14 Higgins ⦁ Anglo-American Psalmody Example 4: Belknap, “Pine-Hill” from The Harmonist’s Companion (1797), mm. 1–4.85 Example 5: Pilsbury, “Kedron,” from The United States Sacred Harmony (1799).86 Concerning how these discussions impact the present day, Douglas Bond uses language such as “entertainment ethos,”87 “sentimental dishonesty,” and “cheap-perfume variety” to discuss the conditions of Christian worship music since the late 1990s.88 His argument that CCM takes “a theologically reductionist path…[to] bow to commercial interests” 89 may be compared to how the liturgical qualities of the Catholic church were replaced with “simpler settings of English texts”90 or to the revitalization of church music under the direction of Isaac Watts and his followers, opposing the work of Sternhold and Hopkins. The use of the word “entertainment” follows with an implicit understanding that CCM 85 Belknap, “Pine-Hill.” 86 Pilsbury, The United States Sacred Harmony, 67. 87 Bond, God Sings, 31. 88 Bond, God Sings, 109. 89 Bond, God Sings, 114. 90 Atlas, 545.
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