Thesis (M. Div.)--Grace Theological Seminary, 1987. / Includes bibliographical references (leaves 47-49).

Thesis (M.F.A.)--University of North Texas, May, 2009. / Title from title page display. Includes bibliographical references.

Thesis (M.S.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains iv, 38 p. Includes abstract. Includes bibliographical references (p. 36-38).

Thesis (M.A.)--Cincinnati Christian Seminary, 1985. / Includes bibliographical references (leaf 182).

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.

Much of the research undertaken on music education in South Africa has been concerned with formal music education and its application in the classroom. In spite of the fact that the majority of South Africans have had little or no access to formal music education, non-formal learning practices have been largely ignored as alternative, and potentially effective forms of music skills acquisition. This study focuses on the church, and the Durban Bethesda Temple in particular, and explores how, in the absence of access to formal music education, alternative learning methods based on generalised participation and musical process, may be conducive to the achievement of highly skilled musicianship. This thesis draws insight from theories proposed by intercultural music educationists, Christopher Small and Patricia Campbell, and ethnomusicologists, Blacking, Chernoff, Nketia and Merriam, whose work has focussed on conceptualisations, functions, roles and contexts of music-making in nonwestern, and Mrican societies in particular. It postulates that when music-making is nonindividualised and non-competitive, and when performance focuses on relationshipbuilding and ritual, rather than on specialisation and spectacle, music learning is achieved through participation by way of aural transmission, imitation and mentorship. In thisregard, the underlying philosophy of education, as is applied in non-formal mUSIC education, is based on the assumption that music is a human capacity; that music-making is process-orientated rather than product-related, and that music can be used to build individual and communal skills and competencies. The discussion concludes by suggesting insights that can be gleaned from the process of non-formal music learning in communal, participatory contexts, namely, the church; and how these insights can signal alternative perspectives to the practices and procedures of South Africa music education amidst current transformation. / Thesis (M.A.-Music)-University of Natal, 1998.

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.

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 research study, Caught between Christianity and the hard rock: A narrative study, presents, explores and discusses the stories of Christian hard rock musicians from a predetermined Christian hard rock band, comprising of four members. The study takes a narrative approach at exploring and discussing the participants’ stories, which comprise the qualitative data for the study. The stories were collected by means of four individual semi-structured interviews and a group unstructured interview. The interviews sought to ask the participants certain questions to hear and collect their stories pertaining to the various narratives interplaying in their lives as Christian hard rock musicians. Following collection and transcription of these stories, the stories were analysed according to interpretive narrative analysis, according to Riessman, with reference to Labov’s 6 elements of transcription. Such stories were subsequently reported and discussed within the research study from a narrative theoretical point of departure. This allows for the reader to gain an understanding of the various narratives interplaying in the lives of Christian hard rock musicians, and the significance of such narratives and their experiences, which ultimately is assumed to influence the participants’ daily lives. Ultimately, the study facilitates for the participants to tell their stories as they wished to tell them, in terms of how they may be “caught between Christianity and the hard rock” music genre. Subsequently the study also serves for the reader to gain a narrative understanding as to how the band members understand themselves and their band to be in the world. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Psychology / unrestricted