| Contemporary Christian music | |
|---|---|
| Stylistic origins | Jesus music, Christian music, pop music, rock music |
| Cultural origins | Late 1960s, US |
| Typical instruments | Vocals, guitar, drums, bass guitar, keyboards, piano, synthesizer |
| Mainstream popularity | 1970s to present |
| Derivative forms | Contemporary worship music |
| Subgenres | |
| Christian rock – Christian hip hop | |
| Fusion genres | |
| Progressive Southern gospel | |
| Other topics | |
| Gospel music – Urban contemporary gospel | |
Contemporary Christian music (or CCM—and occasionally "inspirational music") is a genre of modern popular music which is lyrically focused on matters concerned with the Christian faith. Today, the term is typically used to refer to the Nashville, Tennessee-based pop, rock, and worship Christian music industry, represented by artists such as Avalon, BarlowGirl, Jeremy Camp, Casting Crowns, Steven Curtis Chapman, David Crowder Band, Amy Grant, Natalie Grant, Jars of Clay, MercyMe, Newsboys, Michael W. Smith, Rebecca St. James, Third Day, TobyMac, 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.[3]
However, not all modern music which lyrically identifies with Christianity is part of the Nashville Contemporary Christian Music industry.[4] Alternative genres such as punk, hardcore, and holy hip-hop groups deal explicitly with issues of faith but are normally not considered CCM. Also, several mainstream artists such as The Byrds, Bob Dylan, Van Morrison, Elvis Presley, Kanye West, Creed, The Fray, Evanescence, Lifehouse, U2, and rapper DMX have dealt with Christian themes in their work but are not part of the CCM industry.[4]
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The genre that would eventually be known as Contemporary Christian music came from the Jesus movement revival of the latter 1960s and early 1970s, and was originally called "Jesus music". "About that time, many young people from the sixties' counterculture professed to believe in Jesus. Convinced of the bareness of a lifestyle based on drugs, free sex, and radical politics, 'hippies' became 'Jesus people'".[5] Of course there were people who felt like Jesus was another "trip".[6] "The 'Jesus Movement' of the 1970s was when things really started changing and Christian music began to become an industry within itself."[7] "Jesus Music" started by playing instruments and singing songs about love and peace, which then translated into love of God. Paul Wohlegemuth, who wrote the book Rethinking the Church said, "[the] 1970s will see a marked acceptance of rock-influenced music in all levels of church music. The rock style will become more familiar to all people, its rhythmic excesses will become refined, and its earlier secular associations will be less remembered."[8]
Though there were Christian albums in the 1960s that contained contemporary-sounding songs, there were two albums recorded in 1969 that are considered to be the first complete albums of "Jesus rock": Upon This Rock (1969) by Larry Norman initially released on Capitol Records,[9] and Mylon - We Believe by Mylon LeFevre, released by Cotillion, which was LeFevre's attempt at blending gospel music with southern rock.[10] Unlike traditional or southern gospel music, this new Jesus music was birthed out of rock and folk music.[11]
Pioneers of this movement also included 2nd Chapter of Acts, Andraé Crouch and the Disciples, Evie, Nancy Honeytree, The Imperials, Love Song, Barry McGuire, and Petra. The small Jesus music culture had expanded into a multi-million-dollar industry by the 1980s. Many CCM artists such as Amy Grant, DC Talk, Michael W. Smith, Stryper, and Jars of Clay found crossover success with Top 40 mainstream radio play. As of 2005[update], sales of Christian music exceeded those for classical, jazz, Latin, New Age, and soundtrack music.[12]
Contemporary Christian music has been a topic of controversy in various ways since its beginnings in the 1960s.[4] The Christian college Bob Jones University prohibits its dormitory students from listening to CCM.[13] Others 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.[4] This controversy caused by evangelical pop music was explored by Gerald Clarke in his Time magazine article "New Lyrics for the Devil's Music".[14] On the other hand, 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 what he asserts to be the biblically appointed way of worshipping God.[15] An example of exclusive psalmody is the Free Church of Scotland (Continuing), in which there is only the a capella singing of the psalms.
In her article, Kim Jones explores this change in the face of Christian music saying, "Up until the late 1960s, Christian music invoked images of church, hymnals and organs. The face of Christian music has spent the last 30+ years evolving and growing. Pipe organs have been set aside for electric guitars and drums…People who enjoy Contemporary Christian Music, want to feel like God is here and now, not some dusty relic from the dark ages that can't possibly understand the issues of today."[7]
Contemporary Christian musicians and listeners have sought to extend it into settings where religious music traditionally might not be heard. "Christian music has extended from the church to [mainstream] radio, television, concert halls and huge rallies and festivals."[7] MercyMe's song "I Can Only Imagine" was a crossover success despite having a clear Christian message.[16]
Paul Baker, author of Contemporary Christian Music, addressed the question, "Is the music a ministry, or is it entertainment? Opinions were as varied as the people expressing them. One fact must be brought out, however. The motives, on both sides, were nearly always sincere and well intentioned, rarely malicious."[17]
"The responsibility of the church is not to provide escape from reality," according to Ellsworth, the author of Christian Music in Contemporary Witness, "but to give answers to contemporary problems through legitimate, biblical means. The lighter, softer rock styles still allow for the communication of the text."[18] Thus, when lyrics are biblically-based, CCM can relate to issues faced in modern society—with modern music.
Many church growth studies have come to show that churches have grown in size after changing the type of style. James Emery White, the leadership consultant for preaching and worship within the Southern Baptist Convention made a statement that emulates that many churches who changed styles to using more contemporary Christian music, appeared to have a quicker growth.[19]
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