Finally, this dissertation connects practitioners' autonomy in the production process to the independent production mode of local CCM. Although this production mode presents practical obstacles for local CCM practitioners, it has also allowed practitioners relative autonomy in their decision-making. This thus also bears implications for local CCM's contingent future including the possible scenario of mainstream co-optation. / For 30 years, the local CCM production community has been trying to find the right mix for the genre and push the music to a secular audience since CCM took shape in Hong Kong in the 1980s. CCM is more widely known as gospel music or contemporary hymnal songs in Hong Kong. This study examines the past and present shape of the local CCM scene to provide a historical perspective for interpreting its trajectory. This study sketches a brief history of local CCM in Hong Kong from the late 1960s to 2010 which helps to understand how local CCM has interacted with the commercial music scene including popular music trends and the pop industry environment throughout its development as well as church responses along the evolution of local CCM. / Practitioners' negotiations in CCM production are discussed on three dimensions: song text, performance and stardom. Each of these dimensions highlight common and unique opportunities and tensions in the mediation process, including commercialization, creativity, entertainment, hyperindividuality, evangelism, ministry efficacy and religious piety. Practitioners' negotiations between these interpenetrating and contesting elements shape CCM on the three dimensions. / This study investigates how the local CCM production community grapples with the complexities of fusing religion and media and negotiates the tensions and opportunities that arise between media conditions and assumptions and the religious sensibilities of CCM. By doing so it also engages in a current theoretical discussion about mediation and mediatization in the field of media and religion. This dissertation approaches CCM production as part of the process of mass mediation of religion, through which religious meanings are constantly constructed, negotiated, and reconstructed as practitioners negotiate the multiple conflicting, integrating and interpenetrating forces. In specific, this study addresses practitioners' negotiations between the media-based orientation frame, which include such factors as commercialization, industrial norms, cultural values in the media environment, and the religious orientation frame, which include a range of symbols, moral codes, doctrines, and resources that are religiously meaningful to individuals. / Ho, Wing Ki. / Adviser: Anthony Fung. / Source: Dissertation Abstracts International, Volume: 73-01, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 253-266). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; appendix C-D in Chinese with some English.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Includes bibliographical references (leaves 228-241).

Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Abstract. Includes bibliographical references (leaves 164-172).

Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Abstract. Includes bibliographical references (leaves 164-172).

This dissertation critically evaluates the portrayal of the doctrine of inaugurated eschatology in an identified core repertory, the most-used contemporary congregational worship songs in churches in the United States from 2000 through 2015. Chapter 2 explores views on the role of congregational singing as it relates to the presence of God and the spiritual formation of the believer. It compares Edith Humphries’ concept of the worship service as “entrance” with Ryan Lister’s view that God’s presence is both a goal and a means of accomplishing his purposes. Then, using the work of James K. A. Smith and Monique Ingalls, chapter 2 explores the role congregational song plays in forming the identity of churches and believers. The chapter concludes by suggesting that the aesthetic paradigm of Nicholas Wolterstorff has useful implications for the manner in which congregational singing serves as the occasion for entering the divine presence. Chapter 3 maps a typology of themes related to the doctrinal umbrella of “inaugurated eschatology,” as codified by George Ladd and now a widely-used term in evangelical scholarship, so as to provide nuanced categories by which one can evaluate the content and scope of eschatological thought in American evangelical life. After a brief survey of the doctrine’s historical development, tracing the contributions of George Ladd, Anthony Hoekema, and “progressive dispensationalism,” the dissertation traces the biblical data to highlight ways in which Scripture speaks of the kingdom of God’s current presence (the “already”) and future arrival (the “not yet”). The chapter then considers believers’ experience of the “already” and the “not yet” in language of affection, spatiality, and chronology. Chapter 4 traces these eschatological themes in American evangelical hymnody from ca. 1700 through 1985, addressing a few representative hymns from each hymnic era by way of illustration. Drawing upon the work of Stephen Marini, Eric Routley, Richard Crawford, and others, the chapter surveys select examples of American evangelical hymnody from four time periods in US history (beginning in 1737) and finds that many of these historic hymns contain substantive reflections upon robust eschatological themes. Chapter 5 surveys the core repertory of CWM across the span of years from 2000 to 2015 for a portrayal of the themes of inaugurated eschatology. Using Richard Crawford’s concept of “core repertory,” it synthesizes CCLI reports of song usage over a defined recent period (2000 to 2015) to identify a core group of songs for analysis, and derives a body of 83 songs. Using the lens of inaugurated eschatology developed in chapter 3, it concludes that elements of “not yet” are underrepresented in contemporary evangelical congregational song. Chapter 6 proposes practical ways that church leaders of worship can better represent these themes as they plan services for the health and sustainable growth of their churches. Chapter 7 summarizes each of the chapters, draws implications, and suggests areas for further research.

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 (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.

Thesis (M.A.)-- Vanguard University of Southern California, 2007. / Includes bibliographical references (leaves 310-325) .

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).