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Singing the congregation : how contemporary worship music forms evangelical community
Contemporary worship music shapes the way evangelical Christians understand worship itself. Author Monique M. Ingalls argues that participatory worship music performances have brought into being new religious social constellations, or \"modes of congregating\". Through exploration of five of these modes--concert, conference, church, public, and networked congregations--Singing the Congregation reinvigorates the analytic categories of \"congregation\" and \"congregational music.\" Drawing from theoretical models in ethnomusicology and congregational studies, Singing the Congregation reconceives the congregation as a fluid, contingent social constellation that is actively performed into being through communal practice--in this case, the musically-structured participatory activity known as \"worship.\" \"Congregational music-making\" is thereby recast as a practice capable of weaving together a religious community both inside and outside local institutional churches. Congregational music-making is not only a means of expressing local concerns and constituting the local religious community; it is also a powerful way to identify with far-flung individuals, institutions, and networks that comprise this global religious community. The interactions among the congregations reveal widespread conflicts over religious authority, carrying far-ranging implications for how evangelicals position themselves relative to other groups in North America and beyond. -- $c Publisher's description.
Book
The spirit of praise : music and worship in global Pentecostal-Charismatic Christianity
In The Spirit of Praise, Monique Ingalls and Amos Yong bring together a multidisciplinary, scholarly exploration of music and worship in global pentecostal-charismatic Christianity at the beginning of the twenty-first century. The Spirit of Praise contends that gaining a full understanding of this influential religious movement requires close listening to its songs and careful attention to its patterns of worship. The essays in this volume place ethnomusicological, theological, historical, and sociological perspectives into dialogue. By engaging with these disciplines and exploring themes of interconnection, interface, and identity within musical and ritual practices, the essays illuminate larger social processes such as globalization, sacralization, and secularization, as well as the role of religion in social and cultural change.
Aside from the editors, the contributors are Peter Althouse, Will Boone, Mark Evans, Ryan R. Gladwin, Birgitta J. Johnson, Jean Ngoya Kidula, Miranda Klaver, Andrew Mall, Kimberly Jenkins Marshall, Andrew M. McCoy, Martijn Oosterbaan, Dave Perkins, Wen Reagan, Tanya Riches, Michael Webb, and Michael Wilkinson.
eBook
The Cambridge companion to music in digital culture
The impact of digital technologies on music has been overwhelming: since the commercialisation of these technologies in the early 1980s, both the practice of music and thinking about it have changed almost beyond all recognition. From the rise of digital music making to digital dissemination, these changes have attracted considerable academic attention across disciplines,within, but also beyond, established areas of academic musical research. Through chapters by scholars at the forefront of research and shorter 'personal takes' from knowledgeable practitioners in the field, this Companion brings the relationship between digital technology and musical culture alive by considering both theory and practice. It provides a comprehensive and balanced introduction to the place of music within digital culture as a whole, with recurring themes and topics that include music and the Internet, social networking and participatory culture, music recommendation systems, virtuality, posthumanism, surveillance, copyright, and new business models for music production.
Book
The Spirit of Praise
In The Spirit of Praise , Monique Ingalls and Amos Yong
bring together a multidisciplinary, scholarly exploration of music
and worship in global pentecostal-charismatic Christianity at the
beginning of the twenty-first century. The Spirit of
Praise contends that gaining a full understanding of this
influential religious movement requires close listening to its
songs and careful attention to its patterns of worship. The essays
in this volume place ethnomusicological, theological, historical,
and sociological perspectives into dialogue. By engaging with these
disciplines and exploring themes of interconnection, interface, and
identity within musical and ritual practices, the essays illuminate
larger social processes such as globalization, sacralization, and
secularization, as well as the role of religion in social and
cultural change.
Aside from the editors, the contributors are Peter Althouse,
Will Boone, Mark Evans, Ryan R. Gladwin, Birgitta J. Johnson, Jean
Ngoya Kidula, Miranda Klaver, Andrew Mall, Kimberly Jenkins
Marshall, Andrew M. McCoy, Martijn Oosterbaan, Dave Perkins, Wen
Reagan, Tanya Riches, Michael Webb, and Michael Wilkinson.
eBook
Awesome in this place: Sound, space, and identity in contemporary North American evangelical worship
This dissertation examines the congregational song repertory known as “contemporary worship music,” showing how its musical sounds and performance spaces inform and reflect North American evangelical Christian identities. This study challenges representations of North American evangelicalism as a static, homogenous religious community by showing how this musical repertory creates an “evangelical imaginary” connected by shared discourses and practices whose meanings are constantly contested and negotiated at both the local and translocal levels. In order to illustrate these complex negotiations, this dissertation comprises two parts which provide complementary examinations of the relationships between sound, space, and evangelical identity while differing in scope and methodological approach. The four chapters of Part I construct a narrative of the development of the contemporary worship music repertory from the late 1960s to the late 2000s. Employing personal interviews and evangelical primary sources, each of these chapters traces the institutions, social networks, and cultural shifts that accompanied and influenced contemporary worship music's creation and led to its acceptance as a widespread evangelical practice. The three chapters of Part II offer an in-depth ethnographic and theoretical exploration of the relationship between contemporary worship music and evangelical identity through close readings of the three performance spaces of concert, conference, and local church. These chapters demonstrate how these worship spaces serve as forums in which evangelicals negotiate broader societal shifts while broadly disseminating discourses and practices which connect local churches with the translocal evangelical community. By showing the ways in which contemporary worship music, and the meanings and discourses it embodies, moves between these spaces, this study demonstrates the powerful role of music in constructing an “evangelical imaginary” through which evangelicals negotiate local and translocal contexts, concerns, and convictions. By using the sites and sounds of musical performance to inform a discussion of religious identity, this dissertation opens avenues for exploring music's role in the negotiation of religious faith and practice in the modern world.
Dissertation