The Diffusion and Influence of Contemporary Worship

Image: David Ball

How does worship music style relate to congregational growth?

In the past half century, perhaps no other Christian ministry innovation has been more influential and polarizing than contemporary worship. It has been maligned, celebrated, blamed for church splits (especially during the “worship wars” of the 1990s), credited for congregational growth, accused of fostering shallow, religious consumerism, praised for catalyzing spiritual revitalization among individuals and movements, and so forth. Another example of its contemporary significance is how worship commonly delineates one Christian community from another. Arguing that the choice of worship style has become as defining a marker of evangelical communities and functions as a veritable ichthus, Greg Scheer posits:

…denominational loyalty has all but eroded, replaced by music style. It used to be that a family would move to a new town and look for the nearest Baptist or Episcopal church, but now they look for the nearest ‘contemporary,’ ‘blended’ or ‘emerging’ church. And how do they know that the Methodist church down the road is an Evangelical boomer community? Because it advertises a ‘contemporary’ service (95).

In part one of this short series exploring research related to the diffusion and influence of the contemporary worship, I will point to some recent findings as it relates to current congregational practices and correlations to congregational growth.

But before we get to the research findings, we begin with the arduous task of defining what we mean by “contemporary worship” (let alone the confusion about what worship means!). In their forthcoming book, Lovin’ on Jesus, Lester Ruth and Swee Hong Lim provide a helpful and concise history of contemporary worship (to which they mean more than just music). While contemporary worship has changed significantly since its early development, which can be traced back at least to the Jesus Movement in the 1960s, Ruth and Lim identify nine defining qualities that characterize and lend continuity to this liturgical phenomenon:

  1. using contemporary, nonarchaic English
  2. dedication to relevance regarding contemporary concerns and issues in the lives of worshippers
  3. commitment to adapt worship to match contemporary people, sometimes to the level of strategic targeting
  4. using musical styles from current types of popular music
  5. extended times of uninterrupted congregational singing
  6. centrality of the musicians in the liturgical space and in the leadership of the service
  7. greater levels of physical expressiveness
  8. predilection for informality
  9. reliance upon electronic technology

If these nine characteristics embody what we mean by contemporary worship, using Everett Rogers’s seminal conceptual framework for understanding how innovations are diffused, we might say that historically, the Jesus People were the innovators, “New Paradigm Churches” like Calvary chapel were the early adopters, and megachurches like Willow Creek and their teaching networks catalyzed mass adoptions among early and late majority adopters.

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SOURCE: Christianity Today The Exchange – Michael Lee
Michael Hakmin Lee, Ph.D., is Research Fellow for the Billy Graham Center for Evangelism at Wheaton College.