Church music--History and criticism

A theomusicological study of style and taste in two United Methodist churches in northcentral Pennsylvania

Author
Jeffrey Alan Seeley
Abstract
This project explores the musical life and faith expression of two United Methodist congregations--Colonial Park (Harrisburg, Pa) and Wellsboro (Pa)--in order to articulate and celebrate the musical heritages of these congregations and to study alternative musical styles as potential avenues of faith formation and expression. Members of these churches exhibit diverse musical preferences and appear to welcome diversity. They find hymn singing essential to worship. Musical style issues provoke occasional moments of crisis in the choirs.

The Lock Hymn Tune Collection: hymns as a theology of worship

Author
Barbara N Salter
Abstract
This project demonstrates connections between an act of ministry as proclamation/herald and an act of ministry as teaching/performance. The Lock Hymn Tune Collection demonstrates these acts through performance of select hymns. A lecture/concert presented the hymn collection as a model for linking performance and proclamation. Hymns selected illustrate the growth of the collection, the variety of musical styles performed by the congregation, and the theological, social, and musical basis on which these hymns gradually evolved. Through an evaluation of the concert by both audience and performers, the project demonstrates imaginative use of historical texts and tunes in today's church. A commentary presented during the performance reflects on the history, purpose, and social context of the collection.

A guide to the folk music with guitar accompaniment of the worshipbook

Author
Sheppard Dean Lawrence
Abstract
This project consists of two items: (1) a paper on folk music and guitar and how they function in the The Worshipbook, and (2) a tape of the "Musical Responses-III Setting" plus selected hymns from The Worshipbook, all recorded with the guitar. The tape is a practical tool for churches interested in learning new hymns and responses. guitar accompaniments on the tape can help those who want to learn how to sing with the instrument. Brief instructions and commentary are offered between each of the musical selections. The paper gives an historical and theological rationale for the use of folk music and guitar in worship. It proposes guidelines and makes suggestions as to the best way a congregation can utilize this approach. The latter portion of the paper gives a complete background of the "Musical Responses" of The Worshipbook.
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