||'Praise & Worship' (CCM) Music
|Written for congregational singing.
||Written for performance.|
|Words (hymn) and music (hymn tune) are interchangeable, yet the music submits to the words.
||No such flexibility, as the words are subsumed into the music.|
|Long shelf life: Good hymns last for centuries and are passed on for generations.
||Short shelf life: The most popular praise songs last a few years, rarely more than a generation.|
|Four-part harmony and wide musical range, contributing to vibrant congregational singing.
||Limited musical range; sung in unison style that does not lend itself to strong congregational singing.|
|Contains varying degrees of structure complexity derived from its strong musical heritage.
||Structurally weak ans the music is derived from simplistic popular form.|
|Values the interrelationship of melody, rhythm, and harmony
||Melody dominates the structure of the music
|Represents the liturigical heritage and choral tradition of generations: In this way, hymns are incarnational.
||Reflects an attempt to escape or reject that heritage: In this way, choruses are Gnostic.
|Reflects a normative understanding of culture; sees music as having inherent value and beauty, something good in and of itself.
||Reflects a relative understanding of culture; reduces musical forms to a utility, as means to 'reaching people.'
|Pipe organ friendly
|Natural acoustics work best
||Electronic amplification a necessity
|Uses poetic meters
||Poetry and meter not a concern
|Masculine & robust
|Maintains aesthetic standards
||Lowers aesthetic standards
|Antidote to the current cultural disorder
||Reinforces the current cultural disorder|
|Favored by churches with origins in the Protestant Reformation
||Favored by churches of more recent origin--"non-Reformation Protestant" churches.