WorshipTermPaper-Sermon

3.         Term Paper

Choose one of the topics suggested at the end of this syllabus and write a term paper 8-10 pages long. The term paper needs to be completed and an electronic copy submitted at the latest by Thursday, May 1, 2008.

SUGGESTED TOPICS FOR TERM PAPER

You may choose your own worship and/or music topic or select from the list below.  If you choose your own, you must gain permission from the instructor prior to starting your project.  You may also write on a topic that is very practical. Recommended length of the paper: 8 pages minimum, 10 pages maximum.

A GOOD PAPER WILL INCLUDE:

1.         Your understanding of what you believe the current situation is in the church and the impact it has upon worshipers

2.         Presentation of your thesis and its theological basis (refer to lectures and readings)

            3.         What impact you would expect this idea/practice would have upon worshipers

            4.         How you would implement this idea so as to minimize resistance

            5.         Adequate footnotes and bibliography

1.  Worship Symbols

How are worship symbols used in the Bible?  Give examples. Why are they used?  How were they abused?  What symbols do SDAs use?  What symbols could/should we add?  Give rationale for the use of these symbols and how they would enhance worship.  Show the importance of symbols in the context of the different learning modalities.

2.  Beauty

Why is beauty an important part of worshiping the Creator?  Is beauty either sacred or secular?  Why? How can beauty be celebrated in SDA worship, music, architecture, interior decor, etc.?  Justify expenditure of money on beauty against the backdrop of the criticism some will give that the money should rather be used to build ten jungle chapels.

3.  Reverence

What is reverence?  Harmonize E.G. White’s comments where, on one hand, she recommends entering the sanctuary quietly with no common talk, no laughter or whispering (5T 492-500) and, on the other hand, her account of David’s exuberant dancing before the Lord as one of “reverent joy” (pp. 707, cf. 2 Sam. 6).  Suggest a model for reverence in an SDA church based upon your understanding of worship space. For example, a model based upon the O.T. temple would imply holy “space” which demands a sense of awe, but could be entered only by the “priests.” A model based upon the synagogue or the early churches would imply that there is no holy space, but only a holy people who inhabit this space.  (The synagogue and the early basilicas were used for weekly “worship” services and for “secular” functions like town meetings and court hearings). Do we need to construct a model that is different from something other than these two models?   What implications might this model have for the use of the sanctuary?  Could “secular” functions be allowed?  If so, which ones?

4.  Liturgical Dance

How was dance used in biblical times and how did it enhance the worship experience?  Was it abused?  (Ps. 68:24-25; Ps. 150; 2 Sam. 6 cf. PP, 706-707; DA 463 “festive dances”)? In what way can dance be “reverent” (PP 707 David danced in “reverent joy” versus 3 SM 332-335 where EGW says: “Everything that is connected in any way with religious worship should be dignified, solemn, and impressive”)?  Is there a place for dance in SDA worship?  Why?  Why not?  How?

5.  God as Audience

Give a biblical rationale for this concept.  How can the concept of God as the audience be better taught and experienced in SDA worship?

6.  Worship Music

What makes music either sacred or secular? Patrick Kavanaugh in Worship: A Way of Life says: “There is no such thing as Christian music any more than there are Christian chords or Christian rhythms or Christian melodic intervals. There are only Christian words, combined with music, pure and simple” (p. 146).  Do you agree?  Disagree?  Why?  Can music composed for a secular setting ever become useful in a sacred setting?  How or why not?  Can you think of any music composed for a secular setting more than 100 years ago that could not be adapted for a sacred setting today?  How should a worship leader determine what are appropriate styles of music for his/her congregation? Should the worship leader educate the congregation about music?  How?

7.  Drama

What use was made of drama (enacting a situation that is not currently happening) in biblical times to teach spiritual lessons?  Can drama (or call it Enacted Scenes or Living Parables) be used as an effective teaching tool in today’s SDA worship service?  If not, why?  If so, what guidelines would you suggest?  Harmonize E. G. White’s statement that “nothing of a theatrical nature be permitted, for this would spoil the sacredness of the work” (Ev. 178-179) with her absence of condemnation of the children (including her granddaughter) presenting a dramatized Christmas program in the sanctuary during the Battle Creek Sabbath School, December 26, 1888 (Letter 5, 1888: “Enacted Scenes” from EGW Estate).

8.  E.G. White and Worship/Worship Music

Give an overview of her thoughts on how worship and music should be conducted.  Should her observations be followed in detail as being prescriptive for worship for all ages and in all cultures or do they reflect a 19th-century Western approach to worship and needs to be understood and interpreted within that context?  If so, what principles would still apply?

9.  Emotion and Physical Movement in Worship

Give examples of how expression of emotion and physical movement accompanied biblical worship.  How important is this to today’s SDA worship?  How does a worship leader determine what level of emotion and type of physical movement he/she should encourage (e.g. clapping, raised hands, standing, kneeling, dancing, swaying, etc.).  Show an understanding of Learning Modalities in your study.