I’m convinced that labeling worship isn’t helpful. It puts our gatherings in boxes that they aren’t meant to be in. It creates the illusion that our assemblies are homogenized and that we can get away with using one genre or style that reaches and represents everyone. We should be able to design and implement any order of service with a full, robust toolbox of resources that draw from the best the church has to offer from all time and traditions.

This is why I have issues with labeling worship “contemporary.” It suggests a genre of music, and perhaps a philosophical approach, but is too vague. I’m growing to appreciate the work of C. Michael Hawn in identifying different streams of song in the church today. You can go knee-deep in this idea in his article from The Hymn, “Streams of song: An overview of congregational song in the twenty-first century.”

Here are the seven streams he identifies:

Stream 1—Roman Catholic Liturgical Renewal Song

Since the Second Vatican Council (1962-1965), Roman Catholics have been finding their voice. This voice is diverse ranging from folk and classical song to African American gospel and various Latino styles. Many of these songs may be found in most Protestant hymnals, adding vitality to liturgy. Some of the key names include David Haas, Michael Joncas, Marty Haugen, James Moore, Cesáreo Gabaréin, Omer Westendorf, Delores Dufner and many more.

Stream 2—Contemporary Classical Hymnody

These are the hymns that follow in the tradition of Isaac Watts and Charles Wesley. Their themes range from creation, ecology, mission of the church, social issues, to worship and the arts. Some of the most important names include Fred Pratt Green, Timothy Dudley Smith, Brian Wren, Carl Daw, Jr., Tom Troeger, Ruth Duck, Shirley Erena Murray, Mary Louise Bringle, and many more.

Stream 3—African American Gospel Song

This streams includes major African American voices including Andraé Crouch, Doris Akers, Margaret Douroux, Edwin Hawkins, James Cleveland, Kirk Franklin, and more.

Stream 4—Urban Gospel Song

Urban Gospel Song writers are represented by the Gaithers, John W. Peterson, and extensions of this song in the UK, Graham Kendrick, Stuart Townend, and Keith Getty.

Stream 5—Folk Hymnody

These songs use an acoustic musical idiom grounded in the folk and protest movements of the 1960s. The theological focus of these songs is on direct language, unvarnished frankness, a social consciousness, and a simple singability that allows everyone to participate.

Stream 6—Pentecostal Song

The roots of CCM/CWM may be found in the Pentecostal movement that began with the Azusa Street Revival (1906) on the west coast. Vineyard, Hillsong, and others.

Stream 7—Ecumenical Global Song

The twenty-first century church is the recipient of songs from the world church—signs that the overseas mission efforts of the 18th, 19th, and 20th centuries have born much fruit. The former mission fields are sending their songs back to the church in the West. More than two-thirds of Christians now live outside North America and Europe. They have been singing our songs for nearly two centuries and now we have the opportunity to reciprocate by singing the songs of the world church.