Search Results (22)

This article examines the correlation between “trendy” musical features and contemporary worship songs for kids. We engage in music video analysis, comparing three songs from a range of contemporary worship children’s ministries to critically examine the messages that their children’s covers convey. Further, we question how contemporary worship music videos form children’s preferences and musical tastes, drawing on Lucy Green’s writing on musical taste formation and intersonic properties (2008). We argue that when children’s religious and musical experiences are formed by adults’ assumptions of their preferences—including that they prefer fun, cool, and trendy music—their overall experience of Christian music may be limited. Full article

Contemporary Congregational Songs (CCS) are used for gathered musical worship in churches of diverse traditions and denominations all over the world. Christian Copyright Licensing International (CCLI) has measured the use of CCS in licensed churches in various global regions for over 30 years. This article examines the trajectory of songs as they enter and exit the biannual CCLI top songs lists over a 10 year period from 2014–2023. Hillsong has been one of the most prominent producers of CCS, with dominant appearances in the CCLI top song lists for the last three decades. However, they have not released any new CCS since 2021. This article explores what has happened over the past few years to the void left by such a dominant producer of CCS, and what that might mean for the genre and its future. Full article

“If there is no space in our faith communities where children can participate in theological work, how can children create a theology that will liberate them?” R.L. Stollar asks in his book, The Kingdom of Children: A Liberation Theology (2023). Popular Christian parenting literature since the 1970s has encouraged adults to view children as undisciplined trainees with little of value to offer their families and churches other than their obedience. Exploration of the recent history of Christian parenting literature and its intersections with politics and other Christian media reveals that there is substantial overlap between the communities most impacted by these books and those that utilize contemporary praise and worship music (CPWM). Using a child liberation theology framework, I examine the ways that prevailing ideas in parenting books have enabled a “parent-centered” model of musical worship in many evangelical churches. By observing the ways children are invited into or implicitly discouraged from participation in corporate musical worship, we can better understand the ways that CPWM practice might be reshaped in a more liberatory direction—one that will benefit children and adults, and foster a more radically unified church. Full article

This article draws upon doctoral case study data from two Protestant Christian churches to examine how contemporary worship music-making practices can reinforce and solidify the musical tastes, dispositions, and tendencies of particular demographics. Drawing upon sociologist Pierre Bourdieu’s concept of the habitus, this article examines the religious musical habitus of musicians in relation to contemporary music repertoire. For some churches, contemporary worship music-making practices may “disrupt” the habitus of a particular subset of a demographic due to their musical preferences and positioning, while contemporary repertoire may affirm the habitus of other, often “young” worshippers due to their musical preferences. Further, the research analyzes each church’s positioning within the overarching musical and theological fields in place. Case study data affirm the notion that Contemporary Worship Music is generationally based in the way it engages with the habitus, which provides implications for worship leaders and those making musical decisions within Christian church contexts. Full article

Multilingual and multicultural worship can take on many models and expressions. Initially, Chinese immigration to the UK in the 1950s and 1960s led to an increased population of churches. Many Chinese church services were conducted in Cantonese, catering to the needs of first-generation immigrants, mainly from Hong Kong. Yet, the children of these older generations grew up with a bicultural hybridized identity expressed first in small English-speaking youth groups that led to English-speaking worship services within Chinese churches. Contributing to the field of worship studies through music repertoire studies over four weeks in June and July 2017 at Birmingham Chinese Evangelical Church, we raised the following questions: (1) what do the chosen worship songs represent with regards to the liturgical theology and cultural expressions of this community and (2) how is self-perception and perception of the divine expressed in the lyrical themes of these songs? Our study revealed that singing English songs from the West dominated the corporate liturgical identity of these services. Yet, through a British-born Chinese evangelical cultural reading, some lyrical themes were particularly resonant within Chinese culture, such as honor, shame, reverence, and bowing. Full article

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. Full article

This essay will examine the contemporary issue of the television broadcasting of the sacred Gurbani from the Darbar Sahib to set the stage for understanding the historical context of the musical sessions (chauṅkīs) of devotional singing, followed by the process of decolonizing the musical performances in modern times, including religious aesthetics and sacred time and the processional chauṅkīs in the Darbar Sahib Complex. The continuous singing of the Guru’s hymns (Gurbani kirtan) resounds inside the Darbar Sahib (“the Divine Court”), popularly known as the Golden Temple of Amritsar. This special mode of worship consists of singing and listening to the hymns of the Guru Granth Sahib, the sacred scripture of the Sikhs. The heart of Sikh devotional experience lies in the performance of scriptural hymns in a congregational setting. Notably, different sessions of devotional singing go on day and night from 2.45 a.m. to 10.45 p.m. at the Golden Temple, following a celebrated tradition established more than four centuries ago by the Fifth Sikh Guru, Guru Arjan. Even during the four-hour period of cleaning the sanctum sanctorum at midnight, the devotees recite hymns from memory, thereby making the Darbar Sahib a unique place where vibrations of sacred sound reverberate continuously for twenty-four hours a day. Full article

In 1996, Helen Lee dubbed the departure of second-generation Asian Americans from the non-English-speaking immigrant churches that they were raised in as the “silent exodus”. This nationwide phenomenon was taking place largely because first-generation churches failed to provide the second generation with culturally relevant care that would enrich their ethnic, national, and spiritual identities. Glory, the church of focus in this study, was founded by and is home to many silent exiles. In hopes of being an enriching church for second-generation Asian Americans, pastoral staff and leaders have created spaces within Glory for racial identity and faith to be in conversation with one another. However, in regard to the music of the church, they were stumped on what could be done to make it uniquely and proudly Asian American. This conundrum inspired a key question in this study: What is distinct about the way that Asian Americans worship God through music? This study argues that the worship music at Glory Church is distinctly Asian American not by what is sonically perceived, but rather by what is physically performed and collectively experienced. The Korean-English, or Konglish, term nunchi bwa-ing (눈치 봐-ing) is utilized as a keyword to describes Christian musicking in a multilingual setting and foregrounds the Korean/Asian American worshiping body. This study concludes by looking forward and arguing that Asian Americans ought to amplify their worship music to the larger Contemporary Worship Music scene as it has the potential to be a powerful site of intergenerational healing. Full article

Hymnal curation processes have for centuries maintained restrictive feedback loops: material that has been published elsewhere continues to be published, and new material—particularly when it offers something unique—is evaluated against the criteria of what has gone before. This results in hymnals that tend to over-represent the work of white male contributors from a Euro–American perspective and limits the amount of material by women, people of color, and contributors from around the world. Since the mid-to-late twentieth century, when some denominations have sought to diversify their worship music collections, change has come slowly. Contemporary hymnody and contemporary worship music are predominantly written by men, and additions of global song have relied on a narrow swath of scholars and publications. To understand some of the power imbalances embedded in church music publishing, we use Voices Together, the 2020 Mennonite hymnal for which we were committee members, as a case study. We explore how this new collection came to include only about 45 newly published songs out of the total of 749 songs, and we analyze statistics related to gender and global song. An intersectional approach allows us to examine how musical actors are marginalized in multiple ways, considering prejudice against class, race, and gender. Understanding how current collections are informed by previously published collections, and consequently how the demographics of contributors have shifted over time, explains how publishing privileges the published and offers insight needed to begin to rectify this problem. Full article

Based on fieldwork and the analysis of the historical literature, this article studies the development of material culture in the cult of popular goddess Mazu, exploring in particular the materialization mechanisms and strategies deployed by various actors in her worship nowadays. Through the ages, people in China have expressed their religious feelings and experiences in the objects they display, worship, and exchange, as well as in the spaces that they build and inhabit. In this process, religious beliefs are externalized in forms of material culture, including symbols, texts, relics, music, and temples. As a result, these artifacts and places carry individual and collective memories and affects that allow believers to experience religion not only at special events like festivals and pilgrimages, but in everyday life. In modern China, the connotations and forms of material carriers have diversified. The rise of souvenirs and other forms of cultural consumption have transformed the materialization of religiosity. In the worship of Mazu, the relationship between pilgrimage, tourism, entertainment, and the production and circulation of commodities has become increasingly tight, changing the cult’s beliefs and their physical expression. That connection also brings social and economic sustenance to the local community. Taking the Mazu Temple in Meizhou as a case, this paper adopts a multidisciplinary and interdisciplinary approach to examine the pilgrimage–tourism–commerce nexus, as well as other contemporary forms of the materialization of her cult. Full article

In the recent study of Contemporary Praise and Worship (CPW), many studies have focused on musical repertory, including its text, music, and performance, as the foundational text(s) for theoretical analysis. In particular, scholars have relied on lists of the most popular songs that have been reported to Christian Copyright Licensing International (CCLI). This essay points out several critical weaknesses in the current overreliance on this methodology and instead contends for two underutilized methodologies—liturgical ethnography and liturgical history—that need to be developed in the scholarship. The essay argues that such a cultivation of methodology will enable the burgeoning scholarship on CPW to gain richer insight into the range of theological meaning expressed in CPW contexts. Full article

“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. Full article

Since 2010, the contemporary worship scene has changed. New prominent church bands have emerged and streaming services have made worship music more accessible. While solo worship artists such as Chris Tomlin and Tim Hughes primarily released studio albums in the 2000s, two new prominent collectives, Bethel Music and Elevation Worship, followed Hillsong and Passion in releasing live albums. These live tracks have heavily influenced the local congregation. One example of this influence is the performance practice of singing ad-libs. This article will first define ad-libs within the contemporary worship context and examine how ad-libs provide authenticity to worship leaders. Then, it will explain how this performance practice moved from worship artists to local church vocalists. Finally, the article will conclude with a new typology for identifying and analyzing ad-libs in contemporary worship. Singing ad-libs in contemporary worship is an authenticating performance practice that has extended into the local church through the prominence of live recordings and therefore requires a typology for further research. Full article

In this article, I examine the emotional content of songs sung in Christian churches. An analysis of the lyrical content of the songs that have been tracked by Christian Copyright Licensing International (CCLI) from 1988 to 2018, shows there is a definition of the Christian life that is set before the church and in turn sung by it. The word “joy” appears 37 times and the word “praise” is used 152 times in the 133 songs that comprise the contemporary praise and worship hymnody in the defined time period. In the same time frame, the word sad or any of its derivatives (sadly, sadness, etc.) never occurs in the group of songs that are being discussed. Nor is the word “sorrow” ever used. There are two conclusions that can be drawn from the lack of the use of the word sad. The first is that sadness is undervalued. The second conclusion is that the word “sad” is not a good song word, meaning that it is awkward to sing and fit in the rhythm or meter of a song. The first conclusion relates to the lexical value of a word and the second to the semantic value. To understand the emotional content of music, the texts which provide a lexical meaning need to be examined. Secondly, the semantic meaning, which is composed of the cultural connotations, needs to be considered. The first part, the lexical, is considered by looking at only the text. The second, the semantic, involves looking at how the words and music (both apart and together) conceal and reveal meanings that surpass the lexical level. Thus, the first part of the present work will look at the lyric’s words devoid of context while the second part of the essay will examine the fullness of the songs. As the semantic levels are explored, they will be brought together with the lyrics and the previous level and the question of whether there is an overpromising of joy in the songs will be answered. Full article

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. Full article