My name is Isaac Fink, and I am a third year Recording Arts Student in the

Jacobs School of Music at Indiana University with a Minor in Folklore and

Ethnomusicology. In the winter of 2015, I set out to study the function of contemporary
and non-contemporary Christian music in a Christian worship setting. Over the course of
8 weeks, between the months of February and March, I conducted fieldwork at St.
Charles Borromeo Catholic Church, Trinity Episcopal Church, and Sherwood Oaks
Christian Church, all located in Bloomington, Indiana. I set out to discover how, if at all,
music functions in a Christian worship setting. Over the course of this ethnography, I will
detail the techniques and methodology I employed for conducting fieldwork, recount my
experiences working in the field, and analyze the data I gathered. In addition to providing
a thorough depiction of my experience working in the three aforementioned churches,
this ethnography will attempt to uncover the ways that contemporary and noncontemporary Christian music functions in Christian worship settings, as supported by
my research and analysis conducted both in and out of the field.
Though I did not begin conducting formal research and fieldwork on
contemporary and non-contemporary Christian music until the winter of 2015, my
interest in contemporary and non-contemporary Christian music dates back to the spring
of 2014. By then, I had worked approximately one year in the Musical Arts Center as a
stagehand. I began working there like any other employeeI was quiet, cautious and
very self-conscious about my behavior and actions. For months I took orders from my
bosses like a Private E-1; my higher-ups were my commanding officers. I never talked
back, and I never complained. In truth, I am establishing this not to paint myself as a
selfless laborer but to outline something entirely different: when I began working at the

Musical Arts Center I was incredibly nervous. Anxiety and nervousness will be a
prevalent theme in this ethnography. In fact, I procrastinated writing this ethnography for
some time because I was nervous that once I began, I would not be able to finish, that I
would realize somewhere near the 13th page that I have run out of things to say, points to
make, data to analyze, and I would have to leave the field altogether. Though it can be
hard to characterize oneself accurately, I can comfortably report that while I commonly
consider myself an outspoken, overly analytical (sometimes to a fault), boisterous person,
more often than not my, anxiety and neuroses overshadow almost all aspects of my
personality. This was the case at the Musical Arts Center for approximately two months.
My vow of silence continued until I could no longer bare it. I will be tactless and admit
that the work was boring and often tedioususually monotonous and always menial. I
had to find a way to entertain myself. My first compulsion was to sing. Of course at first
my singing was simplemore akin to humming. However, as time went on and my
precedent had been set, my singing became louder, more extravagant and sometimes
incorporated multiple harmonies at the request of my fellow employees. It was because of
this, that a supervisor, Nate Bleeker, approached me. Nate was a worship leader and also
performed contemporary Christian music for his church. He asked me if played any
instruments and I told him used to play electric bass guitar. He asked me if I would be
interested in playing with his group for their Easter Sunday service at their church.
Before I continue, I think now would be an appropriate time to outline my biases, things I
mistakenly did not make clear to Nate when he initially approached me.
First, at this point in my life, I had attended Christian Church services once. It
happened when I was very young, some time in elementary school. I had slept over at my

best friend Hannahs house the night before and her parents took me to church with them
before taking me home. It was a very bizarre experience. All I remember was sitting in
the backnosebleed seatsand not being able to see the pastor. Second, I am of the
Jewish faith and culture. I include culture here because I understand Judaism to be a
multifaceted religion of which faith is but a single aspect. Tradition and ritual are also key
elements. Though I ceased to practice Judaism upon enrolling in college, I was raised
Jewish, had a bar mitzvah, learned to speak Hebrew and have traveled to Israel. I have
not found salvation in Christ nor do I intend to. I am however highly interested in music
music across all genres, cultures and religions.
Though I did not make this expressly clear to Nate, I for some reason assumed he
already knew. In retrospect, this was not clear to Nate. Regardless, we began rehearsing
close to two weeks before the service. Immediately, I was perplexed by the music he was
asking us (the ensemble) to play. Admittedly, my third bias would be that I have had no
prior exposure to Christian music nor do I have any experience performing religious or
sacred music. All of my performing experience is rooted in jazz and funk music. During
rehearsals Nate had to explain to me, time after time, I am not allowed to embellish, I am
not allowed to add off beats or syncopation of any kind, I am not allowed to add
dissonant passing tones or harmonies. My immediate question, the question that sparked
my interest in this project was simple: Why not? To me, the music was uninteresting,
stagnate and unenjoyable to play. So why was such an unadorned piece of music desired?
With this in mind, and not much else, I decided to take agency and determine for myself
why this style of music, contemporary Christian worship music, is so desired.

My first attempt at fieldwork occurred at Sherwood Oaks Christian church in

Bloomington, Indiana. On February 8th, 2015 a good friend (Michael) and I drove to
Sherwood Oaks Christian Church. During the drive to the church I thought about all that I
hoped to uncover, understand and observe. I decided not to bring a pad and pen. I did not
want to draw too much attention to myself. Moreover, I wanted to be able to fully engage
in the music. I also did not want people to see me as an outsider and consequently adjust
their behavior because of my presence. I also decided in that moment that I did not want
to focus on the prayer or sermon but instead the music. I am more interested in the roles
music can and does play for worship than I am in Christianity itself. Also, I decided to try
to not draw parallels between the upcoming Christian services and the countless Jewish
services Id attended in the past. I did not want to compare the two and make judgments.
However, this was more difficult than it seems seeing as I have not spent time studying
any other religion besides Judaism. I understand Judaic music. In some ways, I relate to
it. I have no connection to contemporary Christian music.
With this in mind, Michael and I met our mutual friend, Lindsey, in the parking
lot of the church and made our way into the church. I brought Michael and Lindsey with
me for strategic purposes. Michael and Lindsey are both Christians. They each wear
crosses around their neck. Lindsey even dangles one from the rear-view mirror in her
BMW convertible. I brought them hoping they could provide me with some insight.
Moreover, I was interested to assess their reactions to the service and its use of music and
compare their reactions to mine. Finally, I was hoping they would help me blend in.
Whether or not this is due to my insecurities, neuroses, or unnecessary stereotypes, I have
never felt that I looked very Christian. In fact, I have heard on multiple occasions that I

look outright Jewish. Besides my physical appearance, at this point in my research, I was
completely unaware of all of the social customs and norms necessary to engage
inconspicuously at a Christian church service. With this in mind, I hoped Lindsey and
Michael would add credibility to my presence and potentially be able to show me the
ropes. I definitely felt like I did not belong. I almost felt as though I was being watched. I
was nervous walking into the church and stuttered to say good morning to the man and
woman greeting all the congregation members.
Interestingly, Michael and Lindsey were visibly uncomfortable as well. This
confused me. I thought they would feel right at home. Michael referred to this kind of
church as a Bible church, meaning a non-denominational church. The church he went
to back home in Fort Worth, Texas was smaller and more personal. I wondered if he felt
like an adulterer. I felt like a spy. The idea of profiting off of a culture, or using a culture
for personal gains is odd to me. I have every intention to uphold the values of the
congregation with the respect they deserve. At the same time, I do want to be true to my
feelings and myself. I trust myself and I trust my judgment. I know how and when to
call a spade a spade, and I do not want to refrain myself from doing so. I do not want to
view this event as the fantastic spectacle that I have thought it to be. I want to try to
understand it as one of the regular church members does. I want to try to understand this
services as a self-proclaimed Christian would. I keep reminding myself that I was there to
understand and to learnI was not there to draw conclusions. Not yet.
I was shocked at what I saw on stage that first dayI was shocked to see that
there was a stage at all. However, in a hall that seats over 1000 people, the size of the
stage is somewhat justified. The stage was set with a grand piano, full drum kit, an

electric piano, an acoustic guitar resting in a stand, two electric guitars and one electric
bass. Each electric guitar and bass cabinet was paired with a microphone that would be
used in conjunction with a fairly elaborate live sound reinforcement system. When the
service began, five singers took the stage, each fitted with their own wireless Shure
microphone. I was very surprised to see the amount of musicians on stage as well as how
focal they were with regard to the service. They were the only presence on stage. I
expected to see an arch of some kind or perhaps an ornate table or podium from which
the pastor would speak. In stead, there were massive lighting rigs, instruments and
monitors. I saw musicians on the stage and was excited for their performance, the
congregation seemed fairly unaware.
This is understandable as this sort of arrangement is in no way new experience for
the congregation. The people around me were chatty and buoyant. Though the stage was
lit like a rock show, the congregation is not playing the role of an audience. The
congregation is functioning like I expected they would: as a large, welcoming
community. I felt as though I was the only one eagerly waiting for the performance to
begin. It is possible that I was alone in understanding the musical element of the service
as a performance. Furthermore, I need to recognize just how much of an outsider I was.
Potentially, if I had been attending this church for years, I would have been chatting with
my neighbors like everyone else. My heightened level of anticipation may have simply
been the result of my inexperience.
Though I was shocked by the elaborate stage arrangement, the subsequent music
performed was highly expected, as having performed this style of music once before. The
performance began with a song in a major key. It sounded very much so like a song I had

performed almost a year ago with Nates ensemble. The melodies were simple and
resolved simply at the end of each phrase. The instrumentalists exhibited an interesting
style of playing. The three guitarists performed in a very unified form. None of the
guitarists embellished on the structure of the chords or voiced chords in any unique way.
The electric bassist played in the same stylenever straying too far from the root or tonic
of each chord. The electric bassists rhythmic style of playing was highly reflective of the
ensembles style of playing. Each instrumentalist emphasized the same beat in the same
way. Only the drummer exhibited subdivisions of the beat. Still, no off beats were
accented. The overall sound of the band remained fairly constant. It was clear that the
music was designed to be performed in a contained way. Though aesthetically, the
performance resembled a popular music concert, the music was far too tame to be
considered in the same light. Still, the congregation applauded after each tune behavior
I would expect at the popular music concert.
The congregation exhibited very little interaction with the band nor did the
congregation ever overtly acknowledge the bands presence. A large projection screen
was mounted on the proscenium which displayed a video feed of the bands performance
live. I was unsure whether I ought to watch the performance on stage or the video
projection. There was a camera operator on stage, weaving in and out of the musicians in
order to get the best shots of each of them. I had never experienced anything like this in a
religious setting. The feeling I had earlier about being a passive audience member was
becoming more and more prevalent. From time to time certain members of the
congregation would dance very slightly. Their dancing consisted of small rocking
emphasizing the 1st and 3rd beat of each measure. Lyrics to the tunes were also projected

which allowed the congregation to sing along. However, this notion of singing along (not
with) the band created an uncomfortable dichotomy. It was very clear that I, a member of
the congregation, was second to the performancethat the performers voices would
always be louder than mine. I was quickly reminded that I was not a part of the music
that is being created in front of me. The music existed without me and did not need me to
survive. The congregation seemed to be thanking the band for their service, making it
obvious that the congregation relied on the band to conduct their worship on its behalf.
The notion of the congregation being second to the performers confused me. What about
this service created this stark and overt dichotomy? What role was the music assuming in
this settingwhat is the function of Christian music?
Before an analysis of the role and function of Christian music in a Christian
worship setting can occur, certain groundwork needs to be established. This means that
before answering of how Christian music functions in a Christian worship setting, it must
be established that music, Christian or not, has an inherent function. In reference to the
anthropological theory of structuralism Simon Blackburn was quoted in saying the
belief that phenomena of human life are not intelligible except through their
interrelations. These relations constitute a structure, and behind local variations in the
surface phenomena there are constant laws of abstract culture (2008). Structuralism can
be described as a theory used to explain the underlying structures related to all human
interaction, perception and emotion. It is said that in the field of anthropology, meaning,
and the consequential gained understanding of a culture, is produced within a culture
through various practices and occurrences that serve as a system of signification. These
various practices and occurrences can be as menial and benign as food service and

production, games, or as deep as ancient texts and religious practices. As basic or

rudimentary as some of these practices may seem, they can truly be an enormous aid in
discovering meaning in a society. For meaning with regard to a society and cultural
significance to be derived from basic occurrences such as food services and production,
games, texts and religious practices, these basic occurrences must contain an inherent
function necessary to the society. That is to say that these simple occurrences in society
are not unanalyzable phenomena but instead hold distinct and meaningful roles in a
society.
Because we assume these societal occurrences have inherent meaning, two
possibilities for study are created. One, as employed by Claude Levi-Strauss, is that
knowledge of a society or group of people in a specific geographical area can be attained.
Second, is the notion that because these societal occurrences have inherent meaning, they
can be analyzed and understood not just at face value, but also as having a greater
function and responsibility to a society or group of people in a specific geographical
location.
With this in mind, I have discovered, through participant-observer research
techniques, three functions of both contemporary and non-contemporary Christian music
present in a contemporary Christian worship service setting. Before I go on to describe,
explain, and justify the three functions of contemporary and non-contemporary Christian
music in a Christian worship setting it is necessary to understand that these three
functions are not exclusive in their existence. These three functions do not exist in
isolation from one another and nothing about these functions prohibit them from existing
among one another. I say this because though in the subsequent sections of my

ethnography I will be using my experiences at Sherwood Oaks Christian Church, St.

Charles Borromeo, and Trinity Episcopal Church to best outline the three functions of
contemporary and non-contemporary Christian music in a Christian worship setting,
attaching each location to a specific function, it is important to understand that I
recognized each of these functions in each setting only to varying degrees.
The first function of contemporary and non-contemporary Christian music in a
Christian worship setting is the function of entertainment. Entertainment is defined by the
Merriam-Webster Dictionary as amusement or pleasure that comes from playing a game
or watching a performer. Though it is common for people in a society to derive pleasure
or amusement from a variety of sources, not all of these sources are considered
entertainment. True entertainment implies a degree of passiveness with regard to the
subject or participant that is receiving the entertainment. As the Merriam-Webster
Dictionary states, entertainment is derived through watching a performer, implying that
the recipient of the entertainment, is not engaging with the performer beyond an observer
positionhence the notion of being entertained. I noticed this degree of passiveness
when I attended Sherwood Oaks Christian Church. We, the congregation, sat quietly and
listened intently to the performers on stage. It was not appropriate to sing along with the
band when not directed to do so. Passiveness with regard to the creation of music
continued to manifest in a number of ways. For example, at the end of each song
performed by the ensemble, we, the congregation, applauded the performance. Applause
is often used to indicate pleasure as well as show to thanks. Applause is often seen at
popular music concerts, theatres, and performances alike where entertainment is
consumed. Applause is also in an indication of a passiveness in a group of people. It is a

clear way to discern who is active in creating the entertainment and who is receiving it.
My feelings of not being integral to the music witnessed at Sherwood Oaks Christian
Church are supported by the occurrence of applause.
There were other contributing factors that lead me to believe that contemporary
and non-contemporary Christian music functions as entertainment in a Christian worship
setting. Some of these factors come from the similarities that I noticed between the
service I experienced at Sherwood Oaks Christian Church and various popular music
concerts that I have experienced. One of the similarities noticed was the presence of an
extensive and powerful live sound reinforcement system used to support the performance.
A simple musical performance cannot serve as entertainment if the congregation cannot
hear the performers. Furthermore, the musical performance was significant enough to
elicit an elaborate (not bare minimum) live sound reinforcement system. The presence of
this system also further indicated the performer vs. audience dynamic. The live sound
reinforcement system forced the singers and instrumentalists to be much louder than the
congregation. The live sound reinforcement system prohibited the music from being a
collaborative production and subsequently placed the responsibility on the performers to
create the music and further entertain the congregation. The live sound reinforcement
system forced the on-stage performers to be the focus of the service. The similarly
extensive lighting rig also contributed greatly to a strong focus on the performers as the
focus of the service, which furthered the notion of their performance functioning as
entertainment. I recognized the lights used by the Sherwood Oaks Christian Church as
being the same lights used on the stage of the Musical Arts Center at Indiana University.
These are high quality lights that are to be used with equally high quality lighting rigs.

These lighting rigs are difficult to install, manage, and operate and usually require a
master electrician or operator with the same knowledge and knowhow to be successfully
used. Aside from being complex, a lighting rig of that magnitude can be very costly. For
example, a console that is required to operate a system of that size can cost over $5,000.
These lighting rigs are used in concert halls and popular music venuesthey are used in
settings in which music functions as a form of entertainment.
The notion of contemporary and or non-contemporary Christian music
functioning as a form of entertainment in a Christian worship setting did not come to be a
challenging concept. Although I did not anticipate to what degree, or if at all, music
would function as entertainment, its demonstrated function did not surprise me, nor do I
believe it to be a negative quality of contemporary or non-contemporary Christian music.
In fact, I would submit that entertainment is an expected function of Christian music. If
Christian music can function as a source of entertainment, it can be used as an allurea
way to bring people to church and method of captivating the congregation.
After attending services with Michael and Lindsey, we went to lunch, and I was
able to conduct a brief informal group interview. In the interview I asked both Michael
and Lindsey why they believe people sing in church. Immediately they told me that
music makes church fun. They did not tell me that music assisted their ability to pray or
anything to that effect. They explained it so simply because to them it is very clearit is
fun to sing. The musical component of church excites Michael and Lindsey. They told me
that their desire to go to church increases if they know before going that the music will be
especially well performed. Michael and Lindsey placed great power music. Half-jokingly,
they stated that I would enjoy coming to their respective churches in their hometowns

because of how good the music is. They made this claim with total understanding of my
Judaism and my love for music. Michael and Lindsey are simply proud of their respective
churches music, they truly believe in the musics ability to captivate me, despite my
reluctance towards Christianity.
Though my experiences at Sherwood Oaks Christian church were nothing short of
fulfilling, I decided to continue my research at a different church. I made this switch
partially for practical purposes. Sherwood Oaks is located a great distance from my house
and due to my lack of independent transportation, I thought I would be better suited at a
church within walking distance from my house. Moreover, I wanted to conduct my
research at a church that held service throughout the week so that if I were unable to
attend services on Sunday morning, I still had the option of going at a later time in the
week. I also wanted to conduct my research at a church with exceptional music. A friend
of mine who studies vocal performance with a focus in opera informed me that she acts
as a cantor at St. Charles Borromeo, a Catholic church, and explained the choir is
particularly skilled. Though I was not initially interested in Catholicism, I decided it
would be a good place for me to conduct research: it was walking distance from my
house, held services throughout the week and according to my friend featured a very
talented choir.
St. Charles Borromeo Catholic Church, situated on 15 acres along 3rd street in
Bloomington, Indiana in was constructed in 1952. This particular Parish celebrated its
first mass on July 19th 1864. It first location was on the corner 4th and Madison in
Bloomington, Indiana. As time continued, this first location, which served tree different
faiths for over half a century was deemed unsafe. On September 12th 1878, the

congregation set out to construct a new church on the corner of 3rd and Dunn in
Bloomington, Indiana. I am recounting this particular Parishs history only to convey the
deep history married to this church and the intense sense of tradition instilled in its
congregation.
At 9:45 AM on a Sunday morning I drove to St. Charles Borromeo. Though
services did not start until 10:00 AM and I live approximately 4 minutes away from the
church, I wanted to ensure that I would be on time. As I made my way through the
parking lot I imagined myself a canoe in a stream of salmon. I felt this way for a number
of reasons. One, I was physically moving against the currentagainst a sea of people
walking towards the entrances to the church as I drove deeper into the parking lot looking
for a space. Second, I was physically separated from the congregation. I was isolated in
my car, windows up, while the congregation walked as a unit, almost like a military
company, around me. These feelings of isolation, separation and detachment did not
subside as I entered the church.
I had never been inside a Catholic church until the moment I entered St. Charles
Borromeo. The church was steeped in tradition. St. Charles Borromeo is built entirely out
of limestonea true southern Indiana institution. Massive wooden beams run across the
length of the ceiling. They looked almost medievalsomething you might imagine in
Camelot or see on Game of Thrones. Real candles burned through out building. There
was no stage, no lighting rig, and no elaborate sound system. The focal point of the
church was the 20-foot crucifix that hung behind the podium in the center of the front
wall. Men in robes walked up and down the aisles until finally congregating near the
main podium. The people around me displayed some interesting behavior. While some

members of the congregation chose to chat with one another, some were already keeling
and praying. This was a sign, a precursor of what was to come.
I felt like my presence in the church was offensive to the congregation. I felt as
though they knew I was not there to pray and worship Jesus. They knew I was using
them, using them to benefit myself and not them. I felt guilty sitting in the pew, taking up
space. Part of me felt as though I should stand in the back and let a real member of the
congregation take me seat. I was reminded greatly of Barbra Pyms novel, Less Than
Angels in which one of the characters, an anthropologist, attends a Christian church
service and sits in a pew that is generally reserved for a specific member of the
congregation. His scientific or anthropologic interest in Christian services did not justify
him taking a real and devoted congregation members seat. My right to knowledge and
my right to learn did not completely validate me taking up space in a relatively cramped
church. Despite all of this, I had to dismiss my guilty feelings for at least a little while
the service was starting and the doors had been shut.
Though my first experience at St. Charles Borromeo Catholic church was
frightening and full of surprise at first, after attending services many times I soon learned
the precession of events in the service was knew what to expect. Because of this, I
stopped taking notes with as great intensity as I initially had and began to act as a regular
member of the congregation. This too frightened me greatly. I had not intended to
become a Christian, nor had I intended to involve myself emotionally with the church. I
wanted to be detached, distant, and analytical. Though I would not say that I was
converted, I definitely developed a stronger connection to the church. While I felt as
though I was becoming a full fledged member of the congregation, there were still many

aspects of my experiences at St. Charles Borromeo that inhibited that. For instance, I
never accepted communion, the practice of expecting the body and blood of Christ. In a
sense, I needed this barrier to remain a decisive, withdrawn, ethnomusicologist.
Moreover, I needed a reason to not overtly become a member of the congregation.
Regardless of how well I was following the service or engaging with members of the
congregation, the act of communion proved to be an unambiguous reminder: I am not
ChristianI do not accept the body and blood of ChristI am not an actual member of
this congregationI am an ethnomusicologist.
The music I experienced at St. Charles Borromeo was very interesting. Each
week, upon arrival I was handed a pamphlet that contained the directions for the days
prayers, and book of songs. A choir sang from the back of the church on a balcony and
was often accompanied by an organist. They were essentially invisible. The music was
entirely hymnal. The low tones of the organ filled the room and our voices added little
bits of color to the sound. Throughout each service, a member of the choir would come to
the front of the church and sing a solo piece or lead the congregation in song. While the
choir appeared to be comprised of highly skilled singers, it was clear that the
congregation was not. Though we were given sheet music to follow along with, most of
the congregation elected to perform what felt closer to a chant than to sing. Those who
did sing did not embellish on the established harmony in any way. Through out the
duration of the songs, members of the congregation looked down, opting not to project
their voice into the church. The music was never addressed. No thanks or
acknowledgment was given to the talented vocalists or accompanying instrumentalists
after they delivered what seemed to be an excellent performance. The service simply

proceeded without any reflection. The music did not seem to truly engage the church.
Throughout my experiences working at St. Charles Borromeo, I never saw anyone dance,
sway, bob or perform any other kind of physical behavior that would signify that they
were aware of the musical performance occurring in front of them. Members of the
congregation did not display any independent interest in the performed music, nor did
they seem amused by it. The congregation simply did what they were told: they knelt
when they were told to kneel; they stood when they were told to stand; and they sang
when they were directed to sing.
Despite the almost reluctant nature of the congregation, there was something very
beautiful and powerful created in St. Charles Borromeo. The mood of St. Charles
Borromeo is unassuming. While virtuosic singers perform in the church, they are not
looked at as idols or important figures. The focus remains on Jesus Christ and the
importance of his miracles. While there was a great deal of singing, there was not a
distinct or specific interest in the performance. I ascertained this in many ways. Firstly,
unlike what I had experienced at Sherwood Oaks Christian Church, a hymn sung by the
choir, or a solo piece, never warranted applause from the congregation or
acknowledgement from one of the elders. A performer vs. audience dynamic was not
present at St. Charles Borromeo. Second, the live sound reinforcement system at St.
Charles Borromeo was not nearly as elaborate as the live sound reinforcement system
used at Sherwood Oaks Christian Church. The live sound reinforcement system at St.
Charles Borromeo consists of a few wired microphones, basic preamplifiers, a few power
amplifiers and a low-end line array of speakers. The quality of the live sound system was
so poor, it was hard to localize the performers due to confusion brought on by improperly

delayed loud speakers. The low quality of St. Charles Borromeos live sound
reinforcement system demonstrates a lack of interest in the performance.
The simple fact that the singers voices are louder is satisfactory. The leaders of
St. Charles Borromeo Catholic Church are not looking to create a spectacle out of the
music. Instead, the music that I experienced at St. Charles Borromeo Catholic Church
demonstrates an entirely new function of contemporary and non-contemporary Christian
music in a Christian worship setting.
The music that I experienced at St. Charles Borromeo Catholic Church functions
to unify the congregation and to solidify their prayers. This was indicated to me in many
ways. The first indication came when I was able to actually read the sheet music that
went along with the songs we sang as a congregation. Upon reviewing the songs, I
realized how simple they were with respect to their composition. The simplicity of songs
makes sense: these songs are meant to be sung by a congregation that is not necessarily
comprised exclusively of virtuosic musicians. The songs are fairly rudimentary, allowing
non-virtuosic musicians or people with varied musical backgrounds the ability to join in.
The songs can be considered simple or elementary in a number of ways. Firstly, the songs
are more often than not scored in familiar key signatures with meters of either 2/4 or 4/4.
Second, the melodies are short and highly repetitive. Furthermore, the melodies do not
feature challenging intervals. Each melodic line usually ends in a half-note. This is a
particularly interesting compositional technique. Because the melodic lines are closed
with a sustained half-note, finding ones place in the song is relatively easy. Following
the songs is made increasingly easy due to the fact that the lyrics are printed in the
songbook under the music. As someone with the ability to read western classical notation,

these songs were incredibly easy to sing with having no previous experience with the
melodies. Furthermore, as someone who prefers to learn by ear, the repetitive nature of
the songs, along with their basic compositions, makes these songs especially easy to
master.
If one of the functions of contemporary and non-contemporary Christian music in
a Christian worship setting is to unify the congregation and their prayers, providing the
congregation with simple, easy to learn music would be highly effective. These songs are
designed for mass appeal and bare minimum prior exposure to music in any way.
Moreover, these songs are designed to unify a congregation and their prayers so much so
that songbooks, specific to that weeks service, are distributed. Even moreover, the
congregation is lead by a choir. However, the choir is not seen nor is it a focal point of the
service in any way. The choir serves as the unseen guiding voice, aiding the congregation
in their song and prayer. The loudness of the choir is even overpowered by the voices of
the congregation. Using music to unify a congregation is a notion that is in line with
some of the values of Christianity, one of which being a desire to congregate.
In reflecting upon my informal interview with Michael, I remember him telling
me how much God appreciates a congregation. He told me it was the reason for
congregationthat God is pleased to see his flock in one place, praying together. It is
important to God that his people pray together, that they sing out, with one solidified
voice.
Though I was pleased with my experiences at St. Charles Borromeo Catholic
Church and felt that I was able to learn a great deal from the congregation and the church
respectively, I was becoming increasingly interested in all of the different ways in which

contemporary and non-contemporary Christian music could function in a Christian

worship service. (Though this is not to say that more time spent with the people of St.
Charles Borromeo Catholic Church would not lead to an equally fruitful and fulfilling
findings.) However, considering the short duration of this project, I made the decision to
switch to a different church that celebrated a different denomination of Christianity.
Again, at the recommendation of a friend, and due to its close proximity to my home, I
decided to finish my research at Trinity Episcopal Church, located on the corner of Grant
and Kirkwood in Bloomington, Indiana.
Trinity Episcopal Church is beautiful church located near Bloomingtons down
town. Though the church initially did not appear to be any different from St. Charles
Borromeo, my first visit and experience worshiping with the congregation of Trinity
Episcopal Church was not quite like my experience worshipping at St. Charles Borromeo.
Upon arriving at Trinity Episcopal Church for the first time I was quite nervous. Its small
size lends itself well to an intimate service, and I was fearful that my outsider presence
would be obvious to the congregation. Nervously, I waited outside for a swarm of people
to walk in, providing me with some cover. The swarm of people to hide behind never
came. Instead, a clergyman stepped out. As he walked towards me I was full of anxiety
nervous he was going to ask me to not loiter in front of the church. Instead he walked
past me and struck up a conversation with a homeless woman who had been sitting on a
bench behind me. The two discussed something about gardening, said their goodbyes and
the clergyman walked around to the other side of the building. This was a momentous
occasion in my research and is reflective of the discourse of my research at Trinity
Episcopal Church. In general, Trinity Episcopal Church was not concerned with my

presence in the church but more so concerned with poverty in the town and preaching the
morality, and goodness of Jesus Christ. This is not to say that the Sherwood Oaks
Christian Church and St. Charles Borromeo do not aim not help the poor and preach the
morality and goodness of Jesus Christ but only said to convey a feeling of acceptance I
felt in my experience at Trinity Episcopal Church.
The performed music at Trinity Episcopal Church was much like the performed
music that I experienced at St. Charles Borromeo, only slightly improved in a few ways.
First, though not more complex, the live sound reinforcement system used by Trinity
Episcopal Church was of a higher quality and clarity than the system used by St. Charles
Borromeo. While I do not intend to critique not to compare the skill and virtuosity of the
two respective choirs, I will say that the congregation of Trinity Episcopal Church sang
with an increased gusto and power. The people of Trinity Episcopal Church sing outward,
not facing the floor. Though the congregation of Trinity Episcopal Church is given
songbooks that are almost identical to the ones circulated at St. Charles Borromeo, it
appeared that I was among the only people to require one. The congregation of Trinity
Episcopal Church sang outward because they have these songs memorized. Mothers, in
the middle of consoling their crying infants, took a break from cooing and lulling their
child to sleep to sing, though often softly and in a soothing voice into their childrens
ears. I have a distinct memory of a time I lost my place in the songbook, which was most
likely due to note taking. As I began flipping through the songbook a man sitting a few
seats down from me leaned over and I gave me his songbook which had been turned to
the correct page. The generosity and kindness of this man served to be a contributing
factor in determining the third function of contemporary and non-contemporary Christian

music in a Christian worship setting. It was important to this man that I, a stranger in his
community, am able to participate in song. That is true not only because he values
Christianity and understands the significance of praying in a congregation, but because he
places worth in musics ability to celebrate Jesus Christ. Herein lies my final theory on
the function of contemporary and non-contemporary Christian music in a Christian
worship setting.
After spending time among the people of Trinity Episcopal Church and attending
their services, it is my belief that the Christian music I experienced at Trinity Episcopal
Church functioned to celebrate Jesus Christ. For Easter services, I attended Trinity
Episcopal Church with Lindsey and her family. The service proceeded like every other
service expect for the increased attendance. Reverend Charles Dupree however delivered
a particularly interesting sermon. He spoke on the idea that when Jesus Christ was born,
it was akin to the birth of many. There was no fanfare and no music. Later in Jesus life,
when he was resurrected, there was no music nor was their fanfare. Reverend Charles
Dupree went on to describe exactly how covertly Jesus escaped the guards surrounding
his tomb. Reverend Charles Dupree concluded his sermon by stating that we, the
congregation, Christians, are Gods trumpets. He informed us that it is our
responsibility to make music, to sing, to celebrate Jesus simply because we can and
because in Jesus life he was not celebrated. Music functioning as a form of celebration is
subtle and hard to detect. This is true because in fact, the music that I experienced at
Trinity Episcopal Church was not exclusively celebratory. The music also entertained the
congregation, it served as an allure, and it unified them and their prayers. Contemporary
and non-contemporary Christian music in a Christian worship setting can function at the

direction of the congregation. If it is the prerogative of the congregation for their songs to
be interpreted and to function as a celebration of the life and feats of Jesus Christ than it
simply does. Though some songs or hymns are used for specific prayers or at specific
moments in the service, the songs and hymns themselves do not retain any inherent
meaning. The function of the songs is at the discretion and direction of the church
leaders.
I began this project with undefined intention and limited knowledge. Immediately,
I became enthralled with the subject. A music that perplexed me as much as it bored me
was sought after and desired by so many people. I had to learn why. My experiences at
the Sherwood Oaks Christ Church showed me how music can entertain a congregation.
My experiences taught me how valuable entertainment is to a society and how necessary
it is even in religious practice. My experience at St. Charles Borromeo Catholic Church
showed me how music can unify a congregation and their prayers. I learned the
importance of tradition in Christianity and the significance of a certain second-ness to
God. My experiences at Trinity Episcopal Church showed me how music can be used to
celebrate the life and miracles of Jesus Christ. Moreover, I learned that the function of
music is a choice more so than a rule, that the function of Christian music in a Christian
worship setting is a responsibility of the congregation and the church as a community.