Abstract
In the recent study of Contemporary Praise and Worship (CPW), many studies have focused on musical repertory, including its text, music, and performance, as the foundational text(s) for theoretical analysis. In particular, scholars have relied on lists of the most popular songs that have been reported to Christian Copyright Licensing International (CCLI). This essay points out several critical weaknesses in the current overreliance on this methodology and instead contends for two underutilized methodologies—liturgical ethnography and liturgical history—that need to be developed in the scholarship. The essay argues that such a cultivation of methodology will enable the burgeoning scholarship on CPW to gain richer insight into the range of theological meaning expressed in CPW contexts.
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