MMus thesis, School of Music, Faculty of Humanities, University of the Witwatersrand, 2009 / The subject of Christian church music has sparked controversy for centuries. In this
dissertation I highlight the most recent discussion about the ‘worship war’ debate, namely
the infiltration of contemporary popular music into what once was considered a sacred
arena. I explore some of the shortcomings of Contemporary Church Music with the
intention of answering two questions: Is there a style of music that is most appropriate for
Christian worship and that best represents Christian identity? and, How can South African
Christians express their own unique cultural identity in their Church Music? I seek proof of
the link between musical choices and demographics in three Evangelical churches in
Johannesburg via insights gained in a worship questionnaire and series of interviews. I
conclude that music has the ability to construct both identity and a sense of place and that
Contemporary Church Music (CChM) is distinct from contemporary secular music in two
ways: its purpose and the identity of the musicians and congregants who participate in its
performance. Addressing the latter, I explore a demographics model and conclude that
every congregation boasts a unique identity which is affected by music, church history and
cultural upbringing. I argue that Indigenous Worship is critical in answering both questions
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:wits/oai:wiredspace.wits.ac.za:10539/7516 |
| Date | 17 February 2010 |
| Creators | Anderson, Bronwen |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Format | application/pdf |
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