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Music and christian worship
How religion affects music
Connection between religion and music
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Secular rock music has influenced contemporary Christian music by in essence decentralizing God from being the main motive of the music. The journal entry Watering Down Christianity? states that “With the mainstream success of [contemporary] Christian bands such as Jars of Clay, Sixpence None The Richer, and P.O.D., people are questioning Christian bands that may de-Christianize their lyrics to sell albums to a larger crossover audience” (Livengood and Book 121). Many contemporary Christian bands stray away from the message they should be focused on in order to reach out to a more diverse crowd. It is understandable for contemporary Christian artists to be so heavily influenced by secular rock music if their intention truly is to reach out to people who are not considered Christian and show them a better life. However, the decentralization away from God might actually be harming the image of God by, like the journal entry says, watering down Christianity.
The influence of secular rock music on contemporary Christian music has awakened a generation of listeners who enjoy being in the “gray” area. There’s a generation out there that does not want the label of “Jesus freak.”
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Contemporary Christian music that is heavily rooted in secular Rock music gives this generation the opportunity to still be considered socially acceptable with peers who are not Christian, while still maintaining some sort of religious status. In a journal entry written by Eric Gormly, he states: CCM plays an important role in the cultural life of evangelical Christians for several reasons. It provides a means of evangelizing to a younger or broader audience in a musical form that carries a greater and more generally accessible appeal. It provides a musical medium for religious expression that allows its adherents to feel they are participating in the broader, secular culture although maintaining the integrity of their religious faith. It fulfills a historic attraction by evangelical Christians to the media of popular culture and enables participation in a potentially lucrative industry. (262) Through this point of view, it is shown that secular rock music is not only influencing Christian music, but is also being cried out for by a group of evangelical Christians that want some sort of medium between their religion, and secular society. Secular rock music has made such an enormous impact on Christian music that an entire genre of music was constructed by it.
Although I do not enjoy contemporary Christian music and do not consider it Christian at all seeing as the music does not worship God in its entirety, I do recognize its attractiveness to some believers of Christianity. This type of music is attractive to some believers of Jesus Christ because of the roots of secular rock music. Contemporary Christian music is a middle ground for some people who are not necessarily willing to give up all secular music cold turkey. All in all, secular music has enormously transformed Christian music as a whole and made contemporary Christian music a bridge from the secular community to the community of evangelical
Christians.
...Control, and Tone Soul Evolution (1997) by the Apples In Stereo. The British group Spiritualized, with Ladies and Gentlemen We Are Floating in Space (1997), explored the merger of Pink Floyd-style interstellar overdrives with free jazz and gospel music. Gospel music, you ask? Yes, indeed. A final dimension of psychedelia, from the Greek etymology, is "soul-manifesting"--implying a spiritual dimension that is rarely voiced (though it is worth remembering that Brian Wilson spoke of writing "teenage symphonies to God"). By transcending the ordinary, psychedelic musicians and their listeners attempt to connect with something deeper, more profound, and more beautiful. As Jerry Garcia, guru of the Grateful Dead, once said, "Rock 'n' roll provides what the church provided for in other generations." And no form of rock music attempts to nourish more souls than psychedelia.
In 21st century North America, there is a strange, seemingly-unanimous idea that, to fit the norm, one must be white, Christian and male. While, over the course of the latter 20th century and in the past decade, this has changed, the norm is very much still Christian and male; African-Americans now fit into the “All-American” stereotype, for the most part. However, there are, of course, outliers – deviants from the standard norm; these outliers make one wonder what the norm truly is, why it is so, how did it get to be that way, and what the norm will be in the future. Kanye West's 2004 single titled “Jesus Walks” is written as a ode to Jesus helping him and every other Christian through hard times in their life. Sampling the same beat and background vocals, Lupe Fiasco customizes West's song to fit his own spirituality, in “Muhammad Walks.” Finally, Matisyahu employs his gift of verse and beat-boxing to distribute a rap about his religion, Judaism, over the airwaves and on television. Both Matisyahu and Lupe Fiasco challenge the societal norm of Christianity, while Kanye West solidifies the claim that Christianity is a syncretic religion.
In closing, the undoubtable influence of music, more specifically of Rock ‘n’ Roll on American society is responsible for a number of changes to the status quo. These range from sexual liberation and racial desegregation all culminating with other influences to create an intergenerational identity. Despite the desperate attempts of older generations to smother these influences, these changes ultimately shaped the years that followed, molding the country into what it is today. Along the way these changes as well as individual involvement in them has also eased the lives of many through empowerment and a feeling of community and purpose. Despite a lull and renewal Rock ‘n’ Roll continues to serve as an agent of influence and change in today’s youth culture and continues to burn in the heart of past generations of loyal fans.
Southland Christian Church, one of several worship centers in the United States that has earned the moniker “Six Flags over Jesus,” is Lexington’s largest megachurch. With a weekly attendance of 8,000 people and an operating budget that supports a staff of over eighty members, Southland far exceeds most U.S. congregations in terms of financial resources and social clout. In recent years, popular and scholarly studies have attempted to situate the megachurch movement within a broad cultural context. Although the majority of these analyses dispute the precise definition of a megachurch, most distinguish these multiplex sanctuaries from smaller worship communities by using the same criteria—i.e. weekly attendance, campus acreage, annual budget, etc.—that megachurches themselves draw on to represent their own success. [2] However, the essence of a megachurch is not its large buildings, but rather the theology of consumption that informs its programming.[3] In this way, a megachurch ethos has infiltrated even the smallest congregations in the United States and has helped to solidify Christianity’s inextricable connection to consumer capitalism. To those who see megachurches as symptomatic of a flawed Christianity, market-minded church growth confounds one of the faith’s oldest dualities, the contradiction of living in the world without conforming to its ways, as Paul puts it in Romans 12. Megachurches at once reject “the world” and participate in it by seeking to win the lost and wow the consumer at the same time.
Religion has been an important part of man’s life. Man has allowed religion to control and influence his life in many different ways, affecting both his behavior and his actions. So its not surprising that music, one of man’s earliest expressive forms, has also been influenced by religion. Religion has had an effect on man’s music all throughout history, from the early Egyptians to even now. So it is only natural that Western music should also have been affected by religion. Western music, and its development by composers, has been strongly influenced by the Christian religion, especially in the Medieval, Renaissance, and Baroque periods. The music in these periods laid the foundation for all the different types of music we enjoy today.
Still, Gore and Choy are missing the essence of modern rock. To explain which aspect of modern rock Gore and Choy have overlooked, I will define rock in a broader sense than many people use in their day-to-day conversation: for the purposes of this argument, I will define "rock music" to mean any form of music which has emerged since the 1940's which has had enough popularity to allow people to identify themselves as a member of a group based on the type of music to which they listen. Therefore, types of music as diverse as disco, heavy metal, rap, classic rock (from the 1950's through the 1970's), "grunge," pop, industrial rock, and country-western will be covered under this definition.
...erself expanded gospel’s exposure when she appeared twice on “The Tonight Show with Jay Leno.” Meanwhile, television producer Bobby Jones reaches four and a half million viewers each week with his BET program, “Gospel Explosion.” However, the test for Gospel music reflects one that all Christian musicians must wrestle with: Can Gospel continue to increase its fortune in the mainstream marketplace while still maintaining its spiritual base? Despite what you believe the answer to be, African American Religious music will continually evolve. Since Thomas Dorsey first stretched the boundaries to create gospel music, choirs, quartets, and power vocalists have been singing the same song, albeit in different styles and places. As African American religious music continues to grow beyond even Dorsey’s expectations, one can only hope that it will be embraced regardless of how it is labeled by everyone who needs to be reminded of the good news it represents.
In conclusion I feel authenticity in rock music has a huge part to play and although it is a very snobby culture of "we will like you until we've had enough" its still personal to every person and they have a choice to decide who fits into their perfect music world.
In an age when culture continues to lower standards of intellect, Marva Dawn makes compelling observations and suggestions for the Church to rethink its strategy on impacting society. How do we evangelize without weakening the message of what we are communicating? The majority of her text focuses on the worship environment generally, but later she focuses on music, preaching, and liturgy specifically. According to Dawn, a gathering of believers should emphasize God as the subject and object of worship, challenge each individual to grow in godly character, and accentuate the community of believers (not only in the room, but throughout history as well). Through this grid, she encourages leaders and participants to evaluate each worship element.
... alternative rock band and religious. I consider myself to be an outsider to alternative rock music culture. I listened to alternative rock music in the past when I was a child, when I believe it was more popular. I used to listen to Paramore back in 2005 when they just started releasing music. Know I listen to hip-hop and rap music which is the most popular music today. I am not completely an outsider though because I still listen to some current rock music and I still listen to the old music that I liked when I was a child. I believe I still understand and am up to date on what is going on in this music culture. Paramore’s is currently on The Self-Titled Tour traveling all over the world showing their identity to the rest of the world. Paramore has transferred from a struggling band to a successful alternative rock band that includes their religion in their band.
Kovacs' essay on the origins of TLLC and Lee's conversion reveals her support of rap music being another form of worship to God. While Lee's journey is quite an eye-opener for the genre performed like other Christian musicians, the evidence to support her stance and argument (or pseudo-argument) aren't exactly expanded on and lost some potential to persuade some to try rap music. Even so, she was able to peek interest in rap music for young Adventists to experiment with and surely does succeed in doing
Wendy Fonarow in her book Empire of Dirt: The Aesthetics and Rituals of British Indie Music compares indie music and the mainstream to the Protestant (specifically Puritanism) and Catholic divide. According to Fonarow both churches have the same goal of having a relationship with god or the “divine” just like indie music and mainstream music both seek to experience ““true” or “authentic” music” (Fonarow 2006: 27-28). This difference or divide according to Fonarow is how they reach this goal, for indie music there is an emphasis on direct control on the process of making and distributing music. There is even similarities between some of the values Fonarow has seen in indie music and puritanism. Fonarow states some of these characteristics in her book. She states that there is a similar “distrust of authority”, a preference for the independent operations (i.e. independent record labels), simplicity in “production, and style”, a “promotion of high moral standards […] and conduct”, an “emphasis on education, and an underlying theme of austerity and abstinence” (Fonarow 2006: 28). In indie music there is an aversion to the mainstream and so they have used their own parallel independent system, to which many pledge their musical allegiance to, so to
Our entire lives have been shaped by the events happening around us. Along with us many factors in our day to day lives have evolved too, including musical genre. One such genre is rock. Rock is a genre for the youth, by the youth, it has evolved to stay with the times and stand up for what’s right. In this essay I will prove why rock is a good example to show how genre has been defined, maintained, constructed and negotiated through the past 60-70 years since the very first Proto Rock song came out.
...ore significant of an impact than it does now, if the heart of the Church doesn’t change. It’s stuck. At the same time, I can perceive in various people a certain movement that the conventional church fails to recognize because it’s not explicit doctrine. It involves personal responsibility, empathy, and most importantly, a humility in oneself concerning the fate of their own soul, in favor of the well-being of others. I believe the artists among them are doing powerful things, I believe that the whole world sees it, and I further believe that God works through them. In a world that mocks Christ, they unknowingly embrace him with open arms, more by the more.
Many of the groups in Southern Gospel Music are coming off of the road, and a good many of them are not traveling with a live band. It is not hard for a person to see the reason when he or she looks at the industry’s financial situation. Christian music, unlike any other genre, does not have the budget the other secular music possesses. When looking at the financial issues of this industry, a person can find that artist’s are barely scraping by, their music is being stolen, and they are being faced with secular music competition. The Christian Music Industry of today is in a recession. The reason is mainly because of the economy that causes the Southern Gospel Music industry to decline in many areas; therefore, the economic troubles are the main problem