聖書メトリクス：「音楽」は聖書の中で何回言及されているか？

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Anthony, P. A. (2023). God Rock, Inc.: The Business of Niche Music by Andrew Mall (review). Journal of Religion and Popular Culture, 35, 52–53.

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Gardner, K. (2015). Critical analysis of culturally relevant pedagogy and its application to a sixth grade general music classroom.

Gerasimova, I., Zakharina, N., & Shchepkina, N. (2021). Musical Interpretation of Direct Speech in Chants of the Two-Hundredth Feasts of the Mother of God: Greek-Slavonic Parallels on Manuscripts of the 10th–17th Centuries. Vestnik of Saint Petersburg University Arts.

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Hindle, D. (2006). From a Gin Palace to a King’s Palace? The Evolution of the Music Hall in Preston c1840-1914.

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Lessing, R. (2022). The Old Testament for a Complex World: How the Bible’s Dynamic Testimony Points to New Life for the Church by Cameron B. R. Howard (review). The Catholic Biblical Quarterly, 84, 485–486.

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Mochere, J. M., & Kibor, Dr. E. J. (2017). Christianity and Arts: Integration of Faith and Learning Music in the Contemporary Society.

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Ngara, R. (2013). Shangwe Music for Spiritual Rituals: A Symbolical Enactment. Studies of Tribes and Tribals, 11, 127–133.

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Situmorang, D. D. B. (2022). Integration between humor and music therapy to increase spirituality and meaning in palliative and supportive care. Palliative & Supportive Care, 1–2.

Spar, I. (2020). Inhabiting the Promised Land: Exploring the Complex Relationship between Archaeology and Ancient Israel as Depicted in the Bible. History: Reviews of New Books, 48, 125–144.

Stiles, K. (2017). The subject of the narrative is the subject: the analogous formation of our own identity through processes of perception and identification.

Tubagus, S. (2023). MAKNA MUSIK GEREJA DALAM ALKITAB (聖書における教会音楽の意味). Tambur¯: Journal of Music Creation, Study and Performance.

Wainwright, E., & Culbertson, P. (2010). Book Review: The Bible in/and Popular Culture: A Creative Encounter. Interpretation: A Journal of Bible and Theology, 65, 439–439.

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Adamko, R. (2018). Kult eucharystyczny na podstawie średniowiecznych mszalnych rękopisów węgierskich. 65, 7–23.

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Barton, J. (1984). Prophets, worship, and theodicy¯: studies in prophetism, biblical theology, and structural and rhetorical analysis, and on the place of music in worship¯: papers read at the Joint British-Dutch Old Testament Conference held at Woudschoten, 1982.

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Billings, B. S. (2012). As some of your own poets have said: Secular and non-canonical literature in the New Testament and some (post)modern parallels. The Expository Times, 123, 479–485.

Bloemfontein, M., & England, F. (2017). Music, theology, and space: listening as a way of seeking God. Acta Theologica, 37, 18–40.

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Elder, & Howard, W. (2009). Scripturality of Instrumental Music in the New Testament Church.

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Lessing, R. (2022). The Old Testament for a Complex World: How the Bible’s Dynamic Testimony Points to New Life for the Church by Cameron B. R. Howard (review). The Catholic Biblical Quarterly, 84, 485–486.

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Lyons, J. (2017). From Silence to Golden: The Slow Integration of Instruments into Christian Worship. 8, 13–22.

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McGee, M. B. (2018). Serving the Body of Christ in Corporate Worship: An Apologetic for Embracing Multiple Styles of Music.

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Praise of Mary in Song: The Early Hymnography. (2021). The Virgin Mary in Byzantium, c.400-1000.

Presseisen, F. (2020). Muzyka wyrazem duchowości – kilka refleksji na temat korelacji słowa i muzyki w Bachowskim chorale bożonarodzeniowym Lobt Gott, ihr Christen, allzugleich BWV 732. 18, 47–64.

Sin, A. K. K. (2024). Psalm 49. Interpretation: A Journal of Bible and Theology, 78, 151–153.

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Thomson, & Craighead, A. (2002). Driving through Las Vegas.

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강영애. (2007). í•Å국의 煉禱를 통해 살펴본 가톨릭 전례음악. 28, 87–175.

邱少頤. (2006). 巴赫《èâ€Ã¦Â¯ÂÃ¨Â®Å¡Ã¤Â¸Â»Ã¦â€ºÂ²Ã£â‚¬â€¹(Magnificat in D)崇高性之記號學分析－以第三é¦â€Ã£â‚¬ÂÃ§Â¬Â¬Ã¥â€ºâ€ºÃ©Â¦â€Ã§â€šÂºÃ¤Â¾â€¹. 1–40.