Nigerian Gospel Praise And Worship Songs Mp3 Download _TOP

Praise worship songs and choruses are melodious tunes incorporated into church music in Nigeria, and in other churches around the world. Christians from Nigeria take along with them some of these songs and practically use them in the culture they found themselves, irrespective of the church denominations.

I have been asked to take praise and worship at the FCPS, fellowship of Catholic postgraduate students of my university and this compilation here has come in handy. sincere thanks to the composers and compilers alike.

Nigerian Gospel Praise And Worship Songs Mp3 Download

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Fear Women: 10 Nigerian Songs That Preach The Gospel Better Fear Women: 10 Nigerian Songs That Preach The Gospel Better. In this article, TrendyBeatz curated a list of ten Nigerian songs that preach the gospel of "Fear Women" in no particular order while reviewing the story behind the lyrics, the context of the theme and the production of each song.

If you love these songs and want to listen to them all, we have created a YouTube Playlist just for you with these 30 Thanksgiving Worship Songs. Did your favorite Thanksgiving worship songs make our list? How do you plan on using these Thanksgiving worship songs at your church service? Let us know in the comments below! As you put together your service, you might also be interested in checking out these 20 Bible verses about worship.

Creative Trio has an amazing praise and worship music videos from 3 siblings that love singing for God. The video is just so beautiful and great productions and passionate kids. They are currently releasing lots of Hymns that has been modernise. Hope this can be useful and helpful for you all too. Their Youtube channel name is Creative Trio.

The aim of this article is to examine the apprehension of the early missionaries about music in worship in Nigeria and to assess the current state of music in the church in relation to this apprehension. In other words, the article seeks to identify the reasons why the missionaries allowed only solemn singing in the church, and assesses the developments leading to the present state of music in Christian worship in Nigeria. Finally, the work appraises the role of music in the church in the forms introduced by Nigerian Christians. The article employs narrative analysis and the phenomenological approach. Rather than questioning the historical truth of a text, narrative reading treats it in its story form, inviting 'the reader to explore the dimensions of the narrative in its final form' (Oosthuizen 1994:85). According to Cranford (2002:159), a corollary of narrative analysis is the 'reader response' approach, which appraises the impact of the text on the reader. Employing the narrative approach, the article traces the performance of music in the Bible through the history of the church. The phenomenological method of study involves the researcher's personal observation and/or participation in order to describe 'the natural way of appearance of a phenomenon' and to gain insights into its meaning and essence (Qutoshi 2018:215). In doing this, the researcher suspends whatever valued judgement they hold about the topic and takes a neutral stance. Greening (2019:88) opines that the critical step of any phenomenological research is the description; hence many have seen similarities between this approach and the descriptive method which, as defined by Nassaji (2015:130), simply means to 'describe a phenomenon and its characteristics'. Therefore, using the phenomenological approach, the article describes the performance of music in the church in Nigeria, the author having observed and sometimes participated in it over the years.

There is further evidence in the Book of Psalms of the formal and professional use of music in worship. This is shown in the fact that the psalms are 'set to songs and music [which] encouraged the development of guilds of musicians of a high order' (Bakon 1978:163). Amponsah-Gyan (2018:76) opines that some psalms bear marks indicating tunes (e.g. 57-59; 60; 75; 80), which shows that they 'were performed through chanting or in a recitative-style' at certain occasions of worship. It has been popularly suggested that certain psalms are songs rendered during the great festivals. The so-called Songs of Ascent (Ps 120-134), for instance, were probably sung by pilgrims who came to Jerusalem for the agricultural festivals (Matthews 1992:933; cf. Ex 23:17; Dt 16:16). Psalm 68:24-25 is a specific example of psalms as songs:

The writers of the NT and the founders of the church, then, must have 'adopted what they knew of synagogue music' (Lebaka 2014:3). As gleaned from some texts, the form of music in the NT church was congregational and personal singing (Lebaka 2014:3). An example of congregational singing is found in the hymn rendered by Jesus and his disciples at the Eucharist (Mt 26:26-9; cf. Mk 14:26). The Pauline and other epistles depict personal singing in terms of psalms, hymns, and other songs, all perceived as 'making melody in your heart to the Lord' (Eph 5:19, NKJV; cf. Col 3:16). Following from these references, the OT psalms were apparently rendered as songs. For instance, James (5:13) instructs that members of the congregation should express their happiness by singing psalms (NKJV). In 1 Corinthians 14:26, Paul reveals that during congregational worship individual members might sing psalms2 (NKJV). These texts, therefore, indicate that in the NT church 'psalms [were] put to music and also understood [as] songs' (Amponsah-Gyan 2018:77).

Thus, the destruction of the Jerusalem temple in 70 CE had put an end to the OT form of worship characterised by elaborate instrumental music, giving way to the synagogue form known basically for scripture reading. Also influenced by the perception that instrumental music resonated with paganism, the NT church adopted the synagogue solemn form of worship in which the psalms formed the primary songs sung without any instrumental accompaniments. During the medieval period, the Catholic Church introduced elaborate instrumental music in worship but the Reformation rejected it, restoring solemn worship and introducing congregational hymns in the emerging Protestant Church. Hence, rejection of instrumental music by the early Protestant missionaries in Africa was a reflection of the form of worship they had inherited from the history of the church. Nonetheless, as will be seen in the following section, other African factors enhanced the missionary negative attitude towards music in the church. In the section below, this article examines the evolution of music in Christian worship in Nigeria.

In terms of music, Christianity did not meet a vacuum when it was introduced to Nigeria in the 19th century. As with the ancient Hebrews, in the traditional African society, music played a vital role in all facets of life, particularly worship. Among the Yoruba, for instance, worship occupied a significant position, with each deity having a peculiar 'type of music sacrosanct to its worship' (Olusegun & Okpeki 2019:102). The Igbo believe that 'worship finds its most satisfying mode of address in music' (Nnamani 2014:308). Through songs, priests and diviners invoke and communicate with the deities. During festivals or worship at the shrines, sacred songs are used as praises designed to adore the deities in order for them to grant the worshippers' requests (Aluede et al. 2007:81; Kanu 2019:175; Nnamani 2014:308). It is important to note that in the traditional African society, 'music and dance are inseparable' because instinctively music inspires dance; neither can dance be performed without some form of music (Aluede et al. 2007:80). Frith (1996:223) states, 'When we talk of dance we are almost always talking about movement to music'. Hence, in African traditional worship singing is usually done along with drumming, dancing and hand-clapping (Kanu 2019:175). Sometimes, worship dance involves other arts like 'foot stamping, jumping and leaping' (Aluede et al. 2007:80). Aluede et al. (2007:79) note that in Africa, there are 'dance genres' that are performed exclusively for worship.

Nonetheless, music was part of the evangelism brought by the missionaries. In order to make worship relevant and to foster congregational singing among converts, European Christian hymns were translated into the local languages and taught in the church as well as in the mission schools (Ojo 1998:212; Omojola 1995:153). In the early years, music in worship involved 'hymn singing, chant and anthem' (Udok & Odunuga 2016:54), and, as mentioned above, the only instrument 'accompanying the hymns was the organ' (Ibude 2020:74). Illustrating with the Baptist Church, Ibude (2020:75) states that during each Sunday worship service, at least four songs were sung in line with the imported service order that 'accommodated only European hymns translated into the Yoruba language [and] set to Western tunes'. However, this adaptation began to change with 'the nationalist aspiration and cultural awakening' of the late 19th century in which the church was not spared (Ojo 1998:212). There emerged the feeling of 'the necessity to indigenize the Christianity that came to Africa in European garb' and thus make the religion more meaningful to African Christians (Orakwe 2020:249). In several denominations of the mission churches, converts began to demand for indigenisation of worship, such as would enable them to 'express themselves through indigenous music' (Ibude 2020:76). The agitation led to schisms within various denominations, the first of which took place in 1888 at the First Baptist Church, Lagos, according to Ajayi (2010:70). Subsequently, the Baptist Church went into a worship renewal that involved the development of new forms of music characterised by the adaptation of European hymn tunes to Yoruba and of 'existing Yorb indigenous melodies to newly composed Christian lyrics' (Ibude 2020:76). However, it was soon realised that the translation of Western lyrics to Yoruba would not meet their needs because the 'foreign musical and poetic idioms are a strait-jacket for the Yoruba language' (Carrol 1956:46). Similarly, 'Igbo Christians felt uncomfortable' with the artificiality of European verse in Igbo churches and therefore, began to make suitable indigenous adaptations to the order of worship service (Ekwueme 1973:15). Special occasions provided an opportunity for such adaptations, one of which was the harvest thanksgiving service. During thanksgiving services, groups of worshippers, most of whom were farmers, brought their crops as offerings to God in the traditional Igbo way: 17dc91bb1f