ABSTRACT
This chapter offers a critical overview of sociological aspects of and approaches to contemporary Christian music (CCM) and contemporary worship music (CWM), two related genres of abidingly evangelical popular music in which contemporary Christianity engages the spectacular capacities of consumer capitalism. Identifying CCM as musically diverse, yet united by the shifting values of American evangelicalism, and recognizing CWM as a sophisticated congregational practice increasingly integrated into the everyday lives of listeners, this chapter analyzes tensions and contestations in these cultural forms. It also identifies important theoretical concepts pertinent to the study of CCM and CWM: Emile Durkheim's concept of collective effervescence, Theodor Adorno's critique of the culture industry, approaches to music-based subcultures, and Christopher Small's musicking paradigm.
