For many churches today, music has become one of the most important factors in attempting to reach unbelievers with the gospel. Writing from his own personal experience as a former worship leader, Dan Lucarini questions the use of contemporary music in the worship of our Lord and Saviour Jesus Christ.

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.

Oh, Be Careful Little Earsis a brief overview of the development of Christian music from both historical and biblical perspectives, showing why CCM is not biblical from a Scriptural point of view. Do you know that Scripture teaches us that Christian music should be non-carnal, yet much contemporary Christian music is carnal? Do you know that it s easy to identify carnal Christian music? Do you know why carnal music is not pleasing to God? Oh, Be Careful Little Ears discusses each of these and more from a biblical perspective. You will learn... ...actual New Testament Scriptures which give direction concerning Christian music. ...how to identify carnal Christian music and why it s carnal. ...why good motivations should not be the only consideration for the Christian s music. ...why adding Christian lyrics alone does not make all types of music acceptable. ...and much more! Chapter titles include: "The Origins of Unnatural Rhythms"; "Where Have All the Hymns Gone?"; "A Brief History of Christian Music"; "A Word About 'Pop' Music"; and "What Difference Does it Make?" plus six more. Many Christians are truly sincere in their choice of music, and this book acknowledges the controversy that exists in Christian music. A full chapter is devoted to common and very emotional excuses that are given in defense of contemporary Christian music. "

These essays provide bandmember lists, complete discographies, lists of awards, artist-website addresses, biographies of the artists, and reviews of their work."--BOOK JACKET.

A Handbook of Principia for the Biblical Christian as he faces the music of the endtime. Begins with Biblical principles for music; Biblical separation and music; deals with contemporary music from rock to Gospel to contemporary Christian.

Does God endorse music of every kind, regardless of its structure or features? Put another way, is there any music which does not get his seal of approval? Tightening this even further, are there musical forms or ways of using music that violate biblical principles and which Christians should therefore reject? The authors of this book, John Blanchard & Dan Lucarini sincerely believe that there are, and that the question takes on an even greater urgency as many influential church leaders and popular Christian musicians have recently claimed that God endorses all kinds of music without distinction. This book is an expression of their convictions and concerns. In writing this new book the authors have drawn heavily on the research of Pop goes the Gospel, first published in 1983 and Why I left the Contemporary Christian Music Movement, first published in 2002, and on the experience in handling the vast amount of feedback that both titles generated.