- The Oxford Handbook of Music and World Christianities
- Music, Convert, and Subject in the North Sumatran Mission Field
- Mission Music as a Mode of Intercultural Transmission, Charisma, and Memory in Northern Australia
- Coexistence of Causal and Cultural Expressions of Musical Values among the Sabaot of Kenya
- Indigenous Innovations on Music and Christianity at Ratana Pa
- Music as Shared Space in Mennonite Development Work in Chad
- Are Western Christian <i>Bhajans</i> “Reverse” Mission Music?
- Drums in the Experience of Black Catholicism in Minas Gerais, Brazil
- Chant as the Articulation of Christian Aramean Spirithood
- The Politics of Pronunciation among German-Speaking Mennonites in Northern Mexico
- Hidden Histories of Religious Music in a South African Coloured Community
- Music and Religiosity among African American Fundamentalist Christians
- Songs of <i>Oru Olai</i> and the Praxis of Alternative Dalit Christian Modernities in India
- The Renaissance of the Corsican Confraternities and Their Musical Negotiations
- Local Music Making and the Liturgical Renovation in Minas Gerais
- The Survival Story of Syriac Chants among the St. Thomas Christians in South India
- Russian Church Music, Conundrums of Style, and the Politics of Preservation in the Emigre Diaspora of New York
- Parading Protestantisms and the Flute Bands of Postconflict Northern Ireland
- Everyday Musical Ethnicity and Roma (Gypsies) in Hungarian Pentecostalism
- Transnational Connections, Musical Meaning, and the 1990s “British Invasion” of North American Evangelical Worship Music
- Negotiations of Faith and Space in Memphis Music
- Tropes of Continuity and Disjuncture in the Globalization of Gospel Music
- Mainline Protestantism and Contemporary versus Traditional Worship Music
- Negotiating the Tensions of U.S. Worship Music in the Marketplace
- Contingency and the Symbolic Experience of Christian Extreme Metal
- Palestinian Christmas Songs for Peace and Justice in Sacred Place and Politicized Space
- The Diffusion of Gregorian Chant in Southern Italy and the Masses for St. Michael: To Barbara Haggh and to the Memory of Michel Huglo
- Performing Pannkotis Identity in Haiti
- Christianity and Korean Traditional Music
- Congregational Singing, Orthodox Christianity, and the Making of Ecumenicity
- Afterward: Sound, Soteriology, Return, and Revival in the Global History of Christian Musics
Abstract and Keywords
This chapter traces the theological and marketing currents that since the late 1990s have characterized “worship” as “lifestyle,” moving “worship” from the collective and noncommercial domain of church into a set of commodities, including music, that can be purchased and consumed individually in private domains, like one’s car or house. It identifies a tension within evangelical discussions of this trend, in which some commentators see the trend as a “worship awakening,” and others see it as a threat to the authority of the church and to individual faith. The chapter argues that this trend suggests new nuances, shifts, and overlaps in the relationship between “sacred” and “secular” within American evangelicalism—shifts scholars of religion must be careful to observe, rather than oversimplifying or reifying the sacred-secular binary.
Anna Nekola received her Ph.D. in Musicology at the University of Wisconsin—Madison and she teaches courses in music, communication, and queer studies at Denison University. Her research appears in The Journal of the Society for American Music (2010), Mediating Faiths: Religion, Media and Popular Culture (2011), Christian Congregational Music – Performance, Identity and Experience (2013), and Popular Music (2013). She is currently working on a book analyzing the disputes over worship music within contemporary American evangelical Christianity, exploring how ideological and theological disputes are reconfigured as spiritual battles over the most appropriate musical style for organized worship services.
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