- pp. 121-140
- Can you usually tell if a performer is genuine if the person is highly skilled?
- How does Liesch suggest we can know if a performer is genuine?
- What are some of the things that people think when they hear the word performance in church?
- According to Kierkegaard, who should be the performers of worship? The prompters? The audience?
- Complete this sentence from page 124: God _____________ and we ___________.
- What is a 'prompter'? How does that correspond to worship leading? What does Liesch say is 'most important on p. 125?
- What is Liesch's reworked definition of 'performance'? What are the six parts?
- Does Liesch think leaders should 'train' the congregation? Why?
- What does Liesch tell the lyric projection operator? Do you agree or disagree? Why?
- What is the 'good principle for every leader' on page 130?
- What is the connection between skill and wisdom?
- In your own words, describe Liesch's definition of 'good technique' from page 135.
- Is there a relationship between the size of the church and the quality of the music?
- Does Liesch recommend leadership be about service and ministry? Why?
- What is the difference between 'Self-Righteous Service' and 'True Service'?
- Hyperllink to Practice Quiz on pp. 121-140
- pp. 141-175
- What are the two things that Liesch promises to cover in the chapter (p. 142)?
- What are the two roles that Jesus plays in relation to God and humanity?
- What are the worship roles that Jesus assumes in the Book of Revelation?
- What is the connection between Christ and our confidence in worship?
- Who perform the human-Godward movement of worship?
- What does Liesch mean by our response being 'a response to his response"?
- What do you think of Liesch's suggested applications to worship leading? What would you do to apply this material?
- What do we learn about worship leading from Jesus' example?
- What does Liesch mean by "holistic response"? Do you agree with this concept? Why or why not?
- What does Liesch's discussion on Biblical words teach us about worship?
- How does Liesch summarize the chapter in one sentence (p. 157)?
- What are the three purposes of the church mentioned in chapter 11?
- Define "Kerygma" in your own words. Describe how a worship service can fulfill the purpose of kerygma. What are the strengths and weaknesses of kerygma?
- What does Liesch mean by "Let all the techniques of art serve content"? Do you agree?
- Define "Koinonia" in your own words. Describe how a worship service can fulfill the purpose of koinonia. What are the strengths and weaknesses of koinonia?
- Define "Leitourgia" in your own words Describe how a worship service can fulfill the purpose of leitourgia. What are the strengths and weaknesses of leitourgia?
- According to Liesch, what is the primary question to ask yourself at the end of a leitourgia service?
- How does Liesch suggest the three worship modes blend together?
- Hyperlink to Practice Quiz on pp. 141-175
- pp. 91-117
- Complete this sentence: "Revelation worship balances proclamation through _______ with proclamation through ______"
- Does Liesch believe that worship is drama? What does he mean by the word drama?
- What does Liesch think is the most powerful communication of all?
- What suggestions does Liesch give to improve the reading of Scripture in service?
- What is the most common mistake in preparing computer presentations for sermons?
- What type of people does Liesch suggest you select to create computer presentations?
- What does Liesch say chapter seven "is about"?
- Restate each of Liesch's suggestions for pastors in your own words.
- What (Who) does Liesch think should be the primary focus of worship?
- Does Liesch suggest that new songs should be repeated and reinforced?
- What suggestions does Liesch give for introducing new hymns and choruses?
- What are Wesley's rules for singing? How can they be applied in your life and ministry?
- Restate each of Liesch's suggestions for musicians in your own words
- How can we make learning new songs more enjoyable and effective?
- According to Liesch, what should determine in which key a song is sung?
- How can a leader get the men to sing?
- What does Liesch mean by "musical contrast"?
- What are the qualifications for a sound technician?
- What does Liesch suggest regarding the worship leader exerting control?
- What does Liesch suggest regarding the relationship between pastor and worship leader?
- What does Liesch suggest regarding the presence of God?
- Complet this sentence "Leaders must model________".
- Hyperlink to Practice Quiz on pp. 91-117
- pp. 37-52
- Who are the two audiences in our worship?
- What does Liesch suggest you "teach your people"? why?
- Does Liesch think that worship is a private affair? why or why not?
- What does Liesch mean by worship that is vertical and horizontal?
- What does Liesch think the terms "Psalms, hymns, and spiritual songs" refer to?
- What application to the modern church does Liesch draw from the variety in the Psalms?
- What is the point of the saying "lex orandi, lex credendi"?
- Summarize the four views of Col 3:16 in your own words. Which does Liesch prefer?
- What does the instrumental view tell us about the texts we choose to sing?
- What should determine how intellectual our songs should be?
- How does Liesch think Paul would view the role of a worship leader?
- What is the connection between "being filled with the Spirit" and "speaking, singing, etc."?
- Describe each of Liesch's six principles in your own words
- What is Liesch's point about the teaching role of music?
- Hyperlink to Practice Quiz on pp. 37-52
- pp. 19-36
- Why do many people find Choruses helpful and meaningful?
- What are the limitations of Choruses?
- Which two issues does Liesch promise will rise to the forefront (p. 21) throughout his discussion?
- What does Liesch think is the connection between form and culture?
- What does Lies think is the connection between form and spirituality?
- What function does Liesch think that Hymns fulfill better than Choruses (p. 22)?
- What are the two basic questions that Liesch explores?
- How does Liesch define a Hymn, a Gospel song, and a Chorus?
- Does Liesch suggest we should use Hymns or Choruses?
- According to LIesch, what is the effect of starting a second service in a different style?
- What does Liesch mean by "blended" service?
- What is "Musical Chauvinism"? Does Liesch recommend it?
- Does LIesch think the gospel should be contextualized?
- What does Liesch suggest should be our approach to popular music?
- What is the main problem most college students have with hymns?
- What will it take for hymns to survive with future generations?
- Does Liesch think that all texts should be immediately accessible? Why or why not?
- Restate each of LIesch's six suggestions for energizing Hymns in your own words.
- What is the "Power of Song" that Liesch describes?
- Hyperlink to Practice Quiz on pp. 19-36
- pp. 77-90
- What are the three types of worship services that Liesch describes? Which one does he think is best?
- Are the three forms mutually exclusive?
- What are the priorities that Liesch recommends we protect?
- Describe a Liturgical service in your own words.
- Describe a Thematic service in your own words.
- How is a liturgical service different from a thematic service?
- What are the strengths and weaknesses of the Liturgical form according to Liesch?
- What are the strengths and weaknesses of the Thematic form according to Liesch?
- Describe in your own words each of the questions for planning a thematic service (p. 84).
- Describe a Free-flowing service in your own words.
- What are the pointers given to make a free-flowing service effective.
- What does Liesch mean by "convergence worship"?
- Restate each of Liesch's suggestions for small to medium-sized churches.
- Hyperlink to Practice Quiz on pp. 77-90
- pp. 209-233
- According to Liesch, what is essential if the pastor/worship leader realtionship is to be effective?
- What does it mean to be a team? What does it mean to be a team player>
- How does Liesch describe the world of the artist?
- What are the bad ideas about artistic personalities that Liesch suggests we avoid?
- What positive models for musicians should Christian leaders give?
- How should leaders complement musicians?
- What is the primary tip for working with volunteers?
- What is the difference between the "miracle worker" and the full time music position that Liesch is advocating?
- Describe the ideal music director according to Liesch.
- What can pastors do to help the "hurting musician" or keep them from becoming hurt?
- What does Liesch mean by intercessory prayer and pastoral care?
- How does music leadership fit into the list of Christian leaders from Ephesians 4?
- What characteristic contributes most to thriving as "associate church staff" (p. 221)?
- Define what Liesch means by a "reading musician" and an "improvising musician". Which does Liesch prefer?
- Describe in your own words the benefits of improvisation.
- Describe in your own words the suggestions for attracting musicians.
- Who does Liesch suggest is the primary theologians of many local churches?
- What reasons does Liesch give for teaching worship in seminaries? Do you agree with these? Why or why not?
- Hyperlink to Practice Quiz on pp. 209-233
- pp. 177-205
- What is the root problem of the issue of music style? What does reveal about us?
- Restate each of Liesch's reasons for the divisiveness of musical style in your own words
- According to Liesch, what does Pentecost (Acts 2) tell us about musical styles?
- Complete this statement: "Many languages inevitably means _______________".
- According to Liesch, what does the Gentile Pentecost (Acts 10-11) tell us about musical styles?
- According to Acts 10-11, does Liesch think that any music style (theoretically) is unacceptable?
- What other "aspects" does Liesch think are important in deciding and using musical style?
- What does Liesch think is the "fundamental issue" to consider relative to musical style (p. 182)?
- In what ways is Peter a model for leaders according to Liesch?
- What are the two applications that Liesch makes from Peter's story (p. 185)?
- According to Liesch, what does the Jerusalem Council (Acts 15) tell us about musical styles?
- What does Liesch mean by "cultural circumcision"? What are the implications of this concept to music ministry?
- Restate each of Liesch's summary questions (pp. 187-8) in your own words.
- What is Paul's general principle in responding to cultural issues?
- How does Liesch apply this principle to musical choices?
- What does Paul mean by the "weak" and the "strong"? What does he suggest regarding each group?
- How does Liesch apply this approach to musical choices?
- How does Paul act as a model of Christian sensitivity?
- What does it mean to be "strong in the full sense of the word"?
- According to Liesch, what is "the only long-range answer to reconciling the traditionalists and the front-runners"?
- What are the reasons (arguments) Liesch gives for musical diversity?
- How does Liesch apply Jesus' teaching on clean and unclean to musical styles?
- Does Liesch think that if a musical form is used for bad purposes, it invalidates its possible use?
- How do the musical philosophies of Harold Best and Calvin Johansson compare? Which do you agree with? Why?
- What is the advice Al Menconi gives to parents? Do you agree? Why?
- What conclusion does Liesch make from music in the Old Testament?
- Why did the Rabbis ban instruments in the synagogue? Do you agree?
- What does Liesch mean when he speaks of a limit of how "free" church music can be? Do you agree?
- What advice does Liesch give about implementing change?
- Restate each of Hustad's standards for church music in your own words.
- Liesch states the any style is theoretically permissible but not necessaryly appropriate. What does he imply might make a style inappropriate?
- Hyperlink to Practice Quiz on pp. 177-205