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1. The author highlights teaching from Colossians 3:16. Elaborate on this and describe the value it brings to churches today. (250–300 words) 

In this context, the key concept lies in praise and admonishing each other in worship. The teachings on admonishing each other in praises and psalms bears the full weight of the Old Testament precedence and practice in worship. In fact, the author indicates the significance of the phrase ‘Sing to the Lord’ as based on its striking repetition in the book of Psalms and in other books of the Old Testament without variation. Considering the weight of the phrase, the author agrees that singing to the Lord takes primacy in the focus on worship. That the passionate center of every worshipper needs to be embedded in singing to God. 

He emphasizes on the major difference that would manifest if all worshippers focused on God during singing instead of the leadership style, the production, and the staging or the music performance during worship. The results of focusing on the physical aspects of worship has been a lack of true worship since people find themselves observing instead of participating, assessing as opposed to releasing praise, scrutinizing the music performance rather than offering a rich, earnest response to the Lord. 

In this regard, he calls for a transformation in the worship style in the church. That it should encourage members to be different, proactive, aggressive, and depict real intent and devotion in worshipping God. He points out the verse on teaching and admonishing each other with psalms as indicative of the manifestation of a secondary audience comprising of the other worshippers. The aspect of overlooking the worshipper’s responsibility to other worshippers in the service seems as a major factor in diminishing real participation in worshiping God. He mentions Paul’s approach to worship where the entire worshipping community ought to interact as a synergistic body. Therefore, the worship experience needs to be a communal, rather than a personalized experience. That although one needs to keep their singing focused on God, they need to use it as an opportunity to build their fellow brethren in Christ. Similarly, the music composers need to ensure that the content of their music fulfills the requirements of the scripture. To ensure that the songs teach and warn worshippers as they sing along in church. 

2 . From the “journey into the Holy of Holies” liturgy model, describe the model and its merits. (125– 150 words) 

The liturgy model takes five steps in worship. The first step involves offering songs of personal testimony in creating God consciousness within the believer. Songs focus on God’s doing in the believer’s life. Secondly is entering the gates with thanksgiving. The procession involves singing choruses of thanksgiving while thinking about God and what He has done in their lives. Since the believers have yet to be close to God’s presence, worship and adoration does not take place. The third step involves entering His courts with praise. In the outer court, emphasis lay on blessing the name of God and focusing on God and less of oneself. Soulish worship takes place as the believers draw near to God. Further progress ushers them into the fourth step, the Holy place and the fifth step, entering the Holy of Holies. Its merit is that it enables the human spirit to gain depth and devotion in response to the presence of God, hence avoiding passivity. 

3. Describe the liturgical, thematic, and open/free flowing worship services and the merits of each. (250–300 words. 

The thematic worship service is where the music and readings serve the sermon. It incorporates a song leader, a church choir sitting straight behind the podium, and distinctive music immediately before the sermon. The message/sermon serves as the center piece of the entire service. The offerings and announcements take place before the sermon. It involves reading of a single scripture passage, no confession of the creed, and no partaking the communion. After the sermon, the service comes to an abrupt end. Its merit is that the believers leave the church with the sermon resounding in their ears, hence enabling them to remember it more. 

On the other hand, free flowing worship service is where the music and the sermon occur independent of each other. In this regard, the service organization follows a list of discrete proceedings where prayer, hymns, choir, scripture readings, offerings, and the sermon occur as different activities independent of each other. Nevertheless, it may depict a more sweeping section of a single activity such as songs taking preeminence. As a matter of fact, it may have sustained singing for up to forty minutes without interruption. Its merit is that it allows adequate time for the worshippers to fully offer their worship to God. 

The liturgical worship service is structured around the lectionary and the church year. Several scripture readings take place near the beginning of the service, towards the middle of the sermon, and in partaking the Lord’s Supper on a weekly basis. The preacher takes the sermon topic, based on the three provided scripture readings, the Old Testament, the epistles and the gospels. Several responses take place after to the sermon, followed by the congregational song, offerings and pastoral prayers. Its merit is that the responses build around the sermon teachings. 

4. According to the author, what role and what scriptural support does drama in our worship services have? (125–150 words) 

Through the book of Revelation, the depiction of God, seated on his throne, with elders wearing crowns and falling prostrate, the mention of thunder and lightning, eyes burning like a blazing fire, hair as white as wool among other things present a dramatic action. From a worship point of view, the media event presents a balance between proclamation through words and through symbols. The drama’s role is to “pose a situation, raise questions, establish tension, and relevancy to life situations”. For instance, during the Lord’s Supper, extended action takes place, where the break is taken, blessed, broken, distributed, and consumed. In this case, the use of symbols, bread and wine, to represent the body and blood of Christ serves a crucial role in convincing believers of the significance of the event. As such, drama provides a vehicle for joy, communication and commemoration. 

5. Describe the author’s suggestions for pastors to improve the congregational response to worship. Which is most valuable or applicable to you? (125–150 words) 

The author suggests that pastors may link Sunday morning music to lifestyle worship, encouraging praise and worship as a lifestyle. He can ensure that God is the primary object of the worship, and not the music, stating that some songs are prayers. He suggests emphasizing on congregational singing rather than individual or group performance. He needs to communicate the purpose of a congregational song to all. The pastor can insist on a variety of music materials such as hymns, psalms, and spiritual songs. Another suggestion is nesting new hymns and choruses as well as paraphrasing the same. Arranging for testimonials, sharing hymn stories, encouraging the purchase of hymn books and disks for home use, modelling spirituality and preparing for spiritual warfare through worship forms other suggestions. In this respect, the most applicable suggestion is encouraging purchase of hymn books and disks for home use as it will facilitate worship. 

6. The author states that worship is a verb. What scriptural evidence does he give to show that worship includes body movement? How could this knowledge transform some church services? (125–150 words) 

The author uses the scripture in Psalm 95:6 and Psalm 96:8 which underline the incorporation of performance in worship. He mentions various movements such as bowing, raising hands, lifting the eyes and standing. The raising of hands denotes the personal yearning and thirsting for God. He likens the raising of hands to a plant that needs watering. In the same way that the plant yearns for rain from heaven, so should worshippers lift their hands to symbolically indicate their need for God. That the incorporation of body movement portrays a powerful depiction of the worshipper yearning for and needing God. All the same, he indicates that such movements are not mandatory, only modelled in the scripture. This knowledge could transform some church services by letting the believers know that the body is an essential element in the expression of worship. 

7. Summarize the description of kerygma, koinonia, and leitourgia music. Why does Liesch say that leitourgia worship is the most comprehensive and integrated form of worship? (100–150 words) 

Kerygma convicts and implores for repentance. In its structure, it tends to have a hierarchical approach where communication is from one person to the congregation. For instance, the singer sings the hymn while the congregation listens. On the other hand, koinonia seeks to comfort, encourage, nurture and affirm. It involves sharing with each other, communicating and improving relationships and upholding community and harmony in the body of Christ. As for leitourgia music, it involves everyone focusing on God and offering praises directly to God. Liesch says that leitourgia worship is the most comprehensive and integrated form of worship as people show reverence to God in their whole person and not just through singing. In its progression, prayers of adoration, confession, and even guided prayers take place, with raise hands in reverence to God. In this type of worship, everyone strives to offer themselves to God and experience His presence. 

8. According to the author, how does music fit into the Ephesians 4:11-12 ministry gifts that God has placed in the church? (100–150 words) Apply Key Principles 

He indicates that although music does not appear on the list of spiritual gifts in the scripture, it relates to each of the ministry gifts outlined in the passage. The author presents the chief musician as an evangelist, prophet, teacher, pastor and apostle respectively. Through music, the work of an evangelist takes place as it communicates scriptural truths and attracts people to the church. Serving as pastors, music teachers express concern for the members of the musical groups, offers them counsel and stands by them in times of crisis and in celebrations. The aspect of teaching features through teaching music skills and nurturing talent. As apostles, music leaders help churches in developing their musical worship. 

9. What are the concepts and implications of worship as a performance? (700–750 words) 

The author indicates that worship has a strong performance dimension, only when properly understood and applied. He points out that the congregation fills the role of performers in music, the pastor and the worship leaders act as prompters of worship while God is the audience. Under this concept, the author asserts that such a formulation stresses active, direct participation by the congregation. This is contrary to the setting in many churches where the believers sit back expecting entertainment from the church choir and the sermon. Furthermore, this approach questions the contemporary formats of worship where the choir leads while the congregation passively listens. As such, the concept of performance indicates the use of performance as not in pursuit of human applause but with God as the audience. 

Since worship involves a response process, the role of the prompter stands out conspicuously who ensures harmonization of the entire process. He/she eliminates all distractions, ensuring that the worshippers deeply engage in worship. From the definition of performance, it is clear that the emphasis is on skill, an aspect required for all music artists. Musicians liken performance with excellence and quality as opposed to showing off and seeking praise. Their role involves ministering, performing and serving in the same order. These three attributes have a practical interchangeability that underlines the idea of connecting ministering and service with performance. 

The intricate nature of worship takes up performance as a key component. Activities that involve the congregation in sustained, disciplined participation stand as essential aspects of performance. With God as the primary audience during worship, the congregation sometimes acts as a secondary audience. As such, the performance process involves exercising the congregation with solid tasks that focus their attention on God. Incorporating them as performers rather than audience enables them to truly worship God and in turn, experience inner transformation from God. An additional concept requires the music leader to avoid unfamiliar choruses and hymns to ensure full participation of the congregation. 

Further, the author indicates that music or worship involves performing something difficult or complicated. This points out the demanding nature of worship on the music leader, who must select and practice the songs to the point that their performance is not strained but flows fluently. The music leader understands that when participants understand the flow of music, from where one song starts to where it proceeds, enables them to contribute to the flow of the service. In this regard, it places a demanding effect on the music leader, hence they have to have enough energy reserves to keep vigilance and situational awareness. Operators of music instruments need to listen as they play the instruments to ensure synchronization of the entire process. They need to hear the people singing and decipher the congregation’s point of need ion worship. 

During the performance, leaders need to be at liberty to stick to only part of their preplan, and adaptable to the worship momentum and prompting of the Holy Spirit. As such, they may make adjustments such as adding a stanza, repeating choruses or dropping some stanzas. Depending on the situation, it may become exceedingly important for the worship leader to make abrupt changes to the worship, without interfering with the flow. 

Further, the aspect of performance in worship features prominently in line with the scriptures. Since skill is required, the music leader has to choose gifted musicians to help him in his capacity. He has to put in a lot of work in instructing and training the music team to ensure quality performance. As such, it requires him to possess communication skills to ensure coordination among the team members. Additionally, the music leader needs to dedicate extra hours towards personal development and skill sharpening. A high level of discipline is required for the entire music team to ensure that their concerted efforts produce quality work. It is for a fact that people notice the difference between a high quality performance and a poor quality one. Poor quality undermines their faith and integrity hence a loss on their part. Therefore, the worship team cannot afford laxity or carelessness as their work has to be reflected in overall performance in the church. As diligent workers in the church, they need to enhance their skills to guarantee quality at every time. 

10. Discuss the problem raised in chapters 12 and 13. Either from the book or from your own experience, give suggestions for adequate solutions to the problems discussed. From these chapters, what three ideas are most significant to you? (700–750 words) 

The problem highlighted in chapter 12 and 13 is on the music style. The author points out that the variations in music styles stem from language. This extends to the tonal and syntactic designs of language. In addition, the rhythms entrenched in different words, the tone patterns in which societies talk, the pitch variation in speaking among other aspects have widely been taken up by music composers. These aspects are captured and turn into expressive components of musical expression. Inevitably, the touch of each culture and language becomes incorporated in local music. Listening keenly to instrumental music, it is possible to decipher the language and cultural aspects in the music. 

The style of music varies across culture and language hence it may be impossible to have a universal style of music. For instance, in the musical compositions among the African American community, the rhythms and melodies reflect the speech variations in everyday life. In this regard, accepting that the gospel is preached using different spoken languages, then it becomes obvious that it will ultimately be preached using any style of music. Another suggestion is that local musical languages should not be scorned. Expressions of different styles of music should be permitted in churches especially where the particular musical dialect permeates local culture. In the same way that different accents gain acceptance in the pulpit, so should different musical styles be accepted in the church. 

In reference to the scripture in Acts 11, the author indicates that the release of the Holy Spirit occurs universally, without distinguishing between Jews and Gentiles. He brings an interpretation that Peter’s indication of the manifestation of the Holy Spirit for “all who are far off” as a representation of the acceptance of different cultures in the church. In fact, during the day of Pentecost, the Holy Spirit descended with tongues of fire, resulting in different languages among the disciples. The talking in unlike tongues, nevertheless, made the occasion applicable and personal in a cultural perspective. As the disciples spoke in tongues, the people heard the gospel individually in their very specific language. This underlines the universality of the gospel, which needs to be translated in music. 

Figuratively, through the tongues of fire, it appears like the inauguration of a plan through which the gospel would be comprehensibly told in a personal way globally, through a multi-lingual witness. Certainly, in the course of time, it refers to the advancement of a multi-lingual musical witness spreading the good news across the globe. The same is communicated in Acts 10 and 11 where Cornelius, a God-fearing Gentile, invites Peter to his house where a huge assembly of Gentiles awaited to hear the good news from him. As Peter preached the gospel, the Gentiles received the Spirit in the same way as on the Pentecost day. However, arguments arose in the Jerusalem church regarding the association with Gentiles. This argument reflects the current debates on styles of music which need to be incorporated in the church. 

In a different scripture, Peter ascends on the roof for prayer during noontime and becomes hungry. Upon falling into a trance, he sees a sheet descending from heaven with unclean animals such as birds and reptiles. Immediately, a voice instructs Peter to eat the animals, of which Peter objected. However, the voice confirmed that whatever God cleanses, no one should call it profane. From this scripture, it is clear that such a requirement went against Peter’s training and tradition. Just like it was difficult for Peter to change tradition, the same case applies in modern society. The tension that Peter experienced in the scenario depicts much similarity to the insecurities and pressures that musicians encounter in acclimatizing to new music styles. For in the same way as different varieties of foods exist, varied styles of music also exist. Some styles may be viewed as difficult for the church to accept and may be viewed as wrong in the same way Peter viewed the foods. Admittedly, a major difference between Peter’s incidence and the scenario in church is that Peter received a command to eat. Nevertheless just as the scripture ruled that such foods were not unclean for Peter, the same case applies where no music styles should be deemed unacceptable. 

From these chapters, three ideas that are most significant to me include: the acceptance of Gentiles in the church, the preaching of the gospel in different dialects and the assertion that no style of music should be supposedly forbidden for the Christian musician. 

Reference 

Liesch, B. (2012). The New Worship: Straight Talk on Music and the Church .