In 1984, Stryper released its first album The Yellow and Black Attack and introduced audiences to a different kind of heavy metal. Instead of lyrics about sex, alcohol, and Satan, Stryper sang about Jesus, salvation, and God. While there were a number of fans ready for this change more were not. Members of the Church as well as members of the metal subculture were in agreement that Christianity and heavy metal were incompatible. Despite these objections, however, more bands emerged, and Christian metal became a significant genre within the Christian music industry. These bands presented Christian-oriented lyrics within the full spectrum of metal subgenres. This dissertation examines the ways in which Christian metal bands create an intersection between Christianity and the heavy metal subculture, infusing Christianity within the textual, visual, and musical structures of heavy metal. The author employs Deena Weinstein’s “metal code” to frame the analysis. The metal code includes the textual elements (band names, album and song titles, and song lyrics); the visual elements (band logos; album covers; and the various elements of the concert experience including the bands’ appearances, the staging, the interactions with the fans, and music videos); and the musical elements (timbre, modality, formal structure, and production of the songs and albums) that set metal apart from other musical genres. The dissertation also examines the concept of bands as “metal missionaries” that immerse themselves within the heavy metal subculture for the purpose of bringing the Christian message of hope and salvation. The author concludes that even though Christian metal bands modify aspects of elements that are otherwise incompatible with their Christian beliefs and message, they still maintain a sense of stylistic integrity that gives them credibility within the heavy metal subculture and allows them to fulfill their mission.

Thesis (D.W.S.)--Institute for Worship Studies, 2002. / Abstract. Includes bibliographical references (leaves 189-192).

Thesis (D.W.S.)--Institute for Worship Studies, 2002. / Abstract. Includes bibliographical references (leaves 189-192).

xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms. / Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski

Behind the Scenes of The Steve Taylor Story: A Documentary is the written companion to a 39-minute documentary film entitled, The Steve Taylor Story. The film explores the controversial career of Christian musician Steve Taylor. It also chronicles the ideology of the Christian subculture in America through the hegemony of the dominant Christian culture and Steve's actions in opposition to it.

ELATIO: Praises and Prophecies is an allegorical composition based upon a collection of carols, poetry and prose in selected verses, phrases and fragments from medieval Christian liturgy, the canonical Hebrew Bible (Old Testament) and New Testament, and portions of various non-canonical Dead Sea Scroll texts. The languages used in the selections presented here are English, Medieval Latin, and transliterated Biblical Hebrew.

No description available.

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. / Religion

Text in Afrikaans / Musiekvideos is 'n integrerende deel van die (rock)-musiekbedryf, hoofsaaklik as reklame vir die kunstenaars en hul musiekopnames. Musiekvideos is verder 'n wesenlike deel van die massamedia, in so 'n mate dat daar verskeie spesialismusiektelevisiekanale is wat 24 uur per dag op al die kontinente uitsaai, wat 'n aanduiding gee van die omvang van musiekvideos. Hierdie videos speel veral 'n vemame rol by die jeug as sub-kultuurgroep. Ook christenmusikante gebruik musiekvideos, en hul videos word gereeld as deel van christelike programme uitgesaai. Dit is gewoonlik een van die oogmerke van christenkunstenaars om die evangelie deur hul musiek uit te dra, en in die geval van christelike musiekvideos dien hulle dikwels nie net as reklame nie, maar word daar ook 'n christelike boodskap oorgedra, veral in die geval van verhalende en konsepvideos. Daar word na die rol van hierdie videos in die konteks van die christene se benutting van die massamedia gekyk en daar word onder meer 'n teologiese fundering vir die gebruik van die massamedia in die algemeen, asook musiekvideos in die besonder gegee. 'n Aantal musiekvideos van kontemporere musiekkunstenaars soos Carman, Michael W. Smith, Steve Taylor, The Newsboys, en Steven Curtis Chapman word individueel beskryf en vanuit 'n teologiese perspektief beoordeel om te sien hoe suksesvol hulle in die oordra van 'n christelike boodskap is. Daar word 'n vergelyking getref tussen christelike en sekulere musiekvideos en hoe sekere onderwerpe benader word. Sekere tekortkominge, sowel as positiewe aspekte by christelike musiekvideos word as deel van 'n missiologiese reflektering uitgewys. / Missiology / D.Th. (Missiology)

<p>This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.</p>