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    “FAITH COMES BY HEARING”: A SOCIOLOGICAL ANALYSIS OF CHRISTIAN CONTEMPORARY MUSIC AND AURAL PIETY

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    Tepera_temple_0225E_13007.pdf
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    Genre
    Thesis/Dissertation
    Date
    2017
    Author
    Tepera, Courtney
    Advisor
    Bregman, Lucy
    Committee member
    Rey, Terry
    Watt, David Harrington
    Department
    Religion
    Subject
    Religion
    Music
    Sociology
    Bourdieu
    Contemporary Christian Music
    Evangelicals
    Pop Culture
    Protestant Christianity
    Worship Music
    Permanent link to this record
    http://hdl.handle.net/20.500.12613/2518
    
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    DOI
    http://dx.doi.org/10.34944/dspace/2500
    Abstract
    Over the past fifty years, Christian contemporary music has joined hymnody and psalmody as a major form of evangelical liturgical and devotional song. While the production and content of this genre have been explored by scholars, few studies have attended to the devotional use of the genre and its role in shaping the religious lives of American evangelicals. This project draws from several sets of data to address this matter: analysis of church-created worship music albums, listener testimonials on Christian radio websites, and focus group interviews of laity and clergy at four South Carolina churches. The data revealed that music is significant to their religious lives outside of church as a means of encountering God, managing emotions, and displaying spiritual capital. Inside churches, the music is used to create a sense of corporate identity that reinforces social bonds within the community and attracts newcomers. Drawing on the methodological framework of Pierre Bourdieu’s theory of practice and his work on social distinction, I argue that American evangelicals who listen to Christian contemporary music are engaged in aural piety, a set of practices, attitudes, and ideas invested in music that structure and evoke the experience of the sacred.
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