Contemporary Christian music and post-secondary choral education: Culture, canon, and curriculum

Through the use of hermeneutic phenomenology, this study examines meanings and understandings surrounding Contemporary Christian Music (CCM) and its implications for the choral program and repertory choice of a post secondary, Christian choral education. When he first entered university, the researcher sensed a tension between the gospel song tradition that was used in his Evangelical church experience and the Western art music that was used in post-secondary music programs. More recently, the researcher has noticed that CCM has replaced gospel songs in many Evangelical churches, a trend that highlights the distance between Evangelical church music and post-secondary, Christian music education. The use of CCM has also created tension in many churches as it replaces gospel songs and hymns.;The areas of culture, canon, and curriculum were selected in an attempt to clarify and open up understandings surrounding Evangelical music and choral education. These understandings included the meaning and values of music, reasons for and the implications of canonicity, and what possibilities they offer for choral educators.;Twenty-four people, including six college choral directors, six church music directors, six church members, and six college students, were interviewed to form a discourse around the study's topics. These interviews were transcribed and, along with related literature, spoke to the issues in question.;The research offered some understandings and possibilities including. (1) choral music must take into account cultural realities and what meanings music has for its performers and audiences; (2) freedom from canonical control may offer both freedom and responsibility for musicians to make their own music authentically; (3) musicians should attempt to understand different canons and what meanings they have for people; (4) musicians should be open to other ways and practices of music making; (5) musicians should maintain a balance between the aesthetic, functional, and preferential qualities of music; (6) musicians should be aware of their individual musical centre, both to foster it and also to become free to open up to other music.