Discussion Questions

1. How do you decide what songs are more suited for congregational singing, and which are better performed by a soloist or small ensemble? Do you agree with the methods of analysis (p. 130-134)?

2. If songs can't be sung by a congregation, should we still use them? Why do we use them? What is the value in both?

3. In light of this chapter about congregational singing v. praise team performances, why is it important for worship leaders to choose the songs for their particular congregations wisely?

4. Do you agree with Bert Polman's thesis that “some P-W songs have the stylistic characteristics we associate with congregational hymns, and that other P-W songs have the stylistic features of choral or solo music"? Why or why not?

5. How important are the four criteria that Polman used- Range and Tessitura, Rhythms, Instrumental "Flourishes," and Formal Structure- for his analysis? Would you add or take away any of the criteria for determining whether something was or was not suitable for a congregation?

6. Do you agree with the results of the author’s analysis? Why or why not? Were you surprised by any of the songs in either category?

7. How does a congregation's musical knowledge (or lack there of) affect the selection of Praise and Worship music for corporate worship? Given this subject, what do worship leaders need to consider when selecting Praise and Worship music for worship? (Pg. 129) What does a Praise and Worship song require to be considered "participatory"?

8. Are there certain themes that are not acceptable to be used in Corporate worship? for example Lament, purity, doubting, spiritual gifts

9. Do you think certain demographics of the church are turned off by songs in higher or lower registers?