Praise and worship

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Praise and adoration , as a special form of prayer, are ways of expressing the Christian faith. In praise the believer honors God and praises his deeds, in adoration (Latin adoratio , Greek προσκύνησις) he worships God's nature. Praise and adoration - also in the special form of doxology - have been a liturgical component of Christian worship of all denominations since early Christianity . In the present, the terms together also function as a terminus technicus for a contemporary musical form of expression of praise, the specialty of which is short, mostly single-verse, but often repeated chants, which are held in the musical language of the present. Over the course of sixty years, worship music has developed into its own style of music, the origins of which lie in the charismatic movement and which is now widespread in most Christian denominations, especially among young people. In addition, "praise and adoration" is also the epitome of an inner Christian way of life, and therefore of the goal of all theological work . In English, the terms praise and worship are used, whereby “worship” describes not only the special kind of worship, but in a broader sense the entirety of the worship service.

history

Praise and Worship in the Bible

The praise of Christianity goes back to the hymns of Israel, as found in the Old Testament z. B. found in the Psalter (for example the so-called " Hallel " of Psalms 113-118). In prayer the believer praises God for his majesty, his help and his great deeds. Already in the Psalms, praise was expressly given various prayer gestures ( Ps 95.1.6  EU ) and musical expression ( Ps 18.50  EU ; Ps 30.5  EU etc.). Man finds his real destiny in praise of God ( Ps 34.2  EU ) and Israel finds his task ( Ps 22.4  EU ). The variety of forms includes the call to praise (“Praise the Lord”) and the Hebrew “Hallelujah” (translated: “Sing to the Lord”) as well as the “ Sanctus ” (“Holy, holy, holy ”), which adores God himself in ritual practice “: Isa 6,3  EU ). The New Testament continues the tradition of praise according to structure and tradition in Christological revision and centering. In the face of Christ who has come, God is praised in prayer; B. with the words “Glory to God on high” ( Lk 2.14  EU ), the hymn of praise of Mary ( Magnificat ) ( Lk 1.46–55  EU ) or in the praising recognition of divine reality in the doxology of the Our Father (“For yours is the kingdom and the power and the glory forever”) ( Mt 6,13  LÜ ). The hymns of Christ such as Phil 2.5–11  EU are of a doxological nature . Doxological expressions that suggest a worship or liturgical background can be found in Rom. 11.36  EU , 1 Tim 1.17  EU and the like. a. Often found in them the form: naming God in the dative or genitive - δόξα (doxa, translated "honor", "glory") - eternity formula (cf. Rom 11.36  EU ; Rom 16.25-27  EU ). The liturgical hymns of the Revelation of John have a special significance ( Rev 4 : 8–11  EU , Rev 5 : 9–12  EU , Rev 19 : 1 ff.  EU ). They want to be understood as an echo of the heavenly praise of God - an important motif of the Jewish understanding of worship - in which "God is given ceaseless praise through the throne of angels and the perfect righteous". According to the theology of the Revelation of John, the congregation participates in this new, heavenly divine service in praise and worship of God. Some authors assume that the praise of God also had a sung form in early Christianity.

Form and statement

“Adoration is a voluntary act of gratitude offered to the savior from the saved, the healer from the healed, the deliverer from the liberated” (Lucado). The Protestant theologian Edmund Schlink - inspired by the liturgy of the Orthodox Church - worked out the specific form of language from an ecumenical perspective: the person of the prayer himself takes a back seat in adoration. He does not give thanks or ask for himself, but rather worships God for his own sake and surrenders himself to God in the performance of this praise. That is why adoration in its basic form is not formulated in the second (“God, I glorify you”), but in the third person (“God is glorious”), even if the more confidential “you” was quickly added to this in the history of the liturgy. “Doxology is ultimately about God himself - about God because of his deeds for us humans, in the world, but about God who does not get absorbed in these deeds, but does his deeds in the freedom of the almighty and loving Lord, the first and the last, the beginning and the end. It's about God's eternal reality ”(Edmund Schlink). Praise and adoration, together with the thanksgiving prayer, therefore form the opposite pole to lamentation and plea: In the “sacrifice of praise” the believer gives God honor, “so that the world and person appear as a blessing and return to their origin in response to praise”. The Westminster Catechism of 1647 formulated the “main purpose of man” as “to glorify God and to rejoice in Him forever”. This can be done not only in speech form, but also in “holy silence”, which as a way of intimate adoration therefore also has a place in the liturgy.

In Roman Catholic theology in particular, the Eucharist is understood as a whole as adoration, indeed as its highest form: Christ himself “joins in his priestly work the perfect glorification of God and the sanctification of the people of his church, so that the church as Whole, head and limbs, is the subject of worship ”.

During the Reformation, Martin Luther pointed out that praising God is the work of the Holy Spirit : “For it is no man's work to praise God with joy. It is [much] more of a joyful suffering and God's work alone, which cannot be taught with words, but can only be known through personal experience ”. With the help of Mary's hymn of praise, he shows that praise and worship do not necessarily have to be based on one's own well-being, but can come from faith.

In the theology of orthodoxy it is often pointed out that doxology is more than a piece of worship, but that "theological thinking and research, as well as the experience of faith in general [...] culminate in doxology, which is knowledge in prayer" (A. . Kallis). “That means: the sum and summit of theology is doxology, because here knowledge of God is expressed in prayer; H. in a personal relationship, happens ”.

Liturgical variations

From the early church liturgy to the present day, elements of praise can be found in the opening part of Christian worship . Probably the most original is the Gloria Patri as a “little doxology”, which concludes the psalm song of worship and interprets it at the same time Christologically and Trinitarian: “Glory to the Father and the Son and the Holy Spirit, as it was in the beginning, now and forever, and and ever forever". The chanting of the psalm itself represented the main form of Christian praise in the old church. The so-called great " Gloria in Excelsis" is also attested from the 4th century . It is a “thanksgiving and festive song” in three sections - “the song of the angels on Holy Night, the praise of God, the call to Christ”, which was originally reserved for the bishops and only in the course of time for the presbyters and the clergy 's choir was opened to sing along. Both were sung from the start, with the musical form initially following the Old Testament melodies and then continued in Gregorian chant . In the liturgies of the Eastern Church they have z. Experienced rich musical arrangement and highlights in the masses set to music in the western church (such as the B minor mass by Johann Sebastian Bach : B minor mass # description of the work , or in " Gloria " by Francis Poulenc ). Another well-known hymn of praise from the early church is the Te Deum of Ambrose of Milan (with three parts: a hymn to the Triune, a hymn of the incarnate and risen Son based on Phil 2: 6-11  EU and a prayer of the believing community for perfection ) as well as the Trishagion . During the Reformation, the hymn of praise was taken from Gregorian chant and poured into a new textual and musical form: the psalms were re-composed in song form, using the Meistersingerlied , which was popular at the time, as a musical form (and in some cases openly plagiarized). The early modern doxologies in English-speaking countries include a. the hymn "Old Hundreth". In the Protestant liturgy there were several revivals of the culture of worship. The Methodist revival in England brought z. For example, John Wesley and Isaac Watts produced an abundance of doxological hymns in which the psalmody praising God was updated into the present with own texts. In many cases, however, the praise stunted, especially in the evangelical church service, to a short alternating song and a song verse (often " Only God in the heights be honor " by Nikolaus Decius).

Liturgy of the Hours

One of the great hours of the Liturgy of the Hours , the morning lauds , is expressly designed as praise; in the Hore the “praise psalms” ( Ps 148  EU to Ps 150  EU ) play a major role. Several hours contain praise as an independent element in the second part: the reading hours on Sundays and feast days, the Te Deum , the Laudes the Benedictus , the Vespers the Magnificat and the Compline das Nunc dimittis .

The "rediscovery" of praise in the charismatic movement

In modern times, the Charismatic Movement led to a rediscovery of praise in convergence with the understanding of the old church, but in a contemporary musical and textual guise. The Vineyard and the composer, author and worship leader Graham Kendrick from Great Britain, who is still active today, are considered to be an important initiator of these new sacred songs . In German-speaking countries, Helmut Trömel has been promoting the development of praise and worship songs as well as the celebration of pronounced worship services since 1984. Since then, a large number of new songs of praise and worship have emerged. Early works from the 1970s and 1980s were mostly very simple and short, but were repeated several times in praise. Since the 1990s, more and more musically and lyrically demanding songs have been composed. A number of German-language praise and worship songs have been translated from English or are sung in English, but more and more songs are now by German artists.

Internationally significant persons of the worship movement are also Brian Doerksen (Canada), Brenton Brown , Matt Redman (Great Britain) and from Germany primarily Albert Frey , Lukas Di Nunzio and Lothar Kosse .

An ever increasing number of songs are now known to Christians around the world (e.g. I could sing of your love forever , Heart of Worship , Shine Jesus Shine and Mercy is falling ). They are usually translated into the respective national language, but are also often sung in the English original language. In addition to sound carriers and performances, the songs spread mainly through song books. The most important German songbook series are celebrates Jesus! , You are Lord and In Love With Jesus .

New praise and worship songs

Modern worship band

The current culture of praise and worship ( Worship ) as of the Charismatic Movement is marked, tries the concern of the doxology take in a new form. Instead of fixed liturgical pieces, the praise usually consists of short, single-verse chants that are musically based on current pop music . According to the charismatic view, these should lead to the worship of God for his own sake. The character of the majority of the genuinely charismatic songs corresponds to this goal ”( Zimmerling ).

The “worship time” restores the original dynamic of the Gloria as a traditional place of worship with the active participation of all worshipers and occasionally also includes elements that in a traditional worship service include the Psalm , the Kyrie or the confession of sin (cf. e.g. When the music fades ). In this case, the entire first part (called “opening and invocation” in the evangelical liturgy) from the greeting to the sermon in the sense of a “path” takes place in song form as praise in church services with “worship time” . Occasional attempts to incorporate a “time of worship” as a glory in an otherwise traditionally performed liturgy harbor the problem of a strong time limit, which is difficult to reconcile with the character of this form of expression. The “worship time” that often introduces the worship service is usually led by a worship leader or a worship band. Some congregations sing from song books, but for the most part it is common to project the texts onto a screen using an overhead projector or video projector . The length of the worship can vary widely and range from a few songs (15 minutes) to half an hour and longer. In some congregations, worship services are held from time to time , where the sermon is usually dispensed with or kept very short in favor of a longer worship time.

During a time of worship and worship, believers have access to a variety of physical forms of expression that is unusual for Western churches . Of biblical role models reminiscent gestures and postures such as closing the eyes and the Up Arrow stretches of the hands (Orantenhaltung), standing, sitting or kneeling, emotions such as crying or laughing here a worship place for an individual design, the purpose of which is to “give space” to the Spirit of God . The praise is partly interrupted by text readings, prayer times and other things. During the time of praise, believers enter into communication with God ; In the time of praise they expect concrete action from God, a kind of "opening of space" for knowing God and for being oneself. The phenomenon of the “overflow” (DW Hardy) of God's glory in spiritual gifts , such as speaking in tongues (glossary) or prophecy, manifests itself especially in charismatic congregations in the form of doxology . However, these are not necessarily part of a worship time; in non-charismatic churches e.g. For example, overly ecstatic phenomena are viewed critically and rather perceived as a disturbance.

In some communities the raising of banners and flags (flag dance) is part of praise. Flags and banners in the Bible indicate authority, belonging, and power. Banners are messages on fabric (standard).

Church-independent worship events that are organized jointly by several congregations or interested parties are also becoming increasingly established in Germany. These mostly regionally limited events are increasingly attended by adolescents and young adults, each with a different community background. One of the largest such events in Germany was the " Calling All Nations " event initiated by Noel Richards in the Berlin Olympic Stadium on July 15, 2006.

"Praise and Worship" is now the name for an entire music division in the Christian music industry . So many Christian pop musicians and bands have recorded worship albums. Examples: Maranatha Singers, Michael W. Smith , Newsboys , Skillet, etc. a. Other performers who started out as a worship band have taken the opposite route.

criticism

Critics see modern forms of praise and worship as a dangerous adaptation to the zeitgeist. In their opinion, the use of modern musical styles in church services often leads to (generational) conflicts in Christian churches and parishes. Other critics complain about the increasing commercialization of worship music. As a result, the real meaning - the worship of God - is lost. Often the criticism is directed against those ascribed to the Holy Spirit , at outsiders e.g. Sometimes drastic manifestations, which are often (but not necessarily and not everywhere) associated with praise (e.g. Toronto blessings or speaking in tongues ). Some opponents even fear spirits ( demons ) not coming from God at work. This dispute was part of a controversy that lasted almost ninety years between pietists / evangelicals on the one hand and the Pentecostals or charismatics who emerged from them and can be found within the large churches on the other (so-called Berlin declaration ). Most of this was enclosed by the Kassel Declaration in 1996 , although this form of church music continues to be firmly rejected in individual pietistic / evangelical circles.

From a theological point of view, the delimitation of praise from the overall construction of the celebration of worship or community prayer is still under discussion. Praise is part of the divine service and should not be separated as such and only practiced. So are z. For example, listening to the word of God ( reading ) and its interpretation (sermon), the confession of sins and the Kyrie are the traditional components of the Sunday service.

Musically, the compositional and artistic quality of many worship songs and choral pieces is also under criticism, as they not only use contemporary (pop) musical idioms, but only do justice to them on a very simple level. Furthermore, it must be stated that the musical style of this music did not bring about any original, original creative achievements, but was always based on other styles (pop music, Taizé style, Cecilianism, songwriter idioms of the sixties and seventies, etc.). In the German-speaking area, the music is characterized by large numbers being adopted from the Romansh and Anglo-Saxon regions, although the translation of the texts into German is often of poor quality.

Furthermore, critics question whether the physical or spiritual manifestations in praise come from the inspiration of the Holy Spirit or whether they are triggered by music, meditation or trance states while singing and dancing.

Finally, the question can be asked whether modern praise actually corresponds to the biblical model of the Psalms , if it is consistently lacking the lament , and to what extent this lack - and therefore the reference to the suffering and death of Jesus - is partly responsible for the "triumphalistically tinged [ …] Spiritual Understanding “could be. In many places the theological flatness of some worship songs was criticized and challenged to use more demanding texts as a basis.

Representative of contemporary songs of praise and worship

•  Adonia •  Casting Crowns •  Delirious? •  Brian Doerksen •  Albert Frey •  Gateway Worship •  Hanjo Gäbler •  Keith Green •  Hillsong •  Joel Houston •  Daniel Jacobi •  Kari Jobe •  Claas P. Jambor •  Graham Kendrick •  Arne Kopfermann •  Lothar Kosse •  Reuben Morgan •  Neal Morse •  Outbreakband •  Martin Pepper •  Matt Redman •  Michael W. Smith •  Diante do Trono •  Vineyard •  Ana Paula Valadão •  Darlene Zschech

See also

literature

  • Jochen Arnold: theology of worship. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, especially pp. 110–145.
  • Guido Baltes, Roland Werner: Wörship. Holy Heavenly Man's Guide. Haan 2002, ISBN 3-7893-8060-1 .
  • Andreas Eisen: worship service - life in the heart of the father. Lutheran Contributions, Vol. 7, No. 1, 2002, ISSN  0949-880X , pp. 15–41 (critical discussion from a Lutheran perspective).
  • Heiko Boelsen: Praise that goes beyond my limits - new ways for worshipers Cap-Books, Haiterbach-Beihingen, 2010
  • Klaus Fischer: The LowPrice-Lighter Asaph-Verlag Lüdenscheid, 1997
  • René Frank : The New Spiritual Song. New impulses for church music. Diplomica, Volume 9. Tectum, Marburg 2003, ISBN 3-8288-8573-X , pp. 75ff.
  • Albert Frey: Pray with songs. Inspirations for creating praise and worship. Witten 2005, ISBN 3-417-24479-X .
  • Daniel W. Hardy, David F. Ford: Jubilate. Theology In Praise. Longman and Todd, Darton 1984.
  • Graham Kendrick: Worship as a Lifestyle. Asslar 1999, ISBN 3-89490-261-2 .
  • Graham Kendrick: Adoration. Projection J 1989, ISBN 3-925352-17-1 .
  • Arne Kopfermann: The Secret of Praise and Adoration. Asslar 2001, ISBN 3-89490-336-8 (also known as "Praise ABC").
  • Andreas Malessa, Nick Page: Praise like popcorn? Why so many worship songs make so little sense. Wuppertal 2008, ISBN 978-3-417-26233-9 .
  • Rudolf Möckel: Worship as a lifestyle. About the joy and motivation to worship God. Dillenburg 2004, ISBN 3-89436-433-5 .
  • Dan Lucarini: Worship until you drop. Confessions of a Former Worship Leader. Betanien, 2002, ISBN 3-935558-57-0 .
  • Hughes Oliphant Old: Worship. Reformed according to Scripture. Westminster John Knox Press, Louisville 2002, pp. 33-58.
  • Mike Pilavachi / Craig Borlase: When The Music Fades. Worship - more than music. Asslar 2004, ISBN 3-89490-527-1 .
  • Don Potter : Facing the Wall. Potterhaus Music 2001, ISBN 0-9786910-0-8 .
  • Matt Redman: Heart Of Worship. Worship as a lifestyle. Asslar 2002, ISBN 3-89490-423-2 .
  • Edmund Schlink: The structure of the dogmatic statement as an ecumenical problem (first published in: Kerygma and Dogma 3, 1957, pp. 251-306), in: Ders .: The coming Christ and the church traditions. Göttingen 1961, pp. 24–79 (slightly abbreviated adopted in his "Ecumenical Dogmatics")
  • Edmund Schlink: Ecumenical Dogmatics. Main features. Vandenhoeck & Ruprecht, Göttingen 1985, ISBN 3-525-56165-2 , pp. 33-50, pp. 725-734.
  • Friedrich Schönemann a. a .: Die Macht des Lobpreises Verlag Missionswerk Voice of Faith, Constance, 1972
  • Peter Zimmerling: Evangelical Spirituality. Roots and Approaches. Vandenhoeck & Ruprecht, Göttingen 2003, ISBN 3-525-56700-6 , pp. 177f.

Individual evidence

  1. ↑ See Richard G. Jones: Groundwork of Worship and Preaching. Epword Press, London 1980.
  2. ↑ Cf. Claus Westermann: Praise and lament in the Psalms. Göttingen 1977; Claus Westermann: Outline of Biblical Studies. Stuttgart 1991, pp. 115-117.
  3. ^ A b c Frank-Lothar Hossfeld: Praise I: Biblical. In: RGG4. Volume 5: LM. Tübingen 2002, column 476 f.
  4. ^ Hughes Oliphant Old: Worship. Reformed according to Scripture. Westminster John Knox Press, Louisville 2002, p. 39.
  5. ↑ a b Geoffrey Winewright: Doxologie II .: Theology- historical and dogmatic. In: RGG4. Volume 2: CE. Tübingen 1999, column 963 f.
  6. ↑ Jürgen Roloff: The divine service in early Christianity. In: Hans-Christoph Schmidt-Lauber, Michael Meyer-Blanck, Karl-Heinrich Bieritz (eds.): Handbook of Liturgy. Liturgical Science in Theology and Practice of the Church. Vandenhoeck & Ruprecht, Göttingen 2003, p. 68.
  7. ^ Samuel Vollenweider: Doxology. I, 2. In: RGG4. Volume 2: CE. Tübingen 1999, column 963.
  8. ↑ Reinhard Deichgräber: Formulas, liturgische II. In: TRE 11. de Gruyter, Berlin 1983, p. 258.
  9. ↑ a b Jürgen Roloff: The divine service in early Christianity. In: Hans-Christoph Schmidt-Lauber, Michael Meyer-Blanck, Karl-Heinrich Bieritz (eds.): Handbook of Liturgy. Liturgical Science in Theology and Practice of the Church. Vandenhoeck & Ruprecht, Göttingen 2003, p. 69.
  10. ^ Edmund Schlink: Ecumenical Dogmatics. Main features. Göttingen 1985, p. 34 f.
  11. ^ Hughes Oliphant Old: Worship. Reformed according to Scripture. Westminster John Knox Press, Louisville 2002, p. 38 ff.
  12. ↑ Max Lucado: Mercy for the moment. Francke-Buchhandlung, Marburg 2004, p. 333.
  13. ^ Edmund Schlink: Ecumenical Dogmatics. Main features. Göttingen 1985, p. 727f. For inspiration from the Orthodox liturgy see p. 65 and the essay Edmund Schlink: The meaning of the Eastern and Western traditions for Christianity. In: Edmund Schlink: The coming Christ and the church traditions. Göttingen 1961, pp. 232-240.
  14. ↑ a b F. Heiler: Adoration I: Religious History. In: RGG3. Volume 1: AC. Tübingen 1957, column 356.
  15. ^ Edmund Schlink: Ecumenical Dogmatics. Main features. Göttingen 1985, p. 35. On this work and the essay on which it is based, see The Structure of the Dogmatic Statement as an Ecumenical Problem. First published in: Kerygma und Dogma 3. 1957, pp. 251–306, which has had multiple effects in church history; Christoph Schwöbel: Edmund Schlink - Ecumenical Dogmatics. In: Christian Möller, Christoph Schwöbel, Christoph Markschies, Klaus von Zedtwitz (eds.): Trailblazers of the ecumenical movement in the 20th century. Vandenhoeck & Ruprecht, Göttingen 2005, ISBN 3-525-55450-8 , p. 249ff; Jochen Arnold: theology of worship. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, especially pp. 111–119.
  16. ↑ Klemens Richter: Praise II: Liturgisch. In: RGG4. Volume 5: LM. Tübingen 2002, Sp. 477f.
  17. ↑ Josef Weismayer: Art. "Adoration III. Systematic-Theological" , in: LThK3, Volume 1: A-Barcelona, ​​Freiburg (Herder) 3 1993, Col. 609
  18. ^ Andreas Heinz: Art. "Adoration V .: Liturgisch" , in: LThK3, Volume 1: A-Barcelona, ​​Freiburg (Herder) 3 1993, Sp. 610
  19. ↑ reads: "Enduring", something passive
  20. ↑ WA 7, p. 550, cit. in: Jochen Arnold: Theology of worship. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, p. 289.
  21. ↑ WA 7, p. 550, cit. in: Jochen Arnold: Theology of worship. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, pp. 290f.
  22. ↑ a b quot. in: Jochen Arnold: Theology of worship. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, p. 72f.
  23. ↑ E. Jammers: Art. "Doxologie", in: RGG 3 Volume 2, Tübingen 1958, Sp. 258f.
  24. ↑ Geoffrey Winewright: doxology III .: Liturgically. In: RGG4. Volume 2: CE. Tübingen 1999, column 964.
  25. ^ Hughes Oliphant Old: Worship. Reformed according to Scripture. Westminster John Knox Press, Louisville 2002, p. 40.
  26. ^ Karl-Heinrich Bieritz: Liturgy. de Gruyter, Berlin 2004, pp. 388-390.
  27. ↑ Jochen Arnold : Theology of worship. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, pp. 493–505.
  28. ^ Hughes Oliphant Old: Worship. Reformed according to Scripture. Westminster John Knox Press, Louisville 2002, pp. 47-53.
  29. ↑ Evangelisches Gesangbuch , No. 179. Cf. Christoph Albrecht: Introduction to the Liturgy. Göttingen 1998, pp. 44-46.
  30. ↑ Jochen Arnold: Theology of worship. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, p. 140 (using the example of DW Hardy and D. Ford)
  31. ^ Hughes Oliphant Old: Worship. Reformed according to Scripture. Westminster John Knox Press, Louisville 2002, pp. 56f.
  32. ↑ Cf. René Frank: Das Neue Geistliche Lied. New impulses for church music. Diplomica, Volume 9. Tectum, Marburg 2003, ISBN 3-8288-8573-X , pp. 75ff.
  33. ↑ René Frank: The New Spiritual Song. New impulses for church music. Diplomica, Volume 9. Tectum, Marburg 2003, ISBN 3-8288-8573-X , p. 77.
  34. ↑ a b c d Peter Zimmerling: Evangelical Spirituality. Roots and Approaches. Vandenhoeck & Ruprecht, Göttingen 2003, pp. 177f.
  35. ↑ a b c d e René Frank: The New Spiritual Song. New impulses for church music. Diplomica, Volume 9. Tectum, Marburg 2003, ISBN 3-8288-8573-X , p. 76f.
  36. ↑ Peter Zimmerling : Evangelical Spirituality. Roots and Approaches. Vandenhoeck & Ruprecht, Göttingen 2003, p. 179.
  37. ↑ Johannes S'chi-Archimandrite: That you worship in spirit and truth. Morphology and mystagogy of the Orthodox daily prayer. Verlag des Klosters Buchhagen 1999, ISBN 3-926236-06-X , p. 28f.
  38. ↑ a b Jochen Arnold: Theologie des Gottesdienstes. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, pp. 140f.
  39. ↑ Jochen Arnold: Theology of worship. A determination of the relationship between liturgy and dogmatics. Vandenhoeck & Ruprecht, Göttingen 2004, p. 142.
  40. ↑ Guido Baltes: The so-called Praise-Musik , worshipworld.de, presentation at the central workshop of the AG Music in Kassel in October 2002.
  41. ↑ Guido Baltes: Worship Music in a European Context . In: God's Sounds. Music as a source and expression of the Christian faith , Evangelische Verlagsanstalt, Leipzig 2013, ISBN 978-3-374-03290-7 .
  42. ↑ Peter Zimmerling: Evangelical Spirituality. Roots and Approaches. Vandenhoeck & Ruprecht, Göttingen 2003, ISBN 3-525-56700-6 , p. 180.
  43. ↑ z. B. Andreas Malessa, Nick Page: Praise like popcorn? Why so many worship songs make so little sense. Wuppertal 2008.