This dissertation investigates the musical practices fostered in Yorùbá Pentecostal churches, using the 1930 revivals and present-day Mountain of Fire and Miracles Ministries church as primary case studies. It highlights the history of the Yorùbá Pentecostal movement from the advent of Christianity in Yorùbáland and how these have shaped the beliefs, musical activities and repertoires of Yorùbá Pentecostal Christianity. Despite a history of nearly one hundred years, the impact of music receives sparse or no treatment at all in existing literature on Pentecostalism in Yorùbáland. For example, little has been done to investigate the various music genres and styles employed within Yorùbá Pentecostal Christianity, how they are performed, and the roles that they play in shaping congregants experiences. To fill this lacuna, I examine the broad range of musical forms currently used by Yorùbá Pentecostals, identifying distinguishing stylistic features such as typical melodic patterns, typical rhythms and accenting, textual traits, accompanying clap rhythms; considering how these relate to the ritual objectives, and assessing the theological ideas underpinning their use. Through observations (participatory and non-participatory), scrutinising interviews, historical, online and archival resources gathered during fieldwork, this research also explores Yorùbá Pentecostal church ritual space, rites such as the ecstatic praise and worship singing, worship formats, and the music ministry - the unit which caters for music.