ART Agastya Rama Listya Popular culture worship Full text
!
"
"
#
$
!
%
"
!" #
"
"
"
&
"
"
"
"
'"
"
"
"
!
1
"
"
"
(
"
)
"
"
(
"
"
"
"
"
"
"
!
"
"
"
"
"
"
!
"
"
*
"
"
+
-
)
,
"
"
"
.
)
"
"
,"
"
,
"
"
,
"
"
"
"
"
"
/
"
"
"
1
"
"
"
0
"
"
"
Ted Peters, Worship Wars, in Dialog: A Journal of Theology, Volume 33, Number 3 (Summer 1994) pp.
167-168.
2
"
"
"
(
&
(
(
"
#
"
1
"
2
#
"
"
"
1
"
"
"
"
/
#
"
3
(
"
(
4
1
"
"
"
"
(
1
"
5
"
(
*
"
6
/
(
1 "
"
"
7
"
"
"
"
"
$% & !'!(
/
"
"
"
8
"
"
"
,"
"
:
2
29 :
*
)
7
"
2
;
4
"
"
"
/
2
Paul B. Brown, In and for the World: Bringing the Contemporary Into Christian Worship (Minneapolis:
Fortress Press, 1992), p. 6.
3
"
"
"
"
"
"
:
"
1 <
#
<
=
,
0
>
#
#
""
1
"
(
"
#
"
?
"
"
#
(
@
(
(
1
"
)%
! &*+
"
"
"
"
7
"
"
"
"
"
7
"
"
,"
"
7
,"
7
!
,
@
""
"
"
"
1 "
"
"
"
:
)
"
:
9
"
3
:
*
"
"
1
"
A
!
(
Readers should be critical on this and have to be very careful not to make a quick judgement. This
presupposition is merely based on the writer’s experiences.
4
Paul B. Brown, op. cit., p. 67.
4
"
"
"
/
"
B
7
'9(/
"
/
;
"
/
""
"
*
•
•
(
•
/
•
)
"
"
"
(
"
"
"
"
"
"
"
"
"
"
•
•
@
2
,
"
>
?
C
)
/
;
7
0
*
2
;
"
"
/
"
"
"
@
0
"
"
•
/
(
>
"
"
•
1
"
(
•
(
"
"
D
"
>
"
!
"
)
"
(
"
>
0
>
5
Charismatic worship design consists only of three basic elements, namely: song, preaching and prayer.
Andy Hagen, Contemporary Worship Brings a “Joyful Spirit” (an essay taken from the internet, Illinois:
Joyful Spirit Lutheran Church, 1999), p. 1.
6
5
•
!
"
•
2
•
'
"
"
"
E "
E
/
•
!
"
"
>
D
" >
" >
"
"
">
D>
"
"
D>
,%
>
"
"
"
•
"
D>
"
"
"
F
- *
"
"
"
"
"
" "
""
"
"
:
"
" 5
8
"
"
3
"
"
1
"
"
00
"
"
"
"
"
"
G
"
/
5
8
"
H
"
"
"
" /
"
"
"
"
)
"
8
"
+HII
J
"
"
""
"
"
7
:
5 "
Donald Hustad, Jubilate II: Church Music in Worship and Renewal (Illinois: Hope Publishing Company,
1993), p. 303.
8
Johannes Riedel, Soul Music Black and White: The Influence of Black Music on the Churches
(Minneapolis: Ausburg Publishing House, 1975), p. 50.
9
Ibid., p. 58.
6
2
"
"
9
;
"
>(
+HCI
9
.
"
.
" 3 1
,
"
8 "
"
/
"
*
+G
"
"
"
"
"
,
;
" /
"
.
1
"
"
"
"
7 +HF6
'
"
(
&
D
)
"
%
!
"
)
.
"
"
7
@
;
7
" 3 1
7
7
7
1
7
1
7
"
"
7
1
1 "
/ 71
"%+I
1
"
(
!
"
"
(
(
"
"
"
"
(
"
10
0
Laura Harris, Remembering the Past, Understanding the Present, Looking Toward the Future (an essay
taken from the internet, 1999), p. 1.
7
!
"
"
"
/5
"
"
(
!
)
"
7
+HGI1
"
" "
"
++
0
"
"
"
"
(
(
" 9
"
"
K
;
'
"
;
"
"
"
"
0
"
+6
)
"
"
;
"
"
"
+=
*
"
"
9
"
"
)
"
!
"
2
#
.
#
)
L
+HCG
7
! "
"
@
7
"
"
b.
0
"
"
!
a.
"
"
""
:
:"'
, "
*
"
Its use to refer solely to music influenced by the styles of popular culture ignores the fact that a
considerable body of music from both past and present written in other styles was also conceived for
the purpose of worship—including praise—and continues to be used.+A
11
See Larry Eskridge, Pentecostalism and the Charismatic Movement (an essay taken from the internet,
Illinois: Wheaton College, 1998), p. 3.
12
Laura Harris, op. cit., p. 3.
13
Harry Eskew and Hugh T. McElrath, Singing with Understanding: An Introduction to Christian
Hymnology (Tennessee: Church Street Press, 1995), p. 313.
14
Milburn Price, And the Beat Goes On: The Continuing Influence of Popular Culture on Congregational
Song in David W. Music (ed.), We’ll Shout and Sing Hosanna: Essays on Church Music in Honor of
8
!
+
$
:
"
#
"
6
1
"
+B
"
!
1 "
#
7
"
"
#
"
#
"
*
"
(
=
+C
(
(
"
"
#
"
"
@
"
"
>
+F
<
+
/
6
/
"
#
1
"
"
"
"
"
"
"
#
"
"
"
>
(
+
@
D
(
@
/
"
+G
)
"
William J. Reynolds (Texas: School of Church Music Southwestern Baptist Theological Seminary, 1998),
p. 67.
15
Donald Hustad, op. cit., p. 99.
16
Paul B. Brown, op. cit., p. 2.
17
Donald Hustad, op. cit., p. 287.
18
Paul B. Brown, op. cit., p. 3.
9
"
"
"
"
+H
6
"
"
7
"
(
"
"
"
"
@
"
"
"
,
:
"
,
"
"
"
"
"
!
"
*
*
6I
"
#
"
"
"
"
"
"
"
"
.
/
/
""
"
9
"
"
#
" 1
1
"
"
"
"
#
"
;
6+
.
/
"
"
"
*
"
>
"
19
"
Donald Hustad, op. cit., p. 295.
Brian Schwertley, Musical Instruments in the Public Worship of God (an essay taken from the internet,
Lansing, 1996), p. 2.
21
Ibid., p. 3.
20
10
"
"
#
"
8
:
1
"
"
/
7
"
"
! "
"
" @
7 (
"
+6>
"
"
"
66
"
J
"
#
=@6G4 '
(
A@+ K C>
"
1
"
"
?
"
7
(
"
#
"
1
"
#
>
6=
(
"
"
)
"
"
(
"
"
"
7
"
7
"
@
•
'*
"
"
*
"
•
&
"
*
•
'*
"
"
"
"
"
"
"
(
"
"
"
"
"
"
•
"
"
"
22
Milburn Price, op. cit., p. 60 – 61.
Ron Man, Blended Worship (an essay taken from the internet, Tennessee: First Evangelical Church,
1999) p. 1.
23
11
'*
•
"
"
"
1
"
"
-
-
"
"
"
•
"
6A
#
8
$%
&
)
'
"(
)
"
(
"
(
" 1
!
"
"
"
"
"
"
"
7
"
4
"
"
6B
""
:
"
"
7
+
""
%
!
"
%
*""
)
,"
/
" 1
" 1
(
)
"
6C
#
"
"
"
"
"
7
"
) "
24
"
Donald Hustad, op. cit., pp. 280 – 281.
Paul B. Brown, op.cit., p. 18.
26
Paul Westermeyer, Current Theological Trends Affecting Congregational Song in David W. Music (ed),
We’ll Shout and Sing Hosanna: Essays on Church Music in Honor of William J. Reynolds (Texas: School
of Church Music Southwestern Baptist Theological Seminary, 1998), p. 54.
25
12
!
2
(
6F
)
"
(
"
" 1 "
"
"
"
"
"
%
"
6G
"
"
"
"
?
#
(
"
" 1
"
" 1
7
% /
2
;
#
"
"
/
"
"
"
)
"
7
"
"
) "
"
"
"
"
"
6H
"
"
"
"
"
"
"
"
"
/ 7(
"
"
+A@+B
7
7
' *(
27
& $ )//0
Paul Wohlgemuth, Rethinking Church Music (Chicago: Moody Press, 1973), p. 25.
Paul B. Brown, op. cit., p. 15.
29
Carol Doran and Thomas H. Troeger, Trouble at the Table: Gathering the Tribes for Worship (Nashville:
Abingdon Press, 1992), p. 68.
28
13
* '*!( +& #
+
!
+HH6 1 1" 2!
<
6
!
&
! '"#
*1(*1( &
!1 3+!
1!
&* * 1
! &*+
@:
2
(
;
+HH6
!- '
&
'
;
:"'
+HHB
*1(*1(
' #
& *1( &
*
! &*+ /
2!
!
@
.
=
(
A
"
*&
!
'
1"*1(#
1 1 !"- *!1 !
1
!
'* 3
;
/
+HHH
!1 3+!
;
1" &
(
& * 3 *
9
*1(
(
56! 2-'
+* * 7
" @7
3 3
*1( &
1"
1"*1( &
1
!!8*1(
!
1
' ;
!
" &
>
-;
2
+HH= 6- *'
(
#
&- &
- *
*1
! &*+
1"
@7
:
8
+HHH ' 1" "
H
!4 3 1
9
+HHH
G
31!'!(
@7
! &*+
> 5
F
&* * 1
@
>)
C
1"
9
+HHG
B
;
:
" 2
+HHG
6%
)
9'' &!1!'"
> <
! &*+
"
'
"
(
" @
>
1" *1(
(
! 11 #
"
:
!1 &- &
"
- * *1
!1! !2
"
*
14
*''* 3
@
+I !
<
+HHA
>
2
! &*+
@ / 5
D
==
+HHA 7
.@
II+6,6I==
++ 8
5
+HFB !-'
/
+6
- *
!
' 8 1"
;
&* # &
12'- 1
!2 ' 8
@:
"
+HHC
- * ' 1
-3 1
*1 &
- '*
! &*+ !2
!"
>9
+= )
+HHG
+A )
+HF=
!
-3# &
&- & 1"
- * <
!
!
&*18*1( &- &
- * :
!
15
@( "
@:
- * !1 &
&- &
@
"
"
#
$
!
%
"
!" #
"
"
"
&
"
"
"
"
'"
"
"
"
!
1
"
"
"
(
"
)
"
"
(
"
"
"
"
"
"
"
!
"
"
"
"
"
"
!
"
"
*
"
"
+
-
)
,
"
"
"
.
)
"
"
,"
"
,
"
"
,
"
"
"
"
"
"
/
"
"
"
1
"
"
"
0
"
"
"
Ted Peters, Worship Wars, in Dialog: A Journal of Theology, Volume 33, Number 3 (Summer 1994) pp.
167-168.
2
"
"
"
(
&
(
(
"
#
"
1
"
2
#
"
"
"
1
"
"
"
"
/
#
"
3
(
"
(
4
1
"
"
"
"
(
1
"
5
"
(
*
"
6
/
(
1 "
"
"
7
"
"
"
"
"
$% & !'!(
/
"
"
"
8
"
"
"
,"
"
:
2
29 :
*
)
7
"
2
;
4
"
"
"
/
2
Paul B. Brown, In and for the World: Bringing the Contemporary Into Christian Worship (Minneapolis:
Fortress Press, 1992), p. 6.
3
"
"
"
"
"
"
:
"
1 <
#
<
=
,
0
>
#
#
""
1
"
(
"
#
"
?
"
"
#
(
@
(
(
1
"
)%
! &*+
"
"
"
"
7
"
"
"
"
"
7
"
"
,"
"
7
,"
7
!
,
@
""
"
"
"
1 "
"
"
"
:
)
"
:
9
"
3
:
*
"
"
1
"
A
!
(
Readers should be critical on this and have to be very careful not to make a quick judgement. This
presupposition is merely based on the writer’s experiences.
4
Paul B. Brown, op. cit., p. 67.
4
"
"
"
/
"
B
7
'9(/
"
/
;
"
/
""
"
*
•
•
(
•
/
•
)
"
"
"
(
"
"
"
"
"
"
"
"
"
"
•
•
@
2
,
"
>
?
C
)
/
;
7
0
*
2
;
"
"
/
"
"
"
@
0
"
"
•
/
(
>
"
"
•
1
"
(
•
(
"
"
D
"
>
"
!
"
)
"
(
"
>
0
>
5
Charismatic worship design consists only of three basic elements, namely: song, preaching and prayer.
Andy Hagen, Contemporary Worship Brings a “Joyful Spirit” (an essay taken from the internet, Illinois:
Joyful Spirit Lutheran Church, 1999), p. 1.
6
5
•
!
"
•
2
•
'
"
"
"
E "
E
/
•
!
"
"
>
D
" >
" >
"
"
">
D>
"
"
D>
,%
>
"
"
"
•
"
D>
"
"
"
F
- *
"
"
"
"
"
" "
""
"
"
:
"
" 5
8
"
"
3
"
"
1
"
"
00
"
"
"
"
"
"
G
"
/
5
8
"
H
"
"
"
" /
"
"
"
"
)
"
8
"
+HII
J
"
"
""
"
"
7
:
5 "
Donald Hustad, Jubilate II: Church Music in Worship and Renewal (Illinois: Hope Publishing Company,
1993), p. 303.
8
Johannes Riedel, Soul Music Black and White: The Influence of Black Music on the Churches
(Minneapolis: Ausburg Publishing House, 1975), p. 50.
9
Ibid., p. 58.
6
2
"
"
9
;
"
>(
+HCI
9
.
"
.
" 3 1
,
"
8 "
"
/
"
*
+G
"
"
"
"
"
,
;
" /
"
.
1
"
"
"
"
7 +HF6
'
"
(
&
D
)
"
%
!
"
)
.
"
"
7
@
;
7
" 3 1
7
7
7
1
7
1
7
"
"
7
1
1 "
/ 71
"%+I
1
"
(
!
"
"
(
(
"
"
"
"
(
"
10
0
Laura Harris, Remembering the Past, Understanding the Present, Looking Toward the Future (an essay
taken from the internet, 1999), p. 1.
7
!
"
"
"
/5
"
"
(
!
)
"
7
+HGI1
"
" "
"
++
0
"
"
"
"
(
(
" 9
"
"
K
;
'
"
;
"
"
"
"
0
"
+6
)
"
"
;
"
"
"
+=
*
"
"
9
"
"
)
"
!
"
2
#
.
#
)
L
+HCG
7
! "
"
@
7
"
"
b.
0
"
"
!
a.
"
"
""
:
:"'
, "
*
"
Its use to refer solely to music influenced by the styles of popular culture ignores the fact that a
considerable body of music from both past and present written in other styles was also conceived for
the purpose of worship—including praise—and continues to be used.+A
11
See Larry Eskridge, Pentecostalism and the Charismatic Movement (an essay taken from the internet,
Illinois: Wheaton College, 1998), p. 3.
12
Laura Harris, op. cit., p. 3.
13
Harry Eskew and Hugh T. McElrath, Singing with Understanding: An Introduction to Christian
Hymnology (Tennessee: Church Street Press, 1995), p. 313.
14
Milburn Price, And the Beat Goes On: The Continuing Influence of Popular Culture on Congregational
Song in David W. Music (ed.), We’ll Shout and Sing Hosanna: Essays on Church Music in Honor of
8
!
+
$
:
"
#
"
6
1
"
+B
"
!
1 "
#
7
"
"
#
"
#
"
*
"
(
=
+C
(
(
"
"
#
"
"
@
"
"
>
+F
<
+
/
6
/
"
#
1
"
"
"
"
"
"
"
#
"
"
"
>
(
+
@
D
(
@
/
"
+G
)
"
William J. Reynolds (Texas: School of Church Music Southwestern Baptist Theological Seminary, 1998),
p. 67.
15
Donald Hustad, op. cit., p. 99.
16
Paul B. Brown, op. cit., p. 2.
17
Donald Hustad, op. cit., p. 287.
18
Paul B. Brown, op. cit., p. 3.
9
"
"
"
"
+H
6
"
"
7
"
(
"
"
"
"
@
"
"
"
,
:
"
,
"
"
"
"
"
!
"
*
*
6I
"
#
"
"
"
"
"
"
"
"
.
/
/
""
"
9
"
"
#
" 1
1
"
"
"
"
#
"
;
6+
.
/
"
"
"
*
"
>
"
19
"
Donald Hustad, op. cit., p. 295.
Brian Schwertley, Musical Instruments in the Public Worship of God (an essay taken from the internet,
Lansing, 1996), p. 2.
21
Ibid., p. 3.
20
10
"
"
#
"
8
:
1
"
"
/
7
"
"
! "
"
" @
7 (
"
+6>
"
"
"
66
"
J
"
#
=@6G4 '
(
A@+ K C>
"
1
"
"
?
"
7
(
"
#
"
1
"
#
>
6=
(
"
"
)
"
"
(
"
"
"
7
"
7
"
@
•
'*
"
"
*
"
•
&
"
*
•
'*
"
"
"
"
"
"
"
(
"
"
"
"
"
"
•
"
"
"
22
Milburn Price, op. cit., p. 60 – 61.
Ron Man, Blended Worship (an essay taken from the internet, Tennessee: First Evangelical Church,
1999) p. 1.
23
11
'*
•
"
"
"
1
"
"
-
-
"
"
"
•
"
6A
#
8
$%
&
)
'
"(
)
"
(
"
(
" 1
!
"
"
"
"
"
"
"
7
"
4
"
"
6B
""
:
"
"
7
+
""
%
!
"
%
*""
)
,"
/
" 1
" 1
(
)
"
6C
#
"
"
"
"
"
7
"
) "
24
"
Donald Hustad, op. cit., pp. 280 – 281.
Paul B. Brown, op.cit., p. 18.
26
Paul Westermeyer, Current Theological Trends Affecting Congregational Song in David W. Music (ed),
We’ll Shout and Sing Hosanna: Essays on Church Music in Honor of William J. Reynolds (Texas: School
of Church Music Southwestern Baptist Theological Seminary, 1998), p. 54.
25
12
!
2
(
6F
)
"
(
"
" 1 "
"
"
"
"
"
%
"
6G
"
"
"
"
?
#
(
"
" 1
"
" 1
7
% /
2
;
#
"
"
/
"
"
"
)
"
7
"
"
) "
"
"
"
"
"
6H
"
"
"
"
"
"
"
"
"
/ 7(
"
"
+A@+B
7
7
' *(
27
& $ )//0
Paul Wohlgemuth, Rethinking Church Music (Chicago: Moody Press, 1973), p. 25.
Paul B. Brown, op. cit., p. 15.
29
Carol Doran and Thomas H. Troeger, Trouble at the Table: Gathering the Tribes for Worship (Nashville:
Abingdon Press, 1992), p. 68.
28
13
* '*!( +& #
+
!
+HH6 1 1" 2!
<
6
!
&
! '"#
*1(*1( &
!1 3+!
1!
&* * 1
! &*+
@:
2
(
;
+HH6
!- '
&
'
;
:"'
+HHB
*1(*1(
' #
& *1( &
*
! &*+ /
2!
!
@
.
=
(
A
"
*&
!
'
1"*1(#
1 1 !"- *!1 !
1
!
'* 3
;
/
+HHH
!1 3+!
;
1" &
(
& * 3 *
9
*1(
(
56! 2-'
+* * 7
" @7
3 3
*1( &
1"
1"*1( &
1
!!8*1(
!
1
' ;
!
" &
>
-;
2
+HH= 6- *'
(
#
&- &
- *
*1
! &*+
1"
@7
:
8
+HHH ' 1" "
H
!4 3 1
9
+HHH
G
31!'!(
@7
! &*+
> 5
F
&* * 1
@
>)
C
1"
9
+HHG
B
;
:
" 2
+HHG
6%
)
9'' &!1!'"
> <
! &*+
"
'
"
(
" @
>
1" *1(
(
! 11 #
"
:
!1 &- &
"
- * *1
!1! !2
"
*
14
*''* 3
@
+I !
<
+HHA
>
2
! &*+
@ / 5
D
==
+HHA 7
.@
II+6,6I==
++ 8
5
+HFB !-'
/
+6
- *
!
' 8 1"
;
&* # &
12'- 1
!2 ' 8
@:
"
+HHC
- * ' 1
-3 1
*1 &
- '*
! &*+ !2
!"
>9
+= )
+HHG
+A )
+HF=
!
-3# &
&- & 1"
- * <
!
!
&*18*1( &- &
- * :
!
15
@( "
@:
- * !1 &
&- &
@