritual practices, the essays illuminate larger social processes such as globalization, sacralization, and secularization, as well as the role of religion in social and cultural change. Aside from the editors, the contributors are Peter Althouse, Will Boone, Mark Evans, Ryan R. Gladwin, Birgitta J. Johnson, Jean Ngoya Kidula, Miranda Klaver, Andrew Mall, Kimberly Jenkins Marshall, Andrew M. McCoy, Martijn Oosterbaan, Dave Perkins, Wen Reagan, Tanya Riches, Michael Webb, and Michael Wilkinson.
Contemporary worship music shapes the way evangelical Christians understand worship itself. Author Monique M. Ingalls argues that participatory worship music performances have brought into being new religious social constellations, or "modes of congregating". Through exploration of five of these modes--concert, conference, church, public, and networked congregations--Singing the Congregation reinvigorates the analytic categories of "congregation" and "congregational music." Drawing from theoretical models in ethnomusicology and congregational studies, Singing the Congregation reconceives the congregation as a fluid, contingent social constellation that is actively performed into being through communal practice--in this case, the musically-structured participatory activity known as "worship." "Congregational music-making" is thereby recast as a practice capable of weaving together a religious community both inside and outside local institutional churches. Congregational music-making is not only a means of expressing local concerns and constituting the local religious community; it is also a powerful way to identify with far-flung individuals, institutions, and networks that comprise this global religious community. The interactions among the congregations reveal widespread conflicts over religious authority, carrying far-ranging implications for how evangelicals position themselves relative to other groups in North America and beyond.
How music makes worship and how worship makes music in Evangelical churches Music is a nearly universal feature of congregational worship in American churches. Congregational singing is so ingrained in the experience of being at church that it is often misunderstood to be synonymous with worship. For those who assume responsibility for making music for congregational use, the relationship between music and worship is both promising and perilous – promise in the power of musical style and collective singing to facilitate worship, peril in the possibility that the experience of the music might eclipse the worship it was written to facilitate. As a result, those committed to making music for worship are constantly reminded of the paradox that they are writing songs for people who wish to express themselves, as directly as possible, to God. This book shines a new light on how people who make music for worship also make worship from music. Based on interviews with more than 75 songwriters, worship leaders, and music industry executives, Shout to the Lord maps the social dimensions of sacred practice, illuminating how the producers of worship music understand the role of songs as both vehicles for, and practices of, faith and identity. This book accounts for the human qualities of religious experience and the practice of worship, and it makes a compelling case for how – sometimes – faith comes by hearing.
Are you passionate to know what the Bible says about worship and music? Confused by the myriad voices trumpeting their opinions about worship and music? This book not only gives you a Genesis to Revelation concordance of passages dealing with worship and music but also explores many texts critical for the church today. Practical and heartfelt applications from a pastor's heart punctuate the book, always with an eye to the final authority, the inspired Word of God. "What saith the Scriptures? Many preferences and opinions have been expressed, but the important source has not always been considered. Dr. Kurtz makes clear principles and patterns of music in worship that we need to make basic and should keep primary as we endeavor to honor God." - Dr. Warren Vanhetloo, Retired Seminary Dean "It is with great joy and excitement that I heartily recommend Brother Dean Kurtz's book to all pastors and musicians! We have been longing for, desperately needing an exegetical study of music and worship from the Word of God. You will find his insights right on target, his theological perspectives sound and his musical expertise encouraging. Your heart will be blessed." -Dr. Robert Loggans, Senior Pastor, Calvary Baptist Church, Watertown, WI Dean Kurtz, (BS Music Education; BS Bible; MA Sacred Music; Doctor of Ministry) has been passionate to communicate the Word about worship and music for over twenty-five years. His heart for ministry has taken him to classrooms and churches on five continents teaching and preaching to elementary students through seminarians. After twenty-five years at Calvary Baptist Church, Lansdale, PA, Pastor Dean currently serves Calvary Baptist Church, Watertown, WI. He also teaches as adjunct professor at Maranatha Baptist Bible College. He and his wife Brenda have two daughters. For more information on worship and music visit worshipintheword.org.
Contending that much of the confusion about the music issue is primarily a theological misunderstanding, Aniol discusses such issues as what does Sola Scriptura really mean?, the nature of biblical affections, the essence of biblical worship, and the purpose of music in the church. Cultural issues discussed include meaning in music, the nature of pop culture, and different kinds of emotion. --from publisher description.
Easter Sunday, 2009, was the Sunday heard ‘round the evangelical internet: NewSpring Church, the second-largest church in the Southern Baptist Convention and among the top one hundred largest churches in the US, had begun their service with the song “Highway to Hell” by hard rock band AC/DC. They had brazenly crossed the sacred/secular musical divide on the most important Sunday of the year, and commentary abounded on the value of such a step. Many were offended at the “desecration” of such a holy day, deriding Newspring as the “theater of the absurd.” Others cheered NewSpring’s engagement with “the culture” and suggested that music could be used to convert non-Christians. No mere debate over stylistic preferences, many expressed that foundational aspects of evangelical identity were at stake. While many books have been written about religious music that utilizes popular music styles (a.k.a. “contemporary Christian music”), there has yet to be a scholarly treatment of how and why popular, secular music is utilized by churches. This book addresses that lacuna by examining this emerging trend in evangelical and “emerging” churches in America. What is the motivation behind using music that seemingly has no connection to Christian theology, values, or themes—such as music by Katy Perry, AC/DC, or Van Halen—and what can we learn about post-denominational evangelical churches in America by uncovering these motives? In this book, April Stace uncovers several themes from an ethnographic study of these churches: the increasingly-porous boundary between the sacred and the secular, the importance placed on “authenticity” in contemporary American culture, how evangelicals are responding to what they perceive is an increasingly-secular society, the “turn to the subject” of contemporary culture, the desire to leave a space for expression of doubt in the worship service without fully authorizing that doubt, and the individualization of the construction of religious identity in the modern era.
"The opening section of "Music and the Arts in Christian Worship" offers an overview of the current worship practices of most of the major denominations in this country, each prepared by a person active in that particular church. Read individually, they furnish a wealth of fresh ideas; collectively, they give evidence that, while each denomination remains theologically focused on its tradition and centers its worship on the familiar, there is hardly one which is not actively re-examining its worship philosophy and experimenting with new forms, music, and visual art. Style is becoming more and more eclectic, and there is a healthy regard for the special contribution that every individual may make. Worship, once almost the property of the officiating clergyman rigorously hewing to a prescribed pattern, has rightly become the responsibility of every person." " Philip Beggrov Peters, Professor Emeritus, University of Michigan