download the new version for ipod My Music Collection 3.5.9.5

At the first level, twenty-five of the most popular CCS sung in churches around the world are subject to individual and collective analyses, based on their most-viewed YouTube versions. The methodology employed to achieve these aims is a tri-level music semiology (Nattiez, 1990). This thesis identifies, defines, and explores the CCS genre, its texts, its production and producers, and Christians’ engagement with these mediated texts as individuals, and in corporate worship settings. This thesis provides a broad scholarly platform for CCS a framework for their creation, analysis, and evaluation upon which future scholarship can build. Finally, lacking from the contemporary congregational song (CCS) discourse is a research method and meta-language to facilitate a generic understanding of the genre its texts, producers, and consumers. Moreover, the music of the genre is under-represented in analyses because researchers have preferred sociological, historical, or theological methodologies. Where it is available, it is most often the examination of a specific contextualisation of the genre. While professional and popular discourses relating to this genre are widespread, scholarly engagement is still nascent.

Contemporary congregational songs (elsewhere referred to as ‘praise and worship’ music, or contemporary worship music) began some forty years ago in Western Pentecostal/Charismatic contexts, but their influence is now worldwide and pan-denominational.

Download the new version for ipod My Music Collection 3.5.9.5