Revised 06 April 2018
Why this blog topic?
Hopefully, what follows will lead the reader toward some understanding of my motivation in writing on the subject “Church Worship Music.” Music is an integral part of Christian worship that ought to unify the body of Christ. However, in our time it has become a divisive issue, primarily due to differing views on whether churches ought to use worship music that is “traditional” versus “contemporary” [rather misleading terms that actually foment disagreement; more on this later]. The subject is important and deserves attention, but difficult to discuss without reverting to positions of personal preference or mere tradition.
Disclaimer:
There is no such thing as a totally objective person. We all have biases, and to help you understand mine, here is a bit of insight into my background:
I was raised in a home that had a collection of 33 1/3 long play records of classical music (not hi-fi and a bit scratchy, but better than Edison’s cylinders). Our family regularly attended weekly church services that included hymn singing, and we kids took piano lessons. Rock music, in its early stages at the time, was not allowed in our home, but I did hear it elsewhere. While in university I acquired a modicum of musical education, and subsequently taught vocal music and served as a church choir director.
I have been privileged to attend many church services and concerts that included exemplary sacred music, and have been moved to tears by the ethereal beauty of European cathedral choirs, but have never been to a rock concert. I readily admit to a bias in favor of classical music and hymns but also appreciate other (though not all) types of music.
Music and talent
Music and musical talent are gifts from God. The ability to create and perform music, like other talents, is not equally distributed and requires training and practice to develop fully. Musical ability, like that of athletics, science, math, linguistics, or other fields is morally neutral and can be used for godly or ungodly purposes. High-quality music performed well affects the listener as well as the performer, and has great value:
Music is a higher revelation than all wisdom and philosophy. –- Ludwig van Beethoven
Music is the shorthand of emotion. –- Leo Tolstoy
Music is life itself. What would this world be without good music? No matter what kind it is. -- Louis Armstrong
Next to the Word of God, the noble art of music is the greatest treasure in the world. – Martin Luther
Music is a safe kind of high. -– Jimi Hendrix
Assumptions of the modern church:
In a relatively short period of time, America has experienced a sea change in church music. Many thousands of congregations now offer “contemporary services” usually characterized by minimal use of creeds and formal liturgy and replacing hymn singing with worship music, often accompanied by a “praise band.” Typically, the “praise band” appears on a platform at the front of the church space near screens that project only the lyrics of the songs sung.
These churches have made wholesale changes to their music and liturgy in an effort to remain relevant in a society that is largely ignorant of traditional church music and often treats the church as just another consumer product. Though not overtly stated, the decision to abandon “traditional” services in favor of “contemporary worship” often implies at least some of the following assumptions, which are worth pondering (I’ll offer responses to some later):
Worship music is a tool to attract people to church.
The unchurched will not like or respond to hymns or other traditional church music.
Any style of music is as valid for worship as any other style of music.
Younger people prefer pop-rock music, so it must be used to attract them to church.
The guitar is a suitable instrument to accompany singing by a large group.
People uneducated in music are unwilling or unable to learn about it.
The theology contained in traditional hymns has little to offer the modern church.
We cannot judge what types of music are “good” because music is purely a matter of individual preference.
Church growth should focus on young people, so others must adapt their musical tastes.
In nearly any field we should accept the advice of people educated or trained in that field, but church music is an exception.
Hymns are out of date and good ones are no longer being written.
People can be effectively taught new songs by singing along when the words (without notes) are projected on a screen.
The church has no role or responsibility in educating its people about what constitutes good music.
Worship and worship music
There is a problem with terminology in the modern church. Song leaders are called worship leaders (there is even a magazine titled Worship Leader), and time spent performing praise songs is referred to as worship time. When the keyboards and guitars begin to introduce the worship time congregants are urged by song leaders to “stand and worship” as if the part of the service preceding the time of singing was not worship.
Using the term worship to describe only the praise song portion of a church service obfuscates its true meaning. Worship is not limited to a time of singing, and in fact, extends far beyond the church service. The Apostle Paul saw this clearly when he wrote, “Therefore, I urge you, brothers and sisters, in view of God’s mercy, to offer your bodies as a living sacrifice, holy and pleasing to God—this is your true and proper worship.” (Romans 12:1). We can worship when pray, read Scripture, listen attentively to a choir or to a sermon, take communion, or act in accordance with His will during the week.
One of the principal ways we worship is through music, as these quotes confirm:
We should praise God with both word and music, namely by proclaiming [the Word of God] through music. He who believes earnestly cannot be quiet about it. But he must gladly and willingly sing and speak about it so that others may come and hear it. And whoever does not want to sing and speak of it shows that he does not believe it. – Martin Luther
The aim and final end of all music should be none other than the glory of God and the refreshment of the soul. – J S Bach
Worship [music] is a vehicle to open our hearts to God and respond to what He’s saying to us. -- Dave Bilbrough, worship leader and songwriter
Music is not intended to entertain, but rather to speak to the heart in preparation for the message from God's Word, to bring people to the place of decision. -- Bible Baptist Church, Brandon, Manitoba
Finally, as Dave Bilbrough reminds us, “Worship is not just what we do on Sunday, but is the outworking of our relationship with God.”
Singing
Singing, with an emphasis on melody and a purpose of praising God, is not a suggestion but a command throughout the Scriptures:
Psalm 9:2 -- I will be glad and rejoice in you; I will sing the praises of your name, O Most High.
Psalm 21:13 -- Be exalted in your strength, Lord; we will sing and praise your might.
Psalm 28:7 –- The Lord is my strength and my shield; my heart trusts in him, and he helps me. My heart leaps for joy, and with my song I praise him.
Psalm 33:2-3 -- Praise the Lord with the harp; make music to him on the ten-stringed lyre. Sing to him a new song; play skillfully, and shout for joy.
Psalm 95:2 -- Let us come before him with thanksgiving and extol him with music and song.
Psalm 98:4-5 -- Shout for joy to the Lord, all the earth, burst into jubilant song with music; make music to the Lord with the harp, with the harp and the sound of singing.
Isaiah 23:16 (ESV) -- Take a harp; go about the city, O forgotten prostitute [Israel]! Make sweet melody; sing many songs, that you may be remembered.
Isaiah 51:3 -– The Lord will surely comfort Zion and will look with compassion on all her ruins; he will make her deserts like Eden, her wastelands like the garden of the Lord. Joy and gladness will be found in her, thanksgiving and the sound of singing.
Ephesians 5:18b-19 -- ... be filled with the Spirit, speaking to one another with psalms, hymns, and songs from the Spirit. Sing and make music from your heart to the Lord,
Colossians 3:16 -- Let the message of Christ dwell among you richly as you teach and admonish one another with all wisdom through psalms, hymns, and songs from the Spirit, singing to God with gratitude in your hearts.
Hebrews 2:12 -- I will tell of your name to my brothers; in the midst of the congregation I will sing your praise.
Focus/Subject matter
The focus of all church music should be God alone. He should be the audience we are trying to please, rather than ourselves. Our singing should reflect our thankfulness, but should also acknowledge our reliance on Him as we endure life’s struggles, trials and temptations (as do the Psalms, 70% of which are estimated to come under the content of laments). The following quotes express these ideas plainly:
Make music to please God alone. We get caught up in whether music will appeal to the congregation, visitors, or folks we are trying to get to join the church. Focus on what God likes, that which is excellent in His perfect will and the rest will work out. -- Bible Baptist Church, Brandon, Manitoba [edited]
If worship is a response to God’s love, we need to remember what God’s love has done for us. - Nick Page, composer, conductor, and author
Honesty and truth-telling are vital because it helps us heal, helps us connect, makes us human instead of masked pretenders. One person’s honest story can be the medicine for another. To skip out on lament like we find in the Psalms is not only a great disservice but harmful to the human soul. -- Lisa Gungor, Christian songwriter and musician
The psalmist is brutally honest about the explosive joy that he’s feeling and the deep sorrow or confusion. And I often think, Gosh, well, why isn’t church music more like that? -- Bono, musician and lead vocalist of U2
A church that goes on singing happy songs in the face of raw reality is doing something very different from what the Bible does. -- Walter Brueggemann, O.T. scholar and theologian
If I’ve got non-Christian friends coming to church, I’d far rather give them four verses of comparatively heavy theology with some theological words which explain the Gospel, than give them twenty repeated words that could be said about your pet horse or your girlfriend. -- Keith Getty, contemporary hymn writer
Musical styles
Perhaps more than other any aspect of the church service, the question of what style of music to use can prompt disagreements or complaints and an unwillingness to compromise. Some people have strong likes and dislikes regarding church music, and their response to music they don’t like can be less than subtle. The following anecdote is an example of one person’s reaction to musical style in church:
When church music directors lead congregations in singing contemporary Christian music, I often listen stoically with teeth clenched. But one Sunday morning, I cracked. We'd been led through endless repetitions of a meaningless ditty called "Draw Me Close to You," which has zero theological content and could just as easily be sung in any nightclub. When I thought it was finally and mercifully over, the music leader beamed. "Let's sing that again, shall we?" he asked. "No!" I shouted, loudly enough to send heads all around me spinning while my wife, Patty, cringed. -- Charles Colson
To begin with, it is important to recognize several facts:
(1) A variety of musical styles is suitable for worship; there is not just one specific type that enables people to truly worship God.
(2) One person may sincerely worship through music of one style, while another is better able to worship using a different style.
(3) Many longtime church attendees are accustomed to, highly value, and dearly miss singing traditional hymns. In churches that use contemporary music, they often feel their church does not care about their desire to sing hymns.
(4) Some sacred music considered over time to be of excellent quality is likely better appreciated if the listener is musically educated. Without implying anything negative about people lacking musical training, there may be a parallel here to Paul’s comments regarding believers’ differing levels of understanding:
I gave you milk, not solid food, for you were not yet ready for it. Indeed, you are still not ready. – I Corinthians 3:2
(5) Many interpret Christian freedom to include the right to choose whatever type of worship music the individual prefers. As Henry David Thoreau said, though perhaps not meaning ‘drummer’ literally, “If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.”
(6) Musical ability is amoral, but musical forms and styles are not. Characteristics of some music styles are more likely to foster or hinder an atmosphere of reverent worship than those found in other types of music. Even if a broad variety of music is permissible in church, we should not assume all are of equal value. Some will want to argue this point by citing exceptions, but they do not negate the general rule. This brings to mind another observation made by Paul:
All things are lawful, but not all things are helpful. All things are lawful, but not all things build up. -- I Corinthians 10:23
(7) The primary objectives of the church should include honoring God, saving souls, and building up the body of Christ. This sometimes means subordinating personal preferences to the greater good. Those who feel imposed upon by a style not to their liking may want to consider what Paul wrote to the Philippians:
But what does it matter? The important thing is that in every way, whether from false motives or true, Christ is preached. And because of this I rejoice. Yes, and I will continue to rejoice. –- Philippians 1:18 [here he was talking about preaching, but the same may apply to music]
Rather, in humility value others above yourselves, not looking to your own interests but each of you to the interests of the others. –- Philippians 2:3b-4
The argument has been made that music cannot be categorized as sacred or secular; all music can be used for either purpose, provided the lyrics (words) fit the intended purpose. In a sense, saying all types of music can be sacred is like saying all styles of clothing can be sacred. Prescribing a single style of dress for church wear is hardly Biblical, yet even those who attend services in casual clothing tend to view some types of attire as inappropriate in church. As with clothing styles, the question we should ask regarding musical styles is:
Do styles exist in the world that do not fully honor God, and if so, to what degree should the church allow the fashions and fads of the world to influence what is accepted in the worship service? (see Romans 12:2)
Depending on the type of music one is accustomed to and enjoys, this question may seem provincial or legalistic. If that is one’s reaction, I suggest a follow-up question:
What characteristics of this musical style make it well-suited to honoring God?
Music Quality
As expressed in these Scriptural passages, we owe God our absolute best in all we do, including music:
You must present as the Lord’s portion the best and holiest part of everything given to you. – Numbers 18:29
... play skillfully on the strings .—Psalm 33:3b
Finally, brothers and sisters, whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable—if anything is excellent or praiseworthy—think about such things. – Philippians 4:8
I do not have information on the authors of the following comments (were the speakers short of fortitude? afraid of the worship leader?), but they certainly did not hold back on their criticism, though it may be at least partly deserved:
Modern Christian worship music is often mediocre, repeating the same four chords and expected words, using jargon not understood by those new to the faith. -– source unknown
Lyrics should be clear and meaningful and increase mindfulness of worship. Repetition and filler words (oh, oh, oh ... yes, yes, yes ... woahahoaha, etc.) focus on personal feeling and disengage the mind. -- source unknown
Although some repetition may serve a purpose, so many contemporary songs are overly repetitive that worshippers consider this normal. But would well-known hymns be better if they were re-written to include similar repetition? For example:
Amazing grace! How sweet the sound,
How sweet the sound, how sweet the sound, how sweet the sound
That saved a wretch like me!
I once was lost, but now am found;
Was blind, but now I see, now I see, now I see.
’Twas grace that taught my heart to fear,
And grace my fears relieved;
How precious did that grace appear
The hour I first believed! The hour I first believed! The hour I first believed! The hour I first believed! The hour I first believed! The hour I first believed!
Many so-called praise songs or worship songs are, musically, at about a junior high level. It is no more appropriate for the musically untrained to expect these songs to be predominant in a church service than it would be for the musically trained to insist on nothing but Bach chorales. -– source unknown
Consider the following comments from sources that seem to agree that much “worship music” is of mediocre quality,
How do you understand what good Christian music is? It ought to sound different from the rock station, the easy listening station, the entertainment music. When we sing gospel songs in the good old-fashioned way, they don’t sound like anything that the world sings. That’s the way we need to keep it. We can never speak of the love of God with ... bad music, the majesty of God with low-class music, the power of God with puny music, the wisdom of God with stupid music, the holiness of God with unholy music. -- Alan Ives (former rock’n’roller)
If you want to write a song about the romantic feelings you have for a gal, do it. If you want to write about Jesus, do it. But if you try to write a song that might be about Jesus or might be about romance, then you’ll end up with a worse Jesus song than other Jesus songs, and a worse romantic song than other romantic songs. – (Bobby Gilles, songwriter, and pastor, Sojourn Community Church)
Criteria for Evaluating Music: (Bible Baptist Church, Brandon, Manitoba - edited)
a) Words – Lyrics must be doctrinally correct and should focus more on God than on us and our experiences (words of many contemporary gospel songs over-emphasize love and nature). Avoid mundane repetition.
b) Melody - Melodies must be strong, clear and readily singable. Much contemporary music is performance oriented, using slurring and sliding between pitches and ornamental embellishments that call attention to the performer rather than the message. They should also be in a singable key (anything above high E flat is pitched too high for congregational singing).
c) Harmony - Harmony should show the creative ability of the composer/arranger. Avoid music that does not resolve, overuses chord clusters, or uses blues notes.
d) Rhythm - Rhythm should never dominate. Minimize syncopation; it creates tension (as does a driving beat) and if overused can call attention to the performer and music rather than the message. Accents should be on the strong beats (ONE-two-THREE-four), as opposed to weak beats (one-TWO-three-FOUR).
e) Form - Form should be logical, understandable, and show variety. Repetition of melody, harmony, or rhythm should be limited and creative.
Some things to consider: (in no particular order)
1. Traditional and contemporary are misleading labels. Because they are centuries old, Luther’s hymns that used popular tunes (the story that he used entire tunes sung in beer halls appears to be false) are considered traditional. Unless the composer is purposely imitating music from an earlier period, all music is contemporary when written. If it lasts long enough, it will be labeled “traditional.” In a church context, we have misapplied the term contemporary to mean a style of service or music patterned exclusively after the pop-rock genre. In addition, our culture constantly reinforces the idea that newer is better, and older is passe, and this mantra is applied (often subconsciously) to all music including church music.
2. In many churches, at least some congregational members are able to sincerely and fervently worship through the use of “contemporary praise or worship” music. Yet the time devoted to “praise” or “worship” songs in many churches consists primarily of performance by a “praise band” with limited congregational participation. Numerous congregants participate only marginally or not at all, often because they dislike the musical style or are put off by mediocre quality. Many times, worshippers and worship leaders who are enthusiastically engaged are unaware that for a significant number of others there is little incentive to join in.
3. I may love God, and I may have experience as a public speaker, so why doesn’t my church ask me to preach? The answer is simple: because I do not have the educational background or the Biblical expertise required to do so. Yet, churches regularly rely on persons with limited musical knowledge (sometimes pastors; sometimes lay people) to determine the style and direction of the music of the church.
4. I find it curious that when we want advice about sound medicine, we ask those educated and/or experienced in the field. The same goes for mathematics, science, law, theology, carpentry, plumbing, etc. Why then, is the selection of church music treated differently? It is very common for those educated in music to disagree with the use of “contemporary worship” music, yet it is not unusual for their voices to largely be ignored as churches move increasingly toward “contemporary” service formats and music.
5. Most issues regarding worship services are taken seriously, and major changes are made only after a considerable time of prayer and study of the Scriptural/theological basis for doing so. But when it comes to music, it is common to hear the glib comment, “It’s just a matter of personal taste.” This seems no different from saying, “Let’s just do communion however we want, it’s just a matter of personal taste,” or “Why don’t we eliminate the sermon? Seekers might like that better, and after all it’s just a matter of personal taste.”
6. With few exceptions, the words of good hymns can stand alone as theologically sound and intelligible expressions of the faith (in fact, many were written as poems before ever being set to music). Reading them without music makes sense and is often worth doing. The lyrics of many, if not most, contemporary praise songs do not demonstrate this level of quality or depth.
7. From time to time, congregations are asked to learn new songs. This is good and proper, irrespective of the style of music used in the church. However, in many churches the normal practice for introducing new songs is to display the lyrics (only) on screens and expect people to learn the melodies by somehow following the musicians on stage. Congregational members who read music, especially choir members, could help lead the singing of new songs if the melodies were on the screens along with the words. Many churches could enhance their congregational singing by doing so.
8. In my limited experience, I have heard numerous objections to CCM (contemporary Christian music), predominantly but far from exclusively voiced by older people. However, I believe the idea that older congregants simply dislike modern music is false. The concerns I have heard voiced center primarily around four issues:
(1) Objection to musically and theologically mediocre music.
(2) Complete rejection of hymn singing, and/or occasional hymn singing in which hymns are interspersed with or somehow modified to resemble CCM.
(3) The absence of an apparent connection between worship songs and the sermon topic of the day.
(4) A penchant for new music that excludes modern hymns.
High-quality worship music is still being composed (I disagree with Frank Zappa’s statement that “All the good music has already been written by people with wigs and stuff”) but in many churches is seldom heard, perhaps because leaders are unaware of the likes of John Ylvisaker, Stuart Townend, or Keith Getty.
9. In the Middle Ages most people were illiterate and could not read and understand the Scriptures, so were led to follow false doctrine. This changed when Martin Luther translated the Bible into German and people began to learn about its contents. The church then played a major role in education in large part so they could read the Scriptures. Today, most people are musically illiterate and unable to tell good music from bad. What is the church’s role and responsibility in raising the musical literacy of its people?
10. In church music, as in theology, we should, as Jesus did, “meet people where they are.” But Jesus did not leave people where he found them. Shouldn’t the church seek an opportunity to help worshippers improve the quality of their musical worship? Also, “meeting people where they are” might mean meeting them in the workplace, neighborhood, school, or anywhere we have the opportunity to “be Christ” to them and give them a reason to be interested in the source of our hope and love. “Reaching the lost” therefore may have little to do with church services, but everything to do with “equipping the saints” to evangelize Monday through Saturday.
11. It seems to me that services designed largely to make the un-churched comfortable will almost certainly make lifelong church attendees uncomfortable. Perhaps church services should feel rather foreign, or even odd, to those new to the experience. After all, people new to “church” are witnessing God’s people meeting Him in His house, which is at least a unique and awesome event.
12. Churches that opt against hymn singing (it seems reasonable to say that a church that excludes a practice that was the norm for hundreds of years is against that practice), often without thorough study or debate regarding such a momentous decision, are discarding a musical and theological treasure much of which has withstood the test of time and is included in hymnals for good reason. For example:
The words of the hymn “O Sacred Head Now Wounded” are generally attributed to Bernard of Clairvaux (1091-1153). In 1656, famous hymnist Paul Gerhardt translated the words into German and set them to a tune written in 1601. It was first translated into English by James Waddell Alexander in 1830. The harmony most often sung today was written by J.S. Bach in 1729. Contrast this with praise songs whose words and music are often composed by the same person in a matter of hours.
Appendix I: Pop-Rock Music
Note: Deadheads and other rock ‘n’ roll aficionados may not like what follows!
The explosive growth of Pop music in America was tied directly to the advent of radio and, later, television. As radio ownership became common, station owners recognized the tremendous income potential from the sale of advertising. Not surprisingly, the larger the listening audience, the more a station (or a network) could charge for airing commercials. Broadcasters thus made the rational decision to air what appealed to the broadest possible audience. Programs and music that required more than minimal effort or expertise to appreciate were unlikely to have broad appeal, so were aired infrequently (this explains why classical music stations have to depend on donations to remain on air).
The result of commercialization was music that was popular but of minimal complexity and often mediocre quality. This music, which featured simplistic melodies, rhythm, and repetition, became known as Pop (short for popular) music. It is essentially a musical form best described as trivial. Over time, Pop ( and later Rock) music came to dominate the airwaves and recorded music, resulting in a generation (and now multiple generations) familiar only with Pop music and often incapable of appreciating any other type of music. If Pop-rock is the only style of music with which one is familiar or comfortable, how can a person be expected to comprehend the beauty of “traditional” sacred music?
Pop music has greater power to change people and to affect people because it's a universal language. You don't have to understand music to understand the power of a pop song. – Paul Epworth, Grammy and Academy Award–winning musician, songwriter, and music producer
The term rock music covers a wide variety of styles. Pop-rock developed in about the mid-1950’s, expanded into psychedelic and hard rock in the 1960’s, and by the 1970’s spawned heavy metal. What began mostly as simple love songs morphed over time into a culture of “sex, drugs, and rock ‘n’ roll.” In recent decades, rock music has developed into a mega-business populated by “stars” many of whom (though not all) openly acknowledge their drug use and pagan lifestyles. There is a reason a news item that begins “33-year-old musician found dead of drug overdose” brings to mind a rock ‘n’ roll musician rather than a symphony violinist or an operatic tenor.
Those close to the rock music business have no illusions regarding the nature of modern rock, as evidenced by these quotes:
Rock ‘n’ roll is pagan and primitive, and very jungle, and that’s how it should be! The moment it stops being those things, it’s dead … the true meaning of rock … is sex, subversion, and style. (Malcolm McLaren, punk rock manager)
There is a great deal of powerful, albeit subliminal, sexual stimulation implicit in both the rhythm and [the] lyrics of rock music. (Dr. David Elkind, chairman of the Eliot-Pearson Department of Child Study at Tufts University)
That’s what rock is all about—sex with a 100 megaton bomb, the beat!” (Gene Simmons, of Kiss)
Rock ‘n’ roll is sex. Real rock ‘n’ roll isn’t based on cerebral thoughts. It’s based on one’s lower nature. (Paul Stanley of Kiss)
It's a noise we make. That's all. You could be kind and call it music. (Mick Jagger)
My true belief about Rock ‘n’ Roll is this: I believe this kind of music is demonic. A lot of the beats in music today are taken from voodoo, from the voodoo drums. (Little Richard)
Four characteristics are the hallmark of most rock music: (1) a heavy, primitive beat usually provided by a drummer (2) use of one or more guitars as accompaniment or as solo instruments (3) high volume coupled with over-balanced bass, which often increases as a song progresses (4) lyrics that are unintelligible or repeated to an excessive degree, for example:
(1) Nonsense lyrics:
As one might expect from the title, the chorus of “De Do Do Do, De Da Da Da” by the rock group The Police reads:
De do do do, de da da da
Is all I want to say to you
De do do do, de da da da
Their innocence will pull me through
De do do do, de da da da
Is all I want to say to you
De do do do, de da da da
They’re meaningless and all that’s true.
The chorus of Van Morrison’s “Brown Eyed Girl” reads:
Do you remember when we used to sing
Sha la la la la la la la la la la te da
Sha la la la la la la la la la la te da la te da
Sha la la la la la la la la la la te da la te da.
(2) Excessive repetition:
The song “I’m Your Captain” by Grand Funk Railroad uses the phrase “I’m getting closer to my home” over 40 times.
The chorus of the Grammy Hall of Fame song “Roxanne” by The Police reads:
(Roxanne) You don't have to put on the red light
(Roxanne) Put on the red light [repeat 9 times]
(Roxanne) You don't have to put on the red light
(Roxanne) Put on the red light [repeat 4 times]
To varying degrees, the key traits of rock music have crept into many churches via praise bands and their music,
Scripture encourages the use of various instruments (e.g. Psalms 33:2, 150:3-5), but makes no mention of drums. We cannot infer from this that drums are forbidden, but should be aware of the nature and effect of certain rhythm styles:
Perhaps of all the most basic elements of music, rhythm most directly affects our central nervous system. -- George Crumb
The rhythm in rock is the dominant part of the sound. The heavy emphasis on the beat is what distinguishes rock from every other type of music. -- Dr. Frank Garlock
It’s the beat that gets to you. If you like it and you feel it, you can’t help but move to it. That’s what happens to me. I can’t help it. -– Elvis Presley
Much good church music is available today. Why do we go to the world, the world's artists, and the world's philosophy of music in otherwise solid Christian churches? It may be because we are so inundated by the world's music we are unaware of how bad it is. Virtually every TV commercial and radio program is accompanied by rock music, and we let become immersed in music not naturally suited to worshipping God. -- Bible Baptist Church, Brandon, Manitoba [edited]
I am now convinced that God will not accept our worship when it is offered with music styles that are also used by pagans for their immoral practices ... He is a jealous God. If you grasp this principle alone, it will change forever the way you lead a worship service. -- Dan Lucarini, church musician and former worship leader
Appendix II: Contemporary Christian Music (CCM)
Note: Dedicated fans of “Contemporary Christian Music” may want to skip this section!
CCM style:
Contemporary Christian Music (CCM) often offers a blend of entertainment and a performance style intended to engender a feeling of being close to God. Wanting to feel close to God is admirable, and certainly there were Biblical characters who felt close to Him. But much CCM relies heavily on appealing to the emotions rather than on “renewing of the mind.” Most CCM is a compromise with worldly rock music, with its heavy beat (which is sometimes a backbeat) and emotionally driven style. CCM often lacks a sense of holiness or sacredness.
The characteristics of most pop/rock “worship” music (heavy dependence on strong drum beats, distortion of melody, excessive volume, repetitive chord sequences) both lower the musical quality and make the songs suited for performance rather than for reverent worship. In addition, the lyrics are often unintelligible when sung indistinctly and over-balanced by instruments.
Contemporary praise music is so successful ecumenically, so universally popular for three reasons:
(1) As a rule, it is not doctrinally strong and clear,
(2) It is the same rock music to which this generation is addicted (rock music is very powerful and moving in and of itself, and ... plays a large role in producing the emotional high that modern worshippers are commonly seeking)
(3) It represents the popular ecumenical philosophy of positivism and spiritual neutralism.
-– David Cloud (Way of Life)
Many techniques and songs of contemporary gospel musicians evolve from the philosophy that there are no absolutes in life, including music. We are influenced by musicians who copy the world's performance techniques and song-forms. -- Bible Baptist Church, Brandon, Manitoba [edited]
I don’t like the term worship leader. Some worship leaders have delusions of grandeur. Their job is to serve the congregation. -- Dave Bilbrough, leading UK CCM leader
Why do we idolize Christian singers and speakers? We go from glorifying musicians in the world to glorifying Christian musicians. It's all idolatry! Satan is getting a great victory as we seem to worship these ministers on tapes and records, and clamor to get their autographs in churches and concert halls from coast to coast. -- Keith Green, American Christian artist
CCM music:
Creativity can be used to stimulate, and contemporary music was the new thing. Now, most worship leaders are guitarists, and there is a risk of using the same praise and worship formula all the time. -- Dave Bilbrough, leading UK contemporary Christian music leader
Musically, contemporary “worship” songs are often difficult for the congregation to sing and tend to be performance songs. -- source unknown
I admit I prefer traditional hymns, but even so, I'm convinced that much of the music being written for the church today reflects an unfortunate trend—slipping across the line from worship to entertainment. Evangelicals are in danger of amusing ourselves to death, to borrow the title of the classic Neil Postman book. -- Charles Colson
But to be candid, I look at the majority of the music I hear today and think it's virtually meaningless. There is a growing chasm between CCM and the church – between what's actually happening in the real world of ministry, or even in the music ministry of the church, and what we're doing in CCM. In fact, I would probably be more inclined to call the industry "commercial Christian music," rather than "contemporary Christian music. -- Stan Moser, former head of Word Records
CCM lyrics:
The lyrics of a good number of the songs don’t betray anything specifically Christian —they may have some moral message, but not a lot of the big songs are identifiably Christian. . . 'What happens to the message when we start getting the music to as many people as possible?' There is an essential part of the gospel that’s not ever going to sell. The gospel is good news, but it is also bad news: You are a sinner, and you are hopeless. How is a multimillion-dollar record company going to take that? That’s a part of the message, too, and if that’s taken out—and it frequently is in Christian music— it ceases to be the gospel. -- Michael Card, Christian singer and songwriter with 37 albums totaling over 4 million copies sold
Words are important. Words are what Jesus used to preach the Sermon on the Mount. Words are what Paul used to write his epistles. Words are what we use to pray and to confess our faith. Weak or overly repetitive lyrics are too common in contemporary Christian music. – source unknown
While some fine contemporary songs will likely endure, the overall trend is toward vague lyrics. Many include odd theologies or skew towards personal viewpoints. Many could easily be secular love songs (Hold Me), while some warp scripture entirely (Days of Elijah), or distort scripture to highlight self (Above All). -- source unknown
In a world of suffering, the positive tone of much praise and worship music offers people encouragement and hope. But churches who feed their people a steady diet of this kind of worship music are ignoring a wealth of music that deals with the full range of life’s ups and downs. – source unknown
Chris Tomlin's "How Great Is Our God" is widely sung during contemporary services across America. Nashville producer Ed Cash admitted he actually laughed out loud the first time he heard the song’s words: “I remember thinking, you know, that's exactly the simple kind of brainless praise-chorus things that drive me crazy." Nevertheless, Cash collaborated on the song and now defends its popularity.
The future:
CCM is temporarily popular, but most “praise songs” will disappear over time because they lack the musical and theological quality necessary for lasting value. Contrast this with Christian hymnals. Hymnal editors have the opportunity to choose the best of hymns written over hundreds of years. For example, only 42 of Charles Wesley’s 6500 hymns were included in the Methodist Hymnal; English hymnals typically include 10 or fewer of the 140 hymns by Paul Gerhardt, one of Germany’s finest hymn writers. It is extremely unlikely that the current generation of songwriters exhibits the same degree of talent that produced the lasting hymns of the past centuries.
As with all novelties, once the novelty wears off, what is left often seems somewhat empty. In a culture that celebrates what is new (and commercial culture always does so in order to sell what is new), most people will pine for what is new. But what is new does not remain so forever; and once it is no longer novel, it must compete by the ordinary canons of musical and lyrical art, and very little contemporary worship music can do so. -- T. David Gordon, religion professor and author
CCM Critique by Ligon Duncan:
Ligon Duncan, a seminary chancellor, professor and pastor, has this to say about the styles of music used in worship services [edited]:
Protestant reformers understood two things often lost on moderns:
(1) Media, instruments, vehicles of worship, and liturgy (set forms of corporate worship), are never neutral. so great care must be given to the law of unintended consequences. Often, the medium overwhelms and changes the message. For example, singing Amazing Grace to the tune of Gilligan’s Island changes the whole tone of singing that text and easily becomes a sacrilege.
(2) The purpose of corporate worship is to actually worship as defined by the God of Scripture.
When [churches] consider circumstances (such as having “contemporary” music) key to public worship they make two errors:
(1) Thinking circumstances are more important than the substance and content of the worship service. When we call a service “contemporary,” we imply the most important thing about it is the musical style. We ought to be more concerned whether the service is biblical in content and substance. We may even encourage congregants to act as consumers with a right to expect a musical style of their preference while diverting their focus from the most important thing: God and the elements or means He has appointed for engagement with Himself.
(2) Thinking circumstances are neutral. When churches use musical styles (which invariably means subgenres of contemporary, commercial, pop musical forms) to reach an audience, they assume musical genres are neutral, carry no baggage, and are equally serviceable for public praise. This is naive and harmful to fostering congregational singing and to the unity of the church. It actually discriminates against religious consumers with different tastes! For example, a church using a contemporary folk-pop style may alienate those who prefer the rock or hip-hop subculture and vice versa. The same applies to any other single style chosen for the congregation.
A humorous (?) addendum:
Since this subject may trigger strong emotions and vigorous argument, let’s consider a bit of gross misuse of Scripture to draw some facetious conclusions about musical styles.
1. Some instruments are OK in church, but others are not:
Guitars are forbidden -- Refrain from anger and turn from wrath; do not fret—it leads only to evil.” -– Psalm 37:8
Drums are forbidden -- Then the Lord opened the donkey’s mouth, and it said to Balaam, “What have I done to you to make you beat me these three times?” -- Numbers 22:28
Trumpets and trombones are fine -- Then Hannah prayed and said: “My heart rejoices in the Lord; in the Lord my horn is lifted high. My mouth boasts over my enemies, for I delight in your deliverance. – I Samuel 2:1
2. Using a variety of musical styles in church is OK:
Then Moses sent his father-in-law on his way, and Jethro returned to his own country -- Exodus 18:27
The gospel he promised beforehand through his prophets in the Holy Scriptures -- Romans 1:2
The spiritual did not come first, but the natural, and after that the spiritual -– I Corinthians 15:46
That is why the folk singers sing, Come to Heshbon to rebuild the city, restore Sihon’s town -- Numbers 21:27 (The Message)
But you would be fed with the finest of wheat; with honey from the rock I would satisfy you -- Psalm 81:16
Awake, my soul! Awake, harp and lyre! I will awaken the dawn -- Psalm 57:8
Swing the sickle, for the harvest is ripe – Joel 3:13
He brought you water out of hard rock. – Deuteronomy 8:15
Tremble, you complacent women; shudder, you daughters who feel secure! Strip off your fine clothes and wrap [sic] yourselves in rags -- Isaiah 32:11
3. And just for good measure, a reminder that choir members are tax-exempt:
You are also to know that you have no authority to impose taxes, tribute or duty on any of the priests, Levites, musicians, gatekeepers, temple servants or other workers at this house of God. – Ezra 7:24
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