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Church music

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Die Kunstsammlung der Universität Göttingen ist vor allem für ihren Bestand an Niederländischer Kunst des 17. Jahrhunderts bekannt. Dass sie darüber hinaus auch eine Kollektion von Gemälden des 19. Jahrhunderts umfasst, die einige wirkliche Schätze enthält, gleicht einer Neuentdeckung. Diese Kollektion wird hier erstmals in einem eigenen Bestandskatalog vorgestellt. Obwohl es sich um eine eher kleine Sammlung handelt, erweist sich diese doch als erstaunlich repräsentativ, um das Kunstverständnis des 19. Jahrhunderts mit seinen wechselnden Prämissen sowie kunsttheoretischen und künstlerischen Auseinandersetzungen an konkreten Kunstwerken aufzuzeigen. Eine zentrale Rolle spielt dabei die Gattungstheorie: Die seit der Frühen Neuzeit vertretene Ausdifferenzierung der Malerei in profane und religiöse Historie, Genre, Landschaft, Stillleben, Tierstück und Porträt wurde über das gesamte 19. Jahrhundert hinweg kontrovers diskutiert, blieb aber als wertsetzendes System lange präsent. Der vorliegende, von Dozenten und Studierenden des Kunstgeschichtlichen Seminars der Universität Göttingen gemeinsam erarbeitete Bestandskatalog nutzt die Gattungstheorie als "roten Faden", um eine historische Perspektive auf den Bestand der Gemälde des 19. Jahrhunderts in der Göttinger Universitätskunstsammlung anzubieten.

Church music --- Protestant churches.

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Music --- Church music

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Do you wonder what our worship will be like in Heaven? The center of our faith is based on believing in Jesus Christ, with the assurance that we will live with him and the Father for eternity. God gives us a glimpse of what that will be like in heaven while we are on earth. Throughout the Bible, we see the pomp and circumstance that surrounds the throne of God. With angels and trumpets, white robes and crowns, we see that God is enthroned with true worship from beings that desire to give him their undivided worship and praise. The visions of heavenly worship presented throughout scripture are the most concrete images that the Bible gives the church for interpreting how we should conduct earthly worship in our corporate gatherings. Practice for Heaven looks at the role of music in the bible, the corporate consensus of what has been acceptable for public worship in the past, and why church music should look to heaven for creating music to aid the churches ongoing worship. Just as a musician practices his or her instrument, all of our worship--and all of our music in corporate worship--is essentially practice for heaven. ""Isaiah once wrote of 'the high and lofty one who inhabits eternity, whose name is holy.' Our casual culture can make this biblical vision opaque. Statom's insightful study winsomely insists on God's glory capturing and centering our worship here and now, as it surely will in our heavenly home."" --Michael Denham, Director of Music Ministries, The National Presbyterian Church, Washington, DC ""Practice for Heaven is absolutely one of the very best books I have read on the crucial topic of the music of worship. Biblically rooted, exceedingly well reasoned, and cogently argued, Statom's book serves the church by focusing our discussions about the music of worship on the ultimate biblical and historical guidelines that should shape them. While grounded in historic Reformed principles, its solid scriptural perspective is such that evangelical leaders across a broad spectrum will find it eminently useful. Here is a book that should find its place in the seminary classroom, on the pastor's desk, and in the Sunday school class. I enthusiastically commend this work to my musical and pastoral colleagues."" --William Wymond, Minister of Music and Worship, First Presbyterian Church, Jackson, MS Gabriel C. Statom was educated in music and worship at The University of Mississippi, Princeton University, Florida State University, Westminster Choir College, Northern Seminary, and The Robert E. Webber Institute for Worship Studies. Dr. Statom is Director of Music at Second Presbyterian Church in Memphis, TN where he leads a vibrant multi-faceted music ministry of choirs, orchestra, and staff. He is artistic director of the Memphis Masterworks Chorale, and directs the Laudis Domini Vocal Ensemble, an auditioned choir that presents a cappella sacred music for worship and concert. He has conducted in the United States, Europe, and Argentina, including performances at Oregon Bach Festival, Spoleto Festival USA, and Carnegie Hall. He is married to Ginger McCollum Statom, and has four daughters: Margaret, Jennie, Sarah, and Ellen.

Music --- Music in churches. --- Church music --- Religious aspects --- Christianity. --- Christianity

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Analyzes how White American mainline Protestants used the internal musical controversies of the turn-of-the-millennium Worship Wars to negotiate their shifting position within the nation's diversifying religious and sociopolitical ecosystems.

Church music --- Public worship --- Protestant churches. --- Social aspects