Biblical and Theological Rationale for Discipling Worship Leaders
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PRAISE and WORSHIPPERS
PRAISE and WORSHIPPERS Leen La Rivière Volume 3 in the series Biblical Principles 1 PRAISE & WORSHIPPERS Biblical principles for praise and worship ® Leen La Rivière 2 © Continental Sound/Christian Artists p.a. Continental Art Centre, P.O. Box 81065, 3009 GB Rotterdam, The Netherlands, [email protected], www.continentalsound.org; [email protected] First edition Copyright ISBN: ISBN: 978907695-9276 Distribution: Continental Sound Music, Rotterdam Typesetting: Lisanne de Vlieger Layout & design: Willem La Rivière Translation: Arachne van der Eijk Editing: Lindsay Jones With thanks to: CJR (Cultural Youth Council), Guido Verhoef, Gerard Bal, Hans Savert, Rev. Piet de Jong, Mirjam Feijer, Prof. Roel Kuiper. Scripture quotations taken from the HOLY BIBLE, NEW INTERNATIONAL VERSION Copyright © 1973, 1978, 1984 by International Bible Society Used by permission of Hodder & Stoughton Ltd.. a member of the Hodder Headline Plc Group. All rights reserved “NIV” is a registered trademark of International Bible Society. UK trademark number 1448790. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilm or otherwise, without the prior written permission of Continental Sound/Christian Artists/CNV- Kunstenbond, with due regard to the exceptions laid down in the Copyright Act. This book is Volume 3 in the series Biblical Principles. 3 PREFACE Before you start reading this book, the following is worth noting. The usual approach to a book like this would be to consider what the life of a believer is like, what attitude a believer takes towards God and, on this basis, what attitude she/he takes to life. -
© 2002 by Mark Hayes. All Rights Reserved. Training Local Church Musicians 2
Training Local Church Musicians by Mark Hayes Addressing the Association of Christian College Music Educators Annual Convention at Ozark Christian College, Joplin, Missouri September 20, 2002 Today we are at a crossroads in the field of Christian music education and local church music ministry. You, as music educators and future music educators are helping to shape what ministry will look like tomorrow. Will it be a vibrant, evolving witness of God’s love in society or will be it an institutionalized “party-line” mentality that is safe, comfortable, and oftentimes irrelevant? The signs of change are everywhere in our churches, seminaries and universities. Churches are experiencing the birth of new forms of worship and grieving the death of old patterns and traditions. Independent church growth consultants urge us to do one thing while denominational leaders may have another idea. Seminaries and Christian colleges struggle to include contemporary Christian music within a curriculum that has been devoted to the study of classical music for decades. When each student graduates from seminary or a Christian college, he or she leaves with a template for ministry that will supposedly equip him or her to handle what happens out there in “real life.” But does it? Are we as music educators really providing them with the tools to face a constantly changing ministry scene? Right up front, I want to say that I have never served in a full-time church position. For the last 22 years I have been self- employed as an arranger, composer, and producer of music, primarily for the church. -
Texas Music Office (512)
Missouri – Mobile Recording 151 Missouri City Civic Center Amy E. Mitchell Mixture 1522 Texas Parkway, Missouri City, TX 77489 4607 Clawson Road, Austin, TX 78745 (281) 261-4290; [email protected] Attorney & Counselor at Law (512) 462-2611 Jennifer Sooy P.O. Box 49547 [email protected] Austin, TX 78765 Mark Younger-Smith, Owner/Producer Mr. A’s (512) 970-7824; (866) 514-3973 3409 Cavalcade, Houston, TX 77026 [email protected] Mlar Records (713) 675-2319 http://www.amyemitchell.com 10110 West Sam Houston South Parkway, Suite 150 Tony Attorneys • Music business consultants Houston, TX 77099-5109 Austin Music Foundation (832) 351-3511 Mr. Cassette of Texas Entertainment Law Section of the State Bar of Texas Po White 4930 Burnet Road, Suite 100, Austin, TX 78756-2600 Austin Young Lawyers Association (512) 452-5050; Fax (512) 452-6441 American Bar Association Mo’ Ranch [email protected] Established: 2004 P.O. Box 870, Blanco, TX 78606 Carol Humphrey, Sole Proprietor Amy E. Mitchell, a sole practitioner based in Aus- (830) 833-5430 tin, practices entertainment law with a focus on emerg- Waymond Lightfoot Mr. E’s Electronics ing bands. Work experience includes reviewing indie 2818 Hillcrest Drive, San Antonio, TX 78201-7046 label deals, production agreements, and label shop- Mo’s Place (210) 737-6737 ping agreements, as well as drafting, structuring, and 21940 Kingsland, Katy, TX 77450 negotiating music industry deals. She graduated from (281) 392-3499 the University of Texas School of Law in 2004 and is Mr. E’s licensed to practice law in Texas. -
A Strategy of the Worship Renewal for the Korean Church in Postmodern
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Liberty University Digital Commons LIBERTY BAPTIST THEOLOGICAL SEMINARY A STRATEGY OF THE WORSHIP RENEWAL FOR THE KOREAN CHURCH IN POSTMODERN TIMES A Thesis Project Submitted to Liberty Baptist Theological Seminary in partial fulfillment of the requirements for the degree DOCTOR OF MINISTRY By Yoojung Justin Lee Lynchburg, Virginia May, 2004 Copyright 2004 Yoojung Justin Lee All Rights Reserved ii LIBERTY BAPTIST THEOLOGICAL SEMINARY THESIS PROJECT APPROVAL SHEET ______________________________ GRADE ______________________________ MENTOR, Dr. Frank J. Schmitt, Director, DMIN Program, Professor of Educational Ministries, Liberty Baptist Theological Seminary ______________________________ READER, Dr. Ronald L. Giese Jr., Director, Worship Institute, Professor of Old Testament, Liberty Baptist Theological Seminary iii ABSTRACT A STRATEGY OF A WORSHIP RENEWAL FOR THE KOREAN CHURCH IN POSTMODERN TIMES Yoojung Justin Lee Liberty Baptist Theological Seminary, 2004 Mentor: Dr. Frank Schmitt This project examines the worship in Korean churches in the postmodern era, and presents the most suitable worship model for the congregation. The Korean church is acknowledged for accomplishing one of the greatest church growths within the shortest period of time. Currently they are going through a transitional era of crisis and chaos. The worship field has not changed enough, since Christianity was introduced to this country one hundred years ago. Instead, they have had conflict between traditional and contemporary styles, unable to find the right solution. This project studied specific suggestions for implementing a strategic task, along with field research of selected Korean churches, and produced a specific worship model as a result. -
Jimmy Abegg (A.K.A
A Aaron Jeoffrey (also Aaron Benward ing what is possible through Christ (Philippians 4:13). He was and Jeoffrey Benward) perhaps affected by an event in 1999 in which he, his wife, and their children were unharmed by an accident that caused their Aaron Benward, voc.; Jeoffrey Benward, voc. By Aaron Jeoffrey: 1994— truck to flip over four times. Jeoffrey’s solo projects fit solidly Aaron Jeoffrey (StarSong); 1996—After the Rain; 1997—The Climb. By into the adult contemporary genre, setting tried-and-true no- Aaron Benward: 2000—Imagine (Sparrow). By Jeoffrey Benward: 1985— Jeoff Benward (Communication); 1988—The Redeemer (ForeFront); 1990— tions to familiar light pop sounds. Devotion to God, family, Set It into Motion; 2000—Jeoffrey Benward (Ministry). and country are all extolled in a confident baritone that is itself an inspiration. Both Benwards reside in Franklin, Tennessee. A father and son duo formed in 1992, Aaron Jeoffrey craft Christian radio hits: By Aaron Jeoffrey: “One Million Reasons” (# 25 in albums of pleasing pop music replete with traditional evangeli- 1994); “I Go to the Rock” (# 19 in 1995); “We All Need” (# 2 in 1996). cal themes. Jeoffrey is a classically trained musician who has By Aaron Benward: “Captured” (# 16 in 2000). worked in Christian music since the ’70s. He harmonizes with his adult son Aaron to create a sound that reminds some critics of the Proclaimers or the Rembrandts (or, in Christian music Jimmy Abegg (a.k.a. Jimmy A) circles, of Phillips, Craig, and Dean, for whom the elder 1991—Entertaining Angels (Sparrow); 1994—Secrets. Benward has written songs). -
A Beautiful Noise: a History of Contemporary Worship Music in Modern America
A Beautiful Noise: A History of Contemporary Worship Music in Modern America by Wen Reagan Graduate Program in Religion Duke University Date:_______________________ Approved: ___________________________ Grant Wacker, Supervisor ___________________________ Jeremy Begbie ___________________________ Fitzhugh Brundage ___________________________ Mark Chaves ___________________________ Laurie Maffly-Kipp Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Religion in the Graduate School of Duke University 2015 i v ABSTRACT A Beautiful Noise: A History of Contemporary Worship Music in Modern America by Wen Reagan Graduate Program in Religion Duke University Date:_______________________ Approved: ___________________________ Grant Wacker, Supervisor ___________________________ Jeremy Begbie ___________________________ Fitzhugh Brundage ___________________________ Mark Chaves ___________________________ Laurie Maffly-Kipp An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Religion in the Graduate School of Duke University 2015 i v Copyright by Wen Reagan 2015 Abstract How did rock and roll, the best music for worshipping the devil, become the finest music for worshipping God? This study narrates the import of rock music into church sanctuaries across America via the rise of contemporary worship music (CWM). While white evangelicals derided rock n’ roll as the “devil’s music” in the 1950s, it slowly made its way into their churches and beyond over the next fifty years, emerging as a multi-million dollar industry by the twenty-first century. This study is a cultural history of CWM, chronicling the rise of rock music in the worship life of American Christians. Pulling from several different primary and secondary sources, I argue that three main motivations fueled the rise of CWM in America: the desire to reach the lost, to commune in emotional intimacy with God, and to grow the flock. -
A Cultural Studies Analysis of the Christian Women Vocalists Movement from the 1980'S to 2000: Influences, Stars and Lyrical Meaning Making
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2007 A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making Mary Elizabeth Akers Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Critical and Cultural Studies Commons, and the Music Commons Recommended Citation Akers, Mary Elizabeth, "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making" (2007). Theses Digitization Project. 3266. https://scholarworks.lib.csusb.edu/etd-project/3266 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A CULTURAL STUDIES ANALYSIS OF THE CHRISTIAN WOMEN VOCALISTS MOVEMENT FROM THE 1980S TO 2000: INFLUENCES, STARS AND LYRICAL MEANING MAKING A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Communication Studies by Mary Elizabeth Akers December 2007 A CULTURAL STUDIES ANALYSIS OF THE CHRISTIAN WOMEN VOCALISTS MOVEMENT FROM THE 1980S TO 2000: INFLUENCES, STARS AND LYRICAL MEANING MAKING A Thesis Presented to the Faculty of California State University, San Bernardino by Mary Elizabeth Akers December 2007 /f-2>7-E>7 Db. Robin Larsen Communication Date Studies Dr. James Radomski Dr. Rueyliri , Communication Studies © 2007 Mary Elizabeth Akers • ABSTRACT This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics.