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In the ensuing decades, the phenomenon is known as “praise and worship music” or “contemporary worship” has seen its share of developments. Shifting boundaries and exposure to peoples from the Nations are interacting with one another in dynamic and fluid ways.
Buddhist temples and Muslim mosques, once located on the other side of the world, have found dwelling places in the west. A new configuration of culture is waving their ways into the warp and woof of North American society. Interfaith worship music services are one of the many indicators of globalisation’s interactive principle of reflexivity. No longer is the global village at your doorstep, but the nations have moved in and are dwelling among everyone. Music is a universal language.
The emergence of global church music simultaneously exposes them to multiple new musical cultures and connects to families and a people’s original local faith community on the other side of the world. The values of liturgical music and religious songs are to encourage participation and build community while giving praise and thanks to a higher power. As belief in a higher power, the ability to create and comprehend music is a defining feature of humanity. Traditional liturgical music is characterized by organs and harmony.
Religion will continue to play a role in the evolution of outdoor music worship services. The church is at a crossroads, wherein, as Stackhouse correctly points out, local communities need to be prepared for what is happening and to decide whether to resist or embrace it. Global Christian music is defined as any music found in the Christian Church worldwide. It specialises in cultural music from the non-Western world where songs are often sung in vernacular languages and performance practices remain fairly loyal to their surrounding music traditions.
Music is intimately bonded to people, functioning as an expressive element of each particular cultural grouping. When the church gathers together in worship, each group of people brings heart music, the set of musical genres that speak to them in insignificantly profound ways. This means that when multicultural groups gather in worship, the need exist to enter into worship that is meaningful for them. With the increasing entry of non-Western peoples into the Christian Church, no single universal music style is adequate.
With western music as the broad historical base for worship, the ancient texts of the Christian faith will not change. Yet God’s Word and faith statements are being expressed in a broadening area of cultural music styles and performance praxis. It is critical for the church at worship to realise that global Christian music provides a platform for creating unity amid diversity. Every Church devotes a large portion of time to musical worship.
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