ART Agastya Rama Listya Popular culture worship Full text

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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.

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Charismatic worship design consists only of three basic elements, namely: song, preaching and prayer. 6

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Donald Hustad, Jubilate II: Church Music in Worship and Renewal (Illinois: Hope Publishing Company, 1993), p. 303.

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Johannes Riedel, Soul Music Black and White: The Influence of Black Music on the Churches (Minneapolis: Ausburg Publishing House, 1975), p. 50.

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b. 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

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See Larry Eskridge, Pentecostalism and the Charismatic Movement (an essay taken from the internet, Illinois: Wheaton College, 1998), p. 3.

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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.

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William J. Reynolds (Texas: School of Church Music Southwestern Baptist Theological Seminary, 1998), p. 67.

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Donald Hustad, op. cit., p. 99. 16

Paul B. Brown, op. cit., p. 2. 17

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Brian Schwertley, Musical Instruments in the Public Worship of God (an essay taken from the internet, Lansing, 1996), p. 2.

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Milburn Price, op. cit., p. 60 – 61. 23

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Donald Hustad, op. cit., pp. 280 – 281. 25

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Paul Wohlgemuth, Rethinking Church Music (Chicago: Moody Press, 1973),p. 25. 28

Paul B. Brown, op. cit., p. 15. 29

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