True and False Questions

1. Much of the tension built up on account of P-W taking over more traditional styles of worship are a result of stylistic preference by individual persons or groups of people who tend to idolize their own musical tastes. Answer: True (See top of p. 130)

2. Five different criteria were used in this chapter to examine the 77 songs to determine whether they were better suited for congregational singing or more appropriate for praise team performances. Answer: False (See p. 132)

3. Judging these 77 praise and worship songs to be suitable for congregational singing and others for performance by praise teams is the most important decision a worship leader must take into consideration. Answer: False (See p. 135)

4. P-W songs have become an important segment of contemporary Christian worship. Answer: True (See bottom of p. 136)

5. Humble musical characteristics are not needed to compose and perform true congregational songs. Answer: False (See p. 137)

6. The author was surprised that two-thirds of the P-W songs examined in this study actually qualified as congregational songs. True (Pg. 136)

7. There were three stages of analysis. False (Pg. 130-132)

8. Contemporary Worship Music (CWM) is only associated with the group of songs known as Praise and Worship (P-W). (answer: False, CWM consists of modern White gospel hymns and modern Black gospel songs, as well as classically oriented modern hymnody, mini-hymns from the Taize and Iona communities, and worship songs from the Third World.)

9. In the past, there was really no room for performance oriented music because congregational singing dominated former worship services. (answer: False. The church has always had room for fully communal congregational singing and for the musical gifts of trained singers in choral ensembles who "perform" more complicated music.)

10. Much of American congregational singing has consisted of hymns, or songs sung in the tune of traditional hymns. Answer: page 129

11. Hymns typically have a variety of metric structures in which consistent rhythmic patterns of accents are applied. Answer: page 132