The purpose of this study was to determine and describe ways in which music education can be used in Protestant churches. During the last twenty years, participation in church music has grown very rapidly. The increase is a result of the growth of music in general. Music has become an important part of home, school, church, and community functions. This is evidenced by many facts: symphony orchestras, as well as community instrumental and choral groups have increased in number to the extent that there are more today than at any time in history; school music has taken tremendous strides since 19257 and church music programs have been developed to such a degree that they attract large numbers of people. In spite of the tremendous advance of music in general, and in the field of church music in particular, there is still much that needs to be done in church music. For example, when "Sacred Music" is mentioned to an average group of Americans, some will respond with blank and uninterested stares. Others will mention some of the well-worn sentimentalized, semi-religious songs such as "He," "The Man Upstairs," "You'll Never Walk Alone," or other examples of commercialized religion, Those people, and the environment in which they live, need to be reached with the music of the church that can speak to them with real meaning and truth.

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This study examines the relationship between the first major religious revival in the New England colonies and the change from psalmody to hymnody in the mid-eighteenth century through an approach which integrates the two fields of theology and church music. The termination date is 1770, and the focus is Protestant congregational song in the three groups most influenced by Puritan thought: the Congregationalists, the Presbyterians, and the Baptists.While much has been written separately about the change in eighteenth-century sacred song and the Great Awakening itself, there has been little research that attempts to place the psalmody/hymnody issue within the larger context of the changing theological milieu. This study first examines the theological and ecclesiastical structures which provided the context for Reformed worship, and then explores how fundamental changes in those structures and thought systems impacted congregational song. In order to comprehend the major changes which occurred in the mid-eighteenth century in colonial America, chapters on the Reformed Church and the beginning and spread of psalmody, the New England colonies to 1700, and the beginning of English hymnody are included.Conclusions1. The primary conclusion of this study is that the Great Awakening is the single most important factor in the change from psalmody to hymnody in the New England colonies. It is not a peripheral factor as indicated in much of the research. Rather, it provides both the rationale and the means for the transition in church song. The Great Awakening represented a basic theological change from a theocentric to an anthropocentric viewpoint that subsequently required alterations in sacred song. The revival movement, through its evangelistic spirit, also provided the vehicle by which this change in psalmody was effected.2. The agitation of the 1720s as evidenced in the tracts and treatises did not affect the transition directly. However, it is indicative of the increasing discontent with traditional Calvinist theology.3. The Psalms and Hymns of Isaac Watts were not a primary reason for the change, but met the needs of the new anthropocentric theology of the Great Awakening that required a new language of praise. / School of Music

This dissertation examines the attitudes of people regarding the worship music that is being used in South African Protestant churches during the last decade of the twentieth century. The research is aimed at the man-in-the-pew to identify general trends across a variety of denominations. 4920 questionnaires were sent to 980 churches countrywide and completed anonymously. Questions are divided into three categories: personal information, church related, personal opinions. Every question has space for comments. Chapter one is a general discussion on people's opinions and attitudes and the aim and method used. Chapter two is an historical synopsis. Chapter three is an analysis of the questionnaire including hypotheses, graphs, results and comments. Chapter four, the conclusion, identifies general trends regarding formality and informality, choirs and music groups, background music, traditional versus contemporary, education and influence of leaders, the need for policies, use of media and instruments. Proposals are suggested. / Art History, Visual Arts & Musicology / M. Mus.

The purpose of this study is to make the Protestant church workers more efficient in their use of music in religious work by giving them a clear conception of the kind of music to be used and by suggesting detailed plans and methods by which desirable results may be secured in the use of church music. Ideal standards have their place, but here it is proposed to be matter-of-fact, practical and concrete, and to secure immediate results with the average church member and choir singer as the final criterion in every phase of the work. The purpose is not to emphasize high ideals but to instruct and inspire all those who have leadership in the service of church music, that they may be able here to provide the greatest religious helpfulness that the use of music can bring the souls to whom they minister.

This dissertation examines the attitudes of people regarding the worship music that is being used in South African Protestant churches during the last decade of the twentieth century. The research is aimed at the man-in-the-pew to identify general trends across a variety of denominations. 4920 questionnaires were sent to 980 churches countrywide and completed anonymously. Questions are divided into three categories: personal information, church related, personal opinions. Every question has space for comments. Chapter one is a general discussion on people's opinions and attitudes and the aim and method used. Chapter two is an historical synopsis. Chapter three is an analysis of the questionnaire including hypotheses, graphs, results and comments. Chapter four, the conclusion, identifies general trends regarding formality and informality, choirs and music groups, background music, traditional versus contemporary, education and influence of leaders, the need for policies, use of media and instruments. Proposals are suggested. / Art History, Visual Arts and Musicology / M. Mus.