Choosing music for public worship is a daunting task. In many churches, there are those who have chosen to use musical style as the sole criteria for worship planning. One side of this debate holds to traditional hymnody with a firm grip while the other believes that hymns are dead and only the most current popular style can engage people of the 21st century. In this paper, I would like to present a more practical approach to worship planning that calls upon us as worship leaders of a given congregation to evaluate the vocational situation in which we find ourselves and take into account the needs and history of the particular community of faith that we serve.
It would be far easier to pick a side in the battle over musical style. Unfortunately, either/or choices are generally grounded in simplistic arguments and stereotypes. One could attempt to play it safe and confine the choice of worship repertoire to the denominational hymnal, but that would also be ignoring the explosion of new music produced in the past twenty years. What are we to make of all the hymnals and song books published by various independent publishing houses?
I believe that each congregation is unique, even within a particular denomination. While many Methodists, Episcopalians or Lutherans may each be somewhat familiar with a particular body of songs and hymns, that number of people is shrinking. As individuals and families become increasing mobile in today’s society, congregations are often made up of groups brought together by socio-economic reasons or are drawn to a particular church because of its programs rather than by the denominational name on the sign.
Taking this diverse background of individuals into account, the music we use in worship should consider who this community is and what its needs are. First, however, it is appropriate to define what worship is and why it is important to a community of Christian believers.
Dr. Perry Cotham writes that worship is “a term used for the reverent devotion, service or honor paid to God, whether by an individual or in public assembly.”1 This is a good starting definition of what the word itself means. Dr. Constance Cherry, on the faculty of the Institute for Worship Studies, states that “worship is first and foremost an encounter with the living God through Jesus Christ.”2 Clearly from Cherry’s definition we find that worship is more than simply a gathering of the faithful. Frank Senn, noted Lutheran theologian, adds more when he says that “[worship] is both the divine service in which God comes to his people through word and sacrament and the work of the people in which the church, in the Spirit, offers prayer, praise, and thanksgiving.”3
If we are to believe that worship is where people meet God, it creates a tremendous responsibility for worship leaders to provide our best in enabling that encounter. Much of the interest in the renewal of worship actually began during the 1960s when the Roman Catholic Church issued several documents which sought to bring Catholic Christians into greater participation during worship. This event was the Second Vatican Council (Vatican II) which issued the Constitution on the Sacred Liturgy among other documents. Thomas Long, Bandy Professor of Preaching at Candler School of Theology, saw this as an earthquake in the church world:
… this worship earthquake in the Roman Catholic world set off massive aftershocks among Protestants. The Catholic reforms challenged Protestants to a fundamental rethinking of their own worship as well, and within a decade of the appearance of the Constitution on the Sacred Liturgy most of the ‘mainline’ denominations in North America had become participants in exciting ecumenical discussions about worship and had developed dramatically fresh worship resources. United Methodists, Lutherans, Episcopalians, Presbyterians, and others all created new worship books, and one of the most remarkable characteristics of these resources is how similar they are to each other…4I have observed that part of discovering this similarity meant sharing and borrowing each other’s music. It is not uncommon today for Roman Catholic churches to sing Protestant hymns, nor is it unusual for Protestant churches to sing the many folk-style Catholic songs that proliferated after Vatican II.
In this discussion of worship planning, it will be helpful to define some of the various types of music used in worship. A hymn is generally defined as a metrical poem with several stanzas. Usually found in a limited number of regular meters, hymn texts are often interchangeable with other hymn tunes. Much of the music written immediately after Vatican II was produced in a folk style which is best described as a song which may consist of one or more verses with a refrain. What differentiates these pieces as a song instead of a hymn is the likely possibility that each verse may have rhythmic or melodic variations. Many of these songs do not have the strong metrical pulse of a traditional hymn. This can make for a more difficult piece to teach a congregation. Some of the pieces are clearly intended for a soloist and not truly suited to congregation song. Over time, other pieces that grew out of this style were essentially written as a brief, single line song, often referred to as a chorus or praise chorus.
It is very likely that any congregation in which we find ourselves will have an existing body of hymns, songs and possibly choruses with which they are familiar. Often this will include the official denominational hymnal or a hymnal that was chosen at some point by that particular congregation. This should be seen as a starting point, as these pieces will be what the assembly is most comfortable with.
There is, however, a need for music to be both pastoral and prophetic. That is, music is called upon to comfort and support the people of God, to teach the church’s doctrine, and at times, to challenge the comfort of those assembled. In Reaching Out Without Dumbing Down, Marva Dawn, Lutheran theologian and musician, set the standard by which many measure worship. Dawn writes that worship should be subversive and that “[worship] listens to the needs of those to whom it reaches out but offers them more than they think they want in the fullness of Christ’s answer to their unfelt and deeper needs.”5 Much like the weekly readings in churches that follow the lectionary bring us comfort and support, they also call us, at times, to repentance and reconciliation with Christ. I believe that music must serve the same purpose, as all activities in worship, whether they be sung, spoken, or acted, to come together as a cohesive whole to lead us into the presence of God.
In developing criteria for choosing music for a particular congregation, several church musicians, teachers and worship leaders have presented us with guidelines and specific points to examine. In Ceasefire, Dr. Perry Cotham examines specifically the text of music used in worship:
That last point regarding “contemporary” needs some explanation. In this context, Cotham is referring to text that that uses modern language and can be related to by 21st century Christians. He is not saying that we must only use new music or music written in a popular style, but that we need to be able to comprehend its message.
If we take Cotham’s other criteria seriously, which I believe we should, it might eliminate two-thirds of the music currently in publication. This is why I believe we must move beyond musical style and examine what lies at the heart of a particular piece of music. It is not enough to choose music based on the date of publication. Dr. Elmer Towns, Dean of the School of Religion at Liberty University in Virginia writes:
New music should be introduced in a worship service for the right reasons. New music should not be sung simply because it is new. Nor should older songs be omitted simply because they are old. Rather, the selection of music for the worship service should be based on the theme and focus of worship in that service. The songs selected should help the congregation worship some aspect of the greatness of God, regardless of when they were written.7Towns echoes my view that music must relate to the whole worship experience, rather than being filler, traveling music or incidental to the liturgical action.
Further, this requires us to understand the faith tradition in which we find ourselves serving and to be familiar with the doctrines of that particular denomination, in addition to the customs and traditions of the local congregation. Cotham goes on to reinforce this point. He writes that in general, worship should:
Paul Westermeyer, professor of church music at Luther Seminary in St. Paul, Minnesota, echoes these same criteria in his essay Music: Poured Out for the World. He also emphasizes the necessity of using music of the highest quality and finding musicians that can lead it well. He advocates for the use of old and new together as well as using music that comes from a variety of cultural influences. This ultimately connects us with the church catholic.9 While we are a part of a local congregation, I believe we should also keep in mind that the body of Christ encompasses congregations throughout the world, each with its own unique expression of faith in worship. As Dr. Tim Carson, pastor and worship renewal workshop leader, writes, “Grateful borrowing of another tradition, on the other hand, may strengthen and enrich. With due tribute and recognition, this worship not only adds to the texture of our own but also creates an atmosphere of unity.”10
Carson’s statement demonstrates a recent trend in many congregations to use music from other cultures. This can be both exciting and challenging. Exciting in the sense that much of the world’s music is far more diverse and strong in its rhythms, engaging both the body and the mind. At the same time, some of the translated texts, especially from Central and South American music, deal strongly with liberation theology, much of which challenges the comfortable North American mindset.
Liberation theology came about partly as a result of the dialog between the masses of people living in third-world Central and South American and the Christian churches, especially the Roman Catholic Church after Vatican II. Leonardo Boff, author of Introducing Liberation Theology summarizes: “The poverty of Third World countries was the price to be paid for the First World to be able to enjoy the fruits of overabundance.” 11 As comfortable Americans in the First World, it can be truly challenging for us to hear music from another culture where its text demonstrates how many go without basic needs being met while we enjoy our affluence as a result. This is an example of the type of prophetic challenge that multi-cultural music can bring to our worship experience. Singing the songs of another people can put us in their shoes, so to speak, and bring us together in a way beyond simple intellectual assent.
Carson’s comment also brings up another issue, that is, the education of the congregation. It can be difficult for a community to worship effectively when many of its members do not understand the significance of worship. Part of our responsibility, I believe, is to assist the church in learning not only about its particular heritage of communal song, but to understand the role of worship in the church. Dr. Robert Webber, director of the Institute for Worship Studies, echoes my point of view when he says:
Currently there is a growing awareness that worship is the central ministry of the Church: Worship is the center of the hourglass, the key to forming the inner life of the Church. Everything the Church does moves toward public worship, and all its ministries proceed from worship.12Webber believes that worship is not only important, but central to the Christian faith. In my view, the centrality of worship must be communicated to the congregation and supported by the clergy. Using methods such as church newsletter articles, bulletin and program notes, and even worship or new member instructions classes can all contribute to the education of the community. Worship takes on take on a new dimension when practiced with knowledge and understanding.
George Barna, long-time church researcher and founder of the Barna Research Group, also believes that much of the controversy in worship is a result of a lack of understanding. He writes: “The major challenge is not about how to use music to facilitate worship as much as it is to help people understand worship and have an intense passion to connect with God.”13 In three nationwide polls conducted in 2002, Barna found that many of the parishioners in the churches surveyed had a lack of understanding of what it meant to encounter God in worship. I believe it is critical for us to provide part of that education to help enable the people’s song.
In any discussion of worship planning, there is, of course, the issue of the music itself. Again, Dr. Westermeyer provides us with some criteria to consider when choosing music:
This list is an excellent starting point for developing a personal set of criteria for worship planning. Long rests can make people uncomfortable, because for those who do not read music, they do not know when to start singing again. As seen in example 1, this folk-like song is a good demonstration of what to avoid.
Example 1. John Foley, SJ, Come to the Water, mm. 1-9.15
Music that is congregational encompasses several of the other criteria that Westermeyer mentions. Rhythms must be learnable, the range should not extend too far beyond an octave and if there are multiple verses involved, they should preferably have identical rhythms for each verse. An example of a song with a nice refrain, but difficult verses can be seen in example 2.
Example 2, Bob Dufford, SJ, Be Not Afraid, mm. 1-6. 16
Western ears are accustomed to Western tonality and harmony. It gives listeners a point of reference and something to hold on to as they navigate their way through a piece of music. Music that fits Western tonality schemes is the easiest to teach and is typically the best choice for congregational song. That is not to say music from other cultures cannot be used sparingly. It can be a great experience to introduce music from the Asian cultures, for example, which does not fit that model, especially that which has been adapted for Western listeners.
Westermery’s criteria encompasses what I believe is the reason that strophic hymnody has endured for so many centuries. The confined melodic range, Western tonality and regularity of meter make them easy to teach and sing. We are not, however, confined only to historic hymnody. Modern hymn texts from writers such as Brian Wren, Sylvia Dunstan, Fred Pratt Green and Thomas Troeger, all of whom have published fresh, compelling, and thoughtful texts, can be used easily with traditional hymn tunes that many congregations are already familiar with. One recent example is Hymns for the Gospels, published by GIA Publications. With this supplement, the editors have matched new texts with familiar hymn tunes. An sample stanza from Herman Stuempfle which is sung to the familiar tune HOLY MANNA:
“Alleluia! Alleluia!” Is the Easter hymn we sing!
Take our life, our joy, our worship
As the gift of love we bring.
You have formed us all one people
Called from ev’ry land and race.
Make your church your servant Body,
Sent to share your healing grace!17
Dr. Terry York, Associate Professor of Christian Ministry at Baylor University concurs with my view of continuing to use traditional hymnody while taking a fresh approach. He suggests writing modern music in traditional hymn style, revising the text of older hymns and also using existing hymn tunes with modern poetry, as we see in the example above.18 Many churches over the past few decades have been experimenting with the rewriting of existing hymn texts, some meeting with more success than others. Changing beloved texts can be a difficult task and must be done with careful consideration of the historic and even sentimental value that those texts possess.
In his book Sing a New Song, worship leader David Montgomery gives us a few final points to consider on the structural nature of worship music. He writes that rhythmic variety is necessary, although we can see from Foley’s example above that it can be taken too far. Montgomery further states that there should be a musical climax in the melodic line and that the harmony and instrumental support can play an important role.19 It is true that at times, a marginal melody can be saved by either good harmony or an effective accompanist, which builds on Westermeyer’s idea of using good musicians who can lead well. I believe that strong musical leadership is an absolute necessity in successful worship.
In whatever we do, it must be done with excellence. We are called as worship leaders to provide the highest quality in music and art to lead the congregation into an encounter with God. What we must be careful of is not to place ourselves between the congregation and the God we worship. Further, we must not call attention to ourselves or our art, as that is not the subject or object that we worship. Music is a critical tool used in worship, as Dr. Cotham writes:
“Music provides the emotional substance of worship. It can take us to places that our intellect alone cannot go. It has the ability to express every conceivable emotion, and it can impact the human being in ways the simple spoken expression might never reach.”20As Cotham states, there is a need for emotion in worship, which can encompass both the subjective and objective. I believe that both are required for a holistic experience that encompasses both mind and body.
The criteria I have enumerated in this article can provide the worship leader with an effective starting point in developing a repertoire unique to one’s own congregation. There are no easy answers when it comes to choosing music used in worship, but through learning and intentional planning, we can provide a meaningful worship experience.
Footnotes
1. Perry C. Cotham, Ceasefire: Ending Worship Wars with Sound Theology & Plain Common Sense (Orange, CA: New Leaf Books, 2002).
2. Todd E. Johnson, ed., The Conviction of Things Not Seen: Worship and Ministry in the 21st Century (Grand Rapids, MI: Brazos Press, 2002).
3. Frank C. Senn, New Creation: A Liturgical Worldview (Minneapolis, MN: Augsburg Fortress, 2000).
4. Thomas G. Corp Author Alban Institute Long, Beyond the Worship Wars: Building Vital and Faithful Worship (Bethesda, MD: The Alban Institute, 2001).
5. Marva J. Dawn, Reaching out without Dumbing Down: A Theology of Worship for the Turn-of-the-Century Culture (Grand Rapids, MI: W.B. Eerdmans, 1995).
6. Cotham, Ceasefire: Ending Worship Wars with Sound Theology & Plain Common Sense.
7. Elmer L. Towns, Putting an End to Worship Wars (Nashville, TN: Broadman & Holman, 1997).
8. Cotham, Ceasefire: Ending Worship Wars with Sound Theology & Plain Common Sense., 190-194.
9. Thomas H. Schattauer, ed., Inside Out: Worship in an Age of Mission (Minneapolis, MN: Fortress Press, 1999).
10. Timothy L. Carson, Transforming Worship (St. Louis, MO: Chalice Press, 2003).
11. Leonardo and Clodovis Boff, Introducing Liberation Theology, trans. Paul Burns (Orbis Books, 1987).
12. Robert Webber, Planning Blended Worship: The Creative Mixture of Old and New (Nashville, TN: Abingdon Press, 1998).
13. George Barna, Focus on “Worship Wars” Hides the Real Issues Regarding Connection to God [WWW] (Barna Research Group, November 19, 2002 2002 [cited November 23 2003]); available from