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Table 3: Trinitarian Address in HMA Text During the study period, an increase in the words “Jesus/Christ” and “God/Father” was noted in the text, consistent with the increase in songs. '** By way of contrast, references to the Spirit decreased (see Table 3). Although many songs interchange multiple addresses, showing evi- dence of Trinitarian belief, not all HMA songs address a member of the Godhead. While some aspects of the work of the Spirit are consistent across HMA repertoire,” perception of His role in worship changed dur- ing the years under review (see below). Throughout Phase One, 25% of songs mention the Holy Spirit, with songs such as “Let The Peace of God Reign” using direct address:

Table 3 Trinitarian Address in HMA Text During the study period, an increase in the words “Jesus/Christ” and “God/Father” was noted in the text, consistent with the increase in songs. '** By way of contrast, references to the Spirit decreased (see Table 3). Although many songs interchange multiple addresses, showing evi- dence of Trinitarian belief, not all HMA songs address a member of the Godhead. While some aspects of the work of the Spirit are consistent across HMA repertoire,” perception of His role in worship changed dur- ing the years under review (see below). Throughout Phase One, 25% of songs mention the Holy Spirit, with songs such as “Let The Peace of God Reign” using direct address:

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Category | (“Number of Words”) is useful in terms of assessing published text, but not in terms of actual length of songs (time it takes to sing it) o1 musical ease/difficulty. The value placed on spontaneity at Hillsong’” means that the chorus is usually repeated multiple times. Dai Griffiths’ “Verbal space” or text rhythmic patterns could be considered a better indi- cator, but is beyond the scope of this study.’” “Trinitarian perceptions’ were analysed through recording names used for God, such as “God, Father’, “Jesus/Christ’”, “Spirit” or “Lord”. Presence of and context of the word “love” was listed (Category 5) e.g. ‘The Father’s love for us’ “Testimony” was tracked using semantic references to spiritual experi- ences, such as conversion, water baptism, and Spirit baptism. “Expected Transformation” evaluates the prevalence and accuracy of the eight ex- pected Pentecostal transformations discussed above: “Personal Develop- ment”, “Supernatural Empowerment”, “Evangelism” “Prosperity”. “Presence in Suffering”, “Revival” and “Social Transformation” (see Ta- ble 1).''° Evans’ theme “Anointing” was discarded from the methodology after only one reference was found within HMA text. QOnalitative acnecte of text hichlichted hy Feronecon are examinec
Category | (“Number of Words”) is useful in terms of assessing published text, but not in terms of actual length of songs (time it takes to sing it) o1 musical ease/difficulty. The value placed on spontaneity at Hillsong’” means that the chorus is usually repeated multiple times. Dai Griffiths’ “Verbal space” or text rhythmic patterns could be considered a better indi- cator, but is beyond the scope of this study.’” “Trinitarian perceptions’ were analysed through recording names used for God, such as “God, Father’, “Jesus/Christ’”, “Spirit” or “Lord”. Presence of and context of the word “love” was listed (Category 5) e.g. ‘The Father’s love for us’ “Testimony” was tracked using semantic references to spiritual experi- ences, such as conversion, water baptism, and Spirit baptism. “Expected Transformation” evaluates the prevalence and accuracy of the eight ex- pected Pentecostal transformations discussed above: “Personal Develop- ment”, “Supernatural Empowerment”, “Evangelism” “Prosperity”. “Presence in Suffering”, “Revival” and “Social Transformation” (see Ta- ble 1).''° Evans’ theme “Anointing” was discarded from the methodology after only one reference was found within HMA text. QOnalitative acnecte of text hichlichted hy Feronecon are examinec
Table 2: Summary of HMA Releases A large increase of published songs occurred with the inclusion of UI products from 1999, with another increase of HMA songs in Phase Three While ‘wordiness’ is often informally seen as a ‘youth’ phenomenor word count dropped on average by ten words in Phase Two, but returne: 0 arelative average. Phase Three’s highest word counts were contained 1 UB’s All Of The Above (2007) release, where four songs exceed 19 words. No songs reached this amount in preceding years, resulting fror UB’s adoption of more secular song forms in which small chorus an bridge variations added to word count. UB’s music represented a shit from church resource to radio singles. Two strophic hymn-like verses ca be seen during Phase One, “Jesus What a Beautiful Name” (1996) and “S: You Would Come” (1997): none occur after this time.
Table 2: Summary of HMA Releases A large increase of published songs occurred with the inclusion of UI products from 1999, with another increase of HMA songs in Phase Three While ‘wordiness’ is often informally seen as a ‘youth’ phenomenor word count dropped on average by ten words in Phase Two, but returne: 0 arelative average. Phase Three’s highest word counts were contained 1 UB’s All Of The Above (2007) release, where four songs exceed 19 words. No songs reached this amount in preceding years, resulting fror UB’s adoption of more secular song forms in which small chorus an bridge variations added to word count. UB’s music represented a shit from church resource to radio singles. Two strophic hymn-like verses ca be seen during Phase One, “Jesus What a Beautiful Name” (1996) and “S: You Would Come” (1997): none occur after this time.
Table 4: Testimony in Hillsong Text
Table 4: Testimony in Hillsong Text
Table 5: Expected Transformations in Hillsong Text
Table 5: Expected Transformations in Hillsong Text
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