(Book). No church musician today is completely prepared to offer their music ministry in the varied and demanding settings of worship without a working knowledge of music technology. Providing instrumentations of great sounds created, arranged and enhanced for worship is a real workout, even for those of us who are not technologically challenged. This book brings you easy-to-understand instructions for everything from synthesizers, MIDI and sequencing to percussion, bass and guitar technology. Subjects such as the history of music technology in worship, hard disk recording, and using music technology in small to large traditional settings are explored.

It has never been easier or more fun for students to compose, improvise, arrange, and produce music than with today's technology. Perfect for pre- or in-service music educators, Using Technology to Unlock Musical Creativity offers both a pedagogical framework and a description of the technology tools for engaging students in creative musical projects.

Technology can help your church glorify God--or reduce your worship service to nothing more than entertainment. Here's how to use it wisely.

This text covers topics from MIDI and electronic keyboards to the Internet and the copyright law to most recent developments in hardware, software, and pedagogy. The accompanying CD-ROM provides end-of-chapter questions, activities and projects, lesson plans, web activities, demo programs and much more.

An unbiased and non-brand specific guide to selecting the appropriate music technology products for your music program, based on grade level, budget, and your computers' platform or operating system. In this book, chapters are organized by music technology competencies, and cover from electronic musical instruments, to music notation software.

Contemporary worship music shapes the way evangelical Christians understand worship itself. Author Monique M. Ingalls argues that participatory worship music performances have brought into being new religious social constellations, or "modes of congregating". Through exploration of five of these modes--concert, conference, church, public, and networked congregations--Singing the Congregation reinvigorates the analytic categories of "congregation" and "congregational music." Drawing from theoretical models in ethnomusicology and congregational studies, Singing the Congregation reconceives the congregation as a fluid, contingent social constellation that is actively performed into being through communal practice--in this case, the musically-structured participatory activity known as "worship." "Congregational music-making" is thereby recast as a practice capable of weaving together a religious community both inside and outside local institutional churches. Congregational music-making is not only a means of expressing local concerns and constituting the local religious community; it is also a powerful way to identify with far-flung individuals, institutions, and networks that comprise this global religious community. The interactions among the congregations reveal widespread conflicts over religious authority, carrying far-ranging implications for how evangelicals position themselves relative to other groups in North America and beyond.