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Worship History For Worship Leaders
Worship History For Worship Leaders
 
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Worship History For Worship Leaders

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Overview


The third and final volume in a series of practical training guides by Dr. Bill Hooper, former Dean of the School of Church Music at New Orleans Baptist Theological Seminary, 'Worship History For Worship Leaders' is the result of the author's many years of experience as a pastor, church musician, music leader, and seminary professor.

'Worship History For Worship Leaders' surveys how the People of God have responded to God's revelation of himself through worship and how music has played an important role in that worship. You will discover that for the Hebrews, and early Christians, worship was a way of life, a life style or life orientation. A person's private life, work life and corporate religious life were all related to God every day. You will discover, too, that worship should be a way of life for Christians in the twenty-first century.

If we define worship as the human response to God's revelation of himself, it raises at least three questions:

1) How does God enable us to respond to him?
2) What does God require of us so we can worship him acceptably?
3) What kind of human responses are acceptable to God?

This book looks to answer those questions. 'Worship History For Worship Leaders' covers: Worship In The Old Testament, Music & Instruments in the Old Testament, Kings & Prophets, Praise In the Temple, Jesus' Attitude Toward Worship, Worship In The New Testament, The Reformation Tradition, Early English Hymnody, The American Traditions, The Contemporary Scene. This book helps to enable worship leaders to connect to the wonderful history of Christian worship and song. By understanding from where we have come, perhaps we can better understand where we are today and where we should go tomorrow.

Detailed Table of Contents


Foreword
Introduction
Chapter 1: Worship In The Old Testament
In The Beginning
Ancient Cultures
Sumer
Egypt
Canaan
In The Time Of The Patriarchs
The Time Of Moses
Sinai
1. The Call To Worship
2. The Consecration Of The People
3. The Communication Of God’s Approval
4. The Hope Of Greater Glory
The Tent Of God’s Presence
Description Of The Tent
Worship In The Tent
Chapter Summary

Chapter 2: Music & Instruments in the Old Testament
Ancient Music And Instruments
Prehistory
Ugarit
Sumer
Egypt
Israel
Music In Everyday Life
Instruments In The Old Testament
Wind Instruments
String Instruments
Percussion Instruments
Chapter Summary

Chapter 3: Kings & Prophets
The Prophets
Saul
David
Solomon’s Temple
The Need For Reform
The Second Temple
Chapter Summary

Chapter 4: Praise In the Temple
Music In The Temple
Songs Of The Temple
Authors Of The Psalms
Psalm Titles
Temple Musicians
Order Of Temple Worship
The Shema
Singing
Litanies And Shouting
Physical Responses
Feasts And Festivals
Passover And The Feast Of Unleavened Bread
Feast Of Weeks (Harvest)
The Feast Of Ingathering (Tabernacles)
Chapter Summary

Chapter 5: Jesus’ Attitude Toward Worship
Jesus Supported Israelite Worship
Jesus And The Synagogue
Origin Of The Synagogue
Jesus And The Temple
Jesus Displaced Old Testament Worship
Jesus Reinterpreted Jewish Worship Traditions
Chapter Summary

Chapter 6: Worship In The New Testament
Features Of Early Worship
The Presence Of Christ
Leadership Of The Spirit
A Concern For Edification
The Charismatic Element
The Didactic Element
The Eucharistic Element
New Testament Canticles
The Annunciation (Luke 1:26-38)
Magnificat (Luke 1:46-55)
Benedictus (Luke 1:68-79)
Gloria In Excelsis Deo (Luke 2:14)
Nunc Dimittis (Luke 2:29-32)
Confessions And Creeds
Hymns
Principles For Worship Planning

Chapter 7: Worship In The Early Church
The First Developments
The House Church
Descriptions Of Early Worship
Pliny The Younger
The Didache
Justin Martyr
Hymn Singing
Gnosticism
Arianism
The Greek And Latin Churches
The Greek Church
The Latin Church
Chapter Summary

Chapter 8: The Reformation Tradition
The Medieval Church
The Mass
The Church Year
Causes Of The Reformation
Who Were The Reformers?
Luther’s Worship Reforms
Zwingli’s Worship Reforms
The Worship Reforms Of John Calvin
English Reforms
The Book Of Common Prayer
English Psalters
Summary: What Did The Reformers Reject?
What Did The Reformers Reform?
Where Did They Disagree?

Chapter 9: Early English Hymnody
Devotional Lyric Poetry
Isaac Watts
The Wesley Movement
The Evangelical Revival
Olney Hymns
The Nineteenth Century
The Oxford Movement
The Romantic Hymn
The Evangelical Hymn
The Twentieth Century
Chapter Summary

Chapter 10: The American Traditions
Calvinism In Early America
The Puritan Psalter
The Bay Psalm Book
The Revivalist Tradition
Frontier Revivals
Revival Songs
Professional Evangelism
Music Of The Gospel Song
The Traditions Today
The Anglican Tradition
The Lutheran Tradition
The Methodist Tradition
The Reformed Tradition
The Revival Tradition
Chapter Summary

Chapter 11: The Contemporary Scene
Types Of Worship
Traditional Worship
Contemporary Worship
Blended Worship
Contemporary Worship Music
How It All Began
Choruses
Jesus Music
Contemporary Christian Music
The Christian Music Industry
Conclusion
Chapter Summary

Afterword
How Does God Enable Us To Respond To Him?
What Does God Require Of Us
So We Can Worship Him Acceptably?
What Kind Of Human Responses
Are Acceptable To God?
Conclusion

For Personal Development
Chapter 1: Worship In The Old Testament
Chapter 2: Music & Instruments In The Old Testament
Chapter 3: Kings & Prophets
Chapter 4: Praise In The Temple
Chapter 5: Jesus’ Attitude Toward Worship
Chapter 6: Worship In The New Testament
Chapter 7: Worship In The Early Church
Chapter 8: The Reformation Tradition
Chapter 9: Early English Hymnody
Chapter 10: The American Traditions
Chapter 11: The Contemporary Scene

End Notes
Introduction
1: Worship In The Old Testament
2: Music & Instruments In The Old Testament
3: Kings & Prophets
4: Praise In The Temple
5: Jesus’ Attitude Toward Worship
6: Worship In The New Testament
7: Worship In The Early Church
8: The Reformation Tradition
9: Early English Hymnody
10: The American Traditions
11: The Contemporary Scene

Appendix 1: The Medieval Mass
Appendix 2: The Church Year
Advent
Christmas
Epiphany
Lent
Holy Week
Easter
Pentecost
Kingdomtide

Appendix 3: Resources
Articles
Books
Periodicals
Radio Scripts
World Wide Web Documents

Biography

About Bill Hooper

William Hooper attended Southwest Baptist College (now Southwest Baptist University) in Bolivar, MO, at that time a small two-year college. Following graduation, Hooper and his new wife served the First Baptist Church of Picher, OK as Minister of Music and Education. Then, it was on to William Jewell College in Liberty, MO in 1953. While attending Jewell he had a student pastorate in Denver, MO. He received a Bachelor of Arts degree with a major in philosophy and was awarded the David Alan Duce Award in Philosophy at commencement exercises. Following graduation Hooper taught public school vocal and instrumental music,kindergarten through high school, for two years at Essex, Iowa. Graduate studies followed at the University of Iowa where he earned a Master of Arts degree in music in 1956 with a concentration in voice. Hooper was awarded a graduate assistantship and was the librarian for the University Chorus.

The next four years were spent in Bolivar, MO as professor of voice at Southwest Baptist College, a small junior college. He directed the College Choir, trained both men and women quartets that were used in college recruitment, and organized a sixteen-voice College Chorale.

Doctoral study followed at George Peabody College of Vanderbilt University in Nashville, TN. In 1956 he received the Ph.D. degree in music with a concentration in church music. While at Peabody he was a Jesse Jones Scholar and served the First Baptist Church in Old Hickory, TN as part-time minister of music and education. After his two years of doctoral candidacy were finished, Hooper went to The New Orleans Baptist Theological Seminary in 1962 as professor of music theory. Two years later he was promoted to Dean of the School of Church Music, a position he held until 1974. As Dean he played a leading role in getting the Seminary accredited by the Southern Association of Colleges and Schools and the School of Church Music accredited by the National Association of Schools of Music. Hooper also led the School of Church Music to begin a doctoral program in church music. While at the Seminary he was baritone soloist at St. Charles Avenue Baptist Church.

In the summer of 1969 Hooper and his family traveled to Zambia to work with churches there in training choirs. A year of sabbatical study began in the fall of 1969 in London, England. Hooper studied music composition privately with Humphrey Searle at the Royal College of Music. He returned to New Orleans in the fall of 1970. Hooper has been a composer since high school days. He began composing by arranging charts for his dance band with Stan Kenton and Igor Stravinsky as his models. His first serious composition and performance came as a freshman at Southwest Baptist College with a piece for wind band titled “Daydream.” It was also performed at Northwestern University under the title “Music for a Motion Picture.”

Beginning in 1962 and continuing to the present many choral compositions have been written and published by Concordia Press, Broadman Press, Carl Fischer and Word Music. Also in 1962, Hooper’s first book, “Church Music in Transition” was published. The cantata “His Saving Grace Proclaim” was published and recorded in 1968. In 1973 Le Petite Theatre du Vieux Careé in New Orleans asked Hooper to compose incidental music for their production of Anouhil’s play “Becket.” In 1973 he won the Delius Composition Competition and in 1974 he won the New Times Composition Competition.

A move was made back to England in 1974. Hooper was head of music at Newstead Wood School for Girls in the London Borough of Bromley for five years and serving as worship pastor for Emmanuel Baptist Church in Gravesend, Kent. In 1979 the church called him as pastor. While serving as pastor he completed a year of study in psychotherapy at the Westminster Pastoral Care Foundation.

He and his family returned to the United States in 1983 where Hooper became Dean of the School of Fine Arts at Southwest Baptist University, retiring from that institution in 1998. Since retirement he has continued his ministry as Minister to Senior Adults at First Baptist Church, Bolivar, MO.

Major compositions have included Jubilee, a cantata celebrating the 50th anniversary of New Orleans Baptist Theological Seminary (1968), Canticle of Praise (children’s cantata, 1968), The Vision of Nahum [2001] and By the Grace of God for Chorus and Instruments (2002) to celebrate the 125th anniversary of Southwest Baptist University.

In addition to Church Music in Transition Hooper has also written Music Fundamentals (1964), Ministry and Musicians (1982) and Fundamentals of Music, 4 vols. (1986).Numerous other instrumental and keyboard pieces have been composed as well.

Hooper is married to the former Doris Jean Wallace and has two children, William, Jr. and Carol Ann Cooper, seven grandchildren, and two great grandchildren.