My wife is a big fan of contemporary Christian music (CCM), and has listened to it as long as I’ve known her—about 22 years. I’m a fan, too, I suppose, although at a much more “socially acceptable” level than she is. (I just had to say that.) Basically, she introduces me to new songs, albums, and musicians—some of which I wind up enjoying, others not so much.
Our transition from evangelical to Catholic has shed light on the role of music in one’s faith tradition. (It’s also gratefully revealed little that’s distinctively Protestant about most CCM.) For many evangelicals, CCM is a hallmark of their cultural consumption patterns. Sure, there are different tastes and preferences, from the cheesy to the edgy, from the very to the barely (Christian). But one fact seems pretty clear: most performing artists in the CCM world run with evangelicals, so far as I can tell. Very few are Catholic. Why is that?
My best guess at an answer is three-fold. First, CCM’s origins are evangelical, and thus—speaking sociologically—there probably weren’t many “cross-cutting social circles” in its development. That is, when a brand new—or in CCM’s case, a hybrid—cultural form emerges among one group of people, it won’t likely emerge similarly among a different group if social ties between members of the two groups either don’t exist or aren’t strong. So the first part of the answer is rooted in older patterns of sociality; that is, historically evangelicals and Catholics haven’t socially interacted all that much, curbing the likelihood of diffusing cultural forms between them.
This is similar to the reason why country music is a largely Protestant thing as well. If you look at a map of religious affiliation distinctions across the US, Nashville—the CCM and country music capital of the world—is smack in the middle of a very Protestant state (and region). This is probably the primary reason behind the lack of diffusion of CCM.
A second (more interesting) part of my answer/guess is rooted in [Read more…]