Hymns and the music the church sings in worship are tangible means of expressing worship. And while worship is one of, if not the central functions of the church along with mission, service, education, justice, and compassion, and occupies a prime focus of our churches, a renewed sense of awareness to our theological presuppositions and cultural cues must be maintained to ensure a proper focus in worship. Hymns and Hymnody: Historical and Theological Introductions is a sixty-chapter, three-volume introductory textbook describing the most influential hymnists, liturgists, and musical movements of the church. This academically grounded resource evaluates both the historical and theological perspectives of the major hymnists and composers who have impacted the church over the course of twenty centuries. Volume 1 explores the early church and concludes with the Renaissance era hymnists. Volume 2 begins with the Reformation and extends to the eighteenth-century hymnists and liturgists. Volume 3 engages nineteenth century hymnists to the contemporary movements of the twenty-first century. Each chapter contains these five elements: historical background, theological perspectives communicated in their hymns/compositions, contribution to liturgy and worship, notable hymns, and bibliography. The mission of Hymns and Hymnody is (1) to provide biographical data on influential hymn writers for students and interested laypeople, and (2) to provide a theological analysis of what these composers have communicated in the theology of their hymns. We believe it is vital for those involved in leading the worship of the church to recognize that what they communicate is in fact theology. This latter aspect, we contend, is missing—yet important—in accessible formats for the current literature.
This guide to the biographical literature available on popular 20th-century singers covers nearly 1000 artists. Much of the literature cited is also cross-referenced to major biographical dictionaries, encyclopedias, and relevant periodicals. Entries not only list known publications associated with popular singers but also incorporate elements of analytical and descriptive bibliography. The artists included in this volume increasingly cross musical boundaries. The popular singer category, therefore, encompasses Broadway, Hollywood, cabaret, and operetta performers as well as recording artists. Scholars of popular music and popular music enthusiasts will appreciate the extensive research this work embodies. Divided among three sections, citations are arranged alphabetically and include information about literature published through 1997. An appendix of additional artists and an index complete the volume.
This new edition expands and updates the only general interpretation of the rise and influence of perfectionist revivalism in America and Europe. Fifteen years of expanding research on the holiness movement reinforce this volume's continuing seminal value to cultural and social research. The new concluding essay describes the history of the revival through the turn of the century. This book expands our understanding of the fragmentation and coalescence of American religion by analyzing the factors which created numerous new holiness denominations. Dieter also outlines the historical and theological factors that separate this largely Wesleyan and Methodist wing of evangelicalism from the fundamentalism of Reformed evangelicals. The identification of such nuances will prove especially helpful to those struggling with the extreme diversity in American religion, especially in evangelicalism. For students and scholars of American religious movements as well as students of the feminist, temperance, abolitionist, and populist movements in American society.
Too often in the history of Christian worship, evangelical leaders have sought to manipulate anxiety to spur repentance. J. Michael Jordan challenges this utilitarian approach, offering a practical theology of worship within a healing framework that, rather than manipulating anxiety, acknowledges, accepts, and offers it to God.
At his death on the eve of the 20th century, D.L. Moody was widely recognized as one of the most beloved and important of men in 19th-century America. A Chicago shoe salesman with a fourth grade education, Moody rose from obscurity to become God's man for the Gilded Age. He was the Billy Graham of his day--indeed it could be said that Moody invented the system of evangelism that Graham inherited and perfected. Bruce J. Evensen focuses on the pivotal years during which Moody established his reputation on both sides of the Atlantic through a series of highly popular and publicized campaigns. In four short years Moody forged the bond between revivalism and the mass media that persists to this day. Beginning in Britain in 1873 and extending across America's urban landscape, first in Brooklyn and then in Philadelphia, New York, Chicago, and Boston, Moody used the power of prayer and publicity to stage citywide crusades that became civic spectacles. Modern newspapers, in the grip of economic depression, needed a story to stimulate circulation and found it in Moody's momentous mission. The evangelist and the press used one another in creating a sense of civic excitement that manufactured the largest crowds in municipal history. Critics claimed this machinery of revival was man-made. Moody's view was that he'd rather advertise than preach to empty pews. He brought a businessman's common sense to revival work and became, much against his will, a celebrity evangelist. The press in city after city made him the star of the show and helped transform his religious stage into a communal entertainment of unprecedented proportions. In chronicling Moody's use of the press and their use of him, Evensen sheds new light on a crucial chapter in the history of evangelicalism and demonstrates how popular religion helped form our modern media culture.