This book is an investigation of church music through the lens of performance theory. Scholars who address religious music making in general, and Christian church music in particular, use "performance" in a variety of ways, creating confusion around the term. A a systematized performance vocabulary for the study of church music can support interdisciplinary investigations of Christian congregational music making in today’s complex, interconnected world. From the perspective of performance theory, all involved in church musicking are performing, be it from platform or pew. The book employs a hybrid methodology that combines ethnographic research and theory from ritual studies, ethnomusicology, theology, and church music scholarship to establish performance studies as a possible "next step" in congregational music studies. It demonstrates the feasibility of studying church music as performance by analysing ethnographic case studies in a developmental framework based on the concepts of ritual, embodiment, and play/change. This book offers a fresh perspective on Christian congregational music making. It will, therefore, be a key reference work for scholars in Congregational Music Studies, Ethnomusicology, Ritual Studies and Performance Studies, as well as practitioners interested in examining their own church music practices.