In the second phase of research I surveyed multiethnic church pastors and worship leaders to determine attitudes and practices towards inclusive worship. I found a possible connection between multiethnic churches that start through inward and outward motivations and churches that have experienced the most change in music style, signaling inclusive worship. Additionally, the gospel music genre shows promise as an inclusive worship genre.

The thesis begins with an overview of the research citing the significance, purpose and limitations of the research. From there, a snapshot of the development of indigenous worship music in North India among the Catholic and Protestant Churches are recounted. A melodic and linguistic analysis are offered to surmise the indigenous qualities of the songs collected from the village as well as those Christian Garhwali songs written by Rajesh Dongriyal. Indications for further research are needed to sustain and confirm any conclusions, but the analysis also gives a superficial account of the activity concerning the development of indigenous worship music in Garhwal.

But one of the ongoing burning issues in missions circles relates to how new groups of believers develop not only biblical worship but culturally relevant worship.

In an effort to help emerging churches move toward indigenous worship in a region of North Africa, a group of missionary musicians in Tunisia invited a team of recording engineers to help capture new expressions of Tunisian Arabic songs. The Christian workers in Tunisia had the idea that establishing a recording studio in Tunisia would be a means of preparing professionally-produced and culturally-relevant worship recordings. In turn the spread of vibrant Arabic worship recordings would be a means of strengthening scattered groups of believers in this very restricted area. This project documents one such effort.

Other ethnomusicologists have come among the Lakota people to study music and culture including Frances Densmore, R.D. Theisz, William W. Paige, and William K. Powers. Nonetheless, I may be one of the first non-Native ethnomusicologists whose research focuses primarily on Lakota music and culture in the context of Christian life and worship. It is this focus that sets ethnodoxology apart from secular ethnomusicology. (The efforts of Richard Twiss and Dr. Gerald Yellowhawk–who are both Lakota–could also be considered ethnodoxological.)

Since I am one of the first of my kind, this work is an attempt to lay groundwork for other ethnodoxologists that may follow my lead. Using the data from eleven in-depth interviews that I’ve conducted with Will Peters–Lakota father, musician, traditionalist, teacher, and believer in Jesus Christ–I attempt to answer the following question: How should ethnodoxologists act when they come to live among Native Americans and what attitudes should they most appropriately harbor inside?

The purpose of this grounded theory study is to explore the unique qualities of music making within a nomadic culture. Identity formation through musical performance and its social context is one vital part of a nomad‟s strategy for a continuing existence. It reflects and informs the essence of who he is as a proud and independent nomad with the ability to negotiate his existence within the changing and sometimes harsh climate in which he lives (physically, spiritually, and politically). The study will focus on the current context and process of music making within the lives of herding communities in central Mongolia with the broader purpose of exploring the common elements of identity formation and nomadic strategy through the music cultures of nomadic peoples in general. In addition, it is hoped the study will encourage and resource church leaders and mission workers to reach out to nomadic communities in their respective areas by encouraging the use of music as an effective tool for evangelism, worship, and discipleship.