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.

Thesis (D. Min.)--Covenant Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 200-206).

Thesis (D. Min.)--Covenant Theological Seminary, 2002. / Abstract. This is an electronic reproduction of TREN, #030-0113. Includes bibliographical references (leaves 200-206).

Christian rock music isn´t an unfamiliar concept, but its development in Czech lands dates back only to the nineties of the last century. The author tries to compare Western and domestic musical culture to chart the history of rock music for Christians, its origin, meaning and development in the world as well as in Czech Republic.

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. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

Abstract Granfrid, Signe, 2022: Relationen mellan Gud och människa: En genuskritisk analys av Hillsongs musik (The Relationship Between God and human: A Gender Critical analysis of Hillsongs music) Acta Universitatis Upsaliensis. Uppsala studies in Theology and Religious Studies, - Philosophical Specialisation In this essay the relationship between God and human is studied in music produced by Hillsong Church. The overall purpose is to analyse how the relationship is constructed concerning gender and the characteristics of a relationship. I also critically review the theology’s potential to invite people to relate to and live with God. The purpose is reached through an analysis of five of the most essential Hillsong songs; What a Beautiful Name, Who you say I am, Resurrender, Still and From the Inside Out. The method used is a descriptive and critical idea analysis with a hermeneutical approach. The study makes use of the Jewish philosopher Martin Buber’s theory of the makings of relationship, which emphasizes mutuality in the present as constitutive, and the Christian feminist theologian Sallie McFague’s thoughts on traditional portrayals of God. The analysis shows that the relationship between God and human lacks mutuality and is built on past experience of God rather than presence with God. God and human relate to one another through their fixated positions; human being broken and unable, and God the benignant rescuer, portrayed traditionally as Father and King. In the last chapter I reflect upon the theology expressed in the songs and present my own constructive contribution. I discuss in what way the human is affected by the theology presented and argue that the context in which interpretation takes place is of key importance. I also discuss different models of God and argue that complex and transcendent ones are needed. I propose a brave theology allowing elaborative thought of different ways to imagine God. Lastly, I discuss the human-divine relationship as such and propose a relational model on the basis of dialogue as a beneficent alternative to the hierarchy-based model found in Hillsong’s music.   Keywords: Hillsong, Models of God, Gender, Contemporary Christian Music (CCM), Pentecostal, Human-Divine-Relationship, Worship

This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.

The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all from Judaism, and later on, as it was extended to the entire Roman Empire, it was influenced by Hellenism as well. Consequently, there was not a united form of worship in early Christian church, and from the very beginning the music of different communities could vary depending on their cultural backgrounds.Thus, music life of Jewish Christianity differed from the churches consisting mainly of Christians from the Gentiles. / Cristian Spirituality, Church History and Missiology / M. Th. (New Testament)

Conselho Nacional de Desenvolvimento Científico e Tecnológico / A presente pesquisa tem como objetivo geral investigar as raízes teológicas dos hinos e cantos sacros cantados na Comunidade Evangélica Luterana Scharlau, da IECLB, para, assim, entender a teologia proveniente neste contexto. Tem como objetivos específicos examinar a história da IECLB, do Movimento Encontrão e da Comunidade Evangélica Luterana Scharlau, suas contribuições para o desenvolvimento da música comunitária e verificar em que medida ocorre a influência das correntes teológicas na definição dos hinários e músicas escolhidos, investigar em que medida as concepções teológico-musicais de Lutero estão presentes na música contemporânea entoada na Comunidade Evangélica Luterana Scharlau e delimitar, a partir da análise da modernidade e pós-modernidade em relação a teologia de Lutero, possibilidades de critérios para as escolhas das músicas a serem cantadas nas celebrações. Para fundamentar a investigação, foram utilizadas diversas referências bibliográficas como livros, jornais, revistas, atas, hinários e cancioneiros. A composição do hinário da Comunidade Evangélica Luterana Scharlau é analisada verificando as canções que são de outras confissões religiosas a partir da teologia luterana e do Movimento Encontrão. Os resultados da pesquisa permitiram observar como se configurou a história da IECLB e sua música, como Lutero tinha estima pela música e sua preocupação com o cuidado com a música, e como a escolha de critérios para a formação de hinários e cancioneiros podem caracterizar uma teologia musical das comunidades. / This research has the general objective investigate the theological roots of hymns and sacred songs sung in the Evangelical Lutheran Community Scharlau, IECLB to thus understand theology from this context, its specific objectives are to examine the history of IECLB , the Encontrão Movement and the Evangelical Lutheran Community Scharlau , his contributions to the development of community music and verify to what extent is the influence of theological currents in the definition of the chosen hymn books and music, investigate the extent to which theological and musical conceptions of Luther are present in contemporary music sung in the Evangelical Lutheran Community Scharlau and delimit, from the analysis of modernity and postmodernity in relation Luther's theology , criteria of possibilities for the choices of songs to be sung in the celebrations. To support the research , we used various references such as books , newspapers, magazines , minutes , hymnals and songbooks . The composition of the hymnal of the Evangelical Lutheran Community Scharlau is analyzed by checking the songs are of other faiths from the Lutheran theology and Encontrão Movement. The results of the research allowed to observe how to set up the history of IECLB and his music, as Luther had appreciation for music and his concern for the care of the music, and how the selection criteria for the formation of hymnals and songbooks may feature a theology music community.

The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all from Judaism, and later on, as it was extended to the entire Roman Empire, it was influenced by Hellenism as well. Consequently, there was not a united form of worship in early Christian church, and from the very beginning the music of different communities could vary depending on their cultural backgrounds.Thus, music life of Jewish Christianity differed from the churches consisting mainly of Christians from the Gentiles. / Cristian Spirituality, Church History and Missiology / M. Th. (New Testament)