Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 72-74).

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 72-74).

Thesis (D. Min.)--Ashland Theological Seminary, 1999. / Abstract. Includes bibliographical references (leaves 198-207).

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 72-74).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2005. / Vita. "May 2005." Includes bibliographical references (leaves 44-45).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2005. / Vita. "May 2005." Includes bibliographical references (leaves 44-45).

No description available.

AN ANALYTICAL STUDY OF SELECTED JAZZ SETTINGS OF PSALMS COMPOSED BETWEEN 1958-2012 Rocky DeWayne Hardymon, D.M.A. The Southern Baptist Theological Seminary, 2013 Chair: Esther R. Crookshank A trend in U. S. Protestant and Catholic churches that has gained popularity over recent decades is the use of jazz music as a means of expression in worship. The purpose of this study was to compile an analytical guide to select available jazz settings of the Psalms, published and unpublished. The methodology began with a systematic search for psalm settings fitting the chronological parameters in online databases and Christian jazz websites. Chapter 2 presents a reception history from primary sources of jazz in the church and U.S. society within the larger context of relationships between arts and the church since the Enlightenment. Primary sources include interviews with composers, correspondence, published interviews, contemporaneous newspaper reviews, and composers' liner or program notes. Search results yielded a list of 168 pieces by sixty-one composers composed between 1958 and 2012. Of these, twenty-eight psalm settings by 24 composers were selected for analysis, 19 with text and nine instrumental settings. Chapter 3 contains biographical sketches of the composers and examines their philosophies. All but two composers were from the United States, with two European. Analysis of the psalms in Chapters 4 and 5 focused on textual and musical forms, text-music relationships in the context of the psalmic genre, and distinctive musical traits associated with particular jazz styles, which ranged from art song, rock, bossa nova, blues, and free jazz to hybrid subtypes such as jazz/rock and gospel/pop. Instrumental psalms represented eight styles including lyrical ballad, gospel fusion shuffle, Afro-Cuban swing, and post-modern bop. The conclusions summarize the significance of jazz psalms within the broader history of sacred jazz, demographic data on the jazz composers, and performance considerations for jazz psalms. Included are four appendices: 1) a list of the select jazz psalms and their composers; 2) a complete list of the 61 jazz composers and 168 psalms found; 3) a list of all 168 Psalm settings found in numerical order; 4) a list of churches in North America that regularly offer jazz music.

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.

No description available.