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According to Davidson (2002:1), “Corporate Christian Worship is the dynamic, dramatic and dialogical encounter between the triune God of the Bible and His people, in which God reveals Himself to His people and His people respond positively in an appropriate and Biblical manner.” For effective use of musical instruments in Christian Worship of which piano is a major one, care must be taken so that there can be a clear demarcation between the secular and the sacred. The appropriateness of the instrument with the issue of how and when it should be used must be taken into special consideration. As we know that, the matter of reverence and awe in worship must not be taken lightly, for our worship is to God Almighty our creator, redeemer and sustainer. Also, sensitivity in the part of the instrumentalist(s) or pianist(s) must be taken seriously. The pianist (instrument) must play with care and reverence. Issues of loudness and softness of instrument and when to play should also be taken seriously. For example, no instrumentalist should be playing the instrument prayer is on, he or she should also pray, when scripture is read, he should also open his or Bible and read along, when preaching is on, he should listen attentively, without distraction etc. The use of musical instruments in worship should serve an accompaniment role in worship, a means to an end, which is encountering God in a meaningful worship (Auda, 2012).
2021 •
The overall objective of this paper is to investigate and outline New Testament principles regarding the missional character of music in worship. In this paper, we are going to conduct a survey of music in worship in the New Testaments, which will help us see the growing use of music in worship to achieve God's mission. The exegesis of selected New Testament texts that are more relevant in defining the missional character of music in worship will be employed. While the focus of this paper is to outline the missional character of music in worship, it will reflect on the New Testament perspective of the missional church and worship as a basis upon which this article is based. This is premised on the fact that the missio Dei (the mission of God), gives birth to the missional ecclesiology and worship, which ultimately gives birth to the missional music. And at the same time, when we are conscious of the missional character of music in worship, it helps us to shape our theology and praxis of our missional ecclesiology and worship. This article is divided into five sections. The first introduces the article as a whole; section two deals with the New Testament perspective of the Missional Church. The third section is on New Testament perspective of the Missional Worship, and the fourth section deals with New Testament perspective on the Missional Music. Section five concludes the article.
Journal of Christian Musicology, Ajilaoorun Pub. Ltd. Ile Ife
CHURCH MUSIC AND MINISTRY: A BIBLICAL PERSPECTIVE2020 •
Church music plays significant roles in social, religious, and social gatherings in Africa. God gave people the gift of music and commanded its usage for the edification of man. The term “Church music” covers three major aspects of ministry within the context of a local church, namely; Congregational music, choral music, and instrumental music. A piece of music with appropriate biblical text can serve as a response of prayer, praise, a testimony of God’s faithfulness, or a response to an initial revelation of God during worship, or any Christian convergence. Although there may be a lot of confusion on what may be termed as church music, this study seeks to identify the term and discuss the ideals of church music in worship and other Christian convergence from physical and non-physical (spiritual) perspectives of Church music and ministry addressing the problem of lack of structure in the organization of church music ministry. Church music ministry allows Christians to be stewards of their gifts and is a valid medium of propagating the gospel. The study adopts literary and theological approaches and notes that music gives room for the edification of Christians, contributing its quota in building a network of musicians as they unite with other church leaders in raising offerings of praise and thanksgiving to God. It notes that church music should carry a message, express heartfelt praise to God, and/or a divinely inspired message of God to parishioners. It argues that Church music, of necessity, should be from disciplined Christian minds, to prepare true worshippers, reconciling them back to God.
Icheke Journal of the Faculty of Humanities
Sacred or Non-sacred Music in Church Worship: An Ancient Argument Revisited ByMusic comprises the lyrics and the melody, rhythm and the beats in which it is set. It conveys a particular mood and the sense of purpose, which it is expected to serve. By these characteristics, it defines itself as belonging to a specified genre. Church music is offered to God as part of the process of worship, which in its simplest term means submission to God-His Will, His desire, His dictates and guidance. In this light, it stands to reason that any music, in its lyrics and its musical setting, used in the worship of God must reflect man's humble realization of his dependence on the almightiness of God Jehovah. Therefore, music used in the worship of God Jehovah must of necessity be music that glorifies the name and overall essence of God while simultaneously edifying the church as the body of Christ. It is in this light that this seminar paper examines the concept of Sacred or Non-Sacred songs in worship. It finds that non-sacred music is emotive and can be distractive from true worship. It is recommended that the church has the duty to determine the quality of the music in use for
2023 •
Studia Liturgica
Musicking as Liturgical Speech Acts: An Examination of Contemporary Worship Music Practices2021 •
This article examines the genre of Contemporary Worship Music (CWM) within worship contexts in terms of its formative and purposeful nature. In CWM settings, the worship leader plays a particular role in the selection and facilitation of CWM repertoire to be led by praise bands. Through the leader's consideration of the message of the CWM lyrics, and the relational nature of CWM practices, a worship leader's pedagogical decisions are integral to contributing to a space of dialogue for worship musicians. Drawing on previous literature addressing liturgical language in worship, I analyze the CWM context as a particular case where liturgical language shapes musicians’ spiritual formation. This examination of CWM practices includes an analysis of musicians’ engagement in relational musicking and meeting through I-Thou encounters. I therefore explore both the need for worship leaders to consider the multitudinous theological implications of their actions, as well as the way music...
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