e-book Kingdom Music: an anthology of Kingdom Music Proclivity

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Transforming Worldview through Song - Missio Nexus

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With a little help from my friend: Social loafing and the Lennon-McCartney songs. Personality and Social Psychology Bulletin, 8 4 , Social loafing on difficult tasks. Journal of Personality and Social Psychology, 49 4 , Karau, S.

Social loafing: A meta-analytic review and theoretical integration. Journal of Personality and Social Psychology, 65 4 , Social loafing: Research findings, implications, and future directions. Understanding individual motivation in groups: The collective effort model. Turner Ed. London, UK: Routledge. Kerr, N. Dispensability of member effort and group motivation losses: Free-rider effects. Journal of Personality and Social Psychology, 44 1 , Many hands make light the work: The causes and consequences of social loafing.

Journal of Personality and Social Psychology, 37 6 , Liden, R. Social loafing: A field investigation. Journal of Management, 30 2 , — Why do we listen to music? A uses and gratifications analysis. British Journal of Psychology, 1 , Diffusion of responsibility on social networking sites. Computers in Human Behavior, 44, European Journal of Work and Organizational Psychology, 25 1 , Affective and evaluative responses to pop music. Current Psychology, 17, Telling it like it is: The use of certainty in public business discourse. Journal of Business Communication, 36 3 , Pettijohn II, T. Songwriting loafing or creative collaboration?

Journal of Articles in Support of the Null Hypothesis, 7 1 , Pratarelli, M. Effects of social loafing on word recognition. Perceptual and Motor Skills, 78 2 , Rentfrow, P. Journal of Personality and Social Psychology, 84 6 , The music or the words? Empirical Studies of The Arts, 18, Sydserff, R. Organizational citizenship behavior and social loafing: The role of personality, motives, and contextual factors. The Journal of Psychology, 1 , Whissell, C. Computers and the Humanities, 30 3 , Phonosymbolism and the emotional nature of sounds: evidence of the preferential use of particular phonemes in texts of differing emotional tone.

Perceptual and Motor Skills, 89 1 , Perceptual and Motor Skills, 96 1 , The emotional importance of key: do Beatles songs written in different keys convey different emotional tones? Perceptual and Motor Skills, 91 3 , N ranged between and Levelling Words used to ignore individual differences and to build a sense of completeness and assurance. Collectives Singular nouns connoting plurality that function to decrease specificity e. Blame Terms designating social inappropriateness e. Communication Terms referring to social interaction. Cognitive terms Contains words referring to cerebral processes, both functional and imaginative.

Human interest Includes standard personal pronouns, family members and relations, and generic terms e. Rapport Words denoting attitudinal similarities among people.

Transforming Worldview through Song

Cooperation Words describing behavioural interactions among people that often result in a group product. Diversity Words describing individuals or groups of individuals differing from the norm. Exclusion Describes the sources and effects of social isolation. Variety The number of different words divided by total words. Complexity Mean number of characters per word. Related Papers. Gender and pop music lyrics. Ghent, Belgium. By Amanda E Krause. North, A. By Cyndi Frisby. When traditional practices and beliefs—and the impact they have on Zande society—are brought into the open, the next step will be to discover scriptural answers that deal with each issue.

Groups of composers will then become involved in the process as scriptures found to confront the cultural practices will be used as texts for new compositions. Workshops will then be held in local churches to teach the new songs and to encourage the application of the truths in the lives of Zande Christians. Recordings of the songs will then be made available on cassettes and CDs. Radio stations broadcasting into the Zande region from Southern Sudan, Democratic Republic of Congo, and Central African Republic will be contacted to encourage the use of the recordings of these songs on their radio programs.

As in many places in Africa, the gospel has been proclaimed in the Zande region for almost one hundred years. Music is a force long known to be an effective tool for evangelism and more recently for encouraging worship in African churches.

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As we reflect on the importance of music according to the Bible and the power and prevalence of music in every society, let us use scripture-based songs to confront worldview beliefs and practices not in line with biblical teaching. If this happens, we will encourage true transformation in the lives of believers not only in Africa, but throughout the world. References Hiebert, Paul G.

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  • Grand Rapids, Mich. Pike, Eunice V. Not only were Zande churches founded on Western hymnody, but then came a diet of American folk songs and spirituals, followed by the pronouncement that Zairian evangelical church songs would be appropriate for Zande church use. Nowhere to this point do we hear the voices of the Azande people, only the decisions made by cultural outsiders.

    With this denial and denigration of Zande music, it comes as no surprise that nearly one hundred years later, ethnomusicologist Graham James needed to teach the CAR church musicians how to use their own indigenous song styles. It is becoming increasingly difficult to know which term to use in describing cultural practices.

    Those who still use the term in relation to their own artistic heritage are initially hesitant to use it within Christian contexts due to the lingering perceptions of unworthiness bestowed on African art forms by early missions. For example, we are told the song structure known as call-and-response is culturally appropriate for the Azande, but this does not tell us whether it was borrowed from elsewhere, along with body movement, clapping, and harmonization.

    That Zande church leaders are now starting to define their own choices in worship is a dialogue long overdue. It is exciting to see the positive and redemptive aspects of local songs now being appreciated by Zande churches. However, most African cultures are richly endowed with a range of communicative art forms, and songs seldom exist in a vacuum.

    They are intertwined with language, poetry, narratives, and riddles, accompanied by movement and instruments, found within dramas and stories, and partnered by visual arts such as masks, body ornamentation, costumes, and illustrations. I am curious whether the suppression of Zande songs through history has discouraged the use of other art forms. I suspect God might dearly desire to redeem these too for his purposes.