If you think the song in the OP is "trash" I'm afraid you have no idea what the world is singing about. It's like you have never heard of Nicki Minaj or something. If singing about self-sacrificial love is "trash" I'm afraid you have left your prior fellowship for the wrong reasons.
I’ve never heard of Nicky Minaj. I have heard of St. Ephraim the Syrian, St. Romanos the Melodist, the Syriac Orthodox composer St. Jacob of sarugh, who was not Eastern Orthodox but whose Aramaic-language hymns are very very beautiful, especially his metrical homily on the Eucharist, Haw Nurone, which is I believe entirely compatible with Eastern Orthodox Eucharistic theology (since the Syriac Orthodox like the Eastern Orthodox believe in the real presence of Christ in the Eucharist), and among more recent composers of liturgical music, I am familiar with the famous Western composers from the Renaissance on, such as Palestrina, Byrd, JS Bach and his sons, especially CPE Bach, whose Requiem mass is exquisite, Schubert, Charles Wesley, S. Sebastian Wesley (a grand nephew of John and Charles Wesley) and more recently, George Dyson, Herbert Howells, Vaughan Williams, Healey Willan, CV Stanford, T. Tertius Noble and Francis Jackson, who died last year at the age of 104, and John Rutter, who is still composing, and among Eastern composers, in addition to the well known Tchaikovsky and Rachmaninoff, several composers more specialized in church music such as Dmitri Bortniansky, Pavel Chesnokov, Artem Vedel, Alexander Archangelsky, Alexander Gretchaninov, and more recently among Church Slavonic composers, Roman Hurko and Kurt Sander, and then on the Greek side, Tikey Zes, who recently reposed, and Michaelides, and the Estonian Orthodox composer Avro Part, who has composed Orthodox and Western liturgical music as well as sacred classical music, in which category George Fredrich Handel also deserves mention for his oratorios such as The Messiah, which is an exquisite piece of music about the life, passion and resurrection of Christ our True God, and also the Armenian composers Komitas and Yekmalian, who composed the most beautiful and most widely used settings of the Armenian Apostolic liturgy (I prefer Komitas, but Yekmalian is more frequently used; there is also a simplified version by a composer whose last name is Manas if I recall, the Armenians are Oriental Orthodox like the Syriac Orthodox, but benefitted from the work of Komitas and Yekmalian in the 19th century who were brilliant composers and ethnomusicologists, whose work helped to preserve traditional Armenian music while also enhancing the quality of the liturgical service). Of course the identities of most Orthodox composers are lost to history; I have no idea who came up with the classic Byzantine melody for the hymn known as the Trisagion, which is also used by the Oriental Orthodox, specifically the Coptic Orthodox of Egypt, who incorporated it into their idiosyncratic system of melismatic chant known as Tasbeha.
Byzantine Chant was also the basis for Gregorian Chant, Ambrosian Chant and Syriac Chant, and various eight tone , all of which use eight modes, a system inherited from Byzantine Chant. Without Gregorian chant, we wouldn’t have four-part harmony as it emerged in the Renaissance, still using the eight modes inherited from Byzantine Chant. Without four part harmony, we wouldn’t have tonality. Without tonality, we wouldn’t have Baroque music such as Monteverdi, Schutz, Buxtehude, Bach, Handel, Vivaldi and Bortniansky. Without the Baroque composers, we wouldn’t have Classical and Early Romantic composers such as Haydn, Mozart, Beethoven, and Schubert. And without them, we would not have the great 19th and early 20th century composers like Wagner, Tchaikovsky, Brahms, Rachmaninoff, Prokofiev, Sullivan, Elgar, and without them we wouldn’t have 20th century music, we wouldn’t have the folk music of Latin America such as the Tangos of Australian composer Astor Piazzola or the Sambas of Brasil, African American spirituals, the Blues, Dixieland, and Jazz music which derived from them and from Latin styles, and we wouldn’t have swing music like Artie Shaw and Glenn Miller, and without them we wouldn’t have popular music, since rock n’ roll started as a degenerate reaction to the elegant swing music, based on the Blues, just as later forms of popular music reacted against the early rock music, and CCM wouldn’t exist.
So CCM and Praise and Worship music as I see it provides a thin layer of trite, emotional Christian lyrics of a predominantly German Pietist theological orientation onto musical forms like Hard Rock, Classic Rock and other styles, which either are degenerate offshoots of the Blues, or reactions to or against those, composed by overpaid “Rock Stars” who embraced a decadent drug-fueled lifestyle, often dying young, and there is some reason to believe the record companies want it that way, in that rock stars are actually more profitable dead than alive due to the distribution of royalties in their contracts, and it is clear that the inner circle of Elvis and Michael Jackson, among others, supplied them with addictive and dangerous medication and in the case of Jackson, a quack doctor who provided him with stimulants and anesthetics, which he was not qualified to administer since he was a cardiologist and not an anaesthesiologist, but I digress.
The Orthodox Church has been singing about the self-sacrificial love of our Lord, God and Savior Jesus Christ since the year 33 AD, and we do it with music composed entirely by members of the Church (with some influence from Second Temple Judaism) within the context of Christianity. Indeed our music is so good that the Muslims ripped us off; Islamic music is derived from Syriac, Coptic and Byzantine Greek music, right down to its "borrowing" of our eight tones. And in a sense, CCM is a degenerate distant descendant of Byzantine Chant, since CCM requires four part harmony and tonality to exist, and those would not have been developed were it not for the foundation provided by the eight modes and the experiments with polyphony in the Renaissance.
And polyphony would not have happened had it not been for the Orthodox Christian invention of antiphonal music, which was implemented by St. Ignatius the Martyr in Antioch, of which he was the third bishop (the first was St. Peter the Apostle, who was BIshop of Antioch before he moved to Rome and founded the Roman Church together with St. Paul and his disciple St. Mark the Evangelist, who in turn founded the Church of Alexandria). St. Ignatius had the idea for antiphony when he dreamt of two choirs of angels singing in turns, responding to each other in praise of God.
And speaking of self-sacrificial love, St. Ignatius had such a love for Christ and for his flock that he submitted to arrest by the Roman authorities in Antioch, protecting members of his church from being arrested and put to death by offering himself in their place, and then during the long process of imprisonment and transportation to Rome he wrote epistles to several major Christian churches, providing doctrinal instruction, and urging them, among other things, not to try to rescue him or interfere with his pending martyrdom. "Birth pangs are upon me" he wrote, imploring the members of the Church in Rome to "Suffer me to become human."
