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Christian Rock Concerts As a Meeting Between Religion and Popular Culture
ANDREAS HAGER Christian Rock Concerts as a Meeting between Religion and Popular Culture Introduction 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.1 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 music industry. 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. The research context of the study is, on the one hand, the sociology of religion, and on the other, the small but growing field of the study of religion and popular culture. The sociology of religion discusses the role and posi- tion of religion in contemporary society and culture. The duality of Chris- tian rock and Christian rock concerts, being part of both a traditional religion and a modern medium and business, is understood here as a concrete exam- ple of the relation of religion to modern society. The study of the relations between religion and popular culture seems to have been a latent field within research on religion at least since the 1970s, when the possibility of the research topic was suggested in a pioneer volume by John Nelson (1976). -
Contemporary Christian Music and Oklahoma
- HOL Y ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS By BOBBI KAY HOOPER Bachelor of Science Oklahoma State University Stillwater, Oklahoma 1993 Submitted to the Faculty of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE August, 2003 HOLY ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS Thesis Approved: ------'--~~D...e~--e----- 11 ACKNOWLEDGEMENTS My sincere appreciation goes out to my adviser. Dr. Jami A. Fullerton. for her insight, support and direction. It was a pleasure and privilege to work with her. My thanks go out to my committee members, Dr. Stan Kerterer and Dr. Tom Weir. ""hose knowledge and guidance helped make this publication possible. I want to thank my friend Matt Hamilton who generously gave of his time 10 act as the moderator for all fOUf of the focus groups and worked with me in analyzing the data. ] also want to thank the participants of this investigation - the Christian college students who so willingly shared their beliefs and opinions. They made research fun r My friends Bret and Gina r.uallen musl nlso be recognii'_cd for introducing me !(l tbe depth and vitality ofChrislian music. Finally. l must also give thanks to my parents. Bohby and Helen Hoopc,;r. whose faith ,md encouragement enabled me to see the possibilities and potential in sitting down. 111 - TABLE OF CONTENTS Chapter Page 1. INTRODUCTION Overview ofThesis Research Problem 3 Justification Definition ofTerms 4 [I. LITERATURE REVIEW 5 Theoretical Framework 6 Uses and Gratifications 6 Media Dependency 7 Tuning In: Popular Music Uses and Gratifications 8 Bad Music, Bad Behavior: Effects of Rock Music 11 The Word is Out: Religious Broadcasting 14 Taking Music "Higher": ('eM 17 Uses & Gratifications applied to CCM 22 111. -
An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-21-2019 An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Music Business Commons An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts By Megan Marie Carlan Arts and Entertainment Management Dr. Theresa Lant Lubin School of Business August 21, 2019 Abstract Ranging from inspirational songs void of theological language to worship music imbued with overt religious messages, Contemporary Christian Music (CCM) has a long history of being ill-defined. Due to the genre’s flexible nature, many Christian artists over the years have used vague imagery and secular lyrical content to find favor among mainstream outlets. This study examined the most recent ten-year period of CCM to determine its ability to cross over into the mainstream music scene, while also assessing the impact of its lyrical content and genre on the probability of reaching such mainstream success. For the years 2008-2018, Billboard data were collected for every Christian song on the Hot 100, Hot Rock Songs, or Hot Country Songs in order to detect any noticeable trend regarding the rise or fall of CCM; each song then was coded for theological language. No obvious trend emerged regarding the mainstream success of CCM as a whole, but the genre of Rock was found to possess the greatest degree of mainstream success. Rock also, however, was shown to have a very low tolerance for theological language, contrasted with the high tolerance of Country. -
Christian Heavy Metal Music, “Family Values,” and Youth Culture, 1984–1994
Metal Missionaries to the Nation | 103 Metal Missionaries to the Nation: Christian Heavy Metal Music, “Family Values,” and Youth Culture, 1984–1994 Eileen Luhr n June 26, 1987, members of the Christian metal band Stryken attended a Motley Crüe concert in San Antonio, Texas. It was not Ouncommon for Christian bands to attend secular concerts; indeed, many bands explained that they did so in order to keep current on musical trends. But Stryken arrived at the show ready for confrontation. According to the Christian metal magazine White Throne, the band, “wearing full suits of armor . and bearing a 14 x 8 foot wooden cross,” “stormed the doors of the arena, pushing through the crowds of teenagers and television cameras down the corridor towards the inlet to the main stage.” At this point, the “boys in armor” erected the cross and “began to preach to the massed [sic] of kids who were gathering all around.” The authorities quickly intervened, and, “ordered to remove ‘the cross’ or face arrest, the members of Stryken continued to speak openly about Jesus Christ, and were one by one hand-cuffed and forcibly removed from the arena.”1 Stryken’s actions—which invoked the persecuted early Christians described in the Acts of the Apostles—offer some insights into Christian metal during the 1980s. Motley Crüe’s music and the lifestyle of its members were designed to shock middle America, but the band had become one of the most successful acts of the 1980s. By upstaging Motley Crüe’s over-the-top behavior with their bold act, Stryken attempted to claim heavy metal’s reputation for outrageousness for Christianity. -
Rock-A My Soul Is a Most Engaging Handbook for All Whose Faith Is Intertwined with Popular Music
“Rock-a My Soul is a most engaging handbook for all whose faith is intertwined with popular music. In friendly prose for seekers of all kinds, David Nantais shows that concert halls and music collections are the postmodern mangers where new and enduring spiritual identities are being born. And to this scene of new birth he comes bearing guitars, drums, bass—and a vivid appreciation for the importance of mystery and mystical experience. An impassioned traveling companion!” — Tom Beaudoin Associate Professor of Theology Fordham University “A tension between the worldly and the spiritual has existed in rock ’n’ roll since its foundations in African-American spirituals, gospel, and blues music. But for Catholic drummer Nantais, the very music often feared by religious folk has served as both balm and outlet to help him understand God. In this short, first-person musing, Nantais argues that ‘theology can be done through music,’ encouraging Christians to see rock ’n’ roll as a ‘mode of theological expression.’ Setting aside contemporary Christian music (which he says is not the only way to marry rock and religion), he argues that mainstream rock has many virtues: community building and transcendent elements, meditative qualities, expression of emotion. Nantais admits to some less edifying aspects of rock (e.g., segregated crowds at rock music venues, ties to consumerism). He also chooses not to address a major sticking point for some—offensive lyrics— and so may not be able to convince every reader of rock’s merits. Despite that, his enthusiasm for mix tapes and chord progressions is infectious. Christians will learn to find God in a rock concert, and lovers of all things drum and guitar will find spiritual validation.” — Publishers Weekly “David Nantais is, hands down, one of the best young writers on Christian spirituality: inviting, inventive, and insightful. -
Rock & Roll's War Against
Rock & Roll’s War Against God Copyright 2015 by David W. Cloud ISBN 978-1-58318-183-6 Tis book is published for free distribution in eBook format. It is available in PDF, Mobi (for Kindle, etc.) and ePub formats from the Way of Life web site. See the Free eBook tab at www.wayofife.org. We do not allow distribution of our free books from other web sites. Published by Way of Life Literature PO Box 610368, Port Huron, MI 48061 866-295-4143 (toll free) - [email protected] www.wayofife.org Canada: Bethel Baptist Church 4212 Campbell St. N., London Ont. N6P 1A6 519-652-2619 Printed in Canada by Bethel Baptist Print Ministry ii Table of Contents Introduction ...........................................................................1 What Christians Should Know about Rock Music ...........5 What Rock Did For Me ......................................................38 Te History of Rock Music ................................................49 How Rock & Roll Took over Western Society ...............123 1950s Rock .........................................................................140 1960s Rock: Continuing the Revolution ........................193 Te Character of Rock & Roll .........................................347 Te Rhythm of Rock Music .............................................381 Rock Musicians as Mediums ...........................................387 Rock Music and Voodoo ..................................................394 Rock Music and Insanity ..................................................407 Rock Music and Suicide ...................................................429 -
The Christian and Rock Music
THE CHRISTIAN AND ROCK MUSIC A STUDY OF BIBLICAL PRINCIPLES OF MUSIC This book is authored by seven scholars and constists of 14 chapters Chapter 1 AN OVERVIEW OF THE MUSIC DEBATE by Samuele Bacchiocchi "To rock or not to rock," this is the critical question rocking many Christian churches today, including an increasing number of Seventh-day Adventist churches. A generation ago there was almost universal agreement that rock music, in whatever version, was inappropriate for personal and church use. At that time, young people who wanted to listen to the "worldly music" had to look for a hiding place, away from the hearing of their parents, teachers, and even some of their friends. Today, if a Christian teenager wants to listen to the same "worldly music"–and in many cases much worse–he can do so with the encouragement of his family, church, Christian school, and friends. It is not uncommon to hear rock music blaring out of dormitory rooms in Adventist academies and colleges. Frankly, I must confess that it was only during 1999 that I became aware of the increasing popularity of "Christian" rock in Adventist churches. Some may quip that I must have been living on the moon. Perhaps it is true. I have been so absorbed with my research, writing, and lecturing that I have failed to observe the new musical development in my own Adventist church. This may be partly due also to the fact that until 1999 in my itinerant ministry around the world, I had not been confronted with actual rock bands playing in Adventist churches before I preach. -
A Sociological Analysis of Christian Contemporary Music and Aural Piety
“FAITH COMES BY HEARING”: A SOCIOLOGICAL ANALYSIS OF CHRISTIAN CONTEMPORARY MUSIC AND AURAL PIETY __________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board __________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Courtney Sorrell Tepera August 2017 Examining Committee Members: Lucy Bregman, Advisory Chair, TU Department of Religion Terry Rey, TU Department of Religion David Harrington Watt, TU Department of History Dustin Kidd, External Member, TU Department of Sociology © Copyright 2017 by Courtney Suzanne Sorrell Tepera ____________________________ All rights reserved iii ABSTRACT Over the past fifty years, Christian contemporary music has joined hymnody and psalmody as a major form of evangelical liturgical and devotional song. While the production and content of this genre have been explored by scholars, few studies have attended to the devotional use of the genre and its role in shaping the religious lives of American evangelicals. This project draws from several sets of data to address this matter: analysis of church-created worship music albums, listener testimonials on Christian radio websites, and focus group interviews of laity and clergy at four South Carolina churches. The data revealed that music is significant to their religious lives outside of church as a means of encountering God, managing emotions, and displaying spiritual capital. Inside churches, the music is used to create a sense of corporate identity that reinforces social bonds within the community and attracts newcomers. Drawing on the methodological framework of Pierre Bourdieu’s theory of practice and his work on social distinction, I argue that American evangelicals who listen to Christian contemporary music are engaged in aural piety, a set of practices, attitudes, and ideas invested in music that structure and evoke the experience of the sacred. -
Sacred Metalcore: a Worship, Culture, & Missiology Study of the Christian Metal Scene
Sacred Metalcore: A worship, culture, & missiology study of the Christian metal scene by Paul T. Lattimer A capstone project submitted in partial fulfillment of graduating from the Academic Honors Program at Ashland University December 2012 Faculty Mentor: Dr. Craig Hovey, Assistant Professor of Religion Additional Reader: Dr. Sue Dickson, Assistant Professor of Religion Lattimer i ©2012 Paul Lattimer All Rights Reserved Lattimer ii Abstract My argument is that the Christian faith can be legitimately enacted within the subculture context of the modern metal music scene. Specifically, I survey important pieces of literature about both the secular and the sacred versions of the metal scene and examine how the Christian faith is put into practice within the scene in terms of worship style and evangelistic tactics. Some object that the metal scene is not fit for Christian practice because of its historical linkage with devil worship, explicit sexual references, profane language, rebellious attitude, violence, and church burnings, but I argue that the redemptive power of Christ and the Godhead is powerful enough to redeem a broken music scene and transform it into a new creation that can bring honor, glory, and praise to the one true God. In addition to surveying the scene and arguing for the legitimacy of it, I also discuss the pros and cons that accompany the translation of the Christian faith into a different cultural context. In the end, I determine that, while the Christian metal scene is not your traditional, Sunday morning church service, the scene is a legitimate form of Christian expression that must be carried out with care and caution because of the gravity and responsibility that accompanies bringing the gospel into a new realm. -
Everett Rock Band/Musician List "B" Last Update: 6/28/2020
Everett Rock Band/Musician List "B" Last Update: 6/28/2020 "B" List for Bands/Musicians Genre* From & Genre B and Not B P San Francisco Pop B Foundation R South California surf roots / rock B Rich H RB Rp P Tacoma Rap / hip hop, RnB, rap / pop B.O.S.S. B RB CR NW Blues, R&B, Classic rock B.U.D. Rp I H Kent Rap / Indie / Hip Hop Babraham Lincoln (A Wayne's World tribute band) R Seattle Rock Baby and the Nobodies R Olympia Rock Baby Blonde CR R P Seattle High Energy Classic to Modern Rock & Pop Baby Cakes RB B Fk Bellingham Rhythm & Blues, Funk and Soul Baby Gramps B J Seattle Blues / Jazz / Roots Music Baby Island R Langley Rock Babylon Pk Seattle Punk Bach in the Subways Cl NY Classical Bach To Rock Cl CR Redmond Music School MIAMI - COLOMBIA - VENEZUELA - JAMAICA - Bachaco L Ra Sk PUERTO RICO, Latin / Reggae / Ska Bachelor No.4 Al Anacortes Alternative BACK ALLEY HOOLIGANS Pk San Diego CA Punk Back Burner A BG Seattle Acoustic Bluegrass Back From Blind Al R Bremerton Alternative / Rock Back In The Saddle a Tribute to Aerosmith CR Phoenix Classic Rock Back Porch Blues B Everett Blues Back to Zero Pk M R Hollywood CA Punk / Metal / Rock Seattle/Tacoma (Radiohead Tribute) Alternative / Rock / Backdrifters Al R Ex Experimental Background Noise B Snohomish's Blues / Classic Rock Backroad Burial M Lake Stevens Metal Backseat Driver R CR Seattle Rock / Classic Rock Backstreet Jellyroll - The music of Van Morrison CR From? Classic Rock Backup Razor R Pk Santa Cruz / San Francisco Rock / Punk BACKWALL JB Gn Al R Seattle/Kitsap Jam / Grunge / -
Rockmusic.Pdf
InsideInsideRockRock MusicMusic Inside InsideRockRock MusicMusic In i Roc sde k VANCE FERRELL u n M si I s d eRoc c i k Mus i c Violence Drug overdose Hypnotic trance Licentiousness Demonic control Murder Backward masking Escaping the addiction Evolution Facts, Inc. EF-761 Inside Rock Music by Vance Ferrell Published by Evolution Facts, Inc. Altamont, TN 37301 USA Printed in the United States of America Cover and Text Copyright © 2006 “There is a way that seemeth right unto a man, but the end thereof are the ways of death.” —Proverbs 16:25 “Rock music can make it easy for you to go somewhere you want to go, but know you shouldn’t.”—Lawson, Rock is Here! p. 70. “The same exact rhythms are used in each of the three religions named above, in African and Indian music, in rock music, and in music used in meetings of faith healers. The god comes, whenever he is called by anyone using those rhythms . “Does the god come to celebration-type wor- ship services, when the god’s rhythm is played in Christian rock music, even though the people present do not realize that they are calling a god? There is quite a strong consensus that the god does come.”—Demon Possession and Music, by Dr. Juanita McElwain. Additional copies: For additional copies of this book at remark- ably low prices in boxful quantities, write to Evolution Facts, Inc., Altamont, TN 37301. When you write, ask for a copy of our “General Book Order Sheet,” containing low-cost boxful prices of this and other books, such as Evolution Cruncher, Evolution Handbook, Sci- ence vs. -
Celebrating 25 Years of Christian Heavy Metal
CELEBRATING 25 YEARS OF CHRISTIAN HEAVY METAL + RESURRECTION BAND | GRAVE FORSAKEN | SINBREED | MASS | THE TOP 100 CHRISTIAN METAL ALBUMS OF ALL TIME LIST AVAILABLE NOW 4 SUBSCRIBE TO HEAVEN'S metal. SEND $9.99 TO POB 367, HUTTO TX 78634 OR GO ONLINE at HMMAG.COM/HEAVensmetal 29 HEAVEN’S METAL FANZINE EDITORIAL TEAM: Chris Beck, Keven Crothers, Chris Gatto, Mark Blair Glunt, Loyd Harp, Johannes Jonsson, Mike Larson, Jeff McCormack, Steve Rowe, Jonathan Swank, Doug Van Pelt, Todd Walker myspace.com/heavensmetalmagazine THROWING DOWN THE GAUNTLET Advertising/Editorial Info: [email protected] | 512.989.7309 | 1660 CR 424, Taylor TX 76574 By Steve Rowe Copyright © 2010 Heaven’s Metal (TM) All rights reserved. BEING REAL METAL TRACKS I had the privilege last week of being at a great outback Australia. John Smith is the president of News bullets Christian blues and gospel concert here in God’s Squad Christian Biker Ministry, who also Hard-news-for-metal-heads Melbourne, Australia. The Glenn Kaiser Band, Steve reaches out to the disadvantaged and homeless. Grace and John Smith. In 1984, it was the prayers This was a concert like no other. John spoke, and of my parents and wisdom of a church youth pastor then Glenn played some songs. The message and The Burial will be releasing their Strike First debut that brought about my turn back towards living for music was real and passionate. Steve Grace played album The Winepress on August 17th. You can hear and following Jesus with my whole life. two exclusive streaming tracks from the album this some songs and inspired the crowd once again week on Alternative Press and Hails and Horns.