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Liberty University School of Music Ministry Through LIBERTY UNIVERSITY SCHOOL OF MUSIC MINISTRY THROUGH MUSICAL PERFORMANCE: ESTABLISHING BIBLICAL, HISTORICAL, AND PEDAGOGICAL (EDUCATIONAL) PRECEDENT FOR THE CHRISTIAN PERFORMING ARTIST A THESIS PROJECT SUBMITTED TO THE FACULTY OF LIBERTY UNIVERSITY SCHOOL OF MUSIC IN CANDIDACY FOR THE DEGREE OF DOCTOR OF WORSHIP STUDIES BY LINDSEY M. GRAHAM LYNCHBURG, VA APRIL 2018 Copyright © 2018 by Lindsey M. Graham All rights reserved. ii LIBERTY UNIVERSITY SCHOOL OF MUSIC THESIS PROJECT APPROVAL SHEET VERNON M. WHALEY, PHD PAUL RUMRILL, DMA iii To my parents, Greg and Pixie Graham, who have faithfully loved me in every season of life...including this one. To God Be the Glory iv Ministry through Musical Performance: Establishing Biblical, Historical, and Pedagogical (Educational) Precedent for the Christian Performing Artist THE DOCTOR OF WORSHIP STUDIES THESIS PROJECT ABSTRACT Lindsey M. Graham Liberty University School of Music, 2018 As a performing artist, the author suggests in an “American Idol” culture, Christian artists have largely lost their identity as worshipers with a ministry of the Gospel through music. The Christian performing artist has the responsibility to commit to spiritual maturity and personal growth. This thesis project proposes the artist is a communicator of the Gospel through music and seeks to substantiate the Christian performing artist through biblical, historical, and educational rationale and precedent. Biblical rationale of the Christian performing artist is considered in Old Testament and New Testament principle and precedent. Historical rationale and precedent is established through the study of specific personalities and monumental innovations which have contributed to the development of the twenty-first century Christian performing artist. Educational rationale and precedent examines formal and non-formal educational environments where the Christian performing artist is trained and equipped as one called and set apart for service to God. The Christian performing artist is more than an artist who happens to be a Christian. The Gospel message of Jesus Christ is intertwined with the musical gifts of the artist to create the role of the Christian performing artist; one who has a ministry through performance. v Ministry through Musical Performance: Establishing Biblical, Historical, and Pedagogical (Educational) Precedent for the Christian Performing Artist BY Lindsey M. Graham vi Content Abstract .......................................................................................................................................... v Table of Contents ......................................................................................................................... vii Chapter One: Introduction ............................................................................................................. 1 Statement of the Problem and Purpose .............................................................................. 1 Statement of Limitations .................................................................................................... 2 Theoretical Basis ................................................................................................................ 3 Statement of Methodology ................................................................................................. 4 Chapter Two: Review of Literature ............................................................................................... 6 Biblical Theology Research of Worship & the Artist ........................................................ 6 Historical Research of Worship & the Artist ................................................................... 16 Pedagogical (Educational) Research of Worship & the Artist ......................................... 21 Chapter Three: Biblical Precedent for the Performing Artist ..................................................... 28 Old Testament Precedent ................................................................................................. 28 Worship Practices by Select Old Testament Personalities .................................. 28 Worship Structure and Mandate for the Old Testament Levite ........................... 32 Prophetic Nature of Music in Worship ................................................................ 35 New Testament Precedent ................................................................................................ 37 Understanding the Call ........................................................................................ 37 Spiritual Qualifications: Set Apart ....................................................................... 40 vii Precept for Spiritual Effectiveness ....................................................................... 41 Conclusion ....................................................................................................................... 44 Chapter Four: Historical Precedent for the Performing Artist .................................................... 46 The Christian Performing Artist: Pre-Reformation ....................................................... 46 The Christian Performing Artist: Reformation Insight .................................................. 49 The Christian Performing Artist: Post-Reformation ...................................................... 50 Praise and Worship Movement ...................................................................................... 58 Conclusion ..................................................................................................................... 60 Chapter Five: Pedagogical (Educational) Precedent for the Performing Artist .......................... 62 Traditional Performance Degrees: Music Studies......................................................... 62 Music Studies ................................................................................................. 62 Belmont University – Nashville, TN .............................................................. 64 Eastman School of Music – Rochester, NY .................................................... 65 University of Miami: Frost School of Music – Miami, FL ............................. 67 New Music and Worship/Commercial Degrees: Worship Studies................................ 68 Worship Studies .............................................................................................. 68 Liberty University – Lynchburg, VA ............................................................. 70 BIOLA University - La Mirada, CA ...............................................................72 Azusa Pacific University – Azusa, CA ........................................................... 73 Samford University – Birmingham, AL ......................................................... 74 viii Christian Workshops ..................................................................................................... 75 Ben Speer’s Stamps-Baxter School of Music – Nashville, TN ...................... 76 Experience Conference – Orlando, FL ........................................................... 77 National Worship Leader Conference – Nashville, TN .................................. 78 Conclusion ..................................................................................................................... 79 Chapter Six: Summary and Conclusion ....................................................................................... 80 Discoveries .................................................................................................................... 82 Conclusions ................................................................................................................... 84 Further Areas for Research ........................................................................................... 85 Bibliography ................................................................................................................................ 87 Appendix One: Power Point Presentation ................................................................................... 93 ix CHAPTER ONE: INTRODUCTION As a performing artist, the author suggests most Christian artists are committed to a certain degree of ministry through music as apparent in their professional genre. However, in an “American Idol” culture, Christian artists have largely lost their identity as worshipers with a ministry through musical performance. The Christian performing artist is more than an artist who happens to be a Christian. Biblical, historical and educational precedent points to the Christian performing artist as a communicator of the Gospel through music and, therefore, requires preparation and equipping. Spiritual preparation and personal maturation are necessary prior to platform ministry opportunities for the Christian performing artist. Statement of the Problem and Purpose The purpose of this study is to establish biblical, historical, and educational precedent for the Christian performing artist. This is accomplished through a study of Old Testament and New Testament practices, including the Levitical priest’s strict regulatory laws, historical example, especially as related to the great revival movements of 1858-1890 and 1920-1950, and educational example of select universities, colleges and trade-sponsored workshops. The author suggests the Christian performing artist exhorts and teaches within the body of Christ and seeks to develop the principle through this research
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