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Contemporary Christian Music and Oklahoma - HOL Y ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS By BOBBI KAY HOOPER Bachelor of Science Oklahoma State University Stillwater, Oklahoma 1993 Submitted to the Faculty of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE August, 2003 HOLY ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS Thesis Approved: ------'--~~D...e~--e----- 11 ACKNOWLEDGEMENTS My sincere appreciation goes out to my adviser. Dr. Jami A. Fullerton. for her insight, support and direction. It was a pleasure and privilege to work with her. My thanks go out to my committee members, Dr. Stan Kerterer and Dr. Tom Weir. ""hose knowledge and guidance helped make this publication possible. I want to thank my friend Matt Hamilton who generously gave of his time 10 act as the moderator for all fOUf of the focus groups and worked with me in analyzing the data. ] also want to thank the participants of this investigation - the Christian college students who so willingly shared their beliefs and opinions. They made research fun r My friends Bret and Gina r.uallen musl nlso be recognii'_cd for introducing me !(l tbe depth and vitality ofChrislian music. Finally. l must also give thanks to my parents. Bohby and Helen Hoopc,;r. whose faith ,md encouragement enabled me to see the possibilities and potential in sitting down. 111 - TABLE OF CONTENTS Chapter Page 1. INTRODUCTION Overview ofThesis Research Problem 3 Justification Definition ofTerms 4 [I. LITERATURE REVIEW 5 Theoretical Framework 6 Uses and Gratifications 6 Media Dependency 7 Tuning In: Popular Music Uses and Gratifications 8 Bad Music, Bad Behavior: Effects of Rock Music 11 The Word is Out: Religious Broadcasting 14 Taking Music "Higher": ('eM 17 Uses & Gratifications applied to CCM 22 111. METHODOLOGY 24 Purpose of the Study 24 Research Approach Selection of Subjects IV Chapter Page III. METHODOLOGY ~~ Procedure for Collection of Data ~6 Data Analysis 27 Limitations :28 IV. ANALYSTS OF DATA 30 Introduction 30 Findings ~o What are characteristics of CCM listeners and their listening habits? 3 I How do attitudes toward CCM differ from popular music? 36 How does CCM impact the implications of praise and worship? 4~ What are the Uses and Gratifications of Christian Rock Music? 4X v. CONCLUSIONS AND RECOMMENDATIONS 51 Conclusions 51 Recommendations ) 7 Implications 58 REFERENCES (lO APPENDIX A: Moderator's Guide (14 APPENDIX B: Focus Group Q& A () 7 APPENDIX C: IRB APPROVAL III v LIST OF TABLES Table Page .. , l. Influence of College Students' Christian Music Listening .L) II. College Students' Favorite Christian Artists and Styles 36 VI CHAPTER 1 INTRODUCTION Music is a considerable influence on our society. From education to entertainment, from head-banging mosh pits to hand-raising worship, music in one form or: another is a part of our lives. Popular music in parti~ular is pivotal in the lives of young peopk. Since its inception, rock music has captured the attention of the youth and has never let go. Because ofthe strong link between rock music and youth. the effects of rock music on teens have been the topic of numerous empirical studies (e.g .. Arnett d al .. 1995; Gross, 1990; Scheel et a1., 1999; Stack et al., 1994). Music is a very important fat:t'l of the development of teen subcultures. Empirical studies on music suhcultures such ::IS heavy metal and rap have been linked to delinquency, poor academic achievement, suicide, drug abuse and violent behavior (e.g., Forsyth et al.; 1997; Stack cl aJ.. 1'1114: Thompson & Lar:son, 1995). Contemporary Christian music (CeM) is the blending of rock music with the message ofthe gospel (Baker, 1985). CeM is attempting to appeal to widespread audiences through the sound of popular music but maintains uplifting and spiritual themes. The Christian media have moved beyond the polyester-clad faith healers and mascara-running testimonials. Where contemporary Christian music traditionally had been available only in Christian bookstores. it is now a fixture in well-known secular outlets like Wal-Mart, Target, and Blockbuster. Major record labels such as Warner 2 Brothers and BMG have purchased Christian record companies, while others including Virgin and Elektra have added Christian bands to their rosters (Gow, 1999). The total album sales of Christian music in 2001 were l3.5 percent higher than in 2000, while overall music industry album sales dropped about 3 percent (Donovan, 2002). Hundreds of Christian sites can be found on the Internet, and Z Music, a Christian rock channel. reaches 17 million homes, with videos indistinguishable from those on MTV except that the girls keep their clothes on and the messages are ethereal, not suicidaJ (Howard, 1992). Due to its continued growth and popularity, contemporary Christian music is worthy of study. According to Howard (1992), CCM is representative ofa large Christian subculture, and music is one ofthe ways society becomes evident to members of the subculture, as well as persons outside of that particular group. By examining the music of a subculture, something can be understood about its members. Tbe continued growth of CCM and tbe well-documented importance of music and radio to adolescence bring up many questions for research. Powell (1999). a professor of New Testament at Trinity Lutheran Seminary. conveyed "the somewhat strange universe of Christian rock offers a near-perfect laboratory for the analysis of issues arising out of the interrelationship ofreligion and culture - issues of vocation, of witness, of context. or medium and message" (p. 66). Although literature on CCM specifically is limited. research in religious radio broadcasting is abundant. However, these studies primarily concentrate on the history of the medium, audience demographics and evangelizing or preaching programs. Research on the effects of rock music on teenagers is also abundant, but Christian rock is omitted. In an attempt to begin to fill this gap in the literature, this 3 study will expiore the uses and gratifications of Christian rock music for Oklahoma college students. Overview ofThesis Chapter One includes a statement of the research questions governing this thesis. The author offers a justification for this study and discusses its significance to both Christian music industry and to academia in media uses and etTects. Chapter Two provides a review of literature related to this thesis. A description ot' the research methodology used for this study is included in Chapter Three. In addition. tl1e author discusses the population, sampling procedure. data collection and limitations. An analysis of data is presented in Chapter Four. Finally, in Chapter Five the author offers a discussion related to the findings and suggestions for further research. Research Problem The purpose of this study is to explore the uses and gratifications of Christian rock music for Oklahoma college students in regard to their Christian faith. The impact of CCM will be investigated through the following areas: how CCM impacts implications or praise and worship; how attitudes toward CeM differ from popular music: and identifying characteristics of CCM listeners and their listening habits. Justification: Importance ofThis Study This study is justified on the basis of the tremendous growth of Contemporary Christian Music and Christian rock music, specifically. In addition, CCM and Christian rock is virtually overlooked in scholarly research. With the importance of music to young people and the growth of CCM, an investigation colluding the two may provide valuable knowledge to mass communication research. The study is also justified on the basis of its 4 application of the uses and gratifications theoretical framework to Christian music. Thjs thesis should facilitate a greater understandi ng of the uses and gratifications associated with music-listening behavior. Definition of Terms Contemporary Christian Music (CCM): involves the pairing ofa Gospel message or Christian worldview with popular fOnTIS of music. Christian rock: popular music with a strong beat and a simple, repetitious melody with lyric content that involves a Christian worldview. Rapcore: rapped lyrics put 10 a heavy metal sound (Powell, 2002). Praise and Worship Music: Music that is used to offer praise to God by communicating through singing and prayer using a language of Jove. adoration and exaltation. Secular Music: Music that is connected with the world and its affairs; not religious or sacred; worldly. Mainstream popular music; music targeted to the general market. [ndie scene: Artists that market music on an independent label. Uses and GraHfications: how people use the media to ~rafifY their needs. 5 CHAPTER II LITERATURE REVIEW "eailliS all around. Iv show us what you have made. Command liS all to lall, when the music starts to play. Everyone from everywhere will shuw you their allegiance. BUl, the child o/God willfajthju/ly stand (all. " This quote from the song. '"Never Bow Down" by the alternative Christian band. Third Day, could be describing the unremitting presence ofContemporary Christian music. Regarded as the fastest growing form of popular music in the United States today. Contemporary Christian music (Price, 1999) is standing tall with no thoughts of bowing down any time soon. The genre is enjoying marked success in both music ~turt:s and ilt concert venues. as well as generating enough interest to sustain its own cablt- lelevisiull channel. In the face ofdeclining sales in overall music. Contemporary Christian and gospel music reached a new U.S. sales record in 2001, selling almost 50 million unit.'> and $1 billion in sales (Donovan, 2002). Where contemporary Christian music traditionally had been available only in Christian bookstores, it is now a fixture in well­ known secular outlers like Wal-Mart, Target, and Blockbuster. Major record labels such as Warner brothers and BMG have purchased Christian record companies. while others incl udi ng Virgin and Elektra have added Christian bands to their rosters (Gow.
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