Relevant bibliographies by topics / Contemporary Christian music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Contemporary Christian music'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Contemporary Christian music"

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Andrejevs, Ņikita. "“Citādāks reps” vai “kristīgā glance”: Dievs un pasaule Latvijas kristīgajā repā." Ceļš 73 (December 2022): 6–23. http://dx.doi.org/10.22364/cl.73.01.

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Historically, Christian rap emerged in the context of Evangelical Christianity in the US. Since its birth in the 1970s, it has been often represented as a tool for evangelization and outreach in the modern urban environment. Although there are stories of purported success of these attempts, most US Christian rappers have since turned to Christians as their primary audiences. There are two main attitudes towards the world and its culture among Christian rappers that are manifest in their approach to the style of their songs. Nevertheless, the general attitude towards the world and culture in Christian rap is that of distancing from these aspects, and Christian rappers want to transform or educate the faithless society, Thereby denying the world its capacity to acquire genuine meaning and truth without Christian assistance. There is a discussion on terminology for engaging Christian rap from an academic perspective. Although some Christian rap scholars prefer to use a definition such as “Christians and hip-hop” to include all the possible interactions of Christians, rappers, and hip-hop culture, throughout the article the studied phenomenon is called “Christian rap” to distance the study of the actual rap lyrics and theology they contain from the analysis of hip-hop beats, breakdance, graffiti and/or other elements of hip-hop culture. This problem with definition mirrors the discussion common to the study of Contemporary Christian music genres, where there is debate on the question of criteria that can be employed to define “Christian music”. Latvian Christian rap represents an array of attitudes towards the world. There are examples of “worship rap” or separational approach to Contemporary Christian music and examples of integrational approach. These two approaches represent different attitudes towards the world, although fundamentally all Latvian Christian rappers that are mentioned in the article distance themselves from the world and wish to enlighten it or reach the faithless with their appropriation of popular contemporary music. Latvian Christian rap is a marginal phenomenon because it struggles with acceptance in Christian circles as much as among non-Christians that are to be its main and desired audience. Rap and hip-hop are perceived to be connected to protest, violence, drugs and other things that are foreign to the image of Christianity in Latvia.
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Stiles, John. "Contemporary Christian Music: Public Relations Amid Scandal." Journal of Religion and Popular Culture 11, no. 1 (September 2005): 2. http://dx.doi.org/10.3138/jrpc.11.1.002.

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Howard, Jay R. "Contemporary Christian Music: Where Rock Meets Religion." Journal of Popular Culture 26, no. 1 (June 1992): 123–30. http://dx.doi.org/10.1111/j.0022-3840.1992.00123.x.

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Häger, Andreas. "Christian rock concerts as a meeting between religion and popular culture." Scripta Instituti Donneriani Aboensis 18 (January 1, 2003): 36–55. http://dx.doi.org/10.30674/scripta.67281.

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Different forms of artistic expression play a vital role in religious practices of the most diverse traditions. One very important such expression is music. This paper deals with a contemporary form of religious music, Christian rock. Rock or popular music has been used within Christianity as a means for evangelization and worship since the end of the 1960s. The genre of "contemporary Christian music", or Christian rock, stands by definition with one foot in established institutional (in practicality often evangelical) Christianity, and the other in the commercial rock musicindustry. The subject of this paper is to study how this intermediate position is manifested and negotiated in Christian rock concerts. Such a performance of Christian rock music is here assumed to be both a rock concert and a religious service. The paper will examine how this duality is expressed in practices at Christian rock concerts.
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Benjamins, Laura. "Learning through praise: How Christian worship band musicians learn." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 417–33. http://dx.doi.org/10.1386/jpme_00004_1.

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Popular music education continues to increase in North American educational settings. While popular music teaching and learning are recognized in a variety of contexts, contemporary Christian church praise bands have not been significantly addressed in music education literature. In addressing this gap, the purpose of this study is to examine the musicking practices occurring in the contemporary worship music (CWM) context and how these lead contemporary Christian musicians to acquire and develop their musical skills. Green’s five principles of informal music learning were found to apply in part, yet other distinctive features were also present in study findings. Themes such as elitism, excellence, hierarchies of musical engagement, and inclusion/exclusion of worshippers and the congregation also arose, providing interesting areas for future research.
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Banjo, Omotayo O., and Kesha Morant Williams. "Behind the Music: Exploring Audiences’ Attitudes toward Gospel and Contemporary Christian Music." Journal of Communication and Religion 37, no. 3 (2014): 117–38. http://dx.doi.org/10.5840/jcr201437323.

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A number of studies across disciplines have examined the influence of popular music on identity; however, comparative study of Christian music genres, which are clearly racially marked, is lacking. Based on Tajfel and Turner’s social identity perspective, this article examines the ways in which Black listeners of Black gospel and White listeners of Contemporary Christian music (CCM), evaluate themselves and one another. Although there have been popular speculations about these differences, there is no empirical evidence of these assumptions. Findings suggest that while in-group members are generally more favorable toward their music than the out-group, privilege allows for Black listeners to be more open toward White majority music while the opposite is not true.
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Quantz, Don. "Canons in Collision: Hymns and Contemporary Christian Music." Liturgy 24, no. 4 (July 2009): 32–39. http://dx.doi.org/10.1080/04580630903022188.

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Howard, Jay R., and John M. Streck. "The splintered art world of Contemporary Christian Music." Popular Music 15, no. 1 (January 1996): 37–53. http://dx.doi.org/10.1017/s0261143000007959.

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For many, art is a product: the painting to be observed and contemplated, the concert to be heard and enjoyed. There is, however, another conception of art – art as activity – and it is in this context that Howard Becker (1984) develops his concept of art worlds. Art worlds, Becker argues, include more than the artists who create the work which the public commonly defines as art. Any given art world will consist of the network of people whose co-operative activity produces that art world's certain type of artistic product (Becker 1984, p. x). Organised according to their knowledge of the art world's goals and conventions for achieving those goals, the art world includes five basic categories of people: the artists who actually create and produce the art; the producers who provide the funds and support for the production of the art; the distributors who bring the art to the audience; the audience who purchases and collects the art; and finally, the critics, aestheticians and philosophers who create and maintain the rationales according to which all these other activities make sense and have value. These rationales, however, are not merely descriptive but prescriptive. For despite the efforts of those who would keep an art world static in its products and function, art worlds are dynamic. Changes in the art world are often made in response to changes in the rationales - i.e., the philosophical justifications for an art world's art - which identify the art world's product as ‘good’ art and explain how that art fills a particular need for people and society (Becker 1984, p. 4).
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Bradley, C. Randall. "Congregational Song as Shaper of Theology: A Contemporary Assessment." Review & Expositor 100, no. 3 (August 2003): 351–73. http://dx.doi.org/10.1177/003463730310000304.

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The faith and identity of Christian communities are formed and defined in large degree by musical forms and patterns. Music shapes and conveys theology, and is a point of engagement with broader culture. This is especially true in Free Church evangelicalism, where musical styles have nearly replaced denominational distinctives as the demarcating lines among various groups. This essay argues that music and worship are “active theology.” Worship and its music should over time express the full range of Christian truth and form worshipers truthfully. The essay explores and catalogues principal influences and concerns pertaining to musical form, style, and content. Church musicians are encouraged to see themselves as shapers of contextual theology in their communities.
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Bowler, Kate, and Wen Reagan. "Bigger, Better, Louder: The Prosperity Gospel's Impact on Contemporary Christian Worship." Religion and American Culture: A Journal of Interpretation 24, no. 2 (2014): 186–230. http://dx.doi.org/10.1525/rac.2014.24.2.186.

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AbstractThis article makes several claims about the relationship between praise and worship music and prosperity megachurches. First, it argues that the prosperity gospel has had a significant impact on contemporary worship music in America owing to its leadership in the twin rise of the megachurch and televangelism. Second, beginning in the 1990s, prosperity megachurches pioneered forms of worship music mimicking “arena rock” that capitalized on both the scale of their sanctuaries and the sophistication of their audio/visual production. The result was a progression toward music that would be a liturgy of timing, lighting, volume and performance designed for large venues. Finally, prosperity megachurches were ideally situated to benefit from this new music, both in the music industry and in their theology. Prosperity megachurches partnered with the expanding worship industry in the creation of new worship music, while the prosperity gospel theologically undergirded the affective power and performative pageantry of Christian arena rock, narrating worship music as a tool for releasing spiritual forces of prosperity. The result was a Sunday experience for the blessed that reinforced the celebration of God’s abundant blessings through music that was bigger, better, and louder.
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Dissertations / Theses on the topic "Contemporary Christian music"

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Baker, Wesley L. "Worship, contemporary Christian music, and Generation 'Y'." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.

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xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski
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Thaxton, Amber E. "The scarlet "C" media portrayal of the Christian music industry /." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3246.

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Strother, Eric S. "Unlocking the Paradox of Christian Metal Music." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/9.

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In 1984, Stryper released its first album The Yellow and Black Attack and introduced audiences to a different kind of heavy metal. Instead of lyrics about sex, alcohol, and Satan, Stryper sang about Jesus, salvation, and God. While there were a number of fans ready for this change more were not. Members of the Church as well as members of the metal subculture were in agreement that Christianity and heavy metal were incompatible. Despite these objections, however, more bands emerged, and Christian metal became a significant genre within the Christian music industry. These bands presented Christian-oriented lyrics within the full spectrum of metal subgenres. This dissertation examines the ways in which Christian metal bands create an intersection between Christianity and the heavy metal subculture, infusing Christianity within the textual, visual, and musical structures of heavy metal. The author employs Deena Weinstein’s “metal code” to frame the analysis. The metal code includes the textual elements (band names, album and song titles, and song lyrics); the visual elements (band logos; album covers; and the various elements of the concert experience including the bands’ appearances, the staging, the interactions with the fans, and music videos); and the musical elements (timbre, modality, formal structure, and production of the songs and albums) that set metal apart from other musical genres. The dissertation also examines the concept of bands as “metal missionaries” that immerse themselves within the heavy metal subculture for the purpose of bringing the Christian message of hope and salvation. The author concludes that even though Christian metal bands modify aspects of elements that are otherwise incompatible with their Christian beliefs and message, they still maintain a sense of stylistic integrity that gives them credibility within the heavy metal subculture and allows them to fulfill their mission.
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Carrick, Jamie. "Playing the market : contemporary Christian music and the theory of religious economy." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43663.

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Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy.
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Hammond, Susan J. "Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians." Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.

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Dickerson, Valerie Anne. "Are those congas in the pulpit? hymns, alabanza y adoración (praise and worship) music, and the evangelical subculture of western Cuba /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2009368981&sid=3&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Tepera, Courtney. "“FAITH COMES BY HEARING”: A SOCIOLOGICAL ANALYSIS OF CHRISTIAN CONTEMPORARY MUSIC AND AURAL PIETY." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/467763.

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Religion
Ph.D.
Over the past fifty years, Christian contemporary music has joined hymnody and psalmody as a major form of evangelical liturgical and devotional song. While the production and content of this genre have been explored by scholars, few studies have attended to the devotional use of the genre and its role in shaping the religious lives of American evangelicals. This project draws from several sets of data to address this matter: analysis of church-created worship music albums, listener testimonials on Christian radio websites, and focus group interviews of laity and clergy at four South Carolina churches. The data revealed that music is significant to their religious lives outside of church as a means of encountering God, managing emotions, and displaying spiritual capital. Inside churches, the music is used to create a sense of corporate identity that reinforces social bonds within the community and attracts newcomers. Drawing on the methodological framework of Pierre Bourdieu’s theory of practice and his work on social distinction, I argue that American evangelicals who listen to Christian contemporary music are engaged in aural piety, a set of practices, attitudes, and ideas invested in music that structure and evoke the experience of the sacred.
Temple University--Theses
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Galbraith, Douglas. "Aspects of Koinonia : developing an ecclesiological approach to music in contemporary Christian worship." Thesis, Bangor University, 2010. https://research.bangor.ac.uk/portal/en/theses/aspects-of-koinonia-developing-an-ecclesiological-approach-to-music-in-contemporary-christian-worship(83fd935b-3b9c-4afe-8c0b-b7da1421a8dd).html.

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This thesis takes the form of an exploration and discourse on koinonia (a New Testament concept meaning 'communion' used by St Paul in his discussions of the nature of the church) and its potential application to the shaping of a better understanding of music for worship and its use in liturgical worship. It falls into three parts. While the investigation is relevant and applicable to the Western Church in general, the thesis relates specifically to the locale, culture and religious traditions of Scotland. Part One (chapters 2-5) begins with a consideration of recent debate on liturgy and music, taking as its starting point the outcomes of the 1997 congress of Societas Liturgica on that theme. This is followed (chapter 3) by a review of recent theological writings about music and music in worship, and (chapter 4) a consideration of five dimensions of koinonia derived in particular from reports of recent ecumenical dialogue and a related ecclesiological model (following on from Gordon Lathrop) as the basis for an alternative mode for discourse on music in worship with greater potential for application and implementation in the local church. This part ends with a summary overview of selected branches of musicology as resources to enhance theological discussion of liturgical music. Part Two consists of just one long chapter (chapter 6). Here the findings from wider theological discourse on music and the insights gained from aspects of musicology are used to inform the investigation of each of the five dimensions of koinonia as the basis for the evaluation of liturgical music within an ecclesiological model: eucharistic community, relational community, community growing into maturity in Christ, diaconal community, diverse community. Part Three is more applied. Three contrasting case studies are explored (chapter 7) for signs of koinonia that might illuminate the preparation of a usable resource derived from the findings of Part Two. Each is directly related to the writer's own experience: the preparation of the third and fourth editions of the Scottish-produced Church Hymnary; the Wild Goose Worship Group of the Iona Community; the Craigmillar Festival. As evidence of current practice and attitudes, two enquiries into local churches are reported (chapter 8). The final chapter offers an outline for a discourse based on the findings of the thesis so far in a form that might be used in a local church. Taking each of the five dimensions of koinonia, this addresses both the strengthening of that church and its individual members through the discussion of music, and the better understanding of the evaluation and use of music in worship through the exploration of faith and the nature of church.
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.

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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Books on the topic "Contemporary Christian music"

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Cloud, David W. Contemporary Christian music under the spotlight. Oak Harbor, WA: Way of Life Literature, 1998.

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Barrett, Bob. Contemporary music styles. Mission Viejo, Calif: Taylor Made Music, 1996.

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Fisher, Tim. The battle for christian music. Greenville, SC: Sacred Music Services, 1992.

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Line, Lorie. Contemporary Christian Christmas: Contemporary Christian Christmas Favorites. Lorie Line Music, Inc., 2021.

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Spence, H. T. Confronting Contemporary Christian Music. Foundations Press, 2002.

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Hal Leonard Publishing Corporation (COR). Contemporary Christian Christmas. Hal Leonard Corporation, 2006.

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Hal Leonard Publishing Corporation (COR). Contemporary Christian Christmas. Hal Leonard Corporation, 2000.

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Hal Leonard Publishing Corporation (COR). Contemporary Christian Favorites. Hal Leonard Corporation, 1999.

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Hal Leonard Publishing Corporation (COR). Contemporary Christian Favorites. Hal Leonard Corporation, 1995.

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Stone, Tables of. Engraved: Contemporary Christian Music CD. Pamplin Music Corporation, 1998.

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Book chapters on the topic "Contemporary Christian music"

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Abraham, Ibrahim. "Contemporary Christian Music and Contemporary Worship Music." In The Routledge International Handbook of Sociology and Christianity, 242–53. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003277743-26.

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Odo Polzer, Berno, and Christian Grüny. "“Don’t Expect the Wrong Things from Institutions.”—Berno Odo Polzer Interviewed by Christian Grüny." In New Music and Institutional Critique, 171–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_13.

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AbstractIn an interview with Christian Grüny, Polzer discusses the politics of time and listening. His approach as artistic director of the MaerzMusik festival at the Berliner Festspiele focussed on situating contemporary music and sound practices within an interdisciplinary and sociopolitical landscape, investing a unique level of care into the relation between musical programming and its contextualisation. To this end, Polzer emphasises fostering forms of collectivity and communality as the site of production of musical meaning, while also checking the often-hyperbolic claims that arts institutions make regarding their value to society.
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Young, Shawn David. "Contemporary Christian music." In The Bloomsbury Handbook of Religion and Popular Music. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781350287006.ch-11.

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"11. Contemporary Christian Worship Music." In Religions of the United States in Practice, Volume 2, 121–28. Princeton University Press, 2002. http://dx.doi.org/10.1515/9780691188133-014.

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"Chapter 5. CONTEMPORARY CHRISTIAN MUSIC." In So You Want to Sing Sacred Music, edited by Matthew Hoch, 119–44. Rowman & Littlefield Publishers, 2016. http://dx.doi.org/10.5771/9781442257009-119.

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"What makes music Christian? Hipsters, contemporary Christian music and secularization." In Understanding Religion and Popular Culture, 167–81. Routledge, 2012. http://dx.doi.org/10.4324/9780203119570-15.

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"III CONTEMPORARY WORSHIP." In Christian Sacred Music in the Americas, edited by Andrew Shenton and Joanna Smolko, 131–74. Rowman & Littlefield Publishers, 2021. http://dx.doi.org/10.5771/9781538148747-131.

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Porter, Mark, and Nathan Myrick. "Introduction: music and ethics in contemporary Christianity." In Ethics and Christian Musicking, 1–18. Routledge, 2021. http://dx.doi.org/10.4324/9781003001485-101.

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Moberg, Marcus. "End-Time Lyrics and Music in Contemporary Christian “ApokRock”." In Music in the Apocalyptic Mode, 285–302. BRILL, 2023. http://dx.doi.org/10.1163/9789004537996_015.

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Payne, Leah. "Introduction." In God Gave Rock and Roll to You, 1–6. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197555248.003.0001.

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Abstract Contemporary Christian Music was the soundtrack of white evangelical conversions, worship, adolescence, marriage, child-rearing, and activism in the late twentieth century. Once an almost billion-dollar recording industry with culture-shaping power, however, the genre was in steep decline in the early aughts. This book analyzes Contemporary Christian Music as an industry born from early twentieth-century Southern white revivalist hymn-singing networks, stoked by 1960s and 1970s baby-boomer converts on the West Coast, and fueled in the late twentieth century by a vast network of evangelical media makers and marketers, booksellers, denominations, congregations, parachurch organizations, educational institutions, lobbying organizations, and advocacy groups. The following pages trace how CCM produced music that served as a sonic shorthand for white evangelical orthodoxy and social action, prized for its capacity to disseminate evangelical messages about what it means to be Christian and American.
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