Journal articles: '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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Sema, Daniel. "MODUS DORIAN: SEBUAH ALTERNATIF BAGI PENCIPTAAN HYMN." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 48–62. http://dx.doi.org/10.37368/tonika.v2i1.42.

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In today's Indonesian churches there are two types of music in worship, namely: hymnal songs or hymn (which are still used in mainstream Protestant churches) and contemporary Christian songs (used in Pentecostal and Charismatic churches). Nevertheless, contemporary Christian singing began to be accepted by some Protestant Christians and its existence increasingly dominated and urged the hymn. In order for the hymn to not be easily abandoned and felt contemporary, the author offers a new alternative to the creation of the hymn that has based itself on the major-minor mode for centuries. The alternative is the use of church mode, namely the Dorian mode as the basis for the creation or arrangement of a hymn. For this reason, the author tries to present a hymn arrangement for the song "Holy, Holy, Holy" by Reginald Heber in the SATB format in Dorian mode.

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Schroeder, Joy. "Encyclopedia of Contemporary Christian Music: Pop, Rock, and Worship." Theological Librarianship 3, no. 1 (March 23, 2010): 62–63. http://dx.doi.org/10.31046/tl.v3i1.130.

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Aslan, Uğur. "Metaphors and Meaning in the Turkish Contemporary Christian Music." Musicologist 2, no. 1 (June 30, 2018): 78–95. http://dx.doi.org/10.33906/musicologist.439254.

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Ho, Vicky Wing-Ki. "Thirty Years of Contemporary Christian Music in Hong Kong." Journal of Creative Communications 8, no. 1 (March 2013): 65–75. http://dx.doi.org/10.1177/0973258613512552.

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Somniso, M. M. "Echoes of orality in Christian Xhosa songs." Literator 26, no. 3 (July 31, 2005): 131–46. http://dx.doi.org/10.4102/lit.v26i3.240.

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This article is an attempt to investigate and explore certain patterns in traditional Christian Xhosa songs as found in Xhosa music. The corpus of contemporary Xhosa music is vast, and difficult to explore properly without recognising the patterns of traditional music. In order to recognise these patterns Xhosa music in general will be discussed first – Xhosa music also as a form of art. Having done that, it will try to uncover certain elements of traditional songs in Christian Xhosa music. A comparative approach will be used to reveal the similarities between traditional and Christian songs. To compare certain aspects in a literary work does not imply attaching more significance to one element than to another. This method rather implies a way of looking beyond narrow boundaries, and to explore other spheres of human activities.

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Sigmon, Casey T. "“Blessed Is the One Whose Bowels Can Move: An Essay in Praise of Lament” in Contemporary Worship." Religions 13, no. 12 (November 29, 2022): 1161. http://dx.doi.org/10.3390/rel13121161.

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The CCLI charts may not reflect it, yet one thing many Christian churches discovered as the pandemic raged across the world (and violence at home and abroad) was the need for songs of sacred lament. Unfortunately, many churchgoers, especially those who identify as practitioners of contemporary Christian worship, have cultivated a gap between the biblical give and take of praise and lament revealed most poignantly in the book of Psalms. This chasm between praise and lament is a problem, as a liturgical discourse about disastrous events is weakened. Churches sing congregational songs of praise in the church, the chorus of ‘what ought to be’. Meanwhile, outside the church, artists in genres as diverse as folk and rap sing the chorus of what frankly ‘is’. For the church to be transformative, it must be grounded in what is (lament) and aiming toward what ought to be (praise). This is the value of the cycle of praise and lament in the church’s liturgy. This article explores the impact of CCM (contemporary Christian music) and praise and worship culture as it laments the loss of lament in Christian worship. The essay articulates the missing sense of ‘Truth’ in contemporary congregational music, as defined by Don Saliers’ Worship Come to Its Senses. The article closes by amplifying emerging Christian songwriters reintroducing lament to contemporary worship.

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Kramarz, Andreas. "Christian Reception of the ‘New-Music’ Debate in the Church Fathers and Clement of Alexandria." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 359–78. http://dx.doi.org/10.1163/22129758-12341327.

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Abstract Evaluative judgments about musical innovations occur from the late fifth century BC in Greece and Rome and are reflected in similar discussions of Christian authors in the first centuries of the Empire. This article explores how pedagogical, theological, moral, and spiritual considerations motivate judgments on contemporary pagan musical culture and conclusions about the Christian attitude towards music. Biblical references to music inspire both allegorical interpretations and the defense of actual musical practice. The perhaps most intriguing Christian transformation of the ancient musical worldview is presented in Clement of Alexandria’s Protrepticus. Well-known classical music-myths serve here to introduce a superior ‘New Song’. Harmony, represented in the person of Christ who unites a human and a divine nature, becomes the ultimate principle of both cosmos and human nature. This conception allows music to become a prominent expression of the Christian faith and even inform the moral life of believers.

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KRISTANTO, BILLY. "Reformation and Music." Unio Cum Christo 3, no. 2 (October 1, 2017): 127. http://dx.doi.org/10.35285/ucc3.2.2017.art9.

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Abstract: This article explores the impact of the Reformation and the post- Reformation era on the Christian understanding of music, as well as the historical development of music. The article begins with Martin Luther’s unique contribution to the theology of music. The second section deals with John Calvin’s complementary theology of music. The third section shows that some Lutheran post-Reformation theologians have developed their thoughts not only from the central tenets of Luther’s theology of music but also from those of Calvin. The final section shows the relevance of reformational and post-reformational theologies of music to contemporary issues in worship. In conclusion, an eclectic and principled ecumenical understanding of those various theologies of music can help to challenge in a sensitive way the current shortage of high-quality music our contemporary context.

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Schulz, Constance B., Jay R. Howard, and John M. Streck. "Apostles of Rock: The Splintered World of Contemporary Christian Music." Journal of Southern History 67, no. 2 (May 2001): 500. http://dx.doi.org/10.2307/3069929.

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Katz, David, Jay R. Howard, and John M. Streck. "Apostles of Rock: The Splintered World of Contemporary Christian Music." Sociology of Religion 61, no. 3 (2000): 341. http://dx.doi.org/10.2307/3712585.

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Tsitsos, William, Jay R. Howard, and John M. Streck. "Apostles of Rock: The Splintered World of Contemporary Christian Music." Contemporary Sociology 29, no. 2 (March 2000): 388. http://dx.doi.org/10.2307/2654426.

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Abelman, Robert. "Without Divine Intervention: Contemporary Christian Music Radio and Audience Transference." Journal of Media and Religion 5, no. 4 (November 22, 2006): 209–31. http://dx.doi.org/10.1207/s15328415jmr0504_1.

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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (October 1994): 533–43. http://dx.doi.org/10.2307/1161372.

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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.

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Marsh, Clive. "Preparing for Worship." Ecclesial Practices 1, no. 2 (October 10, 2014): 192–206. http://dx.doi.org/10.1163/22144471-00102003.

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This article uses insights from an empirical study of music-users to explore the assumptions and expectations which everyday music is likely to create within a Western Christian congregation. It identifies the desire to be happy, the search for a safe space, a concern about personal identity and a willingness to use music to acknowledge negative emotions as four key emphases of the practice of contemporary listening. These four emphases are explored in relation to the practice of contemporary worship. It is shown that whilst it could be argued that everyday music dulls the expectations of the non-musical – for the musical may gain much through performance and participation in music-making – it is nevertheless vital that theological attention is paid to what is happening to congregation-members. The potentially salvific work to which music contributes is in need of further exploration and articulation in contemporary theology.

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Hung, Shin Fung. "From Singing “Out-of-Tone” to Creating Contextualized Cantonese Contemporary Worship Songs: Hong Kong in the Decentralization of Chinese Christianity." Religions 15, no. 6 (May 24, 2024): 648. http://dx.doi.org/10.3390/rel15060648.

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For over a century, Hong Kong Christians have sung Chinese hymns in an “out-of-tone” manner. Lyrics in traditional hymnals were translated or written to be sung in Mandarin, the national language, but most locals speak Cantonese, another Sinitic and tonal language. Singing goes “out-of-tone” when Mandarin hymns are sung in Cantonese, which often causes meaning distortions. Why did Hong Kong Christians accept this practice? How did they move from singing “out-of-tone” to creating contextualized Cantonese contemporary worship songs? What does this process reveal about the evolution of Chinese Christianity? From a Hong Kong-centered perspective, this article reconstructs the city’s hymnological development. I consider the creation of national Mandarin hymnals during Republican China as producing a nationalistic Mainland-centric and Mandarin-centric Chinese Christianity. Being on the periphery, Hong Kong Christians did not have the resources to develop their own hymns and thus continued to worship “out-of-tone”. With the decline of the old Chinese Christian center of Shanghai, the growth of Cantonese culture and Hongkonger identity, and the influence of Western pop and Christian music, local Christians began to create Cantonese contemporary worship songs. This hymnological contextualization reflects and contributes to not only the decolonization but, more importantly, the decentralization of Chinese Christianity.

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Bruin-Mollenhorst, Janieke. "Hey there, Maria! De speelruimte van het Ave Maria in hedendaagse uitvaarten." Religie & Samenleving 18, no. 3 (January 8, 2024): 199–213. http://dx.doi.org/10.54195/rs.16353.

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Contemporary funeral rituals in the Netherlands are often characterised as secularised and individualised. Therefore, it is intriguing that ‘Ave Maria’ is still among the Top 10 most popular songs that are played during funerals. This article shows various motivations for listening to an Ave Maria: expressing a shared Christian identity; expressing the Christian identity of the deceased; ‘it is a beautiful piece of music’; and ‘it belongs to the funeral’. It is argued that the Ave Maria provides some latitude (speelruimte) in contemporary secularised and individualized funerary culture.

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Hanson, Rebekah. "Liturgies of creativity: A dialogue between secular music performance and Christian liturgical performance." Journal of Arts Writing by Students 6, no. 2 (September 1, 2020): 125–38. http://dx.doi.org/10.1386/jaws_00020_1.

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This is a modified version of an essay originally submitted as an assignment (entitled: ‘Bodies together: Creativity, sensuality, discovery’) during my MA in public theology at the University of Chichester. Theological reflection on contemporary music performance created a dialogue between the ‘secular’ and ‘religious’ to explore the concept of ‘liturgy’ in contemporary theological discourse. Drawing from largely Protestant and Catholic sources, I argue that while Christian worship is unique in its theological orientation, it shares with non-Christian ‘liturgies’ participation in a creative process through the ways in which the human imagination is enacted and performed. This invites further dialogue between different liturgies of creativity for human flourishing.

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Ward, Pete. "Spiritual Songs as Text: Genre and Interpretation." Journal of Youth and Theology 1, no. 1 (January 27, 2002): 49–64. http://dx.doi.org/10.1163/24055093-90000089.

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Contemporary worship songs are a contextualisation of the Christian faith in popular culture. As such they may be read as genre in relation to other styles of popular music. This paper discusses the use of genre in the study of popular music and then uses the interpretative pattern resulting from this discussion to develop a complex multilayered reading of one specific worship song.

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Chase, Stephen, and Clemens Gresser. "ORDINARY MATTERS: CHRISTIAN WOLFF ON HIS RECENT MUSIC." Tempo 58, no. 229 (July 2004): 19–27. http://dx.doi.org/10.1017/s0040298204000208.

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Christian Wolff, who turned 70 in March this year, is the last remaining member of the so-called New York School of Composers. Very briefly he studied with John Cage, and was exchanging thoughts with Earle Brown, Morton Feldman and David Tudor from the age of 16 in 1950. Along with friends and colleagues Cornelius Cardew and Frederic Rzewski, he began in the 1970s to draw upon musical ideas that reflected his social and political concerns in a more direct manner. The following is an extract of a much longer interview which took place during the Huddersfield Contemporary Music Festival in November 2002 where Christian Wolff was a featured composer. Wolff discusses his recent compositions, his attitude to writing for voice, and his approach to performance and to begin with, recording.

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Said, Shannon. "White Pop, Shiny Armour and a Sling and Stone: Indigenous Expressions of Contemporary Congregational Song Exploring Christian-Māori Identity." Religions 12, no. 2 (February 16, 2021): 123. http://dx.doi.org/10.3390/rel12020123.

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It has taken many years for different styles of music to be utilised within Pentecostal churches as acceptable forms of worship. These shifts in musical sensibilities, which draw upon elements of pop, rock and hip hop, have allowed for a contemporisation of music that functions as worship within these settings, and although still debated within and across some denominations, there is a growing acceptance amongst Western churches of these styles. Whilst these developments have taken place over the past few decades, there is an ongoing resistance by Pentecostal churches to embrace Indigenous musical expressions of worship, which are usually treated as token recognitions of minority groups, and at worst, demonised as irredeemable musical forms. This article draws upon interview data with Christian-Māori leaders from New Zealand and focus group participants of a diaspora Māori church in southwest Sydney, Australia, who considered their views as Christian musicians and ministers. These perspectives seek to challenge the relationship between Indigenous and non-Indigenous relations within a church setting and create a more inclusive philosophy and practice towards being ‘one in Christ’ with the role of music as worship acting as a case study throughout. It also considers how Indigenous forms of worship impact cultural identity, where Christian worship drawing upon Māori language and music forms has led to deeper connections to congregants’ cultural backgrounds.

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SHAPOVALOVA, LIUDMYLA, NATALIYA GOVORUKHINA, VIKTORIIA ZINCHENKO, NADIIA VARAVKINA-TARASOVA, and LARYSA DERKACH. "THE “CHERUBIM SONG” GENRE IN UKRAINIAN MUSICAL CULTURE." AD ALTA: 13/01-XXXII. 13, no. 1 (January 31, 2023): 148–53. http://dx.doi.org/10.33543/130132148153.

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The genre of the Cherubim song is considered in the art criticism and socio-cultural (spiritual) planes. The study of variations of the Cherubic Hymn proposed by various authors from the liturgy of John Chrysostom to contemporary compositions by Lesya Dichko – was carried out. In general, the study was conducted in the landscape of Ukrainian sacred choral music and Christian spirituality emboedied in church music.

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Thornton, Daniel. "A “Sloppy Wet Kiss”? Intralingual Translation and Meaning-Making in Contemporary Congregational Songs." Religions 12, no. 10 (October 13, 2021): 874. http://dx.doi.org/10.3390/rel12100874.

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Translation as a form of music localization does not only occur in diverse cultural or lingual contexts, it also occurs within an ostensibly homogenous culture and language. The global genre of contemporary congregational songs (CCS) is written and performed through a variety of theological lenses. Sometimes a theological position conveyed in, or ascribed to, CCS can be problematic for certain local expressions of the Christian faith to replicate without needing to alter lyrics, and/or musical content, or at least reinterpret those lyrics in a way which aligns with their theological understanding. This article explores popular CCS, as measured by Christian Copyright Licensing International (CCLI) which have been either accepted, rejected, reinterpreted, or otherwise altered in order to play their part in defining local (English-speaking) church worship and identity. Translation studies and music semiology are applied to selected CCS to demonstrate this nuanced interpretation of “translation” in the localizing of religious musical practice

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Thornton, Daniel. "A “Sloppy Wet Kiss”? Intralingual Translation and Meaning-Making in Contemporary Congregational Songs." Religions 12, no. 10 (October 13, 2021): 874. http://dx.doi.org/10.3390/rel12100874.

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Translation as a form of music localization does not only occur in diverse cultural or lingual contexts, it also occurs within an ostensibly homogenous culture and language. The global genre of contemporary congregational songs (CCS) is written and performed through a variety of theological lenses. Sometimes a theological position conveyed in, or ascribed to, CCS can be problematic for certain local expressions of the Christian faith to replicate without needing to alter lyrics, and/or musical content, or at least reinterpret those lyrics in a way which aligns with their theological understanding. This article explores popular CCS, as measured by Christian Copyright Licensing International (CCLI) which have been either accepted, rejected, reinterpreted, or otherwise altered in order to play their part in defining local (English-speaking) church worship and identity. Translation studies and music semiology are applied to selected CCS to demonstrate this nuanced interpretation of “translation” in the localizing of religious musical practice

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Graham, Gordan. "The theology of music in church." Scottish Journal of Theology 57, no. 2 (May 2004): 139–45. http://dx.doi.org/10.1017/s0036930604000043.

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This paper is concerned with how we should understand the distinctive contribution of music to Christian worship. It considers two contrasting views that have powerfully influenced contemporary church music – the pursuit of musical excellence by highly competent performers on the one hand, and the adoption of simpler, popular and more inclusive musical forms on the other. This contrast is explored against the background of a biblical understanding of prayer and sacrifice, and in the light of some philosophical issues surrounding both the idea of divine service and the nature of music.

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Endong, Floribert Patrick Calvain. "Religiosity versus Spirituality in the Contemporary Nigerian Gospel Music." Human and Social Studies 5, no. 2 (June 1, 2016): 116–32. http://dx.doi.org/10.1515/hssr-2016-0017.

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Abstract There have been remarkable (r)evolutions in the Nigerian gospel music industry for the past decades. These revolutions have led to the emergence and survival of various modern and controversial musical cultures/traditions, modes and performances including worldliness and paganism in the industry. In view of these relatively nefarious musical cultures, a good number of scholars and observers tend to arguably redefine and (re)brand Christian communication in general and Nigerian gospel music in particular. It is in following this premise that this paper examines the phenomenon of religiosity and worldliness in the Nigerian gospel music industry. Based on observations and secondary data (literary sources), the paper argues that the Nigerian gospel music industry is just a vivid reflection of the country’s gloomy socio-religious landscape, characterized by the emergence/prevalence of fake ministers and various ubiquitous instrumentalities that perpetrate spiritual bareness in the country. Aspects of religiosity observed in some Nigerian gospel songs include controversial rhythms, imitations/adaptations of worldly songs, lyrical emphasis on prosperity (materialism, fame and earthly glories) at the detriment of spirituality/salvation, gospel artists being associated with sex scandals and occult practices.

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OMETIUKH, Juliia. "THE ROLE OF THE CHRISTIAN SONG IN CONTEMPORARY PARALITURGICAL MUSIC: TERMINOLOGICAL ISSUES." Humanities science current issues 2, no. 65 (2023): 89–94. http://dx.doi.org/10.24919/2308-4863/65-2-11.

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Hammond, Matthew. "Huddersfield Contemporary Music Festival: 21–23 November 2014." Tempo 69, no. 272 (April 2015): 63–65. http://dx.doi.org/10.1017/s0040298214001077.

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hcmf// 2014 kicked off with a typically tough and knotty concert from Petr Kotik's chamber orchestra Ostravská banda, who performed a collection of UK premieres for small ensemble by Christian Wolff, three Czech composers and another American. The concert was billed as a tribute to Wolff, who was in attendance and who celebrates his eightieth birthday this year, and this acknowledgement of his status as one of the few remaining high modernists allowed the festival to begin with a celebration of the music with which it has been most closely associated. First up was Wolff's 37 Haiku, a setting of a poem (or 37 poems) by John Ashbery, sung by Thomas Buckner with an accompanying ensemble of oboe, horn, viola and cello. Like the poems, Wolff's settings are self-contained but accumulative, and, as the composer says in the programme notes, the ‘may form’ a whole. Variety is achieved through shifts within the accompanying instrumentation (some settings having none), line and fragmentation, instrumental technique, suggestions of common-practice harmony, flashes of word painting and spoken accompaniment from the instrumentalists (one haiku is spoken by the violinist, another is spoken in fragments across the ensemble). Coherence across these fragments is created simply through the presence of Wolff's mature and distinctive post-Webern sound world.

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Loosley, Emma. "Art, Archaeology and Christian Identity in Contemporary Lebanon and Syria." Chronos 19 (April 11, 2019): 57–70. http://dx.doi.org/10.31377/chr.v19i0.456.

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In western society, as in the rest of the world, the vast majority of teenagers mould their identity by reacting to the world around them. However this sense of identity is unlikely in the early twenty-first century to be predicated by religion; music, sport, fashion and choice of friends are the elements by which schoolchildren and students define themselves and, with the notable exception of some members of minority religions, Faith is unlikely to play a major part in their formation of "self'. There is little understanding as to why immigrant Muslim, Sikh or Hindu communities place such a high value on their children remaining within the orbit of the local place of worship, as religion is seen by many of the white majority as a peripheral part of life.

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Yang, Dong-Bok. "The Profound Influence of Gospel Music on Elvis Presley’s Music." Korean Association for the Study of Popular Music 33 (May 30, 2024): 207–40. http://dx.doi.org/10.36775/kjpm.2024.33.207.

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Elvis Presley’s Grammy Awards, all three of which were won in the Gospel category, highlight a lesser-known facet of his musical legacy. His unwavering commitment to gospel music led to his posthumous induction into the Gospel Music Hall of Fame. This study explores the impact of gospel music on Presley’s musical career and the significance it held for him. Presley grew up in the Southern United States, where gospel music culture was not significantly differentiated from secular music, allowing for a seamless integration of various gospel music styles. Even after achieving rock and roll stardom, he continued releasing gospel records and incorporated gospel songs in movies and various other shows. He used gospel music as a key element in shaping his musical style, structuring his backup vocals around gospel quartets throughout his career. By infusing traditional gospel music with contemporary sounds, he crafted his own musical identity, presenting it with unwavering confidence to the general public and the music industry. Gospel music was indeed an integral part of his artistic persona. He introduced gospel music to the world of rock and roll, reserving a prominent place for it on his stage. This approach underscored the significance of gospel music in the broader music scene. Elvis Presley’s gospel music can be re-evaluated as having emerged as a pioneering force during the formative phase of contemporary Christian music.

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Perez, Jahdiel N. "Music-Makers and Reformed Theology." Societas Dei: Jurnal Agama dan Masyarakat 3, no. 1 (October 24, 2017): 77. http://dx.doi.org/10.33550/sd.v3i1.31.

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ABSTRACT: If Reformed theology hopes to impact contemporary and future societies as much as possible it will have to harness the unique power of music to influence the world beyond the walls of the Church. In this essay, I want to draw attention to the ways in which Christianity, in general, and Reformed theology, in particular, are criticized through music and what we can do to respond. I will introduce an approach to Christian apologetics, which I call sonic-apologetics that enables our music-makers to defend the faith musically. In the first part of this paper, I will discuss five problems to which sonic-apologetics is an answer. This will anchor the second part of this essay, in which I construct sonic-apologetics from three notions: (1) methodological emphasis on effects, (2) genres of expression, and (3) the distinction between linear and angled apologetic responses. In the final part of this essay, I present two different study cases of sonic-apologetics. Nothing about what I will discuss regarding sonic-apologetics changing existing liturgical norms of Christian churches, especially Reformed ones. It does, however, call for those producing and performing music in these churches to direct their music-making interests and abilities toward the world outside the church walls. KEYWORDS: reformed theology, music, sonic-apologetics.

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Daniel, Clay. "Auden, Auden’s Milton, and Songs for Virgins." Literature and Theology 33, no. 4 (July 4, 2019): 414–33. http://dx.doi.org/10.1093/litthe/frz005.

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Abstract Deep though unexplored currents of W.H. Auden’s incipient Christian theology in ‘Song for St Cecilia’s Day’ become clearer when we read the poem with an eye on John Milton’s madrigal ‘At a Solemn Music’ and his musical tribute to virginity, ‘A Masque’. Auden closely identified Milton with the religious dualism that impeded his acceptance of Christianity, as well with the divided consciousness of the Protestantism whose disintegration was a primary source for contemporary global chaos; and his examination of art, religion, and sexuality consistently uses Milton’s poems as counter-texts off which to ‘bounce’ his own vision of Christian flesh and Christian spirit.

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Martin, David. "Pointing to Transcendence: Reflections from an Anglican Context." NTT Journal for Theology and the Study of Religion 75, no. 3/4 (September 1, 2021): 310–36. http://dx.doi.org/10.5117/ntt2021.3/4.002.mart.

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Abstract After a critical examination of western master narratives of modernization and secularization, David Martin focuses, first, on one of the variants of Christian modernity, Anglican modernity. The Anglican Church provides a simulacrum of the universal church as it ranges from the Catholic to the Evangelical and Pentecostal and is, hence, rigged also by many of the problems confronting the church in the contemporary world. Next, Martin considers some examples of unanchored spirituality and free-floating faith that have, in his opinion, no serious future as major expressions of Christianity—he discusses, in particular, Schumann’s paradigm of Romantic music. Though inevitably fallible, churches are to be regarded as pointers to transcendence, opening, in the words of William Blake, “the doors of perception.” Without the institutional church to protect and perpetuate the Christian language of transcendence and provide ritual re-enactment of the Christian story of ruin and restoration, the Anglican/Christian vision would be as vulnerable and ephemeral as most contemporary forms of non-institutional, un-anchored “spirituality” [the editors].

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Anderson, Martin. "Vilnius: The Gaida Festival, October 2002 (plus recent CD releases of Lithuanian Music)." Tempo 57, no. 224 (April 2003): 47–50. http://dx.doi.org/10.1017/s0040298203260150.

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There's a heartening number of contemporary music festivals in the former Soviet-bloc countries, and in the three Baltic republics in particular: it's as if, after decades of the suppression of modern music – even though less severe there than elsewhere in the USSR – they're all desperate to make up for lost time. The Gaida Festival, founded in 1991 and an annual event in Vilnius in mid-October, is one of the most ambitious: ten concerts in as many days, presenting contemporary Lithuanian composers, usually in first performances, in conjunction with others from further afield (among them this year Saariaho, Tan Dun, Cage, Jan Sandström – with Christian Lindberg astride the ubiquitous Motorbike Concerto – and Gubaidulina). Naturally, such occasions are ragbags, with failures among the successes – but young composers have to be able to hear their miscalculations, and Gaida is commendably generous with its time.

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Wright, Alexandra. "What Have the Bach Passions Ever Done for Jewish–Christian Relations?" European Judaism 53, no. 1 (March 1, 2020): 105–19. http://dx.doi.org/10.3167/ej.2020.530114.

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Both the texts and music of Bach’s St Matthew and St John Passions portray the Jews in deeply negative ways, baying for the blood of Christ. While there are strong arguments against seeing these works as having any kind of positive influence on Jewish–Christian relations, there is also an argument for examining the different layers of texts – from the Gospels to contemporary Lutheran poetry – as well as diverse musical expression in both works in order to elicit and understand profound, universal themes of sin and repentance, confession and forgiveness, life and death. Public performances of the Passions need to be undertaken responsibly with detailed programme notes and talks that draw out the journey of the individual worshipper and tackle the difficult problems of the Gospel texts and the music.

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Hatch, John B. "From “Sloppy Wet Kiss” to Illusion of Glory: The Rhetorical Tensions and Transformations of “How He Loves”." Journal of Communication and Religion 41, no. 4 (2018): 5–35. http://dx.doi.org/10.5840/jcr201841421.

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This essay unpacks the evolving form and rhetorical resonance of the popular contemporary Christian worship song “How He Loves,” which troubles norms of mainstream sacred music on several levels. I argue that its violations of lyrical norms give the song rhetorical resonance for young people seeking an “authentic”/romantic experience of God in worship, while its musical form works, with varying success, to rhetorically transform the troubles of earthly existence into windows on divine love. Through Sellnow and Sellnow’s critical lens, I examine three different artists’ lyrical/musical renderings of the song to compare how (well) they bring that illusion to life. I then analyze the video of the third version, showing how the Illusion of Life critical framework could be expanded to examine visual intensity/release in relation to music and lyrics. My analysis highlights the tensions between authenticity and artfulness in contemporary worship music and demonstrates the value of a fine-grained, close-reading approach.

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Muthuma, Gitau. "Contemporary Aesthetics of the Akurino: A Religion or a Cultural Movement?" AM Journal of Art and Media Studies, no. 21 (April 15, 2020): 59–69. http://dx.doi.org/10.25038/am.v0i21.369.

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This paper examines the aesthetics of the worship rituals, music, artifacts and the oral tradition of the Holy Ghost Church of East Africa, or Akurino religious sect, which is a unique blend of Christian religious practices and traditional African worship systems. The main question here is whether the Akurino are a Christian religious sect or a cultural movement? The Akurino are significantly interesting due to the fact that they claim to be an indigenous African Christian religion, among many such others. But the fact that they are mostly found in Central Kenya and the Rift Valley regions, and are confined among the Gikuyu people only and have not attracted adherents from other segments of society, raises the question as to whether they may not also be a cult or a cultural movement. The Akurino started appearing in the middle of the 1920s. They grew strictly out of indigenous leadership. Their first generation membership came out of various missions as well as the unchurched population that followed Gikuyu traditional religion. The group was in its infancy and was functioning in various parts of Gikuyu country, but had little influence with the general population, its appeal being to such individuals as had been pronounced 'sinners' by missionaries, and to others who had been cured of diseases. Article received: December 18, 2019; Article accepted: January 31, 2020; Published online: April 15, 2020; Review article

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Gormly, Eric. "Evangelizing Through Appropriation: Toward a Cultural Theory on the Growth of Contemporary Christian Music." Journal of Media and Religion 2, no. 4 (November 2003): 251–65. http://dx.doi.org/10.1207/s15328415jmr0204_3.

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Thornton, Daniel. "“This Is No Performance”: Exploring the Complicated Relationship between the Church and Contemporary Congregational Songs." Religions 14, no. 5 (April 26, 2023): 578. http://dx.doi.org/10.3390/rel14050578.

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“Performing” and “performance” are potentially contentious words within the context of contemporary Christian worship. However, performative elements are explicit in the lyrics of contemporary congregational songs (CCS), and in video recordings of CCS, through the actions of those on stage and in the congregation, as well as in the broader context of staging, lighting, projection, production, and video editing. However, to date, there is only a handful of scholarly works that explore performing in contemporary worship or contemporary worship as performance and most of them are ethnomusicological. This paper seeks to address notions of performing and performance through a broader lens of the most-sung CCS globally, examined through the disciplinary fields of performance studies, musicology, media studies and theology. It involves a two-fold complementary textual analysis of the most-sung CCS lyrics and the most-watched ‘live worship’ videos of those songs on YouTube. In so doing, this study identifies how the Christian music industry at large officially portrays and languages performance in worship songs and also identifies how performative elements are enacted in the live worship videos released. These analyses are finally synthesized to identify how performing and performance are understood and actively portrayed to and by the contemporary church.

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Moufarrej, Guilnard. "Maronite Music: History, Transmission, and Performance Practice." Review of Middle East Studies 44, no. 2 (2010): 196–215. http://dx.doi.org/10.1017/s2151348100001518.

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This essay discusses the music of the Maronite Church, a Christian church based in Lebanon. It provides an overview of the chants used in religious services and examines their transmission and performance practice. The Maronites have always faced challenges to maintain their identity and preserve their heritage while adapting to their cultural milieu. Their religious music reflects the dichotomy between safeguarding tradition and accepting contemporary trends. Since the late nineteenth century, Maronites looking for better opportunities and political freedom have increasingly immigrated to the New World, where they face new challenges to preserving their religious identity while assimilating to the culture of their new homeland. Therefore, this essay reaches beyond the traditional geographic boundaries of the Maronite Church in Lebanon to examine issues in the transmission of Maronite music in the diaspora.

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Sarwar, Eric. "Sur-Sangam and Punjabi Zabur (Psalms 24:7–10): Messianic and Missiological Perspectives in the Indian Subcontinent." Religions 12, no. 12 (December 20, 2021): 1116. http://dx.doi.org/10.3390/rel12121116.

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How does the local raga-based music setting of Psalm 24:7–10 become associated with Christian identity in an Islamic context? How does Psalm 24 strengthen the faith of the marginalized church and broaden messianic hope? In what ways does Psalm 24:7–10 equip local Christians for missional engagement? This paper focuses on the convergence of the local raga-based musical concept of sur-sangam and the revealed text of Punjabi Psalms/Zabur 24:7–10. It argues that while poetic translated text in Punjabi vernacular remains a vital component of theological pedagogy, local music expresses the emotional voice that (re)assures of the messianic hope and mandates missional engagement in Pakistan. Throughout the convergence, musical, messianic, and missional perspectives are transformed to a local phenomenon and its practice is perceived in a cross-cultural connection. Furthermore, examining the text and tune of Punjabi Zabur (Psalms) 24:7–10 in the Indo-Pak context may stretch the spectrum of religious repertoire in the contemporary intercultural world.

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Journal articles on the topic 'Contemporary Christian music'

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