Contemporary Christian music
From Wikipedia, the free encyclopedia
Christian music | |
Stylistic origins |
A variety of genres evolving from Jesus music.
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Cultural origins |
1960s United States
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Typical instruments | |
Mainstream popularity | Continuous from 1990s |
Subgenres | |
Christian alternative rock · Christian bubblegum pop · Christian electronic music · Christian hardcore · Christian hip hop · Christian metal · Unblack metal · Christian punk · Christian rock · Christian soft rock | |
Other topics | |
Christian entertainment industry · Contemporary worship music |
Contemporary Christian Music (or CCM; also by its religious neutral term "inspirational music") is a genre of popular music which is lyrically focused on matters concerned with the Christian faith. The term is typically used to refer to the Nashville, Tennessee-based pop, rock, and worship Christian music industry, currently represented by artists such as Aaron Shust, Amy Grant, Avalon, Chris Tomlin, David Crowder Band, Jars of Clay, Jeremy Camp, MercyMe, Michael W. Smith, Natalie Grant, Petra, Rebecca St. James, Steven Curtis Chapman, Third Day, and a host of others. The industry is represented in Billboard Magazine's "Top Christian Albums" and "Hot Christian Songs" charts,[1] and by Radio & Records magazine's Christian AC (Adult Contemporary), Christian CHR (Contemporary Hit Radio), Christian Rock, and Inspirational (INSPO) airplay charts,[2] as well as the iTunes Store's "Christian & Gospel" genre.
The term "Contemporary Christian Music" originated in the late 1960s in reference to the emerging pop and rock "Jesus music", the musical product of the Jesus Movement of the time.[3] The Mind Garage is considered the first Christian Rock band, with documentation going back to 1967 in local media and national magazines and newspapers such as The Village Voice, Billboard and Rolling Stone magazine. The Electric Liturgy (RCA Victor LSP-4319), recorded 1969 and released 1970, was the first Christian Rock album recorded in Nashville in RCA's "Nashville Sound" Studio A, on Music Row which was under the management of Chet Atken. Studio A is now a museum.
There is also a great deal of popular music which lyrically identifies with Christianity but is not normally considered Contemporary Christian Music.[3] For example, many punk, hardcore, and holy hip-hop groups deal explicitly with issues of faith but are not a part of the Nashville industry[citation needed] (e.g., Seattle-based Tooth and Nail Records). Also, several mainstream music artists sometimes deal with Christian themes in their work, such as Creed, Lifehouse, and Switchfoot, but fall outside of the CCM genre though they may receive airplay on CCM radio stations.[3]
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[edit] Controversy
Contemporary Christian music has been a topic of controversy in various ways since its beginnings in the 1960s.[3] Some conservative Christians feel that the medium of popular music is unholy, and thus unfit for Christian participation. For example, the Christian college Bob Jones University prohibits its dormitory students from listening to CCM.[4] Musician Steve Camp wrote a monograph titled Steve Camp's 107 Theses: A Call To Reformation in the Contemporary Christian Music Industry [5]. Other noted Christian critics of CCM include Dan Lucarini (the author of the book Why I Left the Contemporary Christian Music Movement) and Kimberly Smith (author of the books Oh Be Careful Little Ears and Let Those Who Have Ears to Hear). Also, some simply find the concept of Christian pop/rock music to be an unusual phenomenon, since rock music has historically been associated with themes such as sexual promiscuity, rebellion, drug and alcohol use, and other topics normally considered antithetical to the teachings of Christianity.[3] Perhaps the most well-known (and humorous) defense to this criticism is a quote from a 19th century Methodist minister Rowland Hill: "Why should the devil have all the good music?".
In contrast, some writers from the Reformed Presbyterian tradition, such as Brian Schwertley, assert that CCM violates the second commandment and the Regulative Principle of Worship because it adds man-made inventions, lyrics and instrumental music to the biblically appointed way of worshipping God.[6] An example of exclusive psalmody is the Church of Scotland from the Reformation until the twentieth century, in which there was only the a capella singing of the psalms. (This tradition is continued in the Free Church of Scotland and some other denominations.)
[edit] See also
- GMA Music Awards
- Jesus Freak Hideout
- Korean Contemporary Christian music
- Contemporary worship music
- Christian music
[edit] Notes
- ^ Best Selling Christian Singles and Albums. Billboard Magazine. Retrieved on 2007-02-28.
- ^ ®R&R - Radio & Records, Inc
- ^ a b c d e Powell, Mark Allan (2002). Encyclopedia of Contemporary Christian Music, First printing, Peabody, Massachusetts: Hendrickson Publishers, 10-13. ISBN 1-56563-679-1.
- ^ BJU ~ Residence Hall Life. Bob Jones University. Retrieved on 2007-02-28.
- ^ http://www.worship.com/steve_camp_107_theses.htm
- ^ Schwertley, Brian "Musical Instruments in the Public Worship of God"
[edit] Further reading
- Alfonso, Barry. The Billboard Guide to Contemporary Christian Music. Billboard Books, 2002.
- Beaujon, Andrew (2006). Body Piercing Saved My Life: Inside the Phenomenon of Christian Rock. Cambridge, Massachusetts: Da Capo Press. ISBN 0-306-81457-9.
- Di Sabatino, David. The Jesus People Movement: An Annotated Bibliography and General Resource. Westport, Conn.: Greenwood, 1999.
- Du Noyer, Paul (2003). "Contemporary Christian Music", The Billboard Illustrated Encyclopedia of Music. New York City: Billboard Books, 422-423. ISBN 0-8230-7869-8.
- Flux, Chris (2006). Music Evangelism: Spreading the Gospel through Music. Bloomington, IN: AuthorHouse. Retrieved on 2008-02-06.
- Granger, Thom. CCM Presents: The 100 Greatest Albums in Christian Music. Nashville: CCM Books, 2001.
- Hendershot, Heather (2004). "Why Should the Devil Have all the Good Music? Christian Music and the Secular Marketplace", Shaking the World for Jesus: Media and Conservative Evangelical Culture. Chicago, Illinois: University of Chicago Press. ISBN 0-226-32679-9.
- Howard, Jay R; Streck, John M. (1999). Apostles of Rock: The Splintered World of Contemporary Christian Music. Lexington, Kentucky: The University of Kentucky Press. ISBN 081319086X.
- Joseph, Mark. The Rock and Roll Rebellion: Why People of Faith Abandoned Rock Music-- And Why They're Coming Back. Nashville: Broadman & Holman, 1999.
- Kyle, Richard (2006). "If You Can't Beat 'em Join 'em", Evangelicalism : an Americanized Christianity. New Brunswick, New Jersey: Transaction Publishers, 281-286. ISBN 0-7658-0324-0.
- Miller, Steve (1993). The Contemporary Christian Music Debate. Tyndale House. Retrieved on 2008-02-06.
- Mount, Daniel J. (2005). A City on a Hilltop? The History of Contemporary Christian Music. Retrieved on 2007-02-12.
- Powell, Mark Allan (2002). Encyclopedia of Contemporary Christian Music. Peabody, Massachusetts: Hendrickson Publishers. ISBN 1-56563-679-1.
- Pruitt, Jim (2003). Contemporary Christian Musician's Survival Manual. Lulu. ISBN 1-4116-0117-3.
- Romanowski, William D. Eyes Wide Open: Looking for God in Popular Culture. Brazos Press, 2001.
- Young, Shawn David, M.A., Hippies, Jesus Freaks, and Music (Ann Arbor: Xanedu/Copley Original Works, 2005. ISBN 1-59399-201-7.
[edit] External links
- Christian Music Monthly
- Christian Music Today
- Christian Music Review Reviews of contemporary Christian albums, artists discographies, biographical information, music videos and etc.
- Contemporary Christian Music (CCM) Magazine
- lightvox | Christian Music Magazine Collaborative Christian Music Magazine powered by the Christian music community.
- Most Requested Most Requested - the ultimate music video show for Christians
- STREETBRAND Magazine Christian youth magazine with significant Christian music input.
- NBC's Huntley Brinkley News August 8, 1969 Article on first nationally televised rock and roll worship service. Trinity Church at Wall Street and Broadway. Record World August 16, 1969
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