Exploring Evangelical Sacramentality: Modern Worship Music and the Possibility of Divine-human Encounter. Andrews, E. S. Ph.D. Thesis, Fuller Theological Seminary, Center for Advanced Theological Study, United States – California, 2019. ISBN: 9781392560105![Exploring Evangelical Sacramentality: Modern Worship Music and the Possibility of Divine-human Encounter [link]](https://bibbase.org/img/filetypes/link.svg "link")
Paper abstract bibtex Many evangelicals attest to encountering God in modern worship music, describing the encounter as “real,” “emotional,” and “intimate.” The ethos of contemporary evangelicalism is now largely characterized by modern worship music, practices increasingly understood as the normative means of encountering God’s presence. This raises a number of historical and theological questions, including: How did evangelicals move from understanding music as a vehicle for offering worship to God to understanding it as the means by which worshipers meet God, a ritual which stands alone? And, has the evangelical encounter of God in modern worship music become a canonical “sacrament” for the group, a practice defining God’s presence and the worshiper’s access to it? This dissertation addresses those questions by surveying developments in the history of modern worship music, focusing on the central theological themes and practices which have led worshipers to affirm its sacramental potential. Its primary focus attends to renewalist evangelical communities who have explicitly bought into the pneumatological core of Pentecostalism’s praise and worship theology and musical practice, while negotiating some of its particular emphases. Bethel Church, in Redding, California, an influential megachurch with its own music label, serves as a primary case study through which to explore the contemporary expansion of theological themes related to music’s sacramentality. Here, Bethel is presented as a congregation modelling a “theology of encountered presence” in which a sacramental understanding of music is associated with an experiential and embodied practice of sanctification. Postmodern Roman Catholic sacramental theology is employed, alongside interlocutors from anthropology, musicology, and sociology, to develop how the evangelical’s encounter of divine presence may, potentially, embody a legitimate sacrament for evangelical insiders. By employing an interdisciplinary framework and developing concepts like “religious habitus,” “body pedagogics,” “sensational forms,” “flow,” and “habitus of listening,” I describe a process through which an evangelical faith-world is mediated and constructed. Theologians Lieven Boeve and George Worgul provide the postmodern theological foundation upon which to consider that faith-world’s claims of encountering God’s “manifest” presence. Because talk of Christian ethics as a culminating feature of any sacramental paradigm is a classically-explored theme, I return to Bethel Church to explore their vision of congruence between the evangelical worshiper’s experience of God’s presence in public worship and its potential impact on life outside of worship via a particular “kingdom culture lifestyle.” Given the global influence of renewalist evangelicalism, and of Bethel Church in particular, this paper contributes to the growing body of contemporary theological studies of modern worship music.
@phdthesis{andrews_exploring_2019,
address = {United States -- California},
type = {Ph.{D}.},
title = {Exploring {Evangelical} {Sacramentality}: {Modern} {Worship} {Music} and the {Possibility} of {Divine}-human {Encounter}},
copyright = {Database copyright ProQuest LLC; ProQuest does not claim copyright in the individual underlying works.},
shorttitle = {Exploring {Evangelical} {Sacramentality}},
url = {http://search.proquest.com/docview/2382057897/abstract/4C60B2BB9F4B4D24PQ/1},
abstract = {Many evangelicals attest to encountering God in modern worship music, describing the encounter as “real,” “emotional,” and “intimate.” The ethos of contemporary evangelicalism is now largely characterized by modern worship music, practices increasingly understood as the normative means of encountering God’s presence. This raises a number of historical and theological questions, including: How did evangelicals move from understanding music as a vehicle for offering worship to God to understanding it as the means by which worshipers meet God, a ritual which stands alone? And, has the evangelical encounter of God in modern worship music become a canonical “sacrament” for the group, a practice defining God’s presence and the worshiper’s access to it?
This dissertation addresses those questions by surveying developments in the history of modern worship music, focusing on the central theological themes and practices which have led worshipers to affirm its sacramental potential. Its primary focus attends to renewalist evangelical communities who have explicitly bought into the pneumatological core of Pentecostalism’s praise and worship theology and musical practice, while negotiating some of its particular emphases. Bethel Church, in Redding, California, an influential megachurch with its own music label, serves as a primary case study through which to explore the contemporary expansion of theological themes related to music’s sacramentality. Here, Bethel is presented as a congregation modelling a “theology of encountered presence” in which a sacramental understanding of music is associated with an experiential and embodied practice of sanctification.
Postmodern Roman Catholic sacramental theology is employed, alongside interlocutors from anthropology, musicology, and sociology, to develop how the evangelical’s encounter of divine presence may, potentially, embody a legitimate sacrament for evangelical insiders. By employing an interdisciplinary framework and developing concepts like “religious habitus,” “body pedagogics,” “sensational forms,” “flow,” and “habitus of listening,” I describe a process through which an evangelical faith-world is mediated and constructed. Theologians Lieven Boeve and George Worgul provide the postmodern theological foundation upon which to consider that faith-world’s claims of encountering God’s “manifest” presence. Because talk of Christian ethics as a culminating feature of any sacramental paradigm is a classically-explored theme, I return to Bethel Church to explore their vision of congruence between the evangelical worshiper’s experience of God’s presence in public worship and its potential impact on life outside of worship via a particular “kingdom culture lifestyle.”
Given the global influence of renewalist evangelicalism, and of Bethel Church in particular, this paper contributes to the growing body of contemporary theological studies of modern worship music.},
language = {English},
urldate = {2021-02-24},
school = {Fuller Theological Seminary, Center for Advanced Theological Study},
author = {Andrews, Emily Snider},
year = {2019},
note = {ISBN: 9781392560105},
keywords = {Evangelicalism, Music, Postmodern, Sacrament, Sacramental theology, Worship},
}
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This raises a number of historical and theological questions, including: How did evangelicals move from understanding music as a vehicle for offering worship to God to understanding it as the means by which worshipers meet God, a ritual which stands alone? And, has the evangelical encounter of God in modern worship music become a canonical “sacrament” for the group, a practice defining God’s presence and the worshiper’s access to it? This dissertation addresses those questions by surveying developments in the history of modern worship music, focusing on the central theological themes and practices which have led worshipers to affirm its sacramental potential. Its primary focus attends to renewalist evangelical communities who have explicitly bought into the pneumatological core of Pentecostalism’s praise and worship theology and musical practice, while negotiating some of its particular emphases. Bethel Church, in Redding, California, an influential megachurch with its own music label, serves as a primary case study through which to explore the contemporary expansion of theological themes related to music’s sacramentality. Here, Bethel is presented as a congregation modelling a “theology of encountered presence” in which a sacramental understanding of music is associated with an experiential and embodied practice of sanctification. Postmodern Roman Catholic sacramental theology is employed, alongside interlocutors from anthropology, musicology, and sociology, to develop how the evangelical’s encounter of divine presence may, potentially, embody a legitimate sacrament for evangelical insiders. By employing an interdisciplinary framework and developing concepts like “religious habitus,” “body pedagogics,” “sensational forms,” “flow,” and “habitus of listening,” I describe a process through which an evangelical faith-world is mediated and constructed. Theologians Lieven Boeve and George Worgul provide the postmodern theological foundation upon which to consider that faith-world’s claims of encountering God’s “manifest” presence. Because talk of Christian ethics as a culminating feature of any sacramental paradigm is a classically-explored theme, I return to Bethel Church to explore their vision of congruence between the evangelical worshiper’s experience of God’s presence in public worship and its potential impact on life outside of worship via a particular “kingdom culture lifestyle.” Given the global influence of renewalist evangelicalism, and of Bethel Church in particular, this paper contributes to the growing body of contemporary theological studies of modern worship music.","language":"English","urldate":"2021-02-24","school":"Fuller Theological Seminary, Center for Advanced Theological Study","author":[{"propositions":[],"lastnames":["Andrews"],"firstnames":["Emily","Snider"],"suffixes":[]}],"year":"2019","note":"ISBN: 9781392560105","keywords":"Evangelicalism, Music, Postmodern, Sacrament, Sacramental theology, Worship","bibtex":"@phdthesis{andrews_exploring_2019,\n\taddress = {United States -- California},\n\ttype = {Ph.{D}.},\n\ttitle = {Exploring {Evangelical} {Sacramentality}: {Modern} {Worship} {Music} and the {Possibility} of {Divine}-human {Encounter}},\n\tcopyright = {Database copyright ProQuest LLC; ProQuest does not claim copyright in the individual underlying works.},\n\tshorttitle = {Exploring {Evangelical} {Sacramentality}},\n\turl = {http://search.proquest.com/docview/2382057897/abstract/4C60B2BB9F4B4D24PQ/1},\n\tabstract = {Many evangelicals attest to encountering God in modern worship music, describing the encounter as “real,” “emotional,” and “intimate.” The ethos of contemporary evangelicalism is now largely characterized by modern worship music, practices increasingly understood as the normative means of encountering God’s presence. 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